47
" One of Lucy's admirers took to her, apparently."
"Took to her?" echoes William, his own feelings for Sugar causing him to construe the phrase benignly.
"Yes," said Bodley "With her own riding crop."
"Beat her very severely."
"Particularly about the face and mouth."
"I understand all the fight's gone out of her now."
"Well, as you can imagine," he says. "Madam Georgina doesn't have high hopes. Even if she's willing to wait, there will be scars."
Ashwell, eyes downcast, is picking at the lint on his trousers. "Poor girl," he laments.
"Yes," smirks Bodley. "How are the fighty maulen. "
― Michel Faber , The Crimson Petal and the White
48
" Why are there such long words in the world, Miss?’ enquires Sophie, when the mineralogy lesson is over.
‘One long difficult word is the same as a whole sentence full of short easy ones, Sophie,’ says Sugar. ‘It saves time and paper.’ Seeing that the child is unconvinced, she adds, ‘If books were written in such a way that every person, no matter how young, could understand everything in them, they would be enormously long books. Would you wish to read a book that was a thousand pages long, Sophie?’
Sophie answers without hesitation.
‘I would read a thousand million pages, Miss, if all the words were words I could understand. "
― Michel Faber , The Crimson Petal and the White
49
" Sugar leans her chin against the knuckles of the hand that holds the pen. Glistening on the page between her silk-shrouded elbows lies an unfinished sentence. The heroine of her novel has just slashed the throat of a man. The problem is how, precisely, the blood will flow. Flow is too gentle a word; spill implies carelessness; spurt is out of the question because she has used the word already, in another context, a few lines earlier. Pour out implies that the man has some control over the matter, which he most emphatically doesn’t; leak is too feeble for the savagery of the injury she has inflicted upon him. Sugar closes her eyes and watches, in the lurid theatre of her mind, the blood issue from the slit neck. When Mrs Castaway’s warning bell sounds, she jerks in surprise.
Hastily, she scrutinises her bedroom. Everything is neat and tidy. All her papers are hidden away, except for this single sheet on her writing-desk.
Spew, she writes, having finally been given, by tardy Providence, the needful word. "
― Michel Faber , The Crimson Petal and the White
51
" Last week,’ she says, ‘I was in the city, on my way to visit a wretched family I’d visited before, to plead with them once more to listen to the words of their Saviour. I was tired, I felt disinclined to walk far. Before I knew what I was doing, I was in the Underground Railway, pulled by an engine, mesmerised by the alternation of darkness and light, speeding through the earth at the cost of a sixpence. I spoke to no one; I might as well have been a ghost. I enjoyed it so much, I missed my stop, and never saw the family.’
‘I… I confess I don’t quite divine the point you are making.’ ‘This is how our world will end, Henry! We’re foolish to imagine the Last Days will be ushered in by a giant Antichrist brandishing a bloody battle-axe. The Antichrist is our own desires, Henry. With my sixpence, I absolved myself utterly of responsibility – for the welfare of the poor filthy wretches who slaved to dig out that railway, for the grotesque sum of money spent on it, for the violation of the earth that ought to be solid beneath my feet. I sat in my carriage, admiring the dark tunnels flashing by me, not having the foggiest notion where I was, mindless of everything except my pleasure. I ceased to be, in any meaningful sense, God’s creature.’
‘You are being hard on yourself. A single ride in the Underground isn’t going to hasten Armageddon. "
― Michel Faber , The Crimson Petal and the White