He was thin, tall and straight as a steel rod. He had the palest finest white hair I ever saw. It could have been strained through silk gauze. His skin was as fresh as a rose petal. He might have been thirty-five or sixty-five. He was ageless. His hair was brushed straight back from as good a profile as Barrymore ever had. His eyebrows were coal black, like the walls and ceiling and floor. His eyes were deep, far too deep. They were the depthless drugged eyes of a somnambulist. They were like a well I read about once. It was nine hundred years old, in an old castle. You could drop a stone into it and wait. You could listen and wait and then you would give up waiting and laugh and then just as you were ready to turn away a faint, minute splash would come back up to you from the bottom of that well, so tiny, so remote that you could hardly believe a well like that possible. His eyes were deep like that. And they were also eyes without expression, without soul, eyes that could watch lions tear a man to pieces and never change, that could watch a man impaled and screaming in the hot sun with his eyelids cut off.

I looked at him again. He had eyes you never see, that you only read about. Violet eyes. Almost purple. Eyes like a girl, a lovely girl. His skin was as soft as silk. Lightly reddened, but it would never tan. It was too delicate.

My theory was that the readers just thought they cared about nothing but the action; that really, although they didn’t know it, they thing they cared about, and that I cared about, was the creation of emotion through dialogue and description.

What greater prestige can a man like me (not too gifted, but very understanding) have than to have taken a cheap, shoddy and utterly lost kind of writing, and have made of it something that intellectuals claw each other about?