“and even if the City falls and one of us survives
he will carry the City inside him on the roads of exile
he will be the City”—Zbigniew Herbert, from “Report from a Besieged City,” trans. Czeslaw Milosz (via ratmessiah)
“Especially in her early career, Streep fought to give real texture to the anonymous female roles that were the only ones available to her. To think about the experiences of characters who were treated as afterthoughts in the script was, to Streep, a political act. So from the very beginning, this dynamic—Streep struggling to develop an artistic voice from within a masculine and often misogynist creative culture—becomes our central object of concern. And it is frankly shocking, as well as inspiring, to read about the number of times Streep forced herself to intervene in order to give a sense of agency or even human complexity to characters she had agreed to play. Streep insisted, for instance, that her role in the divorce drama Kramer vs. Kramer—a role she took only a year after her breakout success in The Deer Hunter—be rewritten in order to allow her character’s perspective into the space of the film. She established herself as such a force on set that, when they came to the scene in which her character finally articulates her argument for why she should retain custody of her son, the filmmakers let Streep write the dialogue herself.”—if you weren’t already aware of it, Meryl Streep is the best and now there’s an entire book dedicated to explaining why [x].