Why These Seven
Why These Seven
What connects people who wanted the impossible — and why did their desire grow stronger than themselves?
The seven heroes of PASSION do not form the usual list of great men and women. There is no attempt here to gather the most famous, the most successful, or the most influential.
The choice was made on a different principle.
Each of them, at some point, stopped experiencing their desire as simply a desire.
It became a way of existing.
RUDOLF NUREYEV did not merely want to dance. Movement became, for him, a form of freedom — so necessary that for its sake he had to give up his country, his familiar life, his safety. His story opens PASSION with the body: a man first sets it free, then keeps proving, again and again, his right to move.
MARIA CALLAS lived by her voice. But the voice, for her, was not only a profession, and not only the grandeur of the stage. It was a way of being heard. Her story shows the other side of passion: what a person gives entirely to the world can, one day, stop coming back.
WALT DISNEY wanted a reality that did not exist. So he built one. A pencil line, a character, a film, a park — each next step expanded a space that had not existed before him. His story is fundamentally different from the rest: his passion does not destroy the world it creates. On the contrary, the world goes on existing after him.
HOWARD HUGHES searched for a limit. Speed, altitude, technology, risk — everything had to answer to a man who wanted to stand beyond the possible. But the limit turned out not to lie only where a machine's abilities end. At some point, it moved inside the man himself.
MARIE CURIE searched for what cannot be seen. Her passion was truth — the need to reach into the invisible and make matter speak. But the knowledge she gave the world went on acting inside her own body. In her story, the price of discovery becomes literally physical.
ARISTOTLE ONASSIS turned the desire to possess into the scale of an entire life. Money, ships, companies, islands, houses, relationships — the space around him gradually became a space of ownership. But this is exactly where the paradox appears: the more a person can acquire, the more clearly the existence of what cannot be bought comes into view.
SALVADOR DALÍ closes the cycle, because his material is no longer the world, and no longer a single object.
His material becomes himself.
A name. A face. A moustache. A signature. An image. A myth.
Dalí does not merely create works of art — he creates a character named Dalí, and then lives inside the image he created. So the final novella of PASSION inevitably asks the cycle's most radical question: where does the person end, and the image he built begin?
So the seven heroes do not add up to a biographical encyclopedia, but to a sequence.
BODY → VOICE → WORLD → LIMIT → TRUTH → POSSESSION → IMAGE.
First, a person tries to set free what belongs to them alone.
Then — to make their own voice heard.
Then — to build an entire world.
To break through a limit.
To see the invisible.
To possess what cannot be held.
And finally — to turn themselves into a work of art.
That is why these seven.
They show seven different ways in which desire can take hold of a person. And seven different prices a person has to pay for it.
PASSION begins with the body and ends with the image.
And between them remains the project's central question:
if desire is powerful enough to change an entire human life — who, in the end, owns whom: the person their desire, or the desire the person?
Hashtags
#Passion #IskandarKadyrov #WhyTheseSeven #HauteCoutureLiterature #ContemporaryFiction #LiteraryFiction
What connects people who wanted the impossible — and why did their desire grow stronger than themselves?
The seven heroes of PASSION do not form the usual list of great men and women. There is no attempt here to gather the most famous, the most successful, or the most influential.
The choice was made on a different principle.
Each of them, at some point, stopped experiencing their desire as simply a desire.
It became a way of existing.
RUDOLF NUREYEV did not merely want to dance. Movement became, for him, a form of freedom — so necessary that for its sake he had to give up his country, his familiar life, his safety. His story opens PASSION with the body: a man first sets it free, then keeps proving, again and again, his right to move.
MARIA CALLAS lived by her voice. But the voice, for her, was not only a profession, and not only the grandeur of the stage. It was a way of being heard. Her story shows the other side of passion: what a person gives entirely to the world can, one day, stop coming back.
WALT DISNEY wanted a reality that did not exist. So he built one. A pencil line, a character, a film, a park — each next step expanded a space that had not existed before him. His story is fundamentally different from the rest: his passion does not destroy the world it creates. On the contrary, the world goes on existing after him.
HOWARD HUGHES searched for a limit. Speed, altitude, technology, risk — everything had to answer to a man who wanted to stand beyond the possible. But the limit turned out not to lie only where a machine's abilities end. At some point, it moved inside the man himself.
MARIE CURIE searched for what cannot be seen. Her passion was truth — the need to reach into the invisible and make matter speak. But the knowledge she gave the world went on acting inside her own body. In her story, the price of discovery becomes literally physical.
ARISTOTLE ONASSIS turned the desire to possess into the scale of an entire life. Money, ships, companies, islands, houses, relationships — the space around him gradually became a space of ownership. But this is exactly where the paradox appears: the more a person can acquire, the more clearly the existence of what cannot be bought comes into view.
SALVADOR DALÍ closes the cycle, because his material is no longer the world, and no longer a single object.
His material becomes himself.
A name. A face. A moustache. A signature. An image. A myth.
Dalí does not merely create works of art — he creates a character named Dalí, and then lives inside the image he created. So the final novella of PASSION inevitably asks the cycle's most radical question: where does the person end, and the image he built begin?
So the seven heroes do not add up to a biographical encyclopedia, but to a sequence.
BODY → VOICE → WORLD → LIMIT → TRUTH → POSSESSION → IMAGE.
First, a person tries to set free what belongs to them alone.
Then — to make their own voice heard.
Then — to build an entire world.
To break through a limit.
To see the invisible.
To possess what cannot be held.
And finally — to turn themselves into a work of art.
That is why these seven.
They show seven different ways in which desire can take hold of a person. And seven different prices a person has to pay for it.
PASSION begins with the body and ends with the image.
And between them remains the project's central question:
if desire is powerful enough to change an entire human life — who, in the end, owns whom: the person their desire, or the desire the person?
Hashtags
#Passion #IskandarKadyrov #WhyTheseSeven #HauteCoutureLiterature #ContemporaryFiction #LiteraryFiction
See also