Sometimes, I feel the past and the future pressing so hard on either side that there's no room for the present at all.

Novel-writing is a highly skilled and laborious trade. One does not just sit behind a screen jotting down other people's conversation. One has for one's raw material every single thing one has ever seen or heard or felt, and one has to go over that vast, smoldering rubbish-heap of experience, half stifled by fumes and dust, scraping and delving until one finds a few discarded valuables. Then one has to assemble these tarnished and dented fragments, polish them, set them in order, and try to make a coherent and significant arrangement of them.

Oxford, in those days, was still a city of aquatint. In her spacious and quiet streets men walked and spoke as they had done in Newman's day; her autumnal mists, her grey springtime, and the rare glory of her summer days - such as that day - when the chestnut was in flower and the bells rang out high and clear over her gables and cupolas, exhaled the soft airs of centuries of youth. It was this cloistral hush which gave our laughter its resonance, and carried it still, joyously, over the intervening clamour.

Beware of writing to me. I always answer ... My father spent the last 20 years of his life writing letters. If someone thanked him for a wedding present, he thanked them for thanking him and there was no end to the exchange but death.

He had no strength for any other war than his own solitary struggle to keep alive.

I'm quite deaf now; such a comfort.

The sky over London was glorious, ochre and madder, as though a dozen tropic suns were simultaneously setting round the horizon . . . Everywhere the shells sparkled like Christmas baubles.