"To cement a new friendship, especially between foreigners or persons of a different social world, a spark with which both were secretly charged must fly from person to person, and cut across the accidents of place and time"
About this Quote
Friendship, Skinner suggests, is less a polite agreement than a clandestine conspiracy. The image of a “spark” that both people are “secretly charged” with turns connection into something bodily and volatile, like static electricity that only reveals itself at the moment of contact. That’s a very actor’s way of explaining intimacy: chemistry isn’t manufactured by good manners or shared resumes; it’s an unseen readiness that suddenly becomes visible when the right scene partner walks in.
The line’s real bite is in what it refuses. “Foreigners” and “persons of a different social world” are the categories that, in Skinner’s era, were supposed to stay safely separated by etiquette, accent, class codes, and an almost theatrical choreography of who belongs where. She calls those barriers “accidents of place and time,” deliberately shrinking the authority of geography and social sorting into mere stage directions. The subtext: the world is constantly trying to cast you, and the rarest friendships are acts of miscasting that work.
“Cement” is an unexpectedly practical verb here, all grit and permanence, and it clashes nicely with the fleeting “spark.” Skinner is implying that lasting bonds begin in something instantaneous, even irrational, then harden into structure. Coming from a performer who lived by timing, entrances, and improbable encounters, it reads like a credo: real connection doesn’t arrive through proper channels. It jumps the rails, crosses borders, and makes a mockery of the seating chart.
The line’s real bite is in what it refuses. “Foreigners” and “persons of a different social world” are the categories that, in Skinner’s era, were supposed to stay safely separated by etiquette, accent, class codes, and an almost theatrical choreography of who belongs where. She calls those barriers “accidents of place and time,” deliberately shrinking the authority of geography and social sorting into mere stage directions. The subtext: the world is constantly trying to cast you, and the rarest friendships are acts of miscasting that work.
“Cement” is an unexpectedly practical verb here, all grit and permanence, and it clashes nicely with the fleeting “spark.” Skinner is implying that lasting bonds begin in something instantaneous, even irrational, then harden into structure. Coming from a performer who lived by timing, entrances, and improbable encounters, it reads like a credo: real connection doesn’t arrive through proper channels. It jumps the rails, crosses borders, and makes a mockery of the seating chart.
Quote Details
| Topic | Friendship |
|---|---|
| Source | Help us find the source |
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