For some time then, no one would appear in this landscape; the sea would roar softly and withdraw without witnesses or spectators. It did not need her watching, and in these hours, she thought, or during the long reaches of the night, the sea was more itself, monumental and untouchable. It was clear to her now, as though all week had been leading up to the realisation, that there was no need for people, that it did not matter whether there was people or not. The world would go on. The virus that was destroying Declan, that had him calling out helplessly now in the dawn, or the memories and echoes that came to her in her grandmother's house, or the love for her family she could not summon up, these were nothing, and now, as she stood at the edge of the cliff, they seemed like nothing.

Imaginings and resonances and pain and small longings and prejudices. They meant nothing against the resolute hardness of the sea. They meant less than the marl and the mud and the dry clay of the cliff that were eaten away by the weather, washed away by the sea. It was not just that they would fade: they hardly existed, they did not matter, they would have no impact on this cold dawn, this deserted remote seascape where the water shone in the early light and shocked her with its sullen beauty. It might have been better, she felt, if there never had been people, if this turning of the world, and the glistening sea, and the morning breeze happened without witnesses, without anyone feeling, or remembering, or dying, or trying to love. She stood at the edge of the cliff until the sun came out from behind the black rainclouds.

Colm Tóibín, The Blackwater Lightship (London: Picador, 1999), 260.