An action, to have moral worth, must be done from duty.

The revolutionary woman knows the world she seeks to overthrow is precisely one in which love between equal human beings is well nigh impossible. We are still part of the ironical working-out of this, our own cruel contradiction. One of the most compelling facts which can unite women and make us act is the overwhelming indignity or bitter hurt of being regarded as simply __he other_, __n object_, __ommodity_, __hing_. We act directly from a consciousness of the impossibility of loving or being loved without distortion. But we must still demand now the preconditions of what is impossible at the moment. It is a most disturbing dialectic, our praxis of pain.

You come to this place, mid-life. You don__ know how you got here, but suddenly you__e staring fifty in the face. When you turn and look back down the years, you glimpse the ghosts of other lives you might have led; all houses are haunted. The wraiths and phantoms creep under your carpets and between the warp and weft of fabric, they lurk in wardrobes and lie flat under drawer-liners. You think of the children you might have had but didn__. When the midwife says, __t__ a boy,_ where does the girl go? When you think you__e pregnant, and you__e not, what happens to the child that has already formed in your mind? You keep it filed in a drawer of your consciousness, like a short story that never worked after the opening lines.

Of two duties we must choose the greater, though of two sins we must choose neither (556).

. . . is it better to throw yourself head first and laughing into the holy rage calling your name?

In the first play, the crisis is Thomas More. In the second it__ Anne Boleyn. In the third book, and the third play, it__ crisis every day, an overlapping series of only just negotiable horrors. It__ climbing and climbing. Then a sudden abrupt fall - within days.