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By Julia Casterton (auth.)

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I probably exaggerate the value of it, but it's precious to me. Some little image, some detail you've noticed - you're writing about a little country shop, just describing it, and your poem ends up with an existentialist account of your experience. But it's the shop that started it off. You didn't know why it meant a lot to you. Often images and often the sense of the beginning and the end of a poem are all you have - some journey to be gone through between those things - you know that, but you don't know the details.

The acquaintance is shocked, asks what could have happened to bring about this change, so the main character explains. At the end of the story, the lender admits 'It was paste' to the woman who has laboured for ten years. The fault or flaw here seems to lie in the woman's original dissatisfaction. ' We are witness to a disaster, a word which means 'a fault in the stars' (dis-aster).

THE SPACE WE INHABIT 21 Reworking and strengthening Now it is time to focus in detail upon your description. Take two felt-tip pens, of different colours, and underline in one colour all the words that catch the meaning you intended, that evoke strongly the feelings you have about the room. With the other pen, underline the parts you are not satisfied with, the phrases that fall short of expressing your meaning. Remember that you are your own best critic and only you can finally decide what it is you wanted to say.

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