It is the kind of ‘moment’ that might be used as an answer to the title of James’ Baldwin’s novel ‘Tell Me How Long The Train’s Been Gone’, wherein moments have duration and measure in so many domains including measures of time and the quality, rather than quantity, of our attention to a phenomenon: the time scales, for instance, of narrative, history and self-awareness wherein ‘reality’ is at a premium.
In the loosest of uses of the word ‘moment’, I want to identify a ‘moment’ as that period of time over which I realised that reality is constantly reshaped by the means of its description. It is the kind of ‘moment’ that might be used as an answer to the title of James’ Baldwin’s novel … More It is the kind of ‘moment’ that might be used as an answer to the title of James’ Baldwin’s novel ‘Tell Me How Long The Train’s Been Gone’, wherein moments have duration and measure in so many domains including measures of time and the quality, rather than quantity, of our attention to a phenomenon: the time scales, for instance, of narrative, history and self-awareness wherein ‘reality’ is at a premium.





![Maybe life, at bottom, is quicksand! Comparing Henrietta Moraes’ life ‘to quicksand, deadly calm on the surface but inherently untrustworthy beneath’, Dom Moraes, her third husband is said by Darren Coffield to have ‘worshipped the shifting sand she walked on’.[1] That worship wasn’t quite that of a lasting religion and when it changed it disappeared from sight like a body sunken into quicksand does. However, Darren Coffield allows Henrietta Moraes to speak to us, if fitfully, again. This blog is a reflection on Darren Coffield (2026) Hen: Mistress of Mayhem Cheltenham, The History Press.](https://i0.wp.com/livesteven.com/wp-content/uploads/2026/05/image-61.png?resize=365%2C357&ssl=1)





