In the light of her son's comment she reconsidered the scene at the mosque, to see whose impression was correct. Yes it could be worked into quite an unpleasant scene. The doctor had begun by bullying her, had said Mrs Callendar was nice, and then - finding the ground safe - had changed; he had alternately whined over his grievances and patronized her, had run a dozen ways in a single sentence, had been unreliable, inquisitive, vain. Yes, it was all true, but how false as a summary of the man; the essential life of him had been slain.

A happy ending was imperative. I shouldn't have bothered to write otherwise. I was determined that in fiction anyway two men should fall in love and remain in it for the ever and ever that fiction allows, and in this sense, Maurice and Alec still roam the greenwood.

There is an aristocracy of the sensitive. They represent the true human tradition of permanent victory over cruelty and chaos.

Either life entails courage, or it ceases to be life.

I know by experience that the poets are right: love is eternal.

Our easiest approach to a definition of any aspect of fiction is always by considering the sort of demand it makes on the reader. Curiosity for the story, human feelings and a sense of value for the characters, intelligence and memory for the plot. What does fantasy ask of us? It asks us to pay something extra.

Faith, to my mind, is a stiffening process, a sort of mental starch.