metamorphoses

The artistic life is a long and lovely suicide precisely because it involves the negation of self; as Highsmith imagined herself as her characters, so Ripley takes on the personae of others and in doing so metamorphoses himself into a 'living' work of art. A return to the 'real life' after a period of creativity resulted in a fall in spirits, an agony Highsmith felt acutely. She voiced this pain in the novel via Bernard's quotation of an excerpt from Derwatt's notebook: 'There is no depression for the artist except that caused by a return to the self'.

We ate the birds. We ate them. We wanted their songs to flow up through our throats and burst out of our mouths, and so we ate them. We wanted their feathers to bud from our flesh. We wanted their wings, we wanted to fly as they did, soar freely among the treetops and the clouds, and so we ate them. We speared them, we clubbed them, we tangled their feet in glue, we netted them, we spitted them, we threw them onto hot coals, and all for love, because we loved them. We wanted to be one with them. We wanted to hatch out of clean, smooth, beautiful eggs, as they did, back when we were young and agile and innocent of cause and effect, we did not want the mess of being born, and so we crammed the birds into our gullets, feathers and all, but it was no use, we couldn__ sing, not effortlessly as they do, we can__ fly, not without smoke and metal, and as for the eggs we don__ stand a chance. We__e mired in gravity, we__e earthbound. We__e ankle-deep in blood, and all because we ate the birds, we ate them a long time ago, when we still had the power to say no.

In the make-up of human beings, intelligence counts for more than our hands, and that is our true strength.

For it cannot be denied that all over the world and in all ages there are beings who are perceived to be extraordinary, charming, and appealing, and whom many honor as benevolent spirits, because they make one think of a more beautiful, a freer, a more winged life than the one we lead.