18 June 1923 – 24 June 1923

I took up this book with a kind of idea that I might say something about my writing—which was prompted by glancing at what K. M. said about her writing in The Dove’s Nest. But I only glanced. She said a good deal about feeling things deeply: also about being pure, which I won’t criticise, though of course I very well could. But now what do I feel about my writing?—this book, that is, The Hours,* if that’s its name? One must write from deep feeling, said Dostoievsky. And do I? Or do I fabricate with words, loving them as I do? No, I think not. In this book I have almost too many ideas. I want to give life and death, sanity and insanity; I want to criticise the social system, and to show it at work, at its most intense. But here I may be posing. I heard from Ka† this morning that she doesn’t like In the Orchard. At once I feel refreshed. I become anonymous, a person who writes for the love of it. She takes away the motive of praise, and lets me feel that without any praise I should be content to go on. This is what Duncan said of his painting the other night. I feel as if I slipped off all my ball dresses and stood naked—which as I remember was a very pleasant thing to do. But to go on. Am I writing The Hours from deep emotion? Of course the mad part tries me so much, makes my mind squirt so badly that I can hardly face spending the next weeks at it. It’s a question though of these characters. People, like Arnold Bennett, say I can’t create, or didn’t in Jacob’s Room, characters that survive. My answer is—but I leave that to the Nation: it’s only the old argument that character is dissipated into shreds now; the old post-Dostoievsky argument. I daresay it’s true, however, that I haven’t that “reality” gift. I insubstantise, wilfully to some extent, distrusting reality—its cheapness. But to get further. Have I the power of conveying the true reality? Or do I write essays about myself? Answer these questions as I may, in the uncomplimentary sense, and still there remains this excitement. To get to the bones, now I’m writing fiction again I feel my force glow straight from me at its fullest. After a dose of criticism I feel that I’m writing sideways, using only an angle of my mind. This is justification; for free use of the faculties means happiness. I’m better company, more of a human being. Nevertheless, I think it most important in this book to go for the central things. Even though they don’t submit, as they should, however, to beautification in language. No, I don’t nail my crest to the Murrys, who work in my flesh after the manner of the jigger insect. It’s annoying, indeed degrading, to have these bitternesses. Still, think of the eighteenth century. But then they were overt, not covert, as now. I foresee, to return to The Hours, that this is going to be the devil of a struggle. The design is so queer and so masterful. I’m always having to wrench my substance to fit it. The design is certainly original and interests me hugely. I should like to write away and away at it, very quick and fierce. Needless to say, I can’t. In three weeks from today, I shall be dried up.