“Know the names of things and the names of places. Both are a kind of poetry and both contain mysteries. It is an ancient intuition that to possess something’s proper name is to possess power over it; it is, if nothing else, to share in that thing’s form—its unique manner, that is, of making being’s inexhaustible richness manifest.” – David Bentley Hart, “How to Write English Prose”
Category: Lit & Crit
“One day you will die and go to your long home and your voice will fall silent. You have only so much time to make the treasures of your mind and soul manifest. Do not waste the little span allotted to you producing only work intended for the moment rather than for posterity.” – David Bentley Hart, “How to Write English Prose”
“Do not write down to what you presume to be the level of your readers (unless you are writing specifically for very small children). To do so is an injustice both to them and to you. Even if your suppositions regarding them are correct, you should do them the honor of assuming they know what you know, or can learn it, or are at least willing to try. True, some readers become indignant at their own inability to follow prose of any complexity or to recognize words any more obscure than those they are accustomed to using when talking to their dogs. Invariably they will blame the author rather than themselves. You owe them absolutely nothing. If you attempt always to descend to the lowest common denominator, you will never hit bottom, but you will certainly end up losing the interest of better readers.” – David Bentley Hart, “How to Write English Prose”
“Those who read only to be informed and never to delight in the words on the page have every right to do so. But do not write for them.” – David Bentley Hart, “How to Write English Prose”
“A writer who disdains the semicolon is a fool. In fact, hostility to this most delicate and lyrical of punctuation marks is a sure sign of a deformed soul and a savage sensibility. Conscious life is not a brute concatenation of discrete units of experience; it is often fluid, resistant to strict divisions and impermeable partitions, punctuated by moments of transition that are neither exactly terminal nor exactly continuous in character. Meaning, moreover, is often held together by elusive connections, ambiguous shifts of reference, mysterious coherences. And art should use whatever instruments it has at its disposal to express these ambiguous eventualities and perplexing alternations. To master the semicolon is to master prose. To master the semicolon is to master language’s miraculous capacity for capturing the shape of reality. Second only to the semicolon in subtlety, fluent beauty, and whimsy is the dash. Cherish it. Use it with abandon.” – David Bentley Hart, “How to Write English Prose”
“If you were told in school that Hemingway’s Old Man and the Sea is a specimen of good writing, disabuse yourself of this folly. It is in fact an excruciating specimen of bad schoolboy prose, written by a man who by that point had, alas, been too often drunk, too often concussed, and too often praised.” – David Bentley Hart, “How to Write English Prose”
“If you have ever taken a course in ‘creative writing,’ try to remember as vividly as possible the kind of prose you were encouraged by your teacher to write, and then do your very best to avoid writing that way.” – David Bentley Hart, “How to Write English Prose”
“Always read what you have written aloud. No matter how elaborate your prose, it must flow; it must feel genuinely continuous. This is not to say one must imitate natural speech; it is only to say that one must try to capture its rhythms. If what you have written is awkward on your tongue, then it is awkward on the page.” – David Bentley Hart, “How to Write English Prose”
“If you own a copy of The Elements of Style, just destroy the damned thing. It is a pestilential presence in your library. Most of the rules of style it contains are vacuous, arbitrary, or impossible to obey, and you are better off without them in your life. And the materials on grammar and usage are frequently something worse. Some of them are simply inherited fake rubrics—‘however’ must always be a postpositive, ‘which’ must not be used for a restrictive relative clause, and other nonsense of that kind—all of which are belied by the whole canon of English literature.” – David Bentley Hart, “How to Write English Prose”
“One of the chief differences between actual linguistic meaning (on the one hand) and mere ostensive noises and gestures (on the other) is the former’s reliance upon structural rather than spatial proximities. The capacity to qualify a predicative phrase by the interpolation of a subordinate clause (for example) is one of those precious attainments that distinguish us from baboons.” – David Bentley Hart, “How to Write English Prose”
“English is a gloriously mongrel tongue, and it has always pillaged other languages for glittering trinkets.” – David Bentley Hart, “How to Write English Prose”
“Never prefer a short word because it is short or a long word because it is long, but always use the word that to your mind best combines sense, felicity, connotation, wit, and sound, without worrying about whether your readers are likely to recognize it.” – David Bentley Hart, “How to Write English Prose”
“Sometimes less is more. More often, more is more and less is less. Sometimes more is the very least one can do for one’s readers.” – David Bentley Hart, “How to Write English Prose”
“Be kind to your readers and give them exotic things when you can. In general, life is rather boring, and a writer should try to mitigate that boredom rather than contribute to it.” – David Bentley Hart, “How to Write English Prose”
“Do not use a thesaurus. Lists of putative synonyms do not give you a sense of any word’s most proper meaning and use. If you are trying to recall a word you know that inexplicably refuses to surface in your memory, maybe you will find it in such a volume; and perhaps, if you happen to be writing humorous verse and have come up against an intractable problem of scansion, you might find something suitable there. Otherwise, learn the meanings and uses of words by reading widely.” – David Bentley Hart, “How to Write English Prose”
“When the occasion presents itself for using an outlandishly obscure but absolutely precise and appropriate word, use it.” – David Bentley Hart, “How to Write English Prose”
“Always use the word you judge most suitable for the effect you want to produce, in terms both of imagery and sound, as well as of the range of connotations and associations you want to evoke.” – David Bentley Hart, “How to Write English Prose”
“Always use the word that most exactly means what you wish to say, in utter indifference to how common or familiar that word happens to be. A writer should never fret over what his or her readers may or may not know, and should worry only about underestimating them.” – David Bentley Hart, “How to Write English Prose”
“To propose a list of rules for writers is probably a very presumptuous thing to do. The only authority it can possibly have is one’s own example, and so offering it to the world is something of a gamble. One has to assume that one’s own writing is impressive enough to most readers to provide one with the necessary credentials for the task. If one is wrong on this score, issuing those rules will invite only ridicule.” – David Bentley Hart, “How to Write English Prose”
“I do not know exactly why, in the twentieth century, the dominant fashions in English prose moved relentlessly in the direction of ever greater simplification and aesthetic minimalism. I do not even entirely regret it. Tastes change, and some of the change has been a corrective of certain excesses of the past. But, on the whole, the result has been a kind of official dogma in favor of a prose so denuded of nuance, elegance, intricacy, and originality as to be often little better than infantile, not only in vocabulary but also in artistry and expressive power—a formula, that is, for producing writers whose voices are utterly anonymous in their monotonous ordinariness. Most of the fiction one reads today in literary journals is atrociously written, as are most of the essays, principally because writers have been indoctrinated in a style so rigid, barren, brutal, dry, and idiotically naïve that the best it can elicit from them is competent dullness.” – David Bentley Hart, “How to Write English Prose”
“Poetry entered the world almost as early as words did; it is the first flowering of language’s intrinsic magic—its powers of invocation and apostrophe, of making the absent present and the present mysterious, of opening one mind to another. It comes most naturally to languages in their first dawn, when something elemental—something somehow pre-linguistic and not quite conscious—is still audible in them. Prose, however, evolves only when that force has been subdued by centuries upon centuries of refinement, after unconscious enchantment has been largely mastered by conscious artistry, and when the language has acquired a vocabulary of sufficient richness and a syntax of sufficient subtlety, and has fully discovered its native cadences.” – David Bentley Hart, “How to Write English Prose”
“You should never hit anybody about God.” – Philip Roth, “The Conversion of the Jews”
“Tennis is not the only sport with skew angles. Pool has skew angles and spin and backspin. But pool is murk, pool is cramped in the dark. Soccer has geometry and passing shots, but teams, not individual players like tennis. Soccer has sun, like tennis, but also many violences. Football has an ugly sound on TV in the afternoon in a care home. Football is crippling and chunky, as is rugby. Basketball has leaps, suavity, fingertips on pebbled rubber and rubber through a net. But mainly interiors again, mainly night. Cricket has too many points and a bat like a headstone. Baseball has a prospect: all that land. And baseball has apartness, like tennis, but long periods of time where nothing happens, and also that situation of so many players and the sitting and the spitting. Tennis has brutal match lengths and returns and apartness and ongoingness and sunshine. It has one player as an intelligence moving around in space. It has elegance and wreckage and bad manners.” – Joy Katz, “Tennis Is the Opposite of Death: A Proof”
“Even if stealing is an easy matter, hiding is what’s difficult.” – Anton Chekhov, “Small Fry” (trans. Constance Garnett)
“By the end of November 1943, the new Allied Control Commission working with the [new] Italian Government was at the end of its rope. The 1943 harvest had fallen 25 to 30 percent below normal; amassing grain under the old unpopular Fascist system completely broke down and the major portion of the short harvest found its way into the black market. Even the low 150-gram bread ration [a little more than a quarter-pound per person daily] could not be maintained, and the only way to prevent mass starvation in urban centers such as Naples seemed to be a crash program of imports.” – Robert W. Coakley and Richard M. Leighton, “The Army and Civilian Supply – I,” Global Logistics and Strategy: 1943-1945
“The minor wars in Ethiopia, Spain, and Albania had placed a severe strain on the Italian economy; three years of World War II as a German ally pushed it to the brink of collapse. Italy entered the war in 1940 unprepared and was never able to mobilize her economy in efficient fashion. Though nominally an ally, Italy was forced into an economic as well as political and military dependence on Germany that left her at the mercy of the Nazi overlords of Europe. The country did not prosper under the German hegemony.” – Robert W. Coakley and Richard M. Leighton, “The Army and Civilian Supply – I,” Global Logistics and Strategy: 1943-1945
“The invasion of Sicily was the first Allied operation for which there was a definite civilian supply plan prepared in advance. The plan, to cover a 90-day military period, was based on the assumption that once the dust of battle settled, Sicily would be self-sufficient except for coal and oil. For such immediate relief needs as arose, AFHQ [Allied Force Headquarters] hoped to rely mainly on stockpiles in North Africa. Only 12,100 tons of food were requested from the United States, and some thought even that quantity excessive. The Allied Military Government of Occupied Territory (AMGOT) instituted in Sicily soon found this optimism entirely unwarranted. Whether there was enough grain to provide bread for all the people was a debatable proposition, but, for the moment quantity was irrelevant, since the lack of transport, the colossal black market, farm hoarding, and the ravages of battle kept grain out of the cities. Two months after the invasion, cities such as Palermo were still living ‘hand to mouth’ with ‘not even 24 hours reserves of breadstuffs in the town.’” – Robert W. Coakley and Richard M. Leighton, “The Army and Civilian Supply – I,” Global Logistics and Strategy: 1943-1945
“The War Department, while insisting adamantly on military control over civilian supply during the initial phases of operations in overseas theaters, also sought vigorously to limit that responsibility to the narrow field of relief. This attitude in the end produced serious delays in the provision of rehabilitation supplies necessary for the resuscitation of transportation and communication facilities, and industrial and agricultural production in liberated areas. Slow progress in rehabilitation almost inevitably resulted in larger and larger demands for relief. The experience in every liberated territory pointed to the need for a balanced economic program with internal transport as perhaps the real heart of the problem. The military formula of food, fuel, and sanitary and medical supplies was therefore hardly a satisfactory one.” – Robert W. Coakley and Richard M. Leighton, “The Army and Civilian Supply – I,” Global Logistics and Strategy: 1943-1945
“If money go before, all ways do lie open.” – William Shakespeare, The Merry Wives of Windsor 2.2
“At the outset of the North African campaign, on 13 November 1942, President Roosevelt declared: ‘No one will go hungry, or without the means of livelihood in any territory occupied by the United Nations, if it is humanly possible within our power to make supplies available to them.’ This announcement heralded the beginning of a civilian supply problem that was to complicate the work of military logisticians immensely. It was not just a matter of humanitarian concern as the President’s announcement might suggest, but one of military necessity. Disease and disorder in rear areas or lack of co-operation from local governments could easily disrupt lines of communications and endanger the success of military operations.” – Robert W. Coakley and Richard M. Leighton, “The Army and Civilian Supply – I,” Global Logistics and Strategy: 1943-1945