form & style

A salute to sentences

July 2, 2014 | 15 Comments

Jenny Davidson loves to read. In fact, she’s spent her entire life immersed in words as a professional reader. A professor of English and Comparative Literature at Columbia University, Davidson has written four novels and two academic works. Her blog is called “Light Reading.”

In a new book, Reading Style: A Life in Sentences, she explores literature while weaving together vignettes from her two worlds of reader and critic. She likens the reading habit to a compulsion or an addiction. For fellow reading addicts, she suggests keeping a field notebook, as an ornithologist might on bird sightings, to record those sentences that “glimmer.”

Davidson debunks the “self-improvement” motive to read, calling reading “a form of intellectual play” rather than a lesson. She boils it down to the “details of language” and states firmly: “All sentences are not created equal.” She labels sentences “verbal artifacts,” believing style is everything. A person’s temperament can be discerned by sentences written, she says, adding, “a sentence is the key to the heart.” She confesses she was a “word child.”

While weighing the merits of a comma versus a colon or semicolon, she champions the comma for being less judgmental—but loathes the Oxford comma.

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Lindbergh, 1927

Ray Bradbury: “Style is truth”

August 3, 2013 | 6 Comments

I’m on the road as I post this, headed for Berkeley, California, where our son is entering graduate school; one of my sisters just moved across the way, to San Francisco. My wife and I are driving cross country from Ohio. An adventure! We’ve stopped for the night in Miami, Oklahoma, which is hot and crowded with casinos. I feel at home, though, because the folks are friendly and because my Mom was from Oklahoma. This afternoon in central Missouri I knew we were getting into the West because when we stopped in the backwater of Buffalo for a soda, I noticed in the McDonald’s a row of stools had real leather kids’ saddles for seats.

We reserved a modest vehicle for this trip, but the guy at the rental company said we’d probably be uncomfortable crossing the desert and might have difficulty getting over the mountains. In fact, he implied, we might die. So we rented, for only $20 more a day, a huge (to us) Lincoln Navigator. It is black, and terrifying. We feel like real Americans at last. But will we be safe in San Francisco ensconced in such an SUV? We look like Secret Service, or drug dealers. Or both.

I’m working on a book review on the road, and meantime here is a summer roundup of stuff I’ve found interesting.

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Richard Russo’s ‘Elsewhere’

February 4, 2013 | 20 Comments

Review: Narrative risks & rewards in a talky memoir about Mom. “You do know your mother’s nuts, right?”—Russo’s father to him when he was twenty. Elsewhere by Richard Russo. Knopf, 243 pp. Rather dense, slow-moving, and expository, Elsewhere isn’t a memoir I’d make students read. Smoothly written, interestingly structured, a complex portrait of mental illness, love, and lower middle class life in a wretched town, Elsewhere is a book I’d recommend, with caveats, to adults. They must be serious readers, …

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Klinkenborg’s hymn to prose

August 26, 2012 | 15 Comments

Verlyn Klinkenborg’s long poem celebrates short sentences. The Rural Life by Verlyn Klinkenborg. Back Bay Books, 224 pp. Several Short Sentences About Writing by Veryln Klinkenborg. Knopf, 224 pp. “You’ll make long sentences again, but they’ll be short sentences at heart,” writes Verlyn Klinkenborg in Several Short Sentences About Writing. Is that wise and poetic or opaque and unhelpful? This passage from Klinkenborg’s The Rural Life, 2003, may show what he means: The Fourth of July steals over a small …

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A life sentence

August 22, 2012 | 21 Comments

Six years ago, in August 2006, during a writers’ gathering at Goucher College, Baltimore, I was dispatched to fetch Verlyn Klinkenborg from his hotel. He was silent, riding in my van. Then on campus he took the stage and began speaking on “The Genre of the Sentence.” No deferential joke or aw shucks warmup. He stared into the dim auditorium and lobbed oracular commandments: “Don’t believe what others believe”; “Look for gaps between sentences, paragraphs.”

He disdained sentence fragments, semicolons, and transitions. Oh, and workshopping. Was it my imagination that the hall’s temperature dropped ten degrees? He resembled a dyspeptic owl. Across the top row of seats, perched like crows, the teachers glared down at him. In between them and him, the students, fresh from their workshops, perked up. What’s with this guy?

“I had been thinking about writing about nonfiction,” he said. “I have written several hundred short sentences about writing, now a book. I’m very pragmatic. How do you get the work done, make the sentences? What do you think about when you make sentences?”

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Writing by the think-system

August 18, 2012 | 15 Comments

Veryln Klinkenborg on creating sentences—on the page & before. Your job as a writer is making sentences. Most of your time will be spent making sentences in your head. In your head. Did no one ever tell you this? —Several Short Sentences About Writing In his intense little essay August 13 in The New York Times promoting his new book, Several Short Sentences About Writing, Veryln Klinkenborg clears his throat for three paragraphs, takes a swipe at composition teachers, and unveils …

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John Gardner’s killer sentence

April 22, 2012 | 5 Comments

I was reading the late novelist’s short story “Redemption,” based on the accidental death of his younger brother in a horrifying farming accident, and found its sentences beautifully crafted. John Gardner, at eleven, was driving a tractor when his brother fell under its towed cultipacker, a pair of giant rolling pins for mashing the clods in harrowed soil that weighed two tons. In the story, grief almost destroys the father, like Gardner’s father a dairyman, orator, and lay preacher; the …

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