Friday, November 22, 2024 Text is available under the CC BY-SA 3.0 licence.

Peter Greenaway

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The predominant colour of the kitchen -- its walls, cupboards, floor, shelves -- with all the ancillary rooms -- pantries, larders, cold stores, and sculleries, is green -- Hooker's dark green, leaf-green, emerald, faded turquoise, and eau-de-nile -- like the colours of a dark wet jungle.

 
Peter Greenaway

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I wrote The Green Eye of the Little Yellow God in five hours, but I had it all planned out. It isn't poetry and it does not pretend to be, but it does what it sets out to do. It appeals to the imagination from the start: those colours, green and yellow, create an atmosphere.

 
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Changi was set like a pearl on the eastern tip of Singapore Island, iridescent under the bowl of tropical skies. It stood on a slight rise and around it was a belt of green, and farther off the green gave way to the blue-green seas and the seas to infinity of horizon.
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Inside the walls, inside the cellblocks, story on story, were cells for two thousand prisoners at capacity. Now, in the cells and in the passageways and in every nook and cranny lived some eight thousand men. ...
These men too were criminals. Their crime was vast. They had lost a war. And they had lived.

 
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The rains tumble down in the sky,
Young swallows have learned how to fly,
The leaves that were green are no longer so green,
And it looks like the summer is over.

 
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