interwar adventure writing, such as the novels of [John] Buchan, but also widespread literary culture. Dr. No is physically disfigured, like many of Bond's later adversaries; No is tall, with steel pincers for hands and has dextrocardia. Bond describes him as "a giant venomous worm wrapped in grey tin-foil". Benson considers that No is "a wickedly successful villain", the best since Hugo Drax in Moonraker, while Time thought No to be "one of the less forgettable characters in modern fiction". Quarrel was Fleming's idealised concept of a black person, and the character was based on his genuine liking for Jamaicans, whom he saw as "full of goodwill and cheerfulness and humour". The relationship between Bond and Quarrel was based on a presumption of Bond's superiority. Fleming described the relationship as "that of a Scots laird with his head stalker; authority was unspoken and there was no room for servility". Winder considers the scenes with Quarrel to be "embarrassingly patronising but nonetheless hypnotic". Style In From Russia, with Love Fleming experimented with an unusual narrative structure that saw Bond's entry into the story delayed until chapter eleven. For Dr. No he returned to the conventional form with which he felt comfortable—that of the thriller writers of the early 20th century. As a result, the story's villain is closer to the intellectual "gentleman crook" of the golden age of detective fiction, and the novel's focus is on action at the expense of character development and depth of plot. Benson describes the "Fleming Sweep" as taking the reader from one chapter to another using "hooks" at the end of chapters to heighten tension and pull the reader onto the next. He feels that the "Fleming Sweep briskly propels the plot" of Dr. No through chapters that are longer than in previous Bond novels; Black also likes Dr. Nos pacing, despite considering it inconsistent in places. Winder believes that the novel's plotting is chaotic, although he still feels the book "can be read over and over again with immense pleasure". Fleming used known brand names and everyday details to produce a sense of realism, which the writer Kingsley Amis calls "the Fleming effect". Amis describes "the imaginative use of information, whereby the pervading fantastic nature of Bond's world ... [is] bolted down to some sort of reality, or at least counter-balanced." The journalist and writer Matthew Parker sees the novel as "the most fantastical,