Imagination, which is a quality writers must have, does not mean the ability to weave pretty stories out of nothing. In the right sense, imagination is a response to what is going on — a sensitiveness to which outside things appeal. It is a composition of sympathy and observation.
Men are all right for friends, but as soon as you marry them they turn into cranky old fathers, even the wild ones. They begin to tell you what's sensible and what's foolish, and want you to stick at home all the time. I prefer to be foolish when I feel like it, and be accountable to nobody.
It has long been a tradition among novel writers that a book must end by everybody getting just what they wanted, or if the conventional happy ending was impossible, then it must be a tragedy in which one or both should die. In real life very few of us get what we want, our tragedies don't kill us, but we go on living them year after year, carrying them with us like a scar on an old wound.
I wanted to walk straight on through the red grass and over the edge of the world, which could not be very far away. The light and air abot me told me that the world ended here: only the ground and sun and sky were left, and if one went a little farther there would only be sun and sky, and one would float off into them, like the tawny hawks which sailed over our heads making slow shadows on the grass.
Sometimes," I ventured, "it doesn't occur to boys that their mother was ever young and pretty. . . I couldn't stand it if you boys were inconsiderate, or thought of her as if she were just somebody who looked after you. You see I was very much in love with your mother once, and I know there's nobody like her.
I like trees because they seem more resigned to the way they have to live than other things do. I feel as if this tree knows everything I ever think of when I sit here. When I come back to it, I never have to remind it of anything; I begin just where I left off.
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