ROMANCE, n. Fiction that owes no allegiance to the God of Things as They Are. In the novel the writer's thought is tethered to probability, but in romance it ranges at will over the entire region of the imagination . . .
The appeal of the spectrally macabre is generally narrow because it demands from the reader a certain degree of imagination and a capacity for detachment from every-day life. Relatively few are free enough from the spell of the daily routine to respond to rappings from outside, and tales of ordinary feelings and events, or of common sentimental distortions of such feelings and events, will always take first place in the taste of the majority; rightly, perhaps, since of course these ordinary matters make up the greater part of human experience.
When forced to work within a strict framework, the imagination is taxed to its utmost and will produce its richest ideas. Given total freedom, the work is likely to sprawl.
I don't suppose any man has ever understood any woman since the beginning of things. You don't understand our imaginations, how wild our imaginations can be.
Memory belongs to the imagination. Human memory is not like a computer which records things; it is part of the imaginative process, on the same terms as invention.
But how entirely I live in my imagination; how completely depend upon spurts of thought, coming as I walk, as I sit; things churning up in my mind and so making a perpetual pageant, which is to be my happiness.