Of course she could say it was for the children, as people always did...
It was true, up to a point.  How terrible it was to have those easy
phrases, trotted out so often in the course of gossip, or heart-to-hearts,
or in magazine articles, or even court cases, become so real.   It was
never the sort of thing you thought about when you were young, when you
were - or thought you were - in love, and all the future shone with
promise.
<p no=1>
Problems belonged to other people.   You might imagine supporting them,
talking with them when they needed to talk, trying to help, but you did
n't imagine that you would be the one desperate to talk (or the one too
embarrassed to talk, too ashamed or too proud to talk); you did n't
imagine you would be the one who needed help, not even when you told
friends that of course there might be problems, or agreed with your
beloved that you would always talk about things...
<p no=2>
Staying together for the children.
<p no=3>
And for the adults, she thought.   For the sake of appearances.   God, she
had thought she was above that sort of thing, once.   She had been bright
and free and determined and she had decided she was going to make her own
way in the world, just as well as any of her brothers might.   She'd been
a sort of feminist before it became fashionable; never had much time for
all that sisterly stuff, but she was positive she was as good as any man
and she'd prove it...   And marrying Ferg had seemed like an extra boost
to her life-plan.   London had been exciting, but she had not shone out
there, she felt, the way she had here.   She had never felt any affection
for the place and had made no friends there she would miss; and anyway,
she would find fields to conquer up here, coming home triumphant to wed
the lord of the manor.
<p no=4 segment_break>
Having decided upon the type of atmosphere you want to create with colour,
texture and patterns, and having considered proportions, you are now ready to
choose a style for your window.  Remember that your window is quite likely to
be unique.
<p no=5>
First consider the alternatives open to you.  Conventional curtains are just
one option.  These can be short or long and with one of several headings.
Floor-length curtains, generally, will add sophistication and, with a crisp,
hand pinch pleated heading, will suit a formal background.  Pencil pleats or a
frilled, gathered heading on short-length curtains blend well with an
informal, more relaxed atmosphere.  Decorative trimmings can be added to
emphasize a particular feeling.  Braids following the outline of curtains give
a formal, traditional appearance.  Contrasting binding on the leading edges of
curtains (those that come to the centre) will give a sharp definition and a
smart finish.
<p no=6>
Frills suggest informality and would complement curtains with a channelled,
gathered or pencil pleat heading and look most appropriate in a pretty,
feminine bedroom or a cottagey kitchen/breakfast room.  A frill with the edges
bound in a contrasting or toning colour adds a further individual touch,
making the curtains a little more special.  Cafe curtains, which traditionally
only cover the lower half of the window, offer a very simple solution to
privacy and are ideal in kitchens which face onto a busy road.  They can be
teamed up with an additional pair of short curtains hanging above them which
would be drawn at night, thus giving a tiered effect.  They can be made even
more attractive by the addition of frills or a scalloped heading.
<p no=7>
Your choice of curtain track or pole should also complement your style, from
an elegant brass pole for a traditional setting to a more modern, unobtrusive
track.  Pelmets and valances can further emphasize a particular style, as well
as hiding any unsightly tracks.  The defined outline of a hard pelmet suits
formal surroundings whereas a frilled valance will soften the overall
appearance of windows, particularly when teamed with curtains that have
frilled leading edges.  A hard pelmet can be softened, if necessary, by adding
a flowing shape such as a scallop to its lower edge.
<p no=8>
For a touch of real extravagance, a swag and tail would give a rich and
sumptuous finish to curtains in an elegant, formal setting.
<p no=9 segment_break>
Good morning er Sam here is Carol there please?
<p no=10>
Can you hold on a minute?
<p no=11>
Thank you very much
<p no=12>
Okay
<p no=13>
Good morning
<p no=14>
Good morning Carol, how are you this morning?
<p no=15>
Well a bit wet and windy
<p no=16>
Oh, well it's dry and very cold and er and bright periods
<p no=17>
Is it?
<p no=18>
er but no doubt we'll have a few showers I'm sure
<p no=19>
Yeah, we've had really heavy rain this end and it's beginning to dry up,
but it's still very strong winds
<p no=20>
Yeah, we've been told to prepare for frost tonight
<p no=21>
Yeah, it would n't surprise me because it's quite, quite cold here
<p no=22>
Well I believe it's snowing in Coventry
<p no=23>
That would n't surprise me one bit
<p no=24 segment_break>
But I want to get there for nine.  I said to John yesterday I said I  I've
done the er  chair.  I said I wan na get on with these, those dining
chairs next  in the sale.
<p no=25>
When's the sale?  Summer time is n't it?  About June?
<p no=26>
Erm  May  some time in May.
<p no=27>
Well where are you going to get the fabric for those?  Trip to
<p no=28>
Yes Margaret, what do you think?
<p no=29>
brilliant ideas
<p no=30>
And see they were asking me what I was gon na use yesterday and I said oh
I do n't know I said, I have n't got a clue.  something about er
tapestry.
<p no=31 segment_break>
Elisabeth woke early; it was still dark and she could hear that the wind
was up, threatening the air, poised to burst into uncontrollable rage.
She rose, pulled her kimono over her shoulders, and approached the window.
Over a barely discernible grey sheet of water was thrown an equally grey
shroud of sky, but the shroud was torn in places to reveal streaks of
blood red and aquamarine blue.   Elisabeth opened the window and stepped
out on to the balcony.   She watched as the jagged tears in the sky
mended, cobbling themselves together in a uniform grey.   Drops of heavy
rain pelted the balcony with silver stones.   The sorrow of the sky was
dissolving; under it the relentless heaving of the compassionless waters
mocked the sky's concern.   And then the sky itself raged.   A sheet of
lightning flashed across the waters, to be followed, seconds later, by a
roll of thunder.   The grey ocean seethed.   Above and beneath an endless
expanse of heavy, undulating danger was let loose.
<p no=32>
"That poor dear woman!" Fru Gertlinger, Bertha's mother, was on the verge
of tears.   "And she does n't come from a fishing family herself.  Her
folk farmed.   She's got four little ones." Certain that none of the men
on the   Flounder  would have survived, she named each of them.   She knew
them all; she was devastated for them and their families, who would be
left husbandless and fatherless.   But it was over the husband of her
closest friend that she grieved most deeply.   "I hate the sea!   Even
before it took Peter from me, I hated the sea.   It is insatiable."
<p no=33>
Guests ate breakfast in silence as the rain poured monotonously out of the
grey sky and thudded on the roof, the balconies and the terrace.   They
were resentful.   Rain on holiday - so much wetter, somehow, than rain at
other times.  What was there to do on Mon in the rain?   Plans once agreed
could be unmade, at a practical level, but somehow, and on some other
level, what had been planned remained a possibility and hung around to
haunt them.   What they had wanted was to have gone on a fishing
expedition.   Such a delightful prospect!   And now this had happened!
It might blight the whole of their stay...
<p no=34>
Her unfortunate gaffe over tea made it impossible for Elisabeth to offer
any excuse when Mitzi Baum accosted her on the stairs on the way to dinner
and asked her to share her table.   Elisabeth already felt herself rebuked
in the presence of Fru Moller and the Colonel - over matters beyond her
control - and she was not going to add to that burden of disapproval if
she could avoid it; not again.   Her crisis had passed, leaving her
feeling exhausted and somewhat short of breath; it would not be difficult
to allow Mitzi to rehearse her grievances against the male population
without herself expanding on the subject, and thus let Mitzi believe that
she was in agreement with her.   To do so was paramount; Mitzi's social
contacts were designed for the purposes of accumulating, lining up, and
arming  allies.   But she must mind her p's and q's and be on her guard
against initiating topics that she could not control.   Yet the
overwhelming problem was other: Elisabeth knew that there was steak on the
menu for dinner.
<p no=35>
Steak was a dish Elisabeth avoided.   However, she could not avoid it at
The Tamarisks, for although Fru Moller offered a generous choice of hors
d'oeuvres and puddings she did not provide a choice of main course and
Elisabeth would not have dreamt of placing herself at a disadvantage by
drawing attention to her disability and pleading for something easier than
steak to swallow.
<p no=36 segment_break>
"It's happened" he said very quietly.   "Look."
<p no=37>
I took the paper from him.   Hiroshima was no more.
<p no=38>
I was also very quiet.   I got on with Heather's bath and feed.   Then I
went along the promenade to think.   It was the happening that we Hastings
children had dreaded ever since our Junior School Headmaster, who also
taught Physics, had told us one day in class.
<p no=39>
It was indeed a serious thought.   Then I remembered the Gospel lessons at
Robertson Street.   "Heaven and earth will pass away, but my words will
not pass away." Mark 13 v31 and Luke 21 v33.
<p no=40>
Although my certificate in Sociology had not yet come, I knew that my next
and most important study must be Theology, only so I could understand the
situation that my children would face in the future, and other people's
children would have to meet as well.
<p no=41>
Within a week there was surrender in the Far East.   The bells crashed out
again, I went quietly into the Church myself, carrying Heather.   Then we
spent the evening listening to the music of the young people's party by
the Roman Catholics in their Hall opposite.
<p no=42>
We were glad of the bells, we were glad of the music.   We were glad of
the good fish my father brought for us to celebrate with.   Yes, fish it
was for the mental energy to face our new situation.
<p no=43 segment_break>
Curtains that are draped back and held in position with tie bands can give a
completely different appearance to those that hang down straight.  They can be
held back with stiffened, shaped bands, strips of fabric or ribbons, or with
thick, coloured cords with tassels.  Another alternative is to drape fabric
back over specially designed hold-back hooks in brass or chrome.  The higher
up the curtains are tied back, the more light you will admit, but by fixing
the tie band lower down you obtain a fuller drape in the fabric.
<p no=44>
In some cases a blind may be more appropriate, used either on its own or
combined with curtains.  Roller blinds offer a good deal of scope through
colour and fabric combinations, from floral patterns to bold geometric prints.
An individual finishing touch can come from your choice of shaped hemline,
which could be angular, castellated or scalloped.  These blinds are
particularly practical in kitchens and bathrooms, being easy to clean.
<p no=45>
Venetian blinds are often thought of as being suitable for kitchens but the
atmosphere here is inevitably hot and sticky and the slats quickly become
grimy.  They are then very tedious to clean.  Venetian blinds are better
suited to a study or workroom where a simple, practical treatment is needed,
and where they can be easily dusted over.  Their most important asset is the
way in which they can deflect light.
<p no=46>
Where a tailored, modern and unfussy line is required Roman blinds would be
ideal.  When these are pulled up they form into defined horizontal pleats
which lie on top of each other to look like a soft, layered pelmet.
<p no=47>
In complete contrast, ruched or festoon blinds are both pretty and feminine,
and can be lavish and opulent depending on the fabric used and their
surroundings.  The fabric of ruched blinds is permanently gathered up in rows
along its length, forming a ruched scalloped appearance over the whole surface
of the blind.  When the blind is drawn up the scallops become even fuller.  A
festoon blind, on the other hand, hangs like a curtain when it is down but it
has vertical rows of rings on the back through which cord is threaded.  As it
is drawn up, swags appear between the rows of rings, forming a scalloped
hemline.  These blinds give a beautiful soft line to a window and the
scalloped hemline can be further enhanced with a frill.
<p no=48 segment_break>
Maternity care was still taken very seriously in 1944.   No getting up and
leaving hospital in two days then.   Although I had had only two stitches
at the delivery I was tightly bandaged and not allowed to get out of bed
for three days.   But I soon recovered from the chloroform and really
appreciated the company of the other Mums.
<p no=49>
In the mornings all the talk was of the babies and their welfare.
<p no=50>
"Yes," said our Regular Army girl.   "My poor little boy certainly
resembles a frog, but of course we are Catholics, so he should be alright.
I have dedicated him to the blessed St John the Baptist and had him
circumcised."
<p no=51>
As Heather was not a boy this latter did not really concern us, although I
thought I was sure Blessed St John wept with the little one over the
circumcision he had, of course, had himself.   But I thought that to have
a saint's care was a good idea, even to my Protestant mind.   She had to
be for St Cecilia as I hoped she would share my love of music and would
know the lullaby Mr Vinct had composed for her.
<p no=52>
We watched with admiration as Alice our skater, now recovering from her
ordeal and the fact that her son was a girl, began to unpack the beautiful
Swiss lace gowns she had brought with her.
<p no=53>
"Not to worry" said Alice, "at least my mother will be pleased, but she'll
not be a skater if I can help it."
<p no=54>
Quite a happy telegram came from father RAF with a remark about all being
" right on the target."
<p no=55 segment_break>
The situation in an inhomogeneously broadened medium is quite different.
The dominant mode saturates effectively only those atoms whose
(Doppler-shifted) resonance frequency lies within about I" of the mode
frequency: other atoms are unsaturated, so that the gain actually
increases with frequency detuning from the dominant mode: the excited mode
burns a hole in the gain spectrum.   Careful design is thus necessary to
restrict laser action to a single mode.   Even then, however, an
instability can arise due to "mode-splitting".   As well as the spectral
hole burned in the gain, the refractive index contribution of the resonant
atoms is also saturated, again over a spectral width -I".   As a result,
the dispersion relation close to the operating frequency develops a
"wiggle", which, for strong enough saturation, may turn into a 5 shape.
When this happens, we have three frequencies which all share the same wave
vector, and are thus resonant with the cavity.  Since the spectral hole
ensures that the two new sideband frequencies actually have higher gain
than the central ( originating) frequency, they will grow: self-pulsing
develops.   This phenomenon was termed "mode-splitting" by Casperson and
Yariv {;12};.   The pulsation period will be of order I", but clearly
parameter dependent.
<p no=56>
Of course, as the sidebands build up, they burn their own holes in the
gain and refractive-index spectra, and it is not difficult to envisage the
development of pulse shapes as complex as those of Fig. 7.6, or, indeed,
period-doubling and chaos in the pulse train: compare the discussion on
passive resonators.   Deep modulation at frequencies -I" is clearly only
possible if **f", so we still require a "bad cavity", and we may note that
the spectral holes form and refill on a time scale which thus plays an
important role in the phenomenon: it has been claimed {;20}; that
"population pulsations are the primary source of the instability.
<p no=57>
Experimental evidence for chaos based on the mode-splitting instability
was first obtained by Casperson in 1978 {;10};: the route to chaos was not
studied in detail, except that period-two was observed.   In recent years
Abraham and co-workers have performed detailed studies of routes to chaos
in helium-xenon lasers {;15}; and have observed, as the laser cavity
length is fine-tuned, interspersed bands of chaotic output reached, in
certain conditions, by period doubling.   By varying the discharge current
(and hence gain) at fixed cavity length, the Ruelle-Takens route to chaos
was observed: two initially incommensurate frequencies (at 0.67 mA) lock
to a 4: 3 ratio (at 0.89 mA) leading to chaos(at 1.6 mA).   The
intermittency route to chaos was also inferred, with pure xenon in the
laser tube, from a sequence in which a single frequency (with its
harmonics) progressively broadened on increasing the discharge current,
just as one would expect for increasingly frequent bursts of noise against
a background of steady oscillation.   The chaos itself displays a variety
of signatures: Fig. 7.6 displays a "zoo" of time sequences with
corresponding spectra, this time in a ring laser.
<p no=58>
From a theoretical standpoint, Minden and Casperson {;30}; have been able
to model the xenon-laser data very well, but found it necessary to include
such effects as velocity-changing collisions, and population transfer from
upper to lower laser level by spontaneous emission, as well as
standing-wave effects.   In contrast, most theoretical work has been
based, like eqns (7.3), on a single-mode, unidirectional ring laser, with
only the simplest decay terms.   Mandel {;29}; has been able to obtain a
number of useful analytic results for such a system, usually assuming = I"
and a Lorenzian, rather than Gaussian, velocity distribution function.
Recent numerical work by Shih et al. {;33}; has demonstrated that when the
known parameters for the helium-xenon system are inserted into eqns (7.2),
then all three classic routes to chaos can be obtained by careful scans
over realistic ranges of the control parameters.
<p no=59 segment_break>
James Conway put away his business papers and sat back in his seat.   He
looked out of the aeroplane window down at the warm blue sea below.   Far
away, in the bright sun, there were the long white beaches of the island
of Haiti.   Behind them, he could just see the small wooden houses and the
deep green leaves of the coconut trees, which were moving lazily in the
soft afternoon wind.
<p no=60>
"It looks beautiful, does n't it?" Conway looked at the woman sitting next
to him.   "Very nice," he answered.   "Is this your first visit to Haiti?"
the woman asked.
<p no=61>
"Yes, but I'm not here as a visitor," said Conway.   "I have a building
company - it's called Conway Construction.   My company has offices all
over the world - America, Europe, Africa.   We're very big in Australia
too - everyone in Australia has heard the name Conway.   I'm coming to get
an office here, buy some land, build a few hotels, you know.   The land is
very cheap here - you can buy a piece of land to build a small town on,
for a few thousand dollars.   Sorry, I do n't know your name.   I'm Mr
Conway, James Conway.   Just call me Conway."
<p no=62>
"I'm Karen Jackson."
<p no=63>
"Nice to meet you, Karen.   What do you do?   Have you got a job, or are
you married?"
<p no=64>
"I'm at Harvard University."
<p no=65>
"From the University?   Are you a secretary there?"
<p no=66 segment_break>
It is not possible to describe a suitable treatment for every type of window
and there is no such thing as a standard window, since two identical windows
located in a different position on a wall may need quite a different
treatment.  I will, therefore, concentrate on a few problem shapes and
situations.
<p no=67>
The first point to consider with any window is light.  By dressing a narrow
window with curtains inside the reveal you will cut out light during the day
as there is no additional space in which they can be stacked back.  This also
applies to festoon, ruched and Roman blinds when fitted inside the window
reveal.  It is advisable in these circumstances, and in other such situations
where light is particularly important, to fit your curtains outside the reveal
and extend the track beyond the sides to allow for this stack back, and in the
case of blinds to fit the batten above the reveal.  The wider the curtains, or
longer the blind, the more space needed to accommodate them.  In the case of a
small pair of curtains, a minimum of 15 cm (6 in) each side should be allowed,
increasing progressively with the size of the curtains.
<p no=68>
The strategic placing of the track or pole is the solution to many of the
problems surrounding window-dressing.
<p no=69>
 Tall narrow windows can be made into a feature by keeping the treatment
simple and fitting a roller or Roman blind within the window embrasure in
order to preserve its outline.  This type of window would not be suitable for
a festoon or ruched blind, however, unless there was enough width for a
minimum of two scallops.  Alternatively, it would have to be fitted outside
the window reveal.
<p no=70>
To change the window's shape, you can create width by extending the curtain
fixture beyond the sides of the window and placing it as close as possible to
the architrave at the top of the window.  Fabrics with horizontal patterns
will also give the impression of width, and curtains that are draped back will
help to break the vertical line that would otherwise be formed by curtains
which hang straight down at the sides.  A pelmet or valance would also help to
reduce height provided it is fixed as close as possible to the top of the
architrave, thereby covering the top part of the glass.
<p no=71 segment_break>
While she was away, Conway looked at the open book on her seat.   There
was a picture on the page which showed a black man with open eyes and
bright white teeth.   He was laughing, but he looked frightening and
dangerous.   Conway read the words below the picture:
<p no=72>
"Baron Samedi, the strongest and most dangerous of all the voodoo
houngans.   No one knows who Baron Samedi is, but they believe he is both
dead and alive.   He lives in two different worlds.   Many people are so
frightened of him that they are afraid to say his name."
<p no=73>
Conway looked at the picture.   "Baron Samedi!" he laughed.   "How can
these people be so stupid?   Still, it will be easy to make money if they
think like children."
<p no=74>
A few minutes later, Karen came back.   She picked up the book and put it
in her bag.   As she was sitting down, the lights in the aeroplane came
on.
<p no=75>
"We are going to arrive at Port au Prince airport in a few minutes.
Please stay in your seats and put out your cigarettes.   The time in Haiti
is 3.15.   It is a warm day and it is 30C.   We hope you have enjoyed
flying with Air Haiti, and we hope that you will fly with us again.
Thank you.
<p no=76 segment_break>
A big lorry drove past Kee's house.   It was going very fast and it made a
lot of noise.   Before Conway built the new town, Kee's village was a
quiet place.   There were only a few small cars.   Now big lorries went
past every five minutes, carrying things for the new buildings.   Kee was
a very unhappy old man.   He was sitting in his small house, looking out
into the garden.
<p no=77>
Another big lorry went past the window.
<p no=78>
He heard the sound of a car coming down the road.   The car stopped near
the house, and a woman got out.   She was young and well dressed.   She
walked up to the gate at the end of Kee's garden and waited.   Kee saw her
and went out of the house, down the wooden steps and into the garden.
<p no=79>
"Hello," she said, looking at the old man.   "Can I come in?"
<p no=80>
"Yes, of course," answered Kee.   "What can I do for you?"
<p no=81>
The woman opened the gate and came up to Kee.   "My name is Karen
Jackson," she said, " Dr Jackson.   I'm an American.   I'm working at the
big hospital in Port au Prince, and I'm doing some work for my book."
<p no=82>
"I see," said Kee.   "But why do you want to talk to me?"
<p no=83 segment_break>
The air hostess smiled.   "Welcome aboard, sir.   Would you like a
newspaper?"
<p no=84>
"Yes, please." Carl took the newspaper and looked at his ticket.   "I'm in
seat 5F.   Where's that?"
<p no=85>
"It's near the front of the plane, sir.   On the left, there.   By the
window."
<p no=86>
"I see.   Thank you very much." Carl smiled back at the air hostess.   She
was young and pretty.   Just like my daughter, he thought.
<p no=87>
He put his bag under his seat and sat down.   His friend Harald sat beside
him.   They watched the other passengers coming onto the plane.   Harald
looked at his watch.
<p no=88>
"9.30 p.m.," he said.   "Good.   We're on time."
<p no=89>
Carl agreed.   "And in three hours we'll be home," he said.   "That's
good.   We've been away for a long time.   You'll be pleased to see your
family, wo n't you, Harald?"
<p no=90>
Harald smiled.   "Yes, I will.   Have you seen this, sir?" He opened his
bag and took out two small planes.   "These are for my sons.   I always
bring something back for them."
<p no=91>
"How old are your sons?" Carl asked.
<p no=92 segment_break>
But Kee sat quietly on his chair and smiled.   "I can see that you do not
believe me," he said.   "You think I'm just an old man who does n't want
to see new shops and houses.   Just wait for a few days, and you will see.
I'll give you everything that you want.   But you must not build shops and
hotels in the graveyard.   Do you understand?"
<p no=93>
"Yes, yes, yes, of course I understand," said Conway.   He was beginning
to get angry.   "I wo n't build shops and hotels there, and you will give
me everything I want.   Thank you very much for your help.   Now, please,
get out.   I'm a busy man."
<p no=94>
"Goodbye," said Kee.   "Thank you for talking to me.   But do n't forget,
Mr Conway, you must not do these things.   If you do, you'll be sorry."
<p no=95>
"Yes, yes, yes, I understand.   Now go!" said Conway.
<p no=96>
Kee turned and went to the door.   For a moment, as the old man was
walking out of the door, Conway remembered the face in the book on the
plane.   Suddenly he felt cold and afraid.
<p no=97>
When Kee left the room Conway picked up the  telephone.   He talked to
Marie.   He was very, very angry.
<p no=98>
"Marie!" he shouted.   "Why did you send that man to my office?   He's
mad.   Coming in here talking about voodoo!   Telling me he's going to
give me a lot of money!   I do n't want to see him again.  Do you
understand?  If you make a mistake like that again, you'll lose your job."
<p no=99>
"I'm very sorry," said Marie.
<p no=100>
"Good.   Now, I want to talk to Pierre and Henri.   Get them on the
telephone for me." He put down the telephone and sat back in his chair.
"That man Kee is  mad," he thought.   Then he started to laugh.   "He
thinks he can give me everything I want!" he thought.   "An old man from a
village!   Ha, ha, ha!"
<p no=101 segment_break>
 Multiple windows are marvellous for creating a bright and airy room but the
effect could become over-fussy if the windows are treated individually,
particularly if they are of different sizes.  The windows can be unified by
placing just one track above all the windows on one wall, giving the illusion
of one large window when the curtains are closed.  During daylight hours the
curtains could be arranged either drawn back to either side of the track, or
covering the walls between the windows.
<p no=102>
In a room where there are windows on different walls, aim to fix the curtain
fitments at the same height to create a unified appearance.
<p no=103>
 A single corner window presents the problem of where to allow the curtain to
hang during daylight.  The obvious answer is to draw it back to the side away
from the corner, but this can create an unbalanced appearance.  An attractive
arrangement where light permits is to have one curtain with a heading fixed in
a closed position and tie the curtain fairly tightly in the centre of the
window with bows.  Another alternative would be to fit a blind within the
window reveal.
<p no=104>
Where there is a window on either side of a corner, again the aim is to unify
them.  The choice would be whether to draw one pair of curtains to stack back
on the walls beside the windows, thus exposing the corner, or to have two
separate pairs of curtains that draw from the centre of each window and
thereby cover the corner area with fabric.  This may cut out a certain amount
of light, but as there are two windows in one corner, the room has light
coming in from two directions and is probably lighter than average anyway.
<p no=105 segment_break>
Here we are, madam." The big black car stopped and a police officer opened
the back door.
<p no=106>
"Thank you." Helen Sandberg smiled at him as she got out.   Another police
officer opened the front door of her house.
<p no=107>
Inside the house it was quiet.   Her daughter was reading.   She put the
book down.
<p no=108>
"Hello, Mummy.   You're late.   You said you'd be home by ten o'clock.   I
wanted to talk to you about my homework, remember?"
<p no=109>
Helen sat down.   "I'm sorry, Sarah.   I did remember, really.   But I had
a very busy day.   Anyway, I'm home now.   What's the problem?"
<p no=110>
"It's this book," said Sarah.   "I have to write about it at school on
Friday, and I do n't understand it."
<p no=111 segment_break>
But it had not been as she had imagined.   She had expected to be the
centre of things in Gallanach, but the McHoans as a family had so many
other things happening to them; she had felt peripheral.   The Urvills'
own history, too, made her feel like something unimportant on the family
tree, for all that Fergus talked of responsibility and duty and one's debt
o the next generation.
<p no=112>
She was a leaf, expendable.   A twig - maybe - at best.
<p no=113>
Somehow all her dreams had disappeared.   It seemed to her now that all
she had ever had had been the dream of having dreams; the goal of having
goals one day, once she had made her mind up what it was she wanted.
<p no=114>
But that had never happened.   First Fergus, then the twins, then her own
small part in the society of the town and the people there, and in the
wider, still circumferential concerns of this wee country's
middle-to-ruling classes, and in the more dissipated commonwealth of
mildly powerful people who were their peers beyond that - in England, on
the continent, from the States and elsewhere - took up her time, sapped
her will and replaced her own concerns with theirs.
