There is a German word, Sehnsucht, which has no English equivalent; it means 'the longing for something'. It has Romantic and mystical connotations; C.S. Lewis defined it as the 'inconsolable longing' in the human heart for 'we know not what'. It seems rather German to be able to specify the unspecifiable. The longing for something - or, in our case, for someone.

And that's a life, isn't it? Some achievements and some disappointments. It's been interesting to me, though I wouldn't complain or be amazed if others found it less so. Maybe, in a way, Adrian knew what he was doing. Not that I would have missed my own life for anything, you understand. [pp.60-61]

The imagination doesn't crop annually like a reliable fruit tree. The writer has to gather whatever's there: sometimes too much, sometimes too little, sometimes nothing at all. And in the years of glut there is always a slatted wooden tray in some cool, dark attic, which the writer nervously visits from time to time; and yes, oh dear, while he's been hard at work downstairs, up in the attic there are puckering skins, warning spots, a sudden brown collapse and the sprouting of snowflakes. What can he do about it?

There is a German word, Sehnsucht, which has no English equivalent; it means 'the longing for something'. It has Romantic and mystical connotations; C.S. Lewis defined it as the 'inconsolable longing' in the human heart for 'we know not what'. It seems rather German to be able to specify the unspecifiable. The longing for something - or, in our case, for someone.

We thought we were being mature when we were only being safe. We imagined we were being responsible but were only being cowardly. What we called realism turned out to be a way of avoiding things rather than facing them.

You can't have a novel without real, believable people, and once you get into either too theoretical a novel or too philosophical a novel, you get into the dangers that the French novel has discovered in the past 50 or 60 years. And you get into a sort of aridity. No, you have to have real, identifiable people to whom the reader reacts in a way as if they were real people.

we must be precise with love, its language and its gestures. If it is to save us, we must look at it as clearly as we should learn to look at death