I clutched at the brow. The mice in my interior had now got up an informal dance and were buck-and-winging all over the place like a bunch of Nijinskys.

Freddie experienced the sort of abysmal soul-sadness which afflicts one of Tolstoy's Russian peasants when, after putting in a heavy day's work strangling his father, beating his wife, and dropping the baby into the city's reservoir, he turns to the cupboards, only to find the vodka bottle empty.

I laughed derisively. "For goodness' sake, don't start gargling now. This is serious." "I was laughing." "Oh, were you? Well, I'm glad to see you taking it in this merry spirit." "Derisively," I explained.

I believe the only way a writer can keep himself up to the mark is by examining each story quite coldly before he starts writing it and asking himself if it is all right as a story. I mean, once you go saying to yourself, 'This is a pretty weak plot as it stands, but I'm such a hell of a writer that my magic touch will make it okay,' you're sunk. If they aren't in interesting situations, characters can't be major characters, not even if you have the rest of the troop talk their heads off about them.

Now, I'm a mixer. I can't help it. It's my nature. I like men. I like the taste of their boots, the smell of their legs, and the sound of their voices. It may be weak of me, but a man has only to speak to me, and a sort of thrill goes down my spine and sets my tail wagging.

It is the bungled crime that brings remorse.

Intoxicated? The word did not express it by a mile. He was oiled, boiled, fried, plastered, whiffled, sozzled, and blotto.