But how to do feelings? All very well to write "She felt sad", or describe what a sad person might do, but what of sadness itself, how was that put across so it could be felt in all its lowering immediacy? Even harder was the threat, or the confusion of feeling contradictory things.

How easily this unthinking family love was forgotten.

was it possible that i was, in the modern term, in denial?

It's good to get your hands dirty a bit and to test how you see things at a given point. And it's very pleasing after writing something like 'Atonement' or 'On Chesil Beach,' which are historical, to get involved in some plausible re-enactment of the here and now.

Nothing that can be, can come between me and the full prospect of my hopes.

But what really happened? The answer is simple: the lovers survive and flourish.

In a language as idiomatically stressed as English, opportunities for misreadings are bound to arise. By a mere backward movement of stress, a verb can become a noun, an act a thing. To refuse, to insist on saying no to what you believe is wrong, becomes at a stroke refuse, an insurmountable pile of garbage.