La force du désir, a novel by Marie Krysinska, encourages the reader through the quasi-ekphrasis to expand his sense of sight and make the way he looks at the images of his environment more friendly – images, which, in potentia, could create works of art. Imaginative work is carried out through the memories of artwork (author’s, reader’s and hero’s) that have multiple layers, each formed by a specific moment of the past. The exploration of someone else – a painter by his artwork – becomes a self-exploration. The text of a novel is entirely structured by presence-absence of pieces of art. The memory which transposes into another spacetime sphere reinforces the present by adding to it an extraordinary, almost magical dimension. Nostalgy for the past is at the same time longing for the present, as the past locked in the artworks allows to capture the imponderabilia of present time, which otherwise would be inevitably lost.

La force du désir, a novel by Marie Krysinska, encourages the reader through the quasi-ekphrasis to expand his sense of sight and make the way he looks at the images of his environment more friendly – images, which, in potentia, could create works of art. Imaginative work is carried out through the memories of artwork (author’s, reader’s and hero’s) that have multiple layers, each formed by a specific moment of the past. The exploration of someone else – a painter by his artwork – becomes a self-exploration. The text of a novel is entirely structured by presence-absence of pieces of art. The memory which transposes into another spacetime sphere reinforces the present by adding to it an extraordinary, almost magical dimension. Nostalgy for the past is at the same time longing for the present, as the past locked in the artworks allows to capture the imponderabilia of present time, which otherwise would be inevitably lost.