Anne Douglas Sedgwick

Anne Douglas Sedgwick

Summary

Portrait of Anne Douglas Sedgwick Anne Douglas Sedgwick The Little French Girl — Part 4… (1924)

They were suddenly two boys together, and as they spoke of love and of Alix their words, to Giles, seemed to lift her far away out of childhood and to set her, a woman, between them.
“I'm most awfully fond of Alix,” he said.
“I know. That's what's so remarkable,” said Jerry, shyly smiling. “To be so fond, yet not to be in love.”
“You see,” Giles found himself offering, really as if in a sort of exculpation, “one may be in love with someone else; that would prevent, wouldn't it? And you can care immensely about someone without being in love with them.”
Source: Wikisource

Portrait of Anne Douglas Sedgwick Anne Douglas Sedgwick The Little French Girl — Part 4… (1924)

Giles could only reiterate: “Alix is very wise, Mummy. You must trust her to know best. I think she suspects already that things aren't happy with her mother; and she wants to be near her.”
His mother asked him not another question about madame Vervier. She made no surmises about Owen's friendship. Giles at moments wondered, with all her ingenuousness, whether some dim suspicion had not entered her mind, as it had entered Toppie's, and he blessed her for her gift of silence.
Source: Wikisource

Portrait of Anne Douglas Sedgwick Anne Douglas Sedgwick The Little French Girl — Part 4… (1924)

The loss of Toppie from his life was like a pervading, half-stupefied aching; but from the sharpness that the loss of Alix brought he saw how little in comparison Toppie's going meant real loss. He had never possessed Toppie. The ache might now be deeper, but it was still the same ache that the thought of Toppie had always meant.
Source: Wikisource

Get perspective with Kwize: daily news enlightened by great literature