French literature and art always seem to favor love, and people who are constantly making mistakes under the influence of desire. Bovary, Frollo, Julien, Mathilde, as Germain said, Flaubert was close to Bovary's sins, but he did not criticize her, because we all know that in the story. of them with our shadow.
Like Claude, he likes to fantasize and spy on the lives that he has never had, thinking about how they choose in the fragmentary pictures and language fragments, they laugh, and they embrace each other, because there is no self in it, everything is there. desire to see. The scents of middle-class women are entangled in the dusky summer afternoon, their lines and luster, texture and curvature are extended in the afterglow. Claude spied on the Ralph family, and we spied on Claude's voyeur through the screen, self-understanding and self-satisfaction in his voyeuristic desire.
Like Germain, there is a love-hate melancholy about literature, admiration and admiration for those who are gifted, and even a desire for inspiration itself. He knew Flaubert's calm and thorough handling of the characters, the unique genre style of La Fontaine, that Tuo was good at writing about the trivial people, and Pasolini was good at writing about the evil of human nature. He could visualize the structure of the novel as The pictures on the blackboard were clear and sound, but he couldn't write a single word, because he knew that wherever the pen was written, it was mediocre. Teaching is just an unwilling compromise.
Whether it is the ignorant appeal of the protagonist of the coming-of-age novel, or the desire for the flesh in the adult world, there is always a more original impulse to appreciate each other, not because of some subtle erotic teasing, but because of the self-indulgence The recovery of the missing, the momentary venting of loneliness, all the words have a response here, complementing each other, and at the same time inspiring unknown imagination to each other. Without Germain's expectations, Claude would not bring the plot he liked to him. Without Claude's talent, Germain would not take risks and use his lifelong skills to inspire a student to share with him. Conceive a novel that comes into the house.
The focus of peeping is not looking, but "desire", a desire for the possibility of a regretful miss. A middle-class woman longs to escape the prison of peaceful marriage, a sixteen-year-old boy longs for a complete home, and an aging romantic is still waiting for the completion of an unfinished work. Germain drew the narrative structure for Claude on the blackboard. He said that in the process of desire for an object, the protagonist will always encounter various obstacles, just as Odysseus encountered the sea on his voyage back home. Demons and wizards are obstructing, but obstacles not only come from outside, but also from inner contradictions. Under the temptation of Claude's narrative, Germain looked at his inner desire step by step, but Claude deliberately avoided the presentation of his inner contradictions, just saying that all this happened in this building. house. In fact, he has quietly planned everything in his heart.
In this competition of teaching and learning, his wife, Jenna, was always able to smell the changes keenly, and could detect Claude's tricks from the "unfinished" in the brackets.
"Maybe he has a problem and wants to get your attention?" his wife asked tentatively as he walked out of the gallery, "How does he look? How does he behave in class?"
"I said, nothing special, sitting in the last row, no questions or answers."
"You too, you used to always sit in the last row."
"That's the best position, you can see everyone, but no one sees you."
In a small writing class, Germain spoke passionately about the "golden question" of writing:
"Whether you're writing a crime novel or a Shakespeare tragedy, the first question to address is 'what's going to happen next'. Don't give the reader a break, give them a sense of compactness. They're like the sultans in the Arabian Nights, If I get bored, I'll cut your head off, only a steady stream of stories can keep Scheherazade by the Sultan's side, give me a great story, and the Sultan will give his heart to you."
"Great, Master." Claude clapped his hands with a smile.
Another writing class, Germain asked Claude:
"Are you trying to write a coming-of-age novel, Claude, what exactly are you trying to do?"
Claude replied: "I did what you wanted me to do, Master. You are my Sultan and I am your Scheherazade."
In the evening, after reading the composition, Jenna asked Germain:
"Do you have a desire for Claude? We haven't had sex since you taught that kid to write."
"What are you talking about."
"It's not that serious, it's normal for teachers to fall in love with their students."
"But he's a boy, Jenna, and I like women."
The obscure teacher-student love and same-sex love are not enough to summarize the wonderful relationship between the two. As Jenna said, they have a desire for each other, but this desire does not point to pure lust and complex, it is to Impossible desire, anticipation of the beginning and end of the story.
In the last scene, Germain and Claude were sitting on a park bench, Germain asked, have you found your ending, Claude said, no, I gave up, Germain smiled. They looked at the two women who were quarreling in the distance. You speculated about their identities and experiences with every word, and no one could convince the other. Then, they looked at each other and smiled. Those desires, as intricate as the narrative of a novel, are finally expressed in Claude: "Mr. Germain has lost everything, his wife and his job, but now I am here, by his side, ready to speak for him. new story."
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