Robert Doisneau – Square du Vert-Galant, 1950 (via, I Shot Frida Kahlo)

Let’s be fair, the boy was well enough dressed and was sporting yellow gloves which I would have sworn belonged to his older brother, a student of law or sociology; it was pleasant to see the fingers of the gloves sticking out of his jacket pocket. For a long time I didn’t see his face, barely a profile, not stupid–a terrified bird, a Fra Filippo angel, rice pudding with milk–and the back of an adolescent who wants to take up judo and has had a scuffle or two in defense of an idea or his sister. Turning fourteen, perhaps fifteen, one would guess that he was dressed and fed by his parents but without a nickel in his pocket, having to debate with his buddies before making up his mind to buy a coffee, a cognac, a pack of cigarettes. He’d walk through the streets thinking of the girls in his class, about how good it would be to go to the movies and see the latest film, or to buy novels or neckties or bottles of liquor with green and white labels on them. At home (it would be a respectable home, lunch at noon and romantic landscapes on the walls, with a dark entryway and a mahogany umbrella stand inside the door) there’d be the slow rain of time, for studying, for being mama’s hope, for looking like dad, for writing to his aunt in Avignon. So that there was a lot of walking the streets, the whole of the river for him (but without a nickel) and the mysterious city of fifteen-year-olds with its signs in doorways, its terrifying cats, a paper of fried potatoes for thirty francs, the pornographic magazine folded four ways, a solitude like the emptiness of his pockets, the eagerness for so much that was incomprehensible but illumined by a total love, by the availability analogous to the wind and the streets.

Blow-up, Julio Cortázar