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The woman who presents herself to the spectator as a 'picture' forever arranged, is, for the contemplative mind, the chiefest danger. Sometimes one meets a woman who is beast turning human. Such a person's every movement will reduce to an image of a forgotten experience; a mirage of an eternal wedding cast on the racial memory; as insupportable a joy as would be the vision of an eland coming down an aisle of trees, chapleted with orange blossoms and bridal veil, a hoof raised in the economy of fear,stepping in the trepidation of flesh that will become myth; as the unicorn is neither man nor beast deprived, but human hunger pressing its breast to its prey.
Such a woman is the infected carrier of the past; before her the structure of our head and jaws ache — we feel that we could eat her, she who is eaten death returning, for only then do we put our face close to the blood on the lips of our forefathers.
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Suspense is like a woman. The more left to the imagination, the more the excitement. ... The conventional big-bosomed blonde is not mysterious. And what could be more obvious than the old black velvet and pearls type? The perfect ‘woman of mystery’ is one who is blonde, subtle and Nordic. ... Although I do not profess to be an authority on women, I fear that the perfect title [for a movie], like the perfect woman is difficult to find.
What is a woman to me? The answer must be: A projection. Who is projecting, and for what reason, I cannot necessarily know from the performance itself. Mr. Umewaka and Mr. Mikata do not when playing their feminine roles feel themselves to be women; they strive, as I so often in my wonderment repeat, to be nothing; yet when they enact women I see them as women. Meanwhile the psyche within a male body which mechanically performs itself as such may see itself as female
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