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The night guard let them out on to the steps. Thread-needle Street was almost deserted. The long City night was beginning. Bond said goodbye to Colonel Smithers and walked along to the Tube. He had never thought very much about the Bank of England, but now that he had been inside the place he decided that the Old Lady of Threadneedle Street might be old but she still had some teeth left in her head.

Straight does his grateful Breast with Ardor glow, CHAPTER XVII.

'Head of S.?'

'I have played there.'

She looked at him gravely, considering him. Then she also drank. She said, 'My name is Tracy. That is short for all the names you were told at the reception in the hotel. Teresa was a saint. I am not a saint. The manager is perhaps a romantic. He told me of your inquiries. So shall we go now? I am not interested in conversation. And you have earned your reward.'

Critics, if they ever trouble themselves with these pages, will, of course, say that in what I have now said I have ignored altogether the one great evil of rapid production — namely, that of inferior work. And of course if the work was inferior because of the too great rapidity of production, the critics would be right. Giving to the subject the best of my critical abilities, and judging of my own work as nearly as possible as I would that of another, I believe that the work which has been done quickest has been done the best. I have composed better stories — that is, have created better plots — than those of The Small House at Allington and Can You Forgive Her? and I have portrayed two or three better characters than are to be found in the pages of either of them; but taking these books all through, I do not think that I have ever done better work. Nor would these have been improved by any effort in the art of story telling, had each of these been the isolated labour of a couple of years. How short is the time devoted to the manipulation of a plot can be known only to those who have written plays and novels; I may say also, how very little time the brain is able to devote to such wearing work. There are usually some hours of agonising doubt, almost of despair — so at least it has been with me — or perhaps some days. And then, with nothing settled in my brain as to the final development of events, with no capability of settling anything, but with a most distinct conception of some character or characters, I have rushed at the work as a rider rushes at a fence which he does not see. Sometimes I have encountered what, in hunting language, we call a cropper. I had such a fall in two novels of mine, of which I have already spoken — The Bertrams and Castle Richmond. I shall have to speak of other such troubles. But these failures have not arisen from over-hurried work. When my work has been quicker done — and it has sometimes been done very quickly — the rapidity has been achieved by hot pressure, not in the conception, but in the telling of the story. Instead of writing eight pages a day, I have written sixteen; instead of working five days a week, I have worked seven. I have trebled my usual average, and have done so in circumstances which have enabled me to give up all my thoughts for the time to the book I have been writing. This has generally been done at some quiet spot among the mountains — where there has been no society, no hunting, no whist, no ordinary household duties. And I am sure that the work so done has had in it the best truth and the highest spirit that I have been able to produce. At such times I have been able to imbue myself thoroughly with the characters I have had in hand. I have wandered alone among the rocks and woods, crying at their grief, laughing at their absurdities, and thoroughly enjoying their joy. I have been impregnated with my own creations till it has been my only excitement to sit with the pen in my hand, and drive my team before me at as quick a pace as I could make them travel.