Narrative tension is primarily about withholding information.

It was common enough, to see so much death and want a child. Common, therefore human, and he wanted it all the more. When the wounded were screaming, you dreamed of sharing a little house somewhere, of an ordinary life, a family line, connection.

And feeling clever, I've always thought, is just a sigh away from being cheerful.

It is photography itself that creates the illusion of innocence. Its ironies of frozen narrative lend to its subjects an apparent unawareness that they will change or die. It is the future they are innocent of. Fifty years on we look at them with the godly knowledge of how they turne dout after all - who they married, the date of their death - with no thought for who will one day be holding photographs of us.

She wanted to leave, she wanted to lie alone face down on her bed and savor the vile piquancy of the moment, and go back down the lines of branching consequences to the point before the destruction began. She needed to contemplate with eyes closed the full richness of what she had lost, what she had given away, and to anticipate the new regime.

Not everything people did could be in a correct, logical order, especially when they were alone.

You can tell a lot from a person's nails. When a life starts to unravel, they're among the first to go.