Kirpal's left hand swoops down and catches the dropped fork an inch from the floor and gently passes it into the fingers of his daughter, a wrinkle at the edge of his eyes behind his spectacles.
Michael OndaatjeYou can see that the care he took defiling the beauty he had forced in them was as precise and clean as his good hands which at night had developed the negatives, floating the sheets in the correct acids and watching the faces and breasts and pubic triangles and sofas emerge. The making and destroying coming from the same source, same lust, same surgery his brain was capable of. (On New Orleans photographer E. J. Bellocq)
Michael Ondaatje