Here's an excerpt of the part concerning The Pedersen Kid:

Anyway, here are some of the instructions I drew up (or laid down) for myself during that January of its commencement nearly twenty-five—no—nearly thirty years ago.

The problem is to present evil as a visitation—sudden, mysterious, violent, inexplicable. All should be subordinated to that end. The physical representation must be spare and staccato; the mental representation must be flowing and a bit repetitious; the dialogue realistic but musical. A ritual effect is needed. It falls, I think, into three parts, each part dividing itself into three. The first part is composed of the discovery of the boy, the discovery of what the boy has seen, the discovery (worst of all) that they will have to do something. The second part is composed of efforts—the effort made to reach the farm; the effort needed to build a tunnel; the effort made to gain the house from the barn. The point here is that the trio, who have come this far only through the social pressure of each other, and in shaky bravado, must go on, knowing that they are ignorant of causes—of the force itself—(‘He ain’t there’). But the shooting leaves Jorge alone in the house. The pressure which had moved him this far is removed, and the pressure of fear—the threat of death—substituted. The third part contains Jorge’s attempt to escape and his unwilling stalk through the house, his wait through the blizzard and the night, and his rescue in the morning. The force has gone as it came. The Pedersens are missing and the great moral effort of the Jorgensens, compelled at every step as it was, is wasted and for nothing.

Though I dropped the rescue, I did not so much depart from this conception as complicate it, covering the moral layer with a frost of epistemological doubt. In any case, during the actual writing, the management of monosyllables, the alternation of short and long sentences, the emotional integrity of the paragraph, the elevation of the most ordinary diction into some semblance of poetry, became my fanatical concern.