By Brooks Landon
Based at the bestselling sequence from the nice classes, development nice Sentences celebrates the sheer pleasure of language—and will ceaselessly switch how you learn and write.
Great writing starts with the sentence. even if it’s phrases (“Jesus wept.”) or William Faulkner’s 1,287-word sentence in Absalom! Absalom!, sentences have the facility to captivate, entertain, inspire, teach, and, most significantly, pride. but, the sentence-oriented method of writing is just too usually ignored in want of bland economic climate. development nice Sentences teaches you to put in writing larger sentences by means of luxuriating within the pleasures of language.
Award-winning Professor Brooks Landon attracts on examples from masters of lengthy, dependent sentences—including Don DeLillo, Virginia Woolf, Joan Didion, and Samuel Johnson—to display the mechanics of ways language works on suggestions and feelings, delivering the instruments to jot down strong, more beneficial sentences.
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Additional resources for Building Great Sentences: How to Write the Kinds of Sentences You Love to Read (Great Courses)
And with each “new face,” as with each literary genre in which the early modern woman writes herself, a new aspect of identity is given shape. A. course, “Writing and Identity in Early Modern England,” and to colleagues in the Later Renaissance Literature section of the conference of the International Association of University Professors of English (Vancouver, summer 2004). 1 2 3 4 See, for example, Eavan Boland, Object Lessons: The Life of the Woman and the Poet in Our Time (Manchester: Carcanet, 1995); Meena Alexander, Fault Lines (New York: Feminist Press, 1993); and Michele Roberts, All the Selves I Was: New and Selected Poems (London: Virago, 1995).
Peter Sabot (Harmondsworth: Penguin, 1985), letter 1, p. 44. See the important account of gender, identity and literacy in Eve Rachele Sanders, Gender and Literacy on Stage in Early Modern England (Cambridge: Cambridge UP, 1999). See Steen, textual introduction, pp. 107–8. Barbara Kiefer Lewalski, Writing Women in Jacobean England (Cambridge, MA: Harvard UP, 1993), p. 67. For further discussion of these paradoxes, see Early Modern Women’s Letter Writing, 1450–1700, ed. James Daybell (Basingstoke: Palgrave, 2001) and forthcoming research by Nadine Akkerman on the epistolary culture surrounding Elizabeth of Bohemia.
To what extent is the self-image also “lying” in another sense—creating a fiction, misrepresenting the self? With this wordplay Kay manages to suggest the paradoxes of singularity and doubleness, expression and deception, inherent in the attempt at self-scrutiny. As we have seen, there are fictions and conventions vitally at work in written self-expression, whether in a lyric or a letter. However, I contend that a crucial determining factor in selfrepresentations is the writer’s choice of genre, even when—as in the case of Cavendish—the same author is projecting herself in more than one text.
Building Great Sentences: How to Write the Kinds of Sentences You Love to Read (Great Courses) by Brooks Landon