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John Green

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"The thing about That Guy Is a Gigolo," Radar says, "I mean, the thing about it as a game, is that in the end it reveals a lot more about the person doing the imagining than it does about the person being imagined."
--
Marcus "Radar" Lincoln, p. 258

 
John Green

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His language had a special vocabulary — not just "the SF" [God] and "epsilon" [child] but also "bosses" (women), "slaves" (men), "captured" (married), "liberated" (divorced), "recaptured" (remarried), "noise" (music), "poison" (alcohol), "preaching" (giving a mathematics lecture), "Sam" (the United States), and "Joe" (the Soviet Union). When he said someone had "died," Erdős meant that the person had stopped doing mathematics. When he said someone had "left," the person had died.

 
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What is this thing, "imagination?" A muscle that can be "forced" or "stretched"? Or something immune to the ethos of ganbaru [grit it out, or strive for one's best]? Like the relativist's view of light, it is both wave and particle, depending on what you want it to be. The verb "to imagine" is both active and passive, as in "Steve imagined his future," and "Such a future was never imagined." So, I work on my novel by imagining the world of 18th-century Nagasaki and its people and their fears and desires, as an act of will, and a lot of will is involved, believe me. However, I could ganbaru until I'm blue in the face. If my imagination doesn't work "passively" or even "intransitively," at its own behest rather than mine, and come up with cliche-demolishing twists of phrase and turns of plot and happy accidents and unexpected reactions from characters, then the book will be sterile. Well-written with luck, and even intelligent, but sterile. (...) Imagination is what makes art fertile.

 
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I want to just go back to a great rabbinical and also, as you see, monastic, Christian development beyond what the Greeks like Plato or Cicero already knew about friendship. That it is from your eye that I find myself. There's a little thing there. They called it pupilla, a "puppet" of myself which I can see in your eye. The black thing in your eye.
Pupil, puppet, person, eye. It is not my mirror. It is you making me the gift of that which Ivan is for you. That's the one who says "I" here. I'm purposely not saying, this is my person, this is my individuality, this is my ego. No. I'm saying this is the one who answers you here, whom you have given to him.

 
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Then there was the man who declared in court, he wasn't a person. "Excuse me, sir, why haven't you paid your taxes." "Well, as you can clearly see, I am not a person." "Well, you look like a person." "No it's all done with mirrors, trust me!"

 
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The perception of you is one thing. You're this famous person, and now you're this famous person who's a bombshell. So all of a sudden, that's the only way I get jobs. So I have to become the part. And they're telling you this is the way to do it. One director actually said to me, "I want to hear you talk dumber and faster." ... He thought it was funny for the girl to be dumb. I finally said, "That's it, man — I can't do this anymore." I'd go to meetings during the filming of a movie, and the directors would ask, "What do you think of the script?" I'd say, "It has a lot of problems." They were confused. That's not what they wanted from me. ... So I was not very popular. At one point I said, "I don't want to do this — it's not my dream." And so I said, "I'm going to start a company. I am going to create projects for me. I'm going to create projects for other Latin women." Because I got to a point where I was whining all the time. I was miserable. I was desperate

 
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