Henry James: The Figure in the Carpet

"By my little point I mean--what shall I call it?--the particular thing I've written my books most FOR. Isn't there for every writer a particular thing of that sort, the thing that most makes him apply himself, the thing without the effort to achieve which he wouldn't write at all, the very passion of his passion, the part of the business in which, for him, the flame of art burns most intensely? Well, it's THAT!" I considered a moment--that is I followed at a respectful distance, rather gasping. I was fascinated--easily, you'll say; but I wasn't going after all to be put off my guard. "Your description's certainly beautiful, but it doesn't make what you describe very distinct." "I promise you it would be distinct if it should dawn on you at all." I saw that the charm of our topic overflowed for my companion into an emotion as lively as my own. "At any rate," he went on, "I can speak for myself: there's an idea in my work without which I wouldn't have given a straw for the whole job. It's the finest fullest intention of the lot, and the application of it has been, I think, a triumph of patience, of ingenuity. I ought to leave that to somebody else to say; but that nobody does say it is precisely what we're talking about. It stretches, this little trick of mine, from book to book, and everything else, comparatively, plays over the surface of it. The order, the form, the texture of my books will perhaps some day constitute for the initiated a complete representation of it. So it's naturally the thing for the critic to look for. It strikes me," my visitor added, smiling, "even as the thing for the critic to find." This seemed a responsibility indeed. "You call it a little trick?" "That's only my little modesty. It's really an exquisite scheme." "And you hold that you've carried the scheme out?" "The way I've carried it out is the thing in life I think a bit well of myself for."