“That was what stuck in the craws of all the good women of Deptford: Mrs Dempster had not been raped, as a decent woman would have been—no, she had yielded because a man wanted her. The subject was not one that could be freely discussed even among intimates, but it was understood without saying that if women began to yield for such reasons as that, marriage and society would not last long. Any man who spoke up for Mrs Dempster probably believed in Free Love. Certainly he associated sex with pleasure, and that put him in a class with filthy thinkers like Cece Athelstan.”

“I thought I was in love with Leola, by which I meant that if I could have found her in a quiet corner, and if I had been certain that no one would ever find out, and if I could have summoned up the courage at the right moment, I would have kissed her. But, looking back on it now, I know that I was in love with Mrs Dempster. Not as some boys are in love with grown-up women, adoring them from afar and enjoying a fantasy life in which the older woman figures in an idealized form, but in a painful and immediate fashion; I saw her every day, I did menial tasks in her house, and I was charged to watch her and keep her from doing foolish things. Furthermore, I felt myself tied to her by the certainty that I was responsible for her straying wits, the disorder of her marriage, and the frail body of the child who was her great delight in life. I had made her what she was, and in such circumstances I must hate her or love her. In a mode that was far too demanding for my age or experience, I loved her.”

“My lifelong involvement with Mrs Dempster began at 5:58 o'clock p.m. on 27 December 1908, at which time I was ten years and seven months old.”

“Elsie, who had a lot of energy and no shame...she seduced me. It was not a success, from Elsie's point of view, because the orgasm for women was just coming into general popularity then, and she didn't have one.”

“The only trouble was, I wasn't with a group of my peers. Who are my peers? [...] And there I was with a dismal coven of repentant soaks -- a car salesman who had fallen from the creed of the Kiwanis, an Jewish woman whose family misunderstood her attempts to put them straight on everything, a couple of schoolteachers who can't ever have taught anything except Civics, and some business men whose god was Mammon, and a truck-driver who was included, I gather, to keep our eyes on the road and our discussions hitched to reality. Whose reality? Certainly not mine. So the imp of perversity prompted me to make pretty patterns of our discussions together, and screw the poor boozers up worse then they'd been screwed up before. For the first time in years, I was having a really good time.”

“And however one might sentimentalise it, this sex business was one of the most ancient, sordid connections and subjections. Poets who glorified it were mostly men. Women had always known there was something better, something higher. And now they knew it more definitely than ever. The beautiful pure freedom of a woman was infinitely more wonderful than any sexual love. The only unfortunate thing was that men lagged so far behind women in the matter. They insisted on the sex thing like dogs.And a woman had to yield. A man was like a child with his appetites. A woman had to yield him what he wanted, or like a child he would probably turn nasty and flounce away and spoil what was a very pleasant connection. But a woman could yield to a man without yielding her inner, free self. That the poets and talkers about sex did not seem to have taken sufficiently into account. A woman could take a man without really giving herself away. Certainly she could take him without giving herself into his power. Rather she could use this sex thing to have power over him. For she only had to hold herself back in sexual intercourse, and let him finish and expend himself without herself coming to the crisis: and then she could prolong the connection and achieve her orgasm and her crisis while he was merely her tool.”

“Who are you? Where do you fit into poetry and myth? Do you know who I think you are, Ramsay? I think you are Fifth Business. You don't know what that is? Well, in opera in a permanent company of the kind we keep up in Europe you must have a prima donna -- always a soprano, always the heroine, often a fool; and a tenor who always plays the lover to her; and then you must have a contralto, who is a rival to the soprano, or a sorceress or something; and a basso, who is the villain or the rival or whatever threatens the tenor. "So far, so good. But you cannot make a plot work without another man, and he is usually a baritone, and he is called in the profession Fifth Business, because he is the odd man out, the person who has no opposite of the other sex. And you must have Fifth Business because he is the one who knows the secret of the hero's birth, or comes to the assistance of the heroine when she thinks all is lost, or keeps the hermitess in her cell, or may even be the cause of somebody's death if that is part of the plot. The prima donna and the tenor, the contralto and the basso, get all the best music and do all the spectacular things, but you cannot manage the plot without Fifth Business! It is not spectacular, but it is a good line of work, I can tell you, and those who play it sometimes have a career that outlasts the golden voices. Are you Fifth Business? You had better find out.”