I write this sitting in the kitchen sink. That is, my feet are in it 1; the rest of me is on the draining board, which I have padded with our dog’s blanket and the tea cosy. I can’t say that I am really comfortable, and 2 there is a depressing smell of carbolic soap, but this is the only part of the kitchen where there is any daylight left. And3 I have found that sitting in a place where you have never sat before can be inspiring. I wrote my very best poem while sitting on the hen house. Though even that isn’t a very good poem. I have decided my poetry is so bad that I mustn’t write any more of it.
It is comforting to look away from the windows and towards the kitchen fire, near which my sister Rose is ironing though she obviously can’t see properly, and it will be a pity if she scorches her only nightgown. (I have two, but one is minus its behind.)4 Rose looks particularly fetching by firelight because she is a pinkish person; her skin has a pink glow and her hair is pinkish gold, very light and feathery. Although5 I am rather used to her I know she is a beauty. She is nearly twenty one and very bitter with life. I am seventeen, look younger, feel older. I am no beauty but have a neatish6 face.
I have just remarked to Rose that our situation is really rather romantic two girls in this strange and lonely house. She replied that she saw nothing romantic about being shut up in a crumbling ruin surrounded by a sea of mud. I must admit that our home is an unreasonable place to live in. Yet I love it.7Intentional fragment: This short sentence, although not an independent clause, creates emphasis by standing on its own. By disconnecting this phrase from the first independent clause, Casandra portrays the conviction of her love for her home despite its being unreasonable, and she makes the idea more important.