Needless to say, the business of living interferes with the solitude so needed for any work of the imagination. Here's what Virginia Woolf said in her diary about the sticky issue: "I've shirked two parties, and another Frenchman, and buying a hat, and tea with Hilda Trevelyan, for I really can't combine all this with keeping all my imaginary people going.

This is an important book, the critic assumes, because it deals with war. This is an insignificant book because it deals with the feelings of women in a drawing-room.

Rhoda comes now, having slipped in while we were not looking. She must have made a tortuous course, taking cover now behind a waiter, now behind some ornamental pillar, so as to put off as long as possible the shock of recognition, so as to be secure for one more moment to rock her petals in her basin. We wake her. We torture her. She dreads us, she despises us, yet she comes cringing to our sides because for al our cruelty there is always some name, some face which sheds a radiance, which lights up her pavements and makes it possible for her to replenish her dreams.

For the film maker must come by his convention, as painters and writers and musicians have done before him.

Money dignifies what is frivolous if unpaid for.

Odd how the creative power at once brings the whole universe to order.

All extremes of feeling are allied to madness.