Stephen Fry

Daily, people go there.

It's like Abbey Road in London, where you see all those messages to John, Paul, George and Ringo on the wall of the studios.

It's the same thing.

They come and they want to commune with Oscar.

He stands for something for people all over the world.

And he'll cry when you see the little post-it notes and torn pages from the Metro carnets that are stuck in there, all saying, they killed you, Oscar.

I cry for you every day.

Oscar, you help me.

Oscar, you do this.

People have a knowledge and a relationship with him, which is quite rare in all art and literature.

And to use a word that he uses himself, it's antinomian, which is to say it doesn't lay down laws of codes of behavior, but it gives you an insight into the very nature of it.

one's soul.

I often turn to this paragraph.

It's the last paragraph of the Oscar Wilde biography by Richard Ellman, American academic.

We inherit his struggle to achieve supreme fictions in art, to associate art with social change, to bring together individual and social impulse, to save what is eccentric and singular from being sanitized and standardized.

to replace a morality of severity by one of sympathy.

He belongs to our world more than to Victoria's.

Now, beyond the reach of scandal, his best writings validated by time, he comes before us, still a towering figure, laughing and weeping, with parables and paradoxes so generous, so amusing, and so right.

Keep strong. Keep the faith in who you are. Keep the faith in Ukraine. Slava Ukraini.

Keep strong. Keep the faith in who you are. Keep the faith in Ukraine. Slava Ukraini.