A person is, among all else, a material thing, easily torn and not easily mended.
It's good to get your hands dirty a bit and to test how you see things at a given point. And it's very pleasing after writing something like 'Atonement' or 'On Chesil Beach,' which are historical, to get involved in some plausible re-enactment of the here and now.
Find you, love you, marry you, and live without shame.
How can a novelist achieve atonement when, with her absolute power of deciding outcomes, she is also God? There is no one, no entity or higher form that she can appeal to, or be reconciled with, or that can forgive her. There is nothing outside her. In her imagination she has set the limits and the terms. No atonement for God, or novelists, even if they are atheists. It was always an impossible task, and that was precisely the point. The attempt was all.
From this new and intimate perspective, she learned a simple, obvious thing she had always known, and everyone knew; that a person is, among all else, a material thing, easily torn, not easily mended.
He knew these last lines by heart and mouthed them now in the darkness. My reason for life. Not living, but life. That was the touch. And she was his reason for life, and why he must survive.
The cost of oblivius daydreaming was always this moment of return, the realigment with what had been before and now seemed a little worse. Her reverie, once rich in plausible details, had become a passing silliness before the hard mass of the actual. It was difficult to come back.
How can a novelist achieve atonement when, with her absolute power of deciding outcomes, she is also God?
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