Lonely, as words go, is a bit of a loner. As the critic Christopher Ricks writes, it pleasingly has “only” one rhyme, and no real synonyms. After all, being alone and being lonely are quite different things. For all this, poets and writers, from Audre Lorde to Philip Larkin, have made much of loneliness, drawn to the challenge of bringing us close to an emotion whose very nature is to stay at a distance. Some lonely renderings turn out to be a bit of a sham. Records show that when Wordsworth “wandered lonely as a cloud”, his sister Dorothy was strolling companionably beside him, and she liked the daffodils too. Thoreau’s standing as the poster-boy of solitude, living “alone” and “Spartan like” by Walden Pond, starts to unravel when one actually reads his book, which contains a hefty chapter on “Visitors”. (The fact that Thoreau’s mum probably helped out with his laundry has also – maybe unfairly – raised a few eyebrows.) It is, of course, perfectly possible to feel lonely in the company of others. “Loneliness”, as Olivia Laing writes, “doesn’t necessarily require physical solitude, but rather an absence or paucity of connection”. Her Lonely City is a powerful account of the loneliness explored and expressed by writers ranging from Alfred Hitchcock to Billie Holiday, combined with Laing’s own experience as a “citizen of loneliness”: “I often wished”, she writes, “I could find a way of losing myself altogether until the intensity diminished”. Loneliness may be a condition that’s tricky to categorise but it is also, in Laing’s words, “difficult to confess”. Indeed, loneliness’s favourite companion seems to be shame. One of the many beauties of Kent Haruf’s small-town love story, Our Souls At Night, is the way in which his heroine breaks this seeming taboo, surprising her neighbour with an unconventional proposal, not of marriage, but of a kind of lo-fi pyjama party. “I’m lonely”, Addie candidly states. “I think you might be too. I wonder if you would come and sleep in the night with me. And talk”. For some, such as Gail Honeyman’s Eleanor Oliphant, loneliness is a lived atmosphere, a kind of chronic condition. For others, it comes from a tectonic shift – a sudden loss or bereavement. As Juliet Rosenfeld writes in her memoir, The State of Disbelief, the painful force of her husband’s death made her feel as if she’d been captured by an unseen captor: “I learnt quickly that to protest would make no difference, and choice-less, I submitted to this saboteur with no prospect at all of release or freedom. I believed for a long time that I would never feel differently. I felt a painful absence and loneliness all of the time.” “We read to know we are not alone”, as C S Lewis famously didn’t say (the line belongs to his on-screen persona in Shadowlands). So it is a sad irony that books which might best provide company nearly didn’t see the light of day. Radclyffe Hall’s Well of Loneliness was banned, after its first publication, for more than 30 years, accused of promoting “unnatural practices between women”. Because of that judgment, many readers missed an encounter with the beauty of the novel’s prose, its tender account of the heroine as she reflects on her childhood home. She dreams of “the scent of damp rushes growing by water; the kind, slightly milky odour of cattle; the smell of dried rose-leaves and orris-root and violets”, and knew “what it was to feel terribly lonely, like a soul that wakes up to find itself wandering, unwanted, between the spheres”. This sense of loneliness as a kind of between-ness, an uncharted territory, is movingly captured in Sam Selvon’s 1956 novel, The Lonely Londoners. This Windrush chronicle charts the trials of those arriving at Waterloo from the West Indies, as they struggle to navigate the “unrealness” of London. Selvon’s hero, Moses Aloetta, becomes, over time, the reluctant guide to this latter-day Waste Land. Selvon leaves us with Moses’s lyrical and allusive understanding of the city’s “great aimlessness”. Standing on the banks of the Thames, he conjures a vision of a world in which we are all, in the end, alone together: As if … on the surface, things don’t look so bad, but when you go down a little, you bounce up a kind of misery and pathos and a frightening – what? He don’t know the right word, but he have the right feeling in his heart. As if the boys laughing, but they only laughing because they ’fraid to cry.