“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.”

“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.”

“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.”

“She leads you on and baffles you,” said Beatrice. “She wants you to know and not to know. She took care to write down that the box was there. And she buried it.”

“Good writing is always new.”

“Maud laughed, drily. Roland said, "And then, really, what is it, what is this arcane power we have, when we see that everything is human sexuality? It's really powerlessness."Impotence," said Maud, leaning over, interested.I was avoiding that word, because that precisely isn't the point. We are so knowing. And all we've found out, is primitive sympathetic magic. Infantile polymorphous perversity. Everything relates to us and we're so imprisoned in ourselves - we can't see things.”

“I cannot let you burn me up, nor can I resist you. No mere human can stand in a fire and not be consumed.”