Chapter 1
They were the people he felt he must paint. He would never again do a fat red barn, old stone wall or sturdy Nantucket fisherman. (1.11)
Chapter 2
Despite the sincere indignation that Abe's grotesque depravity aroused in him, he welcomed his company. The little man [...] made him feel certain of his need to paint. (2.11)
Chapter 3
He [...] fixed his collar and tie, but his eyes kept straying to the photograph that was pushed into the upper corner of the frame. (3.1)
Chapter 4
"Here, you black rascal! A mint julep."A Chinese servant came running with a Scotch and soda. (4.4)
Chapter 5
Perhaps Faye also worked for Mrs. Jenning. If so, for thirty dollars… (5.37)
Chapter 6
At first glance this man seemed an exact model for the kind of person who comes to California to die [...] down to the fever eyes and unruly hands. (6.17)
Chapter 7
It was only the second house the real estate agent showed him, but he took it because he was tired and because the agent was a bully. (7.3)
Chapter 8
How bold the creature was! She was drunk, of course, but not so drunk that she didn't know what she was doing. He hurriedly labeled his excitement disgust. (8.20)
Chapter 9
His emotions surged up in an enormous wave [...] until it seemed as though the wave must carry everything before it. But the crash never came. (9.1)
Chapter 10
The lizard was self-conscious and irritable. [...] Whenever one of its elaborate stalks was foiled, it would shift about uneasily on its short legs and puff out its throat (10.8)
Chapter 11
Although she was seventeen, she was dressed like a child of twelve in a white cotton dress with a blue sailor collar. Her long legs were bare and she had blue sandals on her feet. (11.77)
Chapter 12
He tried to think of how very tired he was, but he wasn't tired. He felt more alive than he had at any time since Romola Martin. (12.6)
Chapter 13
In "The Burning of Los Angeles" Faye is the naked girl in the left foreground being chased by the group of men and women who have separated from the main body of the mob. (13.38)
Chapter 14
He told himself that it didn't make any difference because he was an artist, not a prophet. [...] Nevertheless he refused to give up the role of Jeremiah. (14.137)
Chapter 15
He also noticed that Harry, like many actors, had very little back or top to his head. It was almost all face, like a mask. (15.12)
Chapter 16
Tod thought he understood their suddenly change to slang. It made them feel worldly and realistic, and so more able to cope with serious thing. (16.72)
Chapter 17
She had never looked more beautiful. She was wearing a new, very tight black dress and her platinum hair was tucked up in a shining bun. (17.8)
Chapter 18
Just as that imaginary body of water was a history of civilization in the form of marine junkyard, the studio lot was one in the form of a dream dump. (18.12)
Chapter 19
He shut the portfolio that held the drawings he had made of her, tied it with a string, and put it away in his trunk. (19.120)
Chapter 20
When he had finished, there was a great deal of applause. The young man shook himself and became an actor again. [...] His imitation of a man was awkward and obscene. (20.59)
Chapter 22
Faye alone remaining standing. She was completely self-possessed despite their stares. She stood with one hip thrown out and her hand on it. (22.15)
Chapter 24
The red velvet curtains were all drawn tight, but he could see Homer sitting on the couch and staring at the back of his hands. (24.4)
Chapter 26
Nothing could hurt her. She was like a cork. No matter how rough the sea got, she would go dancing over the same waves that sank iron ships. (26.31)
Chapter 27
Despite the agony in his leg, he was able to think clearly about his picture, "The Burning of Los Angeles." (27.80)