"If there was a distraction I'd get up and jump out the window. I was quite out of hand. In schools like that I don't think they expect that girls are going to behave in such an outrageous fashion"
About this Quote
Restlessness, in Diane Cilento's telling, isn’t a quirky personality trait; it’s a full-body revolt against the idea that a girl should sit still and be grateful. The image does the work: "jump out the window" is comic on its face, but it’s also a violent little metaphor for escape. Not just from a classroom, but from the narrow script assigned to her. She frames her behavior as "quite out of hand", borrowing the language of adult discipline, then quietly undercuts it by describing the school’s expectations as the real problem. The institution isn’t shocked because she’s dangerous; it’s shocked because she’s female and uncontainable.
The line "in schools like that" is a pointed phrase. It suggests a particular kind of establishment - polished, proper, invested in training girls to perform decorum as a life skill. Cilento’s "outrageous fashion" is less about misconduct than about refusing the performance. There’s a sly awareness here: she knows exactly how her actions were coded (hysterical, unruly, too much), and she repeats that coding without fully endorsing it. The humor keeps the memory buoyant, but the subtext is sharp: when a young woman has too much energy, too much appetite for attention or motion, the culture treats it as a behavioral defect.
Coming from an actress, it also reads like an origin story. That kinetic refusal to be contained is almost a proto-stage instinct - a need to move, to puncture scenes that bore her, to make an exit so dramatic it becomes its own kind of entrance.
The line "in schools like that" is a pointed phrase. It suggests a particular kind of establishment - polished, proper, invested in training girls to perform decorum as a life skill. Cilento’s "outrageous fashion" is less about misconduct than about refusing the performance. There’s a sly awareness here: she knows exactly how her actions were coded (hysterical, unruly, too much), and she repeats that coding without fully endorsing it. The humor keeps the memory buoyant, but the subtext is sharp: when a young woman has too much energy, too much appetite for attention or motion, the culture treats it as a behavioral defect.
Coming from an actress, it also reads like an origin story. That kinetic refusal to be contained is almost a proto-stage instinct - a need to move, to puncture scenes that bore her, to make an exit so dramatic it becomes its own kind of entrance.
Quote Details
| Topic | Student |
|---|---|
| Source | Help us find the source |
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