Three chairs of the steamer type, all maimed, comprised the furniture of this roof-garden, with (by way of local colour) on one of the copings a row of four red clay flower-pots filled with sun-baked dust from which gnarled and rusty stalks thrust themselves up like withered elfin limbs.

In other words, there is a discrepancy between her experiences and her self-image.

That said, there is a curious solace in settling into a worldview by a writer who so refuses to unsharpen her vision, whose investment is in the clarity and freshness of the imagery and an honest portrayal of our craven impulses.

Another important circumstance respecting our transcendental esthetics is, that it does not insinuate itself merely as a plausible hypothesis, but is as certain and indubitable as we can require any theory to be in order to serve as an organum.