James Salter’s 10 Worst Sentences — From ‘All That Is’ and ‘Dusk’

James Salter’s novel All That Is came out last month, and many articles about it have quoted Richard Ford’s comment that Salter “writes American sentences better than anyone writing today.” Does he deserve that praise? You be the judge.

Here are 10 sentences from All That Is and from Salter’s PEN/Faulkner Award–winning Dusk and Other Stories:

From All That Is
“It was a departure of foreboding, like the eerie silence that precedes a coming storm.”
“Eerie silence” is a cliché, and “coming” in that sentence is redundant.

“It’s too peaceful.” [A sailor just before a kamikaze strike on his ship]
Cavalrymen say this before the Apaches attack in cowboy movies.

“He had no system for gambling, he bet on instinct, some men seem to have a gift for it.” 
Meet the king of the comma splices.

“Her buttocks were glorious, it was like being in a bakery …”
No comment.

“Her husband-to-be was smiling as she came towards him, Sophie was smiling, nearly everyone was.”

Apart from the comma splices: What’s with the British spelling of “towards,” which appears 36 times in this novel about an American man? It’s “toward” in American English. The book also uses “backwards” instead of the American “backward.”

From Dusk and Other Stories
“Forty-six. … She would never be any younger.”
In other words, she’s just like the rest of us who will never be any younger.

“Of course, she was nervous. She was thirty.”
See a theme developing?

“He was wildly generous, he seemed to care nothing for money, it was crumpled in his pockets like waste paper, when he paid for things it would fall to the floor.”
More comma splices.

“She was a woman who had read books, played golf, gone to weddings, whose legs were good, who had weathered storms, a fine woman whom no one now wanted.”
When he says “no one now wanted,” he means, “no man now wanted.”

“Her most useful friend was a hysterical woman named Mirella Ricci, who had a large apartment and aristocratic longings, also the fears and illnesses of women who live alone.”
Women have their uses, even if they’re “hysterical? And what are those unspecified “fears and illnesses of women who live alone”? They can’t be worse than the “fears and illnesses” of men who live alone, who die younger and are less healthy than their female peers.

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© 2013 Janice Harayda. All rights reserved.
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‘Good Books Are All Too Rare’ – Quote of the Day / John Sledge

Few book critics for U.S. newspapers write well enough to tempt publishers to issue collections of their reviews. The exceptions include John Sledge, who spent 17 years as the books editor of the Mobile Press-Register before that former daily switched to a three-day-a-week print run in 2012. The University of South Caroline Press has just published a collection of Sledge’s literary essays and reviews, Southern Bound: A Gulf Coast Journalist on Books, Writers, and Literary Pilgrimages of the Heart, in April. The book includes this quote:

“Good books are all too rare; flawed ones, common; and terrible ones, ubiquitous.”

What Is Poetry? Quote of the Day / John Updike

You can define poetry in many ways. You can focus its form, its content, its language, its purposes or its differences from prose. Or you can define it as John Updike — the poet, novelist and critic — did in Higher Gossip: Essays and Criticism. He said that poetry is “the exercise of language at its highest pitch.”

Emma Darwin to Charles – Valentine’s Day Quote of the Day

“I should be most unhappy if I thought we did not belong to each other forever.”
Emma Darwin to her husband, Charles, c. February 1839, as quoted in Deborah Heiligman’s Charles and Emma: The Darwins’ Leap of Faith (Holt, 2009), a National Book Award finalist

What Is the Difference Between ‘Text’ and ‘Subtext’? Quote of the Day From ‘Story’

“Text means the sensory surface of a work of art. In film it’s the images onscreen and the soundtrack of dialogue, music, and sound effects. What we see. What we hear. What people say. What people do. Subtext is the life under that surface – thoughts and feelings both known and unknown, hidden by behavior.”

From Robert McKee’s Story: Substance, Structure, Style, and the Principles of Screenwriting (It Books/Harper Collins, 1997).

What Is ‘Theme’ in Fiction? / Quote of the Day From ‘Story’

“Theme has become a rather vague term in the writer’s vocabulary. ‘Poverty,’ ‘war,’ and ‘love,’ for example, are not themes; they relate to setting or genre. A true theme is not a word but a sentence – one clear sentence that expresses a story’s irreducible meaning.’’

From Robert McKee’s Story: Substance, Structure, Style, and the Principles of Screenwriting (It Books/Harper Collins, 1997).

When Journalism Is ‘Churnalism’ – Quote of the Day / Nick Davies

Linda Polman indicts humanitarian-aid abuses and journalists who turn a blind eye to them in her The Crisis Caravan (Metropolitan, 2010). In this excerpt, she quotes a former employee of Médecins Sans Frontières (Doctors Without Borders) who saw the “churnalism”:

“Do aid workers use journalists? Of course, they do, said Jacques de Milliano, former director of the Dutch MSF. ‘To raise funds. It’s the job of journalists to provide balanced reporting, to refuse to prostitute themselves to aid organizations. There ought to be an element of journalistic pride.’

“Journalism seems to be moving in precisely the opposite direction. Costs are cut and standards are eroded by media proprietors, resulting in what the British journalist Nick Davies in his book Flat Earth News calls ‘churnalism’; in other words, ‘journalists failing to perform the simple basic functions of their profession; quite unable to tell their readers the truth about what is happening on their patch. This is journalists who are no longer out gathering but who are reduced instead to passive processors of whatever material comes their way, churning out stories, whether real event or PR artifice, important or trivial, true or false.’”

Religious Motifs in ‘Room’ — Quote of the Day

Critics have all but ignored the obvious religious motifs in Emma Donoghue’s novel Room, including its many references to God, Jesus, and Christian saints. But Donoghue talked about the spiritual framework for her bestseller in an Economist interview about the book, which tells the story of a mother and her 5-year-old son held captive in a backyard garden shed. Here is an excerpt from her comments:

The Economist: Both Ma and Jack pray and, especially in the case of Ma, find comfort in their faith. How does faith figure in to Room?

Emma Donoghue: I’ve always been religiously inclined but it doesn’t come up in most of my books. I always knew it would be central to Room because prisoners cling to whatever tatters of faith they’ve got: look at those Chilean miners and their daily prayer groups. Between you and me, I’m not sure how literally Ma believes in all that, but it certainly makes sense that she would have taken whatever vague Christian framework she had and offered it to Jack as part of her system for making meaning of their days, and keeping hope alive. Kids delight in “magical thinking,” whether in the form of the Tooth Fairy or the saints: whether you see these as comforting lies or eternal verities, they are part of how we help kids make sense of the world. I think that’s why the religious element of Room does not seem to bother non-religious readers; they can just put it on a par with Santa. But for me, Room is a peculiar (and no doubt heretical) battle between Mary and the Devil for young Jesus. If God sounds absent from that triangle, that’s because I think for a small child God’s love is represented, and proved, by mother-love.

You can read the full interview on the Prospero blog for the Economist. And you can read more about the religious motifs in a One-Minute Book Reviews review of Room and in a reading group guide to the novel.

Hot Air Blows in From Academia – Quote of the Day / Ben Yagoda in ‘Memoir: A History’

Ben Yagoda writes in his recent Memoir: A History (Riverhead, 291 pp., $25.95), a survey of personal narratives the from 5th-century Confessions of St. Augustine to the present:

“In the 1980s, an unfamiliar pronoun began to appear in works of academic philosophy, history, literary criticism, anthropology, and other fields: ‘I.’ An especially popular formation was ‘I want to argue that,’ introducing a clause that, twenty years earlier, would have been the entire sentence.”

What Was Shakespeare’s Point of View on Life? Quote of the Day / Christian Gauss

Most books about William Shakespeare focus on one aspect of his life or work and skirt the big question that underlies both: What was Shakespeare’s point of view on life? An answer came from the literary critic  and Princeton University professor Christian Gauss as quoted by his former student Edmund Wilson:

Wilson writes that Gauss began one of his lectures by saying:

“There are several fundamental philosophies that one can bring to one’s life in the world — or rather, there are several ways of taking life. One of these ways of taking the world is not to have any philosophy at all – that is the way that most people take it. Another is to regard the world as unreal and God as the only reality; Buddhism is an example of this. Another way may be summed up in the words Sic transit gloria mundi – that is the point of view you find in Shakespeare.”

From “Christian Gauss as a Teacher of Literature” in The Portable Edmund Wilson (Viking Penguin, 1983), edited, with an introduction and notes, by Lewis M. Dabney.