Can I kiss you?_ And she would let him, lightly on her lips, a moment of brief anticipation. __our kisses are like sugar woman._ He would tell her affectionately. __o sweet._ He would close in on her and then ask softly, __lease spend the night with me.

Fate is a woman, I said to them. In fact, she is three women. Young, like us, so that they will have the courage to be cruel, having no weight of memory to teach temperance. Young, but so old, older than any stone. Their hair is silver, but full and long. Their eyes are black. But when they are at their work they become dogs, wolves, for they are hounds of death, and also hounds of joy. They take the strands of life in their jaws, and sometimes they are careful with their jagged teeth, and sometimes they are not. They gallop around a great monolith, the stone that pierces our Sphere where the meridians meet, that turns the Earth and pins it in place in the world. It is called the Spindle of Necessity, and all round it the wolves of fate run, and run, and run, and the patterns of their winding are the patterns of the world. Nothing can occur without them, but they take no sides. I could also say that there is such a stone, such a place, but the dogs who are women died long ago, and left the strands to fall, and we have been helpless ever since. That in a wolfless world we must find our own way. That is more comforting to me. I want my own way, I want to falter; I want to fail, and I want to be redeemed. All these things I want to spool out from the spindle that is me, not the spindle of the world. But I have heard both tales.

September felt panic burn through her like gasoline. Why couldn't he understand her? "But I didn't [choose]! I have hardly had a chance to breathe since I got here and it's always like that in Fairyland. Everything is always happening and all at once. And I am growing up, Saturday! I am growing up and I have read books, so many books, and I know that growing up means you can't keep going to Fairyland the way you did when you were a child! Something happens to you and suddenly you have to keep a straight face and a straight line and I am afraid! I want something grand and I don't want to know what it is before it happens!

In his or her own way, everyone I saw before me looked happy. Whether they were really happy or just looked it, I couldn't tell. But they did look happy on this pleasant early afternoon in late September, and because of that I felt a kind of loneliness new to me, as if I were the only one here who was not truly part of the scene.

The seasonal urge is strong in poets. Milton wrote chiefly in winter. Keats looked for spring to wake him up (as it did in the miraculous months of April and May, 1819). Burns chose autumn. Longfellow liked the month of September. Shelley flourished in the hot months. Some poets, like Wordsworth, have gone outdoors to work. Others, like Auden, keep to the curtained room. Schiller needed the smell of rotten apples about him to make a poem. Tennyson and Walter de la Mare had to smoke. Auden drinks lots of tea, Spender coffee; Hart Crane drank alcohol. Pope, Byron, and William Morris were creative late at night. And so it goes.

It is true that novelists are shameless and obey no decent law, and they are not to be trusted on any account, but some Mysteries even they must honor.