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On How to Write a Sentence and How to Read One, by Stanley Fish.
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After thirty years of teaching a university course in something called advanced prose style, my accumulated wisdom on the subject, inspissated into a single thought, is that writing cannot be taught, though it can be learned—and that, friends, is the sound of one hand clapping. A. J. Liebling offers a complementary view, more concise and stripped of paradox, which runs: “The only way to write is well, and how you do it is your own damn business.”
Learning to write sound, interesting, sometimes elegant prose is the work of a lifetime. The only way I know to do it is to read a vast deal of the best writing available, prose and poetry, with keen attention, and find a way to make use of this reading in one’s own writing. The first step is to become a slow reader. No good writer is a fast reader, at least not of work with the standing of literature. Writers perforce read differently from everyone else. Most people ...
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This article originally appeared in The New Criterion, Volume 29 June 2011, on page 4
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On the novelist's flaws, foibles & fallings-out.
The Central Library Plan's renovations to the New York Public Library will hurt both scholars and average users.
by Marco Grassi
On the art historian Bernard Berenson's life and influence
by Bruce Cole
The folly of Richard Koshalek and the dire financial situation of the Hirshhorn museum
December 19 2013
FRIENDS, YOUNG FRIENDS, AND AUTHORS EVENT: Holiday Party 2013
Introduction to The Kennedy Phenomenon
The Kennedy Phenomenon: "Watching the Kennedy Train-Wreck"
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