Tono-Bungay by H.G. Wells — Read

People say that my uncle lost his head at the crest of his fortunes, but if one may tell so much truth of a man one has in a manner loved, he never had very much head to lose. He was always imaginative, erratic, inconsistent, recklessly inexact, and his inundation of wealth merely gave him scope for these qualities. It is true, indeed, that towards the climax he became intensely irritable at times and impatient of contradiction, but that, I think, was rather the gnawing uneasiness of sanity than any mental disturbance. But I find it hard either to judge him or convey the full development of him to the reader. I saw too much of him; my memory is choked with disarranged moods and aspects. Now he is distended with megalomania, now he is deflated, now he is quarrelsome, now impenetrably self-satisfied, but always he is sudden, jerky, fragmentary, energetic, and -- in some subtle fundamental way that I find difficult to define -- absurd.

There stands out -- because of the tranquil beauty of its setting perhaps -- a talk we had in the veranda of the little pavilion near my worksheds behind Crest Hill in which my aeroplanes and navigable balloons were housed. It was one of many similar conversations, and I do not know why it in particular should survive its fellows. It happens so. He had come up to me after his coffee to consult me about a certain chalice which in a moment of splendour and under the importunity of a countess he had determined to give to a deserving church in the east-end. I, in a moment of even rasher generosity, had suggested Ewart as a possible artist. Ewart had produced at once an admirable sketch for the sacred vessel surrounded by a sort of wreath of Millies with open arms and wings and had drawn fifty pounds on the strength of it. After that came a series of vexatious delays. The chalice became less and less of a commercial man's chalice, acquired more and more the elusive quality of the Holy Grail, and at last even the drawing receded.