Daisy Goodwin

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anyone can acquire wealth, the real art is giving it away

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In the Blue Room, Cora Cash was trying to concentrate on her book. Cora found most novels hard to sympathise with -- all those plain governesses -- but this one had much to recommend it. The heroine was 'handsome, clever, and rich', rather like Cora herself. Cora knew she was handsome -- wasn't she always referred to in the papers as 'the divine Miss Cash'? She was clever -- she could speak three languages and could handle calculus. And as to rich, well, she was undoubtedly that. Emma Woodhouse was not rich in the way that she, Cora Cash, was rich. Emma Woodhouse did not lie on a lit à la polonaise once owned by Madame du Barry in a room which was, but for the lingering smell of paint, an exact replica of Marie Antoinette's bedchamber at le petit Trianon. Emma Woodhouse went to dances at the Assembly Rooms, not fancy dress spectaculars in specially built ballrooms. But Emma Woodhouse was motherless which meant, thought Cora, that she was handsome, clever, rich and free

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when I see you here amidst all this, I realise that I proposed to a very small part of you. I thought I was giving you a home and a position, but here I see that I am taking you away from so much

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When she was chair of the Orange Prize for Fiction in 2010, Daisy Goodwin wrote a controversial essay lamenting the 'unrelenting grimness' of so many novels and pointing out that 'generally great fiction contains light and shade'---not only misery but joy and humor. 'It is time for publishers to stop treating literary fiction as the novelistic equivalent of cod-liver oil: if it's nasty it must be good for you