When we are young, the words are scattered all around us. As they are assembled by experience, so also are we, sentence by sentence, until the story takes shape.
Louise ErdrichRead
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When we are young, the words are scattered all around us. As they are assembled by experience, so also are we, sentence by sentence, until the story takes shape.
I like the construction of sentences and the juxtaposition of words-not just how they sound or what they mean, but even what they look like.
There's a moral force in a sentence when it comes out right. It speaks the writer's will to live.
Pithy sentences are like sharp nails which force truth upon our memory.
Every sentence I utter must be understood not as an affirmation, but as a question.
[her] mind blackens. The blackness is not a thought, but if it could be pressed into a thought, if a chemical from a dropper could be dripped onto it causing its color and essence to become visible, it would take the shape of this sentence: Why does no one want me?
It is altogether unlawful to kill oneself... Wherefore suicide is contrary to the inclination of nature, and to charity whereby every man should love himself... Life is God's gift to man, and is subject to His power, Who kills and makes to live. Hence whoever takes his own life, sins against God... for it belongs to God alone to pronounce sentence of death and life.
People often ask me why my style is so simple. It is, in fact, deceptively simple, for no two sentences are alike. It is clarity that I am striving to attain, not simplicity. Of course, some people want literature to be difficult and there are writers who like to make their readers toil and sweat. They hope to be taken more seriously that way. I have always tried to achieve a prose that is easy and conversational. And those who think this is simple should try it for themselves.
I will call no being good who is not what I mean when I apply that epithet to my fellow creatures; and if such a creature can sentence me to hell for not so calling him, to hell I will go .
What makes literature interesting is that it does not survive its translation. The characters in a novel are made out of the sentences. That's what their substance is.
Don’t romanticise your ‘vocation’. You can either write good sentences or you can’t. There is no ‘writer’s lifestyle’. All that matters is what you leave on the page.
I think the written word is probably the best medium of communication because you have time to reflect, you have time to choose your words, to get your sentences exactly right. Whereas when you're being interviewed, say, you have to talk on the fly, you have to improvise, you can change sentences around, and they're not exactly right.
I come from not just a household but a country where the finesse of language, well-balanced sentence, structure, syntax, these things are driven into us, and my parents, bless them, are great custodians of the English language.
Lovers communicate not inside sentences, but between them. Passion lurks within interstice. It is grouting rather than bricks.
Reading is performance. The reader--the child under the blanket with a flashlight, the woman at the kitchen table, the man at the library desk--performs the work. The performance is silent. The readers hear the sounds of the words and the beat of the sentences only in their inner ear. Silent drummers on noiseless drums. An amazing performance in an amazing theater.
Occasionally, in the middle of a conversation her name would be mentioned, and she would run down the steps of a chance sentence, without turning her head.
Luck is when preparation meets opportunity. I'll share the formula I learned while forging my way forward as a full-time painter for forty-four years. The steps all break down to one simple sentence: Make art that connects with enough folks for you to earn a splendid living.
A sentence should contain no unnecessary words, a paragraph no unnecessary sentences, for the same reason that a drawing should have no unnecessary lines and a machine no unnecessary parts.
By being so long in the lowest form [at Harrow] I gained an immense advantage over the cleverer boys. . . . I got into my bones the essential structure of the ordinary British sentence - which is a noble thing. Naturally I am biased in favor of boys learning English; I would make them all learn English: and then I would let the clever ones learn Latin as an honor, and Greek as a treat.
The reader must come armed , in a serious state of intellectual readiness. This is not easy because he comes to the text alone. In reading, one's responses are isolated, one'sintellect thrown back on its own resourses. To be confronted by the cold abstractions of printed sentences is to look upon language bare, without the assistance of either beauty or community. Thus, reading is by its nature a serious business. It is also, of course, an essentially rational activity.
What had been (at the beginning) no bigger than a full stop had expanded into a comma, a word, a sentence, a paragraph, a chapter; now it was bursting into more complex developments, becoming, one might say, a book - perhaps an encylopaedia - even a whole language.
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