Then it was dangerous, dangerous to people like Mrs. Corrie and Joey who would attend only to what he said, and not to him⁠ ⁠… sadness or gladness, saying things were sad or glad did not matter; there was something behind all the time, something inside people. That was why it was impossible to pretend to sympathise with people. You don’t have to sympathise with authors; you just get at them, neither happy nor sad; like talking, more than talking. Then that was why the people who wrote moral stories were so awful. They were standing behind the pages preaching at you with smarmy voices.⁠ ⁠… Bunyan?⁠ ⁠… No.⁠ ⁠… He preached to himself too⁠ ⁠… crying out his sins.⁠ ⁠… He did not get between you and himself and point at a moral. An author must show himself. Anyhow, he can’t help showing himself. A moral writer only sees the mote in his brother’s eye. And you see him seeing it.

A long letter to Eve.⁠ ⁠… Eve would think that she was showing off. But she would be excited and interested too, and would think about it a little. If only she could make Eve see what a book was⁠ ⁠… a dance by the author, a song, a prayer, an important sermon, a message. Books were not stories printed on paper, they were people; the real people;⁠ ⁠… “I prefer books to people”⁠ ⁠… “I know now why I prefer books to people.”


“… I do wish you’d tell me more about your extraordinary days. You must have extraordinary days. I do. Perhaps everyone has. Only they don’t seem to know it!”

… This morning, the green common lying under the sun, still and wide and silent; with a little breeze puffing over it; the intense fresh green near the open door of the little Catholic church; the sandy pathway running up into the common, hummocky and twisting and winding, its sand particles glinting in the sun, always there, going on, whoever died or whatever happened, winding amongst happy greenery, in and out amongst the fresh smell of the common. Inside the chapel the incense streaming softly up, the seven little red lamps hanging in the cloud of incense about the altar; the moving of the thick forest of embroidery on the cope of the priest. Funny when he bobbed, but when he just moved quietly, taking a necessary step, all the colour of the forest on his cope moving against the still high wide colours of the chancel. If only anyone could express how perfect life was at those moments; everyone must know, everyone who was looking must know that life was perfectly happy. That is why people went to church; for those moments with the light on all those things in the chancel. It meant something.⁠ ⁠… Priests and nuns knew it all the time; even when they were unhappy; that was why they could kiss dying people and lepers; they saw something else, all the time. Nothing common or unclean. That was why Christ had blazing eyes. Christianity: the sanctification of bread and wine, and lepers and death; the body; the resurrection of the body. Even if there was some confusion and squabbling about Christ there must be something in it if the things that showed were so beautiful.

Hard cold vows, of chastity and poverty. That did it. Emptiness, in face of⁠—an unspeakable glory. If one could not, was too weak or proud, “Verily they have their reward.” Everyone got something somehow⁠ ⁠… in hell; thou art there also⁠ ⁠… that shows there is no eternal punishment. Earth is hell, with everyone going to heaven.

What was the worldly life? The gay bright shimmering lunch, the many guests, the glitter of the table, mayonnaise red and green and yellow, delicate bright wines; strolling in the woods in the afternoon.⁠ ⁠… Tea, everyone telling anecdotes of the afternoon’s walk as if it were a sort of competition, great bursts of laughter and abrupt silences and then another story, the moments of laughter were something like those moments in church; whilst there was nothing but laughter in the room everybody was perfectly happy and good; everybody forgot everything and ran back somewhere; to the beginning, to the time when they were first looking at things, without troubling about anything. But when the laughter ceased everyone ran away and the rest of their day together showed in a flash, an awful tunnel that would be filled with the echo of the separate footsteps unless more laughter could be made, to hide the sad helpless sounds. Dinners were like all the noise and laughter of teatime grown steadier, a pillow fight with harder whacks and more time for the strokes, no bitterness, just buffeting and shouts, and everyone laughing the same laugh as if they were all in some high secret. They were in some high secret; the great secret of the worldly life; and if you prevented yourself from thinking and laughed, they seemed to take you in. That was the way to live the worldly life. To talk absurdly and laugh; to be lost in laughter. Why had Mrs. Corrie seemed so vexed? Why had she said suddenly and quietly in the billiard-room that it seemed rummy to go to Mass and play billiards in the evening? “Be goody if you are.” It had spoiled the day. Mrs. Corrie would like her to be goody. But then it was she who had pushed her down the steps in the afternoon and called after the actor to take care of her in the woods.

There was something too sad about the worldliness and too difficult about goodness.

Perhaps one had not gone far enough with worldliness.⁠ ⁠…

“Take each fair mask for what it shows itself,
Nor strive to look beneath it.”

That was what she had done drifting about in the wood with the actor listening to his pleasant voice. It was an excursion into pure worldliness. He had never thought for a moment in his life of the world as anything than what it appeared to be. He had

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