Genet's originality stems from the fact that he has cogently chosen to refuse society's values and has set about to reverse, if only for himself, the moral code of our time. His "Jansenism of Evil," as Sartre calls it [in his illuminating study Saint Genet], is, in reality, a search for identity in an atmosphere of uncertainty. For Genet, as for Shakespeare, the world is a stage, and you and I, the players.
In his massive biography of Genet, Jean-Paul Sartre states that the key to understanding this admired criminal's self-imposed bastardy can be found in an incident taken from his adolescence: discovered with his hand in a purse, the youthful Genet was market for life by the accusation: "You are a thief." At least he became convinced, according to Sartre, that he should become "Another than Self." Since this child of ten did not view himself as an absolute criminal yet was extremely intimidated by the unflinching judgment of others, he chose for himself a mode of being which posits its justification in the look of others…. [Genet] seems to view literature as a fabric of lies which veil the truth. By means of the mystification called literature, he is able to swindle and rob the public. Genet abandons himself to literature because the fictional world he creates becomes the evasive object of an often credulous body of admirers. He thereby confirms, both to himself and to us, that the world is a stage. The most salient confirmation of his views on the subject, as one might expect, is to be found in his theatre. For his plays, as Leonard Pronko has rightly observed, are rituals where "Genet's characters perform their sacraments." The images we find there are indeed alarming; for they are meant to unmask the duplicitous nature of man's behavior, to reflect our grimaces and masks back to us. (pp. 33-4)
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