“I wanted to tell the story about air power, but I didn't want to lecture people. Let the story come out of the anecdotes. ... The other thing I wanted to do was create some romance, some passion about things that go on in the military. So it goes well beyond airplanes and bombs and strategy and national policy. It goes into things like families, into how wives kiss their husbands good-bye when they go off to war.”
I read a lot of travel books before I came here. Fantasised what it would be like. I read Scott’s journal. Those last entries as they froze to death in that tent. ‘Had we lived, I should have made a tale to tell of the hardihood, endurance and courage of my companions which would have stirred the heart of every Englishman.’ I got totally caught up in the romance.”“Scott was a self-aggrandising dick.
The moon was up now and the trees were dark against it, and he passed the frame houses with their narrow yards, light coming from the shuttered windows; the unpaved alleys, with their double rows of houses; Conch town, where all was starched, well-shuttered, virtue, failure, grit and boiled grunts, under-nourishment, prejudice, righteousness, inter-breeding and the comforts of religion; the open-doored, lighted Cuban boilto houses, shacks whose only romance was their names
I'm not going to force you into anything you don't want. But I'm also not going to take a vow of chastity and pine away for you, or whatever the hell it is that men do in romance novels these days. I have needs. I'd rather satisfy them with you, but if you don't want me I suppose I'll just have to find someone else. Might take me a while, but I'll make do. I always have before.
Bree turned to him and gave him an uneasy nod. She had no idea if they were gonna make things better or worse, but she had to know for herself what Francesca had gone through, where she lived and why she made the decisions she had. If she could find out more about the ill-fated romance between Francesca and Adriano, maybe she and Alessandro could avoid a similar, miserable ending.
It was before him again in its completeness -- the choice in which she was content to rest: in the stupid costliness of the food and the showy dulness of the talk, in the freedom of speech which never arrived at wit and the freedom to act which never made for romance. The strident setting of the restaurant, in which their table seemed set apart in a special glare of publicity, and the presence at it of little Dabham of the "Riviera Notes," emphasized the ideals of a world where conspicuousness passed for distinction, and the society column had become the roll of fame.
Beethoven introduced us to anger. Haydn taught us capriciousness, Rachmaninoff melancholy. Wagner was demonic. Bach was pious. Schumann was mad, and because his genius was able to record his fight for sanity, we heard what isolation and the edge of lunacy sounded like. Liszt was lusty and vigorous and insisted that we confront his overwhelming sexuality as well as our own. Chopin was a poet, and without him we never would have understood what night was, what perfume was, what romance was.
Perhaps, after all, romance did not come into one’s life with pomp and blare, like a gay knight riding down; perhaps it crept to one’s side like an old friend through quiet ways; perhaps it revealed itself in seeming prose, until some sudden shaft of illumination flung athwart its pages betrayed the rhythm and the music, perhaps . . . perhaps . . . love unfolded naturally out of a beautiful friendship, as a golden-hearted rose slipping from its green sheath.
It is too late for me to learn your wisdom in this matter. From the time I knew aught, I have lived with a knight and his lady whose love lit and warmed the dark hall on winter's nights. Madam, my example comes not from any book of romance. My grandparents walked and breathed; they kissed and quarreled. This I must have, and I will seek it with the point of my knife in a bad husband's heart if I can find it no other way.
The women we really love are the women who complete us, who have the qualities we can borrow and so become something nearer to whole men. Just as we complete them, of course; it’s not a one-way thing. Leola and I, when romance was stripped away, were too much alike; our strengths and weaknesses were too nearly the same. Together we would have doubled our gains and our losses, but that isn’t what love is.