Here is Guy Davenport reviewing a biography of Stephen Crane:
Stephen Crane is an intractable subject because so much of his emotional life is an impenetrable surface. Benfey has hard weather of it with the love affairs, and even with Cora, who remains a blur. Only Conrad’s account of knowing Crane (the preface to Beer’s biography) gives us any sense of what the man was like, and Conrad’s words are so finely nuanced, so ironically reserved, and so obviously shaped for effect, as to be a Conrad story, a kind of “Secret Sharer” in a different key. One hopes that Max Beerbohm was tempted to make a drawing of Conrad telling Crane, all of a long evening, Balzac’s La Comédie humaine. What other writer would have asked to have it told, and what other writer would have obligingly told it?Davenport is one of my favorite prose stylists; look at the mileage he gets out of three parallel adverb / adjective combinations, or from the echo of intractable / impenetrable. I haven't bolded words like "any" or "other," or the adjective in titles like "secret or "humaine," just the straightforwardly descriptive and restrictive adjectives.