"The main object of a revolution is the liberation of man... not the interpretation and application of some transcendental ideology"
About this Quote
Genet takes a flamethrower to the kind of revolution that loves its own paperwork. By insisting that the "main object" is "the liberation of man", he makes the point feel almost embarrassingly obvious, then sharpens it: the real enemy isn’t just the old regime, but the new regime’s temptation to swap lived freedom for doctrinal purity. The ellipsis does work here; it’s a theatrical pause that mimics impatience, as if Genet can barely tolerate the detour into ideology before returning to bodies, prisons, and the actual stakes.
The phrase "transcendental ideology" is the tell. Genet isn’t rejecting thought; he’s rejecting ideology that floats above human need, sanctified and unanswerable. "Interpretation and application" reads like bureaucratic verbs, the language of committees and cadres. It’s a quiet joke at revolutionaries who start out fighting domination and end up writing rulebooks that justify the next domination, only with better slogans. The subtext is moral suspicion: once an ideology claims transcendence, it demands sacrifice, and the people who get sacrificed are usually the ones the revolution claimed to free.
Context matters because Genet is not a salon moralist. He wrote from proximity to marginality and state violence, and later aligned himself with insurgent movements (the Black Panthers, the Palestinians) while refusing to romanticize power. In his drama, the stage is a machine for exposing how roles and rituals manufacture authority. This line extends that project into politics: a revolution that becomes an interpretive system becomes a theater of control. Liberation, for Genet, is not an endpoint you administer; it’s a condition you protect from its own priests.
The phrase "transcendental ideology" is the tell. Genet isn’t rejecting thought; he’s rejecting ideology that floats above human need, sanctified and unanswerable. "Interpretation and application" reads like bureaucratic verbs, the language of committees and cadres. It’s a quiet joke at revolutionaries who start out fighting domination and end up writing rulebooks that justify the next domination, only with better slogans. The subtext is moral suspicion: once an ideology claims transcendence, it demands sacrifice, and the people who get sacrificed are usually the ones the revolution claimed to free.
Context matters because Genet is not a salon moralist. He wrote from proximity to marginality and state violence, and later aligned himself with insurgent movements (the Black Panthers, the Palestinians) while refusing to romanticize power. In his drama, the stage is a machine for exposing how roles and rituals manufacture authority. This line extends that project into politics: a revolution that becomes an interpretive system becomes a theater of control. Liberation, for Genet, is not an endpoint you administer; it’s a condition you protect from its own priests.
Quote Details
| Topic | Freedom |
|---|---|
| Source | Help us find the source |
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