The predominant colour of the kitchen -- its walls, cupboards, floor, shelves -- with all the ancillary rooms -- pantries, larders, cold stores, and sculleries, is green -- Hooker's dark green, leaf-green, emerald, faded turquoise, and eau-de-nile -- like the colours of a dark wet jungle.

It seems to me that the comprehension and enjoyment of the reader, as opposed to the viewer, is best served in printing this version rather than a slavish definitive transcription. Besides, what film is truly definitive? By the time you see the film it may very well be sub-titled, re-edited, shortened, even censored, and every film is viewed at the discretion of the projectionist, the cinema manager, the architect of the cinema, the comfort of your seat and the attention of your neighbour.

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In practically every film you experience, you can see the director following the text. Illustrating the words first, making the pictures after, and, alas, so often not making pictures at all, but holding up the camera to do its mimetic worst.

There is nothing more splendid than the prospect of sitting in the morning before a new ink-stone and a sheet of white paper. The smell of the white paper is like the scent of the skin of a new lover who has just paid a surprise visit out of a rainy garden. And the black ink is like lacquered hair. And the quill? Well the quill is like the instrument of pleasure whose purpose is never in doubt but whose surprising efficiency one always -- always forgets.