You have taken the important, essential core of the apple, including (one must not forget) the nasty pips, and scales (I do not know what you call th… - Patrick White

Why can't a writer use writing as a painter uses paint? I try to. When I wrote The Tree of Man I felt I couldn't write about simple, illiterate people in a perfectly literate way; but in my present novel the language is more sophisticated. I think perhaps I have clarified my style quite a lot over the years. I find it a great help to hear the language going on around me; not that what I write, the narrative, is idiomatic Australian, but the whole work has a balance and rhythm which is influenced by what is going on around you. When you first write the narrative it might be unconscious, but when you come to work it over you do it more consciously. It gives what I am writing a greater feeling of reality.

Because he had nothing to hide, he did perhaps appear to have forfeited a little of his strength. But that is the irony of honesty.

When the nurse had closed the door the princess felt imprisoned, not only in the room, but in her own body. In her state of foreboding she reached out for the glass of barley water Sister Badgery had removed, and tried to find comfort in sips of that mawkish stuff. She could see herself in one of the looking-glasses with which her blind mother still kept herself surrounded. If the princess had not been so terrified of what the next moment could hold, she might have noticed that her own eyes were deep and lustrous: beautiful in fact; but in the circumstances her mind could only flutter through imagined eventualities. Actually Mrs Hunter was enjoying the luxury of being alone and perfectly silent with somebody she loved. (They did love each other, didn’t they? You could never be sure about other people; sometimes you found they had hated you all their lives.) This state of perfect stillness was not unlike what she enjoyed in her relationship with Sister de Santis, though in essence it was different; with the night nurse she was frequently united in a worship of something too vast and selfless to describe even if your mind had been completely compos whatever it is. This other state of unity in perfect stillness, which she hoped she was beginning to enjoy with Dorothy, she had experienced finally with Alfred when she returned to ‘Kudjeri’ to nurse him in his last illness. There were moments when their minds were folded into each other without any trace of the cross-hatching of wilfulness or desire to possess.