“He always told them the same thing, to begin with. ‘Try to avoid falseness and strain. Write what you really know about. Make it new. Don’t invent melodrama for the sake of it. Don’t try to run, let alone fly, before you can walk with ease.”

“Try to avoid falseness and strain. Write what you really know about. Make it new. Don’t invent melodrama for the sake of it. Don’t try to run, let alone fly, before you can walk with ease.”

“Now and then there are readings that make the hairs on the neck, the non-existent pelt, stand on end and tremble, when every word burns and shines hard and clear and infinite and exact, like stones of fire, like points of stars in the dark—readings when the knowledge that we shall know the writing differently or better or satisfactorily, runs ahead of any capacity to say what we know, or how. In these readings, a sense that the text has appeared to be wholly new, never before seen, is followed, almost immediately, by the sense that it was always there, that we the readers, knew it was always there, and have always known it was as it was, though we have now for the first time recognised, become fully cognisant of, our knowledge.”

“Good writing is always new.”

“What is it my dear?"Ah, how can we bear it?"Bear what?"This. For so short a time. How can we sleep this time away?"We can be quiet together, and pretend - since it is only the beginning - that we have all the time in the world."And every day we shall have less. And then none."Would you rather, therefore, have had nothing at all?"No. This is where I have always been coming to. Since my time began. And when I go away from here, this will be the mid-point, to which everything ran, before, and from which everything will run. But now, my love, we are here, we are now, and those other times are running elsewhere.”

“There are readings—of the same text—that are dutiful, readings that map and dissect, readings that hear a rustling of unheard sounds, that count grey little pronouns for pleasure or instruction and for a time do not hear golden or apples. There are personal readings, which snatch for personal meanings, I am full of love, or disgust, or fear, I scan for love, or disgust, or fear. There are—believe it—impersonal readings—where the mind's eye sees the lines move onwards and the mind's ear hears them sing and sing.Now and then there are readings that make the hairs on the neck, the non-existent pelt, stand on end and tremble, when every word burns and shines hard and clear and infinite and exact, like stones of fire, like points of stars in the dark—readings when the knowledge that we shall know the writing differently or better or satisfactorily, runs ahead of any capacity to say what we know, or how. In these readings, a sense that the text has appeared to be wholly new, never before seen, is followed, almost immediately, by the sense that it was always there, that we the readers knew it was always there, and have always known it was as it was, though we have now for the first time recognised, become fully cognisant of, our knowledge.”

“Randolph Henry Ash: “What is it? My dear?”Christabel LaMotte: “Ah, how can we bear it?”Randolph Henry Ash: “Bear what?”Christabel LaMotte: “This. For so short a time. How can we sleep this time away?”Randolph Henry Ash: “We can be quiet together, and pretend – since it is only the beginning – that we have all the time in the world.”Christabel LaMotte: “And every day we shall have less. And then none.”Randolph Henry Ash: “Would you rather, therefore, have had nothing at all?”Christabel LaMotte: “No. This is where I have always been coming to. Since my time began. And when I go away from here, this will be the mid-point, to which everything ran, before, and from which everything will run. But now, my love, we are here, we are now, and those other times are running elsewhere.”