‘I want to stop. I don’t want to die.’ This was what I was thinking. One thought might have been covered by the other. But I knew that I wanted the things I didn’t understand to stop. The success of the human species, it was said, was based

– Genet by Giacometti The end of this gloomy period [1948-1955, between the novels and the plays] came when Genet made two discoveries. He met the sculptor Alberto Giacometti, and by 1955 the two men had become inseparable. Genet wrote a brilliant essay about Giacometti, a man above or beyond

Michael Houston on the radio, Concert, cutting in halfway through the conversation, apparently conducted at the keyboard – words to the effect of: You can’t nail down just one emotion and say this is what this bar or phrase means. Music exists as an artform. And to my mind what

It is the desire to occupy a place from which one can take everything in, first and foremost visually, but also orally and audibly, that renders the theatre and theatricality so suspect. – Samuel Weber, Theatricality as Medium, Fordham University Press, New York, 2004, p. 7 Samuel Weber calls Plato’s

– back row (left to right): Arnaldo Baptista, Caetano Veloso (holding portrait of bossa nova & MPB singer, Nara Leão), Rita Lee, Sérgio Dias and Tom Zé – front row (right to left): Torquato Nelo (lyricist-poet), Gal Costa (born Maria da Graça Costa Penna Burgos, somewhat resentfully renamed by Caetano Veloso)