Andrea Palladio, Church of San Giorgio Maggiore (Venice, Italy), plan 1565; construction 1565-80; facade, 1597-1610; campanile 1791; finished by Vincenzo Scamozzi following Palladio’s design

We tell ourselves stories in order to live. The princess is caged in the consulate. The man with the candy will lead the children into the sea. The naked woman on the ledge outside the window on the sixteenth floor is a victim of accidie, or the naked woman is an exhibitionist, and it would be ‘interesting’ to know which. We tell ourselves that it makes some difference whether the naked woman is about to commit a mortal sin or is about to register a political protest or is about to be, the Aristophanic view, snatched back to the human condition by the fireman in priest’s clothing just visible in the window behind her, the one smiling at the telephoto lens. We look for the sermon in the suicide, for the social or moral lesson in the murder of five. We interpret what we see, select the most workable of the multiple choices.

Image: A view from the Campanile of the Basilica Di San Giorgio Maggiore, Venice

Text Excerpt: Didion, Joan. The White Album. New York: Simon and Schuster, 1979