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The varying lengths of the time-shifting episodes—their irregular rhythm—are what make the concept of this book work, I think. And so far very little foreshadowing of the foreign, hyperdramatic denouement with which the book opens. Some faint thematic traces, though.

Can’t read the name Ursula without thinking of Ursula Brangwen.

Also, the chapter titles: “Snow had fallen, snow on snow.”

Lines quoted from Neruda:
“There are cemeteries that are lonely,
graves full of bones that do not make a sound,
the heart moving through a tunnel,
in it darkness, darkness, darkness,
like a shipwreck we die going into ourselves,
as though we were drowning inside our hearts,
as though we lived falling out of the skin into the soul.”

First reaction: a gradual sense of dread.

Impressive.

First Shakespeare reference (Moving forward I’m going to start noting these for each book): “Good hay hath no fellow.”

“…Louisa thinks it looks like he doesn’t know how to cry, like he has only read about tears in a manual and misunderstood the point.”