I was thinking, as I took a parcel of laundry up to the Chinaman on McFee Street just now, it would be interesting to write a book dealing solely, candidly, exactly, and fully with the events, emotions, and thoughts of just one day in a man's life. If one could do that, in a way to carry conviction, assent, and reality, to convey to the reader's senses a recognition of genuine actual human _being_, one might claim to be a true artist.
I have found an admirable book for reading in bed--this little anthology of prose, collected by Pearsall Smith. He knows what good prose is, having written some of the daintiest bits of our time in his "Trivia," a book with which I occasionally delight a truly discerning customer. What a fascination there is in good prose--"the cool element of prose" as Milton calls it--a sort of fluid happiness of the mind, unshaken by the violent pangs of great poetry. I am not subtle enough to describe it, but in the steadily cumulating satisfaction of first-class prose there seems to be something that speaks direct to the brain, unmarred by the claims of the senses, the emotions. I meditate much, ignorantly and fumblingly, on the modes and purposes of writing. It is so simple--"Fool!" said my Muse to me, "look in thy heart and write!"--all that is needful is to tell what happens; and yet how hard it is to summon up that necessary candor. Every time I read great work I see the confirmation of what I grope for. How vivid, straight, and cleanly it seems when done: merely the outward utterance of "what the mind at home, in the spacious circuits of her musing, hath liberty to propose to herself." Let a man's mind depart from his audience; let him have no concern whether to shock or to please. Let him carry no consideration save to utter, with unsparing fidelity, what passes in his own spirit. One can trust the brain to do its part. All that is needed is honourable frankness: not to be ashamed to open our hearts, to speak our privy weakness, our inward exulting. Then the pain and perplexity, or the childish satisfactions, of our daily life are the true material of the writer's art, and that which is sown in weakness may be raised in power. Curious indeed that in this life, brief and precariously enjoyed, men should so set their hearts on building a permanence in words: something to stand, in the lovely stability of ink and leaden types, as our speech out of silence to those who follow on. Indefensible absurdity, and yet the secret and impassioned dream of those who write!