The tension is ostensibly over Bradley's distaste for Arnold's lack of proper literary credentials, though later the other characters claim this to be a matter of jealousy or the product of an Oedipus complex.

Their closeness is made apparent from the start of the book, however, as Arnold telephones Bradley, worried that he has killed his wife, Rachel, in a domestic row.

Bradley begins to get trapped in a growing dynamic of family, friends, and associates who collectively seem to thwart his attempts at achieving the isolation he feels necessary to create his 'masterpiece'.

The Baffins' young daughter, Julian, declares her admiration for Bradley and begs him to tutor her.

Even Christian, Bradley's ex-wife, invades his life by seeking to repair their long-defunct relationship.

Yet Bradley fails to give proper attention to Priscilla, who pathetically alternates between despair and hysterical optimism.

He steals away Julian to a rented sea-side cottage to evade Rachel and Arnold, who both condemn the relationship.

Priscilla, left without any companions, commits suicide; Bradley nonetheless postpones returning.

The final action of the main section takes place at the Baffins' residence, where Bradley attends an incident parallel to the opening one.

Taking pity on her, Bradley helps her clean up the crime scene and advises her to tell the police the truth.

The "editor" of the entire volume concludes the novel by supporting Bradley's account and praising his devotion to love as an all-empowering force.

Also present is the influence of Freud, especially through the frequent sexual imagery centred on recurrent references to the phallic Post Office Tower.

It is strengthened further by the moments in the book where he finds himself attracted to Julian, during each of which her gender is made ambiguous.

Subtler Ancient Greek influences are seen in Bradley's quest for a pseudo-Platonic perfection in his writing and his purported Asceticism.