114

the general humanity but in this man, that woman, their child. What's real like them, carries as they do, the seeds of change. It is perishable.

Chekov shows no fondness for the abstract. Reality - along with good and evil, justice and love, and other subjects of fundamental importance to him - he dealt with in terms of the particular and personal meaning it took on for human beings in the course of their lives. p63

Eudora Welty - The Eye of the Story 1977

...fixing on Bazarov a pain of round eyes, between which appeared a forlorn little turned-up nose...

p140 Turgenev - Father & Sons. R. Edmons trans.

...riveting up on Bazároff her round eyes, between which, like an orphan, her tiny, snub nose gleamed reddy...

p114 - Fathers & Children - trans Isabel Hapgood.

"Buy - when blood runs in the street." -

Baron De Rochchild

115

If I cannot bend the Higher Powers, I will move the Infernal Regions.

Vergil

Ozu - the Japanese Film - Anderson + Richie - 1959

"I have no interest in romantic Love."

"Pictures with obvious plots bore me now. Naturally, a film must have some kind of structure or else it is not a film, but I feel that a picture isn't good if it has too much drama, or too much action.:

p360

At the same time, he pays particular attention to the properties and other small details of the sets. These he selects and photographs so that they comment on character, selecting these details not because of what they add to reality but according to what they reveal about the personality of his people. ...Ozu's details emphasize character rather than environment. p361

9.23.80

The test by which we may most readily judge the objectivity of a work of fiction is a negative one: the reader should be unable, simply by studying the text in front of him, to draw any conclusions about the author's sympathies or antipathies, his creed or his philosophy.

p34 Émile Zola, F.W.J. Hemmings ed. Oxford Univ. Press 1966