You see,

Anderson’s writing is decidedly paratactic- first this happens and then that and then that. But the effective flow of it is a result that despite the fact that that the ideas seem isolated from one another, they do ease into the next. Anderson is the master of the story- he doesn’t tell us what happens, he explains what happens. There is no separation here between action and meaning, we get it all at once.
Anderson constantly resorts to “you see”, which in a way it’s him saying “you see, I’m telling you the story”. We don’t get to decide the mustache is ludicrous, he tells us and then explains why.
The entire piece reads like a montage, Anderson doesn’t spend much time in one scene, he instead lists events and what these mean.
His talky tone and use of low style (“Quite a fuss was made about the matter”) make the writing approachable, even if what he’s saying is quite esoteric:
“He was like a pregnant woman, only that the thing inside was not a baby but a youth.”
Anderson is the master and commander of the story, but he’s not pompous about he’s power. He’s flawed and thinks as he goes along. Here, he corrects himself in the midst of narration:
“No, it wasn’t a youth, it was a woman, young, and wearing a coat of mail like a knight.”
It’s like a witness talking to a sketch artist. He has authority and confidence in guiding us through the story, but he’s flawed. When he finally finds the word or idea he’s been looking for, he proceeds with emphatic confidence, like when he first introduces the idea of the grotesque, and goes on to expand on that