Daisy Goodwin

“I was so happy … before.’ ‘I find that happiness can always be recollected in tranquillity, Ma’am,’ said Melbourne. Victoria put her hands down and looked up at him, her pale blue eyes searching his face. ‘You were happy too?’When Melbourne spoke, it was in the voice not of the urbane Prime Minister, but of a man of advancing years who is facing the loss of the only thing that is still capable of bringing him joy. ‘You know I was, Ma’am.”

“I told you, you're my black pearl. When i first set eyes on you in the servant's hall I thought you were the most beautiful thing I had ever seen in my life.”

“Men are all very well, and a good husband can be enormously useful, but women like us need something to do.”

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

“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.”

“Perhaps she would never really know him. A year and a half ago that though would have been unbearable to her, but now she had learnt to live with uncertainty, even to love it.”

“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.”

“...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.”