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There is a close relationship between flowers and convicts. The fragility and delicacy of the former are of the same nature as the brutal insensitivity of the latter.
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Crimes of which a people is ashamed constitute its real history. The same is true of man.
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'Power may be at the end of a gun,' but sometimes it's also at the end of the shadow or the image of a gun.
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When the judge calls the criminal's name out he stands up, and they are immediately linked by a strange biology that makes them both opposite and complementary. The one cannot exist without the other. Which is the sun and which is the shadow? It's well known some criminals have been great men.
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Excluded by my birth and tastes from the social order, I was not aware of its diversity. Nothing in the world was irrelevant: the stars on a general's sleeve, the stock-market quotations, the olive harvest, the style of the judiciary, the wheat exchange, flower-beds. Nothing. This order, fearful and feared, whose details were all inter-related, had a meaning: my exile.
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