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Quote by Etgar Keret

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The Girl on the Fridge

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Author

Etgar Keret
Etgar Keret

Etgar Keret is an Israeli writer known for his unique humor and profound emotional depth. His works are typically short stories that explore themes of personal identity, family relationships, and social reality. Born on August 20, 1967, Keret's writing style has been well-received by readers worldwide, with his works translated into multiple languages. more

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“Being a child from outside, caregivers aren’t invested in your emotional development as much. They assume that having a roof over your head and food is enough. You can’t get away with being honest in these kinds of conversations without someone attempting to throw in some positivity and gratitude. But it never is about that; children need their emotional needs watered. And openly discussing this is where we begin to rectify the past.”

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“In fact, the child is no longer a child. Children are substitute beings, who are losing their natural otherness and entering upon a satellite existence on the artificial orbit of sameness. They will find it increasingly difficult to detach themselves; to find, not their identity and their autonomy — as they are constantly being told they must — but their distance and their strangeness. The more genetic heredity is foregrounded, the more the symbolic heritage disappears. Even the Oedipal drama is not played out any longer. There is no longer any resolution of childhood, since the psychical and symbolic conditions of childhood no longer even exist. Childhood is losing even the chance of surpassing and denying itself as such. It is disappearing as a phase in the metamorphosis of the human being. At the same time as it is losing this distinctive spirit of its own and its singularity, it is becoming a sort of dark continent. For otherness inevitably re-emerges, but differently, in the form of a vast, shady complicity on the part of a generation which is at last free from adult attention, but is no longer minded to grow up. An endless, purposeless adolescence, which is acquiring autonomy with no reference to the Other, acquiring it for itself — and turning, in some cases violently, against the Other, against the adult with whom it now has no sense either of descendance or solidarity. This is no longer a symbolic break, but a pure and simple rejection, which may find expression in a lethal 'acting out' . And it is not even 'acting out' , since that still presupposes the irruption of the phantasm into a real world , whereas here we are dealing with an infantile, quasi-hallucinatory state which reaches back before the reality principle. Moreover, this pre-reality-principle, infantile state coincides strangely with the world of virtual reality, our adult media world, the post-reality-principle world, in which the real and the virtual merge.”

Childhood
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“White caps or white horses. Take your pick. They are the same. They are nature's warning before beaches had flags. I had heard my uncle point them out. It sounded fanciful as the drawings beside poems about giants using pillows for clouds. . . . When my uncle said they were there and we wouldn't be going in his boat that day . . . I didn't understand. White horses, I thought, were my uncle's poetry. Better even than calling the swells on waves "white caps." Pilgrims and nurses wore caps. Who wanted to think of them? White horses were another matter. Brothers to unicorns. Galloping. Long haired and free. I ran into the sea.”

PoetryChildhoodHorsesMisunderstandingsBeaches
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