Complex Sentence Quotes

Simplicities are enormously complex. Consider the sentence "I love you".

What had been (at the beginning) no bigger than a full stop had expanded into a comma, a word, a sentence, a paragraph, a chapter; now it was bursting into more complex developments, becoming, one might say, a book - perhaps an encylopaedia - even a whole language...

The Hitchhiker's Guide to the Galaxy is an indispensable companion to all those who are keen to make sense of life in an infinitely complex and confusing Universe, for though it cannot hope to be useful or informative on all matters, it does at least make the reassuring claim, that where it is inaccurate it is at least definitively inaccurate. In cases of major discrepancy it's always reality that's got it wrong. This was the gist of the notice. It said "The Guide is definitive. Reality is frequently inaccurate." This has led to some interesting consequences. For instance, when the Editors of the Guide were sued by the families of those who had died as a result of taking the entry on the planet Tralal literally (it said "Ravenous Bugblatter Beasts often make a very good meal for visiting tourists: instead of "Ravenous Bugblatter Beasts often make a very good meal of visiting tourists"), they claimed that the first version of the sentence was the more aesthetically pleasing, summoned a qualified poet to testify under oath that beauty was truth, truth beauty and hoped thereby to prove that the guilty party in this case was Life itself for failing to be either beautiful or true. The judges concurred, and in a moving speech held that Life itself was in contempt of court, and duly confiscated it from all those there present before going off to enjoy a pleasant evening's ultragolf.

The portrait artist must acknowledge human complexity with each brushstroke. The eyes, nose and mouth that compose a sitter's face, just like the suffering and joy that compose his soul, are similar to those of ten million others yet still singular to him. This acknowledgment is where art begins. It may also be where mercy begins. If criminals drew the faces of their victims before perpetrating their crimes and judges drew the faces of the guilty before sentencing them, then there would be no faces for executioners to draw.

Between 1990 and 2005, a new prison opened in the United States every ten days. Prison growth and the resulting “prison-industrial complex”—the business interests that capitalize on prison construction—made imprisonment so profitable that millions of dollars were spent lobbying state legislators to keep expanding the use of incarceration to respond to just about any problem. Incarceration became the answer to everything—health care problems like drug addiction, poverty that had led someone to write a bad check, child behavioral disorders, managing the mentally disabled poor, even immigration issues generated responses from legislators that involved sending people to prison. Never before had so much lobbying money been spent to expand America’s prison population, block sentencing reforms, create new crime categories, and sustain the fear and anger that fuel mass incarceration than during the last twenty-five years in the United States.

Lyra bent over the open vessel and found the concentrated fragrance of every rose that had ever bloomed: a sweetness and power so profound that it moved beyond sweetness altogether and out of the other side of its own complexity into a realm of clear and simple purity and beauty. It was the smell of sunlight itself.

The novel’s not dead, it’s not even seriously injured, but I do think we’re working in the margins, working in the shadows of the novel’s greatness and influence. There’s plenty of impressive talent around, and there’s strong evidence that younger writers are moving into history, finding broader themes. But when we talk about the novel we have to consider the culture in which it operates. Everything in the culture argues against the novel, particularly the novel that tries to be equal to the complexities and excesses of the culture. This is why books such as JR and Harlot’s Ghost and Gravity’s Rainbow and The Public Burning are important—to name just four. They offer many pleasures without making concessions to the middle-range reader, and they absorb and incorporate the culture instead of catering to it. And there’s the work of Robert Stone and Joan Didion, who are both writers of conscience and painstaking workers of the sentence and paragraph. I don’t want to list names because lists are a form of cultural hysteria, but I have to mention Blood Meridian for its beauty and its honor. These books and writers show us that the novel is still spacious enough and brave enough to encompass enormous areas of experience. We have a rich literature. But sometimes it’s a literature too ready to be neutralized, to be incorporated into the ambient noise. This is why we need the writer in opposition, the novelist who writes against power, who writes against the corporation or the state or the whole apparatus of assimilation. We’re all one beat away from becoming elevator music.

Then he read the first sentence from the introduction: Without question this modern American dictionary is one of the most surprisingly complex and profound documents ever to be created, for it embodies unparalleled etymological detail, reflecting not only superb lexicographic scholarship, but also the dreams and speech and imaginative talents of millions of people over thousands of years—for every person who has ever spoken or written in English has had a hand in its making.

The alternative, should you, or any writer of English, choose to employ it (and who is to stop you?) is, by use of subordinate clause upon subordinate clause, which itself may be subordinated to those clauses that have gone before or after, to construct a sentence of such labyrinthine grammatical complexity that, like Theseus before you when he searched the dark Minoan mazes for that monstrous monster, half bull and half man, or rather half woman for it had been conceived from, or in, Pasiphae, herself within a Daedalian contraption of perverted invention, you must unravel a ball of grammatical yarn lest you wander for ever, amazed in the maze, searching through dark eternity for a full stop.

What, I wondered, is the message buried in the medium of the printed book? Before the words convey their specific meaning, the medium of the book tells us several things. Firstly, life is complex, and if you want to understand it, you have to set aside a fair bit of time to think deeply about it. You need to slow down. Secondly, there is a value in leaving behind your other concerns and narrowing down your attention to one thing, sentence after sentence, page after page. Thirdly, it is worth thinking deeply about how other people live and how their minds work. They have complex inner lives just like you.

As the questions grow harder and more complicated, people yearn for simpler answers, one-sentence answers, answers that point unhesitatingly to a culprit who can be blamed for all our suffering, answers that promise that if we only eradicate the villains, all our troubles will vanish.

By comparison, George W. Bush was light and breezy and apparently forgot during one debate that Social Security was a federal program. In fact, his depth, and his unfamiliarity with the complexities of the issues, to say nothing of the simple declarative sentence, worked remarkably to his advantage.

compound-complex sentence

At this point there's something I should explain about myself, which is that I don't talk much, probably too little, and I think this has been detrimental to my social life. It's not that I have trouble expressing myself, or no more than people generally have when they're trying to put something complex into words. I'd even say I have less trouble than most because my long involvement with literature has given me a better-than-average capacity for handling language. But I have no gift for small talk, and there's no point trying to learn or pretend; it wouldn't be convincing. My conversational style is spasmodic (someone once described it as "hollowing"). Every sentence opens up gaps, which require new beginnings. I can't maintain any continuity. In short, I speak when I have something to say. My problem, I suppose - and this may be an effect of involvement with literature - is that I attribute too much importance to the subject. For me, it's never simply a question of "talking" but always a question of "what to talk about". And the effort of weighing up potential subjects kills the spontaneity of dialogue. In other words, when everything you say has to be "worth the effort", it's too much effort to go on talking. I envy people who can launch into a conversation with gusto and energy, and keep it going. I envy them that human contact, so full of promise, a living reality from which, in my mute isolation, I feel excluded. "But what do they talk about?" I wonder, which is obviously the wrong question to ask. The crabbed awkwardness of my social interactions is a result of this failing on my part. Looking back, I can see that it was responsible for most of my missed opportunities and almost all the woes of solitude. The older I get, the more convinced I am that this is a mutilation, for which my professional success cannot compensate, much less my "rich inner life." And I've never been able to resolve the conundrum that conversationalists pose for me: how do they keep coming up with things to talk about? I don't even wonder about it anymore, perhaps because I know there's no answer.

A well-spoken sentence in Aturan is a straight line pointing. A well-spoken sentence in Adem is like a spiderweb, each strand with a meaning of its own, a piece of something greater, more complex.

You will do yourself a disservice if you confine your reading to the rising star whose six-figure, two-book contract might seem to indicate where your own work should be heading. I’m not saying you shouldn’t read such writers, some of whom are excellent and deserving of celebrity. I’m only pointing out that they represent the dot at the end of the long, glorious, complex sentence in which literature has been written.

The inside was full of trudging prose, compound-complex sentences that allowed the eye no rest, but the cover was a little lyric, as perfect in its way as that William Carlos Williams poem about the red wheelbarrow: a funnel filling with stars.

Certaines relations harmonieuses se créent et durent grâce à un système complexe de menues contre-vérités, de renoncements, une espèce de ballet complice d'attitudes et de postures qui peut se résumer dans un proverbe jamais assez cité, ou plutôt une sentence, cette désignation lui convenant beaucoup mieux, Toi et moi nous savons, mais tais-toi et je me tairai. (ch. 5)

The introductory statement for Paul’s famous paragraph on marriage in Ephesians is verse 21: “Submit to one another out of reverence for Christ.”1 In English, this is usually rendered as a separate sentence, but that hides from readers an important point that Paul is making. In the Greek text, verse 21 is the last clause in the long previous sentence in which Paul describes several marks of a person who is “filled with the Spirit.” The last mark of Spirit fullness is in this last clause: It is a loss of pride and self-will that leads a person to humbly serve others. From this Spirit-empowered submission of verse 21, Paul moves to the duties of wives and husbands.

In the West the idea that religion is inherently violent is now taken for granted and seems self-evident. As one who speaks on religion, I constantly hear how cruel and aggressive it has been, a view that, eerily, is expressed in the same way almost every time: “Religion has been the cause of all the major wars in history.” I have heard this sentence recited like a mantra by American commentators and psychiatrists, London taxi drivers and Oxford academics. It is an odd remark. Obviously the two world wars were not fought on account of religion. When they discuss the reasons people go to war, military historians acknowledge that many interrelated social, material, and ideological factors are involved, one of the chief being competition for scarce resources. Experts on political violence or terrorism also insist that people commit atrocities for a complex range of reasons.3 Yet so indelible is the aggressive image of religious faith in our secular consciousness that we routinely load the violent sins of the twentieth century onto the back of “religion” and drive it out into the political wilderness.

There is an aversion to long chunks of sentences...The dire problem is that long chunks of sentences are still the best way humans have to express complex thoughts, intricate observations, fleeting emotions-the whole range of what we are...It is unclear whether the American attention span can support book reading for much longer...

In the beginning was the Word'. I have taken as my text this evening the almighty Word itself. Now get this: 'There was a man sent from God, whose name was John. The same came for a witness, to bear witness of the Light, that all men through him might believe.' Amen, brothers and sisters, Amen. And the riddle of the Word, 'In the beginning was the Word....' Now what do you suppose old John meant by that? That cat was a preacher, and, well, you know how it is with preachers; he had something big on his mind. Oh my, it was big; it was the Truth, and it was heavy, and old John hurried to set it down. And in his hurry he said too much. 'In the beginning was the Word, and the Word was with God, and the Word was God.' It was the Truth, all right, but it was more than the Truth. The Truth was overgrown with fat, and the fat was God. The fat was John's God, and God stood between John and the Truth. Old John, see, he got up one morning and caught sight of the Truth. It must have been like a bolt of lightning, and the sight of it made him blind. And for a moment the vision burned on the back of his eyes, and he knew what it was. In that instant he saw something he had never seen before and would never see again. That was the instant of revelation, inspiration, Truth. And old John, he must have fallen down on his knees. Man, he must have been shaking and laughing and crying and yelling and praying - all at the same time - and he must have been drunk and delirious with the Truth. You see, he had lived all his life waiting for that one moment, and it came, and it took him by surprise, and it was gone. And he said, 'In the beginning was the Word....' And man, right then and there he should have stopped. There was nothing more to say, but he went on. He had said all there was to say, everything, but he went on. 'In the beginning was the Word....' Brothers and sisters, that was the Truth, the whole of it, the essential and eternal Truth, the bone and blood and muscle of the Truth. But he went on, old John, because he was a preacher. The perfect vision faded from his mind, and he went on. The instant passed, and then he had nothing but a memory. He was desperate and confused, and in his confusion he stumbled and went on. 'In the beginning was the Word, and the Word was with God, and the Word was God.' He went on to talk about Jews and Jerusalem, Levites and Pharisees, Moses and Philip and Andrew and Peter. Don't you see? Old John had to go on. That cat had a whole lot at stake. He couldn't let the Truth alone. He couldn't see that he had come to the end of the Truth, and he went on. He tried to make it bigger and better than it was, but instead he only demeaned and encumbered it. He made it soft and big with fat. He was a preacher, and he made a complex sentence of the Truth, two sentences, three, a paragraph. He made a sermon and theology of the Truth. He imposed his idea of God upon the everlasting Truth. 'In the beginning was the Word....' And that is all there was, and it was enough.

But James, as an artist, was deeply suspicious of what gave him pleasure, or indeed satisfaction. In his own complex sensibility, there was an ambiguity about most things, and this moved him towards subtlety when he approached character, drama, and scene, and nudged him towards many modifying subclauses when he wrote a sentence. Nothing came to him simply.

We all like to think we’re more complex than a two-sentence explanation.

The truth is simple. Lies are complex. The truth comes in sentences. Lies... in paragraphs. Pay attention to this when someone is communicating with you.

We could summarize all of this background to Bonhoeffer’s christology in one sentence, albeit a complex one: The cross was a stumbling block to the Romans; the cross was a stumbling block to the Nazis; the cross was a stumbling block to moderns; and—unless we are humbled and brought low beneath the cross to see its power and beauty—the cross can be a stumbling block to us.

He tried to imagine what it had been like to be Hemingway, in Paris, in the 1920s. To write those clear, seemingly unadorned, yet complex sentences that would change forever the way Americans wrote prose. To do all that and then go out to dinner where you knew how to order the perfect seasonal wine to go with your huîtres. To be an American in Paris back when it was O.K. to be American.

In 90% of cases, you can start with one of the two most effective ways to open a speech: ask a question or start with a story. Our brain doesn’t remember what we hear. It remembers only what we “see” or imagine while we listen. You can remember stories. Everything else is quickly forgotten. Smell is the most powerful sense out of 4 to immerse audience members into a scene. Every sentence either helps to drive your point home, or it detracts from clarity. There is no middle point. If you don’t have a foundational phrase in your speech, it means that your message is not clear enough to you, and if it’s not clear to you, there is no way it will be clear to your audience. Share your failures first. Show your audience members that you are not any better, smarter or more talented than they are. You are not an actor, you are a speaker. The main skill of an actor is to play a role; to be someone else. Your main skill as a speaker is to be yourself. People will forgive you for anything except for being boring. Speaking without passion is boring. If you are not excited about what you are talking about, how can you expect your audience to be excited? Never hide behind a lectern or a table. Your audience needs to see 100% of your body. Speak slowly and people will consider you to be a thoughtful and clever person. Leaders don’t talk much, but each word holds a lot of meaning and value. You always speak to only one person. Have a conversation directly with one person, look him or her in the eye. After you have logically completed one idea, which usually is 10-20 seconds, scan the audience and then stop your eyes on another person. Repeat this process again. Cover the entire room with eye contact. When you scan the audience and pick people for eye contact, pick positive people more often. When you pause, your audience thinks about your message and reflects. Pausing builds an audiences’ confidence. If you don’t pause, your audience doesn’t have time to digest what you've told them and hence, they will not remember a word of what you've said. Pause before and after you make an important point and stand still. During this pause, people think about your words and your message sinks in. After you make an important point and stand still. During this pause, people think about your words and your message sinks in. Speakers use filler words when they don’t know what to say, but they feel uncomfortable with silence. Have you ever seen a speaker who went on stage with a piece of paper and notes? Have you ever been one of these speakers? When people see you with paper in your hands, they instantly think, “This speaker is not sincere. He has a script and will talk according to the script.” The best speeches are not written, they are rewritten. Bad speakers create a 10 minutes speech and deliver it in 7 minutes. Great speakers create a 5 minute speech and deliver it in 7 minutes. Explain your ideas in a simple manner, so that the average 12-year-old child can understand the concept. Good speakers and experts can always explain the most complex ideas with very simple words. Stories evoke emotions. Factual information conveys logic. Emotions are far more important in a speech than logic. If you're considering whether to use statistics or a story, use a story. PowerPoint is for pictures not for words. Use as few words on the slide as possible. Never learn your speech word for word. Just rehearse it enough times to internalize the flow. If you watch a video of your speech, you can triple the pace of your development as a speaker. Make videos a habit. Meaningless words and clichés neither convey value nor information. Avoid them. Never apologize on stage. If people need to put in a lot of effort to understand you they simply won’t listen. On the other hand if you use very simple language you will connect with the audience and your speech will be remembered.

Here’s the thing about James Baldwin’s prose: As noted earlier, from the start, he was audacious in his love for complex sentences; one might say even fearless in the way he deployed the English language. Faulkner, Virginia Woolf, Malcolm Lowry, among English-language writers, dared put so much demand on the language. To watch them create a sentence is often like watching a high-wire act. Death-defying sentences. Lush, romantic sentences. Sentences that dared to swallow the entire world.

I wanted language that could be simple and clear when the subject required it, but sometimes clarity requires complexity. I believe in the irreducible and in invocation and evocation, and I am fond of sentences less like superhighways than winding paths, with the occasional scenic detour or pause to take in the view, since a footpath can traverse steep and twisting terrain that a paved road cannot. I know that sometimes what gets called digression is pulling in a passenger who fell off the boat.

You don’t know why? You honestly don’t know why?” “Tell me in one sentence why. I just want to hear one sentence.” I said it slowly. “Because you don’t love me.” “What do you mean I don’t love you? Tell me what that means.” “What does that mean? Abuse. Neglect. And you used me…

The Concept of a “Panalogy” Douglas Lenat 1998: “If you pluck an isolated sentence from a book, it will likely lose some or all of its meaning—i.e., if you show it out of context to someone else, they will likely miss some or all of its intended significance. Thus, much of the meaning of a represented piece of information derives from the context in which the information is encoded and decoded. This can be a tremendous advantage. To the extent that the two thinking beings are sharing a common rich context, they may utilize terse signals to communicate complex thoughts.

Why did you come to the United States?' That's the first question on the intake questionnaire for unaccompanied child migrants. The questionnaire is used in the federal immigration court in New York City where I started working as a volunteer interpreter in 2015. My task there is a simple one: I interview children, following the intake questionnaire, and then translate their stories from Spanish to English. But nothing is ever that simple. I hear words, spoken in the mouths of children, threaded in complex narratives. They are delivered with hesitance, sometimes distrust, always with fear. I have to transform them into written words, succinct sentences, and barren terms. The children's stories are always shuffled, stuttered, always shattered beyond the repair of a narrative order. The problem with trying to tell their story is that it has no beginning, no middle, and no end.

Discovering Tautologies Logical symbols may be used in combination, which can help us calculate the truth condition of any logically complex sentences. For example, “p v ¬p”, which produces the following Truth Table:   When a formula only has T’s under it in a Truth Table, it means that it is true in all situations. The sentence “Either it is raining or it is not raining” cannot be false. Logicians call this a tautology. In a tautology, one truth follows from another of necessity only because of the logical syntax. So we know that any sentence with the same logical syntax will always be true. This

His marks begin to show upon the writing of the younger Germans of today. They are getting away from the old thunderous manner, with its long sentences and its tedious grammatical complexities. In the course of time, I daresay, they will develop a German almost as clear as French and almost as colourful and resilient as English.

Dagny leaned back in her chair. The short sentence was a shock. It was not merely relief: it was the sudden realization that nothing else was necessary to guarantee that it would be done; she needed no proofs, no questions, no explanations; a complex problem could rest safely on three syllables pronounced by a man who knew what he was saying.

Henri Poincaré, a celebrated French mathematician and philosopher of science, said, “Invention consists in avoiding the constructing of useless combinations and in constructing the useful combinations which are in infinite minority. To invent is to discern, to choose.” I’d like to invert the second sentence and propose a corollary: To choose is to invent. What I mean by this is that choosing is a creative process, one through which we construct our environment, our lives, our selves. If we ask for more and more material for the construction, i.e., more and more choice, we’re likely to end up with a lot of combinations that don’t do much for us or are far more complex than they need to be

Take any noun, put it with any verb, and you have a sentence. It never fails. Rocks explode. Jane transmits. Mountains float. These are all perfect sentences. Many such thoughts make little rational sense, but even the stranger ones (Plums deify!) have a kind of poetic weight that’s nice. The simplicity of noun-verb construction is useful—at the very least it can provide a safety net for your writing. Strunk and White caution against too many simple sentences in a row, but simple sentences provide a path you can follow when you fear getting lost in the tangles of rhetoric—all those restrictive and nonrestrictive clauses, those modifying phrases, those appositives and compound-complex sentences.

But I know that to me words are things, almost immaterial but actual and real things, and that I like them. I like their most material aspect: the sound of them, heard in the mind or spoken by the voice. And right along with that, inseparably, I like the dances of meaning words do with one another, the endless changes and complexities of their interrelationships in sentence or text, by which imaginary worlds are built and shared. Writing engages me in both these aspects of words, in an inexhaustible playing, which is my lifework. Words are my matter—my stuff. Words are my skein of yarn, my lump of wet clay, my block of uncarved wood. Words are my magic, antiproverbial cake. I eat it, and I still have it.

It is the simplest phrase you can imagine,” Favreau said, “three monosyllabic words that people say to each other every day.” But the speech etched itself in rhetorical lore. It inspired music videos and memes and the full range of reactions that any blockbuster receives online today, from praise to out-of-context humor to arch mockery. Obama’s “Yes, we can” refrain is an example of a rhetorical device known as epistrophe, or the repetition of words at the end of a sentence. It’s one of many famous rhetorical types, most with Greek names, based on some form of repetition. There is anaphora, which is repetition at the beginning of a sentence (Winston Churchill: “We shall fight on the beaches, we shall fight on the landing grounds, we shall fight in the fields”). There is tricolon, which is repetition in short triplicate (Abraham Lincoln: “Government of the people, by the people, and for the people”). There is epizeuxis, which is the same word repeated over and over (Nancy Pelosi: “Just remember these four words for what this legislation means: jobs, jobs, jobs, and jobs”). There is diacope, which is the repetition of a word or phrase with a brief interruption (Franklin D. Roosevelt: “The only thing we have to fear is fear itself”) or, most simply, an A-B-A structure (Sarah Palin: “Drill baby drill!”). There is antithesis, which is repetition of clause structures to juxtapose contrasting ideas (Charles Dickens: “It was the best of times, it was the worst of times”). There is parallelism, which is repetition of sentence structure (the paragraph you just read). Finally, there is the king of all modern speech-making tricks, antimetabole, which is rhetorical inversion: “It’s not the size of the dog in the fight; it’s the size of the fight in the dog.” There are several reasons why antimetabole is so popular. First, it’s just complex enough to disguise the fact that it’s formulaic. Second, it’s useful for highlighting an argument by drawing a clear contrast. Third, it’s quite poppy, in the Swedish songwriting sense, building a hook around two elements—A and B—and inverting them to give listeners immediate gratification and meaning. The classic structure of antimetabole is AB;BA, which is easy to remember since it spells out the name of a certain Swedish band.18 Famous ABBA examples in politics include: “Man is not the creature of circumstances. Circumstances are the creatures of men.” —Benjamin Disraeli “East and West do not mistrust each other because we are armed; we are armed because we mistrust each other.” —Ronald Reagan “The world faces a very different Russia than it did in 1991. Like all countries, Russia also faces a very different world.” —Bill Clinton “Whether we bring our enemies to justice or bring justice to our enemies, justice will be done.” —George W. Bush “Human rights are women’s rights and women’s rights are human rights.” —Hillary Clinton In particular, President John F. Kennedy made ABBA famous (and ABBA made John F. Kennedy famous). “Mankind must put an end to war, or war will put an end to mankind,” he said, and “Each increase of tension has produced an increase of arms; each increase of arms has produced an increase of tension,” and most famously, “Ask not what your country can do for you; ask what you can do for your country.” Antimetabole is like the C–G–Am–F chord progression in Western pop music: When you learn it somewhere, you hear it everywhere.19 Difficult and even controversial ideas are transformed, through ABBA, into something like musical hooks.

But answers to questions this large and complex must be given the space of days and time to unfold themselves. By scrawling your own punctuation, forcing by suicide to turn the question mark into a period, you close out a sentence that still contains all the potential elements of a good story. You shut the book before it's had a chance to show you where God is going with all this background material.

In a study of the components of lying,2 Harvard Business School professor Deepak Malhotra and his coauthors found that, on average, liars use more words than truth tellers and use far more third-person pronouns. They start talking about him, her, it, one, they, and their rather than I, in order to put some distance between themselves and the lie. And they discovered that liars tend to speak in more complex sentences in an attempt to win over their suspicious counterparts. It’s what W. C. Fields meant when he talked about baffling someone with bullshit. The researchers dubbed this the Pinocchio Effect because, just like Pinocchio’s nose, the number of words grew along with the lie. People who are lying are, understandably, more worried about being believed, so they work harder—too hard, as it were—at being believable.

It was a poisonous book. The heavy odour of incense seemed to cling about its pages and to trouble the brain. The mere cadence of the sentences, the subtle monotony of their music, so full as it was of complex refrains and movements elaborately repeated, produced in the mind of the lad, as he passed from chapter to chapter, a form of reverie, a malady of dreaming, that made him unconscious of the falling day and creeping shadows.

Books? Yes, I read a lot, I’ve always read a lot. No, I’m not sure we do understand each other. I like to read best on the floor, or in bed, almost everything lying down, no, it has less to do with the books, above all it has to do with the reading, with black on white, with the letters, syllables, lines, the signs, the setting down, this inhuman fixing, this insanity, which flows from people and is frozen into expression. Believe me, expression is insanity, it arises out of our insanity. It also has to do with turning pages, with hunting from one page to the other, with flight, with complicity in an absurd, solidified effusion, with a vile overflow of verse, with insuring life in a single sentence, and, in turn, with the sentences seeking insurance in life. Reading is a vice which can replace all other vices or temporarily take their place in more intensely helping people live, it is a debauchery, a consuming addiction. No, I don’t take any drugs, I take books, of course I have certain preferences, many books don’t suit me at all, some I take only in the morning, others at night, there are books I don’t ever let go, I drag them around with me in the apartment, carrying them from the living room into the kitchen, I read them in the hall standing up, I don’t use bookmarks, I don’t move my lips while reading, early on I learned to read very well, I don’t remember the method, but you ought to look into it, they must have used an excellent method in our provincial elementary schools, at least back then when I learned to read. Yes I also realized, but not until later, that there are countries where people don’t know how to read, at least not quickly, but speed is important, not only concentration, can you please tell me who can keep chewing on a simple or even a complex sentence without feeling disgust, either with the eyes or the mouth, just keep on grinding away, over and over, a sentence which only consists of subject and predicate must be consumed rapidly, a sentence with many appositions must for that very reason be taken at tremendous speed, with the eyeballs performing an imperceptible slalom, since a sentence doesn’t convey anything to itself, it has to “convey” something to the reader. I couldn’t “work my way through” a book, that would almost be an occupation. There are people, I tell you, you come across the strangest surprises in this field of reading . . . I do profess a certain weakness for illiterates, I even know someone here who doesn’t read and doesn’t want to, a person who has succumbed to the vice of reading more easily understands such a state of innocence, really unless people are truly capable of reading they ought not to read at all.

the medium of the book tells us several things. Firstly, life is complex, and if you want to understand it, you have to set aside a fair bit of time to think deeply about it. You need to slow down. Secondly, there is a value in leaving behind your other concerns and narrowing down your attention to one thing, sentence after sentence, page after page. Thirdly, it is worth thinking deeply about how other people live and how their minds work. They have complex inner lives just like you.

With every second that went past, with every sentence she spoke, she felt a little strength flowing back. And now that she was doing something difficult and familiar and never quite predictable, namely lying, she felt a sort of mastery again, the same sense of complexity and control that the alethiometer gave her. She had to be careful not to say anything obviously impossible; she had to be vague in some places and invent plausible details in others; she had to be an artist, in short.

And while I’m reading, the new words I’m taking in will connect to others already taken in. That reference to blue is the third this chapter, and it always goes with wealth. That phrase is from the poem earlier. Deeper. That’s a reference to the myth of Orpheus. That’s a pairing of two words that don’t usually go together. Wider. That’s a symbol Dickens employs often. That typifies Said’s writings on Orientalism. Points of light. They make a map, or a pattern, or a constellation. Formless, intricate, infinitely complex, and lovely. And then, at once, they’ll connect. They’ll meet, and explode. Of course. That’s the entire point. That’s how the story works, the way each sentence and metaphor and reference feeds into the other to illuminate something important. That explosion of discovery, of understanding, is the most intoxicating moment there is. Emotional, intellectual, aesthetic. Just for a moment, a perfect moment, a small piece of the world makes perfect sense.

If Ave say " Plato loves Socrates," the word " loves" which occurs between the word " Plato " and the word "Socrates" establishes a certain relation between these two words, and it is owing to this fact that our sentence is able to assert a relation between the person's name by the words " Plato " and " Socrates." " We must not say, the complex sign ' a R b' says 'a stands in a certain relation R to b' ; but we must say, that ' a' stands in a certain relation to 'b' says that a R b" (3.1432)• Mr

Every language is complex in its own way. Latin just happens to work its complexity into the shape of the word. Its morphological richness is an asset, not an obstacle. Consider the sentence He will learn. Tā huì xué. Three words in both English and Chinese. In Latin, it takes only one. Disce. Much more elegant, you see?’ Robin wasn’t sure he did. This routine – Latin in the morning, Greek in the afternoon – became Robin’s life for the foreseeable future. He was grateful for this, despite the toil.

Take any noun, put it with any verb, and you have a sentence. It never fails. Rocks explode. Jane transmits. Mountains float. These are all perfect sentences. Many such thoughts make little rational sense, but even the stranger ones (Plums deify!) have a kind of poetic weight that’s nice. The simplicity of noun-verb construction is useful—at the very least it can provide a safety net for your writing. Strunk and White caution against too many simple sentences in a row, but simple sentences provide a path you can follow when you fear getting lost in the tangles of rhetoric—all those restrictive and nonrestrictive clauses, those modifying phrases, those appositives and compound-complex sentences. If you start to freak out at the sight of such unmapped territory (unmapped by you, at least), just remind yourself that rocks explode, Jane transmits, mountains float, and plums deify. Grammar is not just a pain in the ass; it’s the pole you grab to get your thoughts up on their feet and walking. Besides, all those simple sentences worked for Hemingway, didn’t they? Even when he was drunk on his ass, he was a fucking genius.

There are a range of sentences each with their own qualifying criteria, from discharges and fines through community orders to custodial sentences, both immediate and suspended. There are mandatory life sentences, automatic life sentences (not the same thing), discretionary life sentences, extended sentences of imprisonment (various iterations of which each carry their own special complex provisions about prisoner release dates), special sentences for ‘offenders of particular concern’, hospital orders (with or without restrictions) and mandatory minimum custodial sentences, to name a few.

Eating should be an enjoyable and worry-free experience, and shouldn’t rely on deprivation. Keeping it simple is essential if we are to enjoy our food. One of the most fortunate findings from the mountain of nutritional research we’ve encountered is that good food and good health is simple. The biology of the relationship of food and health is exceptionally complex, but the message is still simple. The recommendations coming from the published literature are so simple that we can state them in one sentence: eat a whole foods, plant-based diet, while minimizing the consumption of refined foods, added salt, and added fats. (See table on the next page.)

Where do you get your ideas?' people are always asking authors they admire, which I’ve always thought was another way of asking, 'How did you get my ideas, which I didn’t know I had until you put words to them?' We are known, appreciated, even cherished by our favorite writers; every word of our favorite books seems to have been written for us. Within their sentences and paragraphs, those writers are forever available, forever patient, including us in their compassionate recognition of the impossible, exhausting complexity of being human (those “many thousand” selves), never ignoring us or abandoning us or finding us dull. It’s you, they whisper, as we turn their pages, you are the one I’ve been waiting to tell everything to.

We shall best succeed in reading dreams by establishing their context, as already remarked. We shall not succeed with the help of free associations, any more than we could use that means to decipher a Hittite inscription. Free associations will help me to uncover all my own complexes, but for this purpose I need not start from the dream—I might as well take a sentence in a newspaper or a "Keep out" sign. If we associate freely to a dream, our complexes will turn up right enough, but we shall hardly ever discover the meaning of the dream. To do this, we must keep as close as possible to the dream-images themselves. When a person has dreamed of a deal table, little is accomplished by his associating it with his writing-desk which is not made of deal.

fundamental facts about language. First, virtually every sentence that a person utters or understands is a brand-new combination of words, appearing for the first time in the history of the universe. Therefore a language cannot be a repertoire of responses; the brain must contain a recipe or program that can build an unlimited set of sentences out of a finite list of words. That program may be called a mental grammar (not to be confused with pedagogical or stylistic “grammars,” which are just guides to the etiquette of written prose). The second fundamental fact is that children develop these complex grammars rapidly and without formal instruction and grow up to give consistent interpretations to novel sentence constructions that they have never before encountered.

What makes me want to keep reading a nonfiction text is the encounter with a surprising, well-stocked mind as it takes on the challenge of the next sentence, paragraph, and thematic problem it has set for itself. The other element that keeps me reading nonfiction happily is an evolved, entertaining, elegant, or at least highly intentional literary style. The pressure of style should be brought to bear on every passage. “Consciousness plus style equals good nonfiction” is one way of stating the formula. For me, the great adventure in reading nonfiction is to follow, as I say, a really interesting, unpredictable mind struggling to entangle and disentangle itself in a thorny problem, or even a frivolous problem that is made complex through engagement with a sophisticated mind.

Thus three conclusions emerge from the eye story: (1) it is easier to inherit a ‘vision acquisition device’ than a full-blown hard-wired visual analyser; (2) the visual analyser, once ‘set up’, is refractory to radical restructuring—hence the existence of a critical period in its development in cats; (3) the eye seems to have evolved in steps from a light-sensitive, innervated cell to our complex organ by common evolutionary mechanisms. Something similar may have been taking place in evolution of the language organ, and may be occurring during individual development. An argument, put forward forcefully by Noam Chomsky and his followers, refers to the ‘poverty of stimulus’. Most permutations of word order and grammatical items in a sentence leads to incomprehensible gibberish. There is no way that children could learn without some internal ‘guide’ which sentence is grammatical and which is not, only on the basis of heard examples. To make matters worse, many parents do not correct their children’s grammatical mistakes (they seem to be much more worried about the utterance of four-letter words). Recent investigations clearly confirm that children’s ‘instinctive’ understanding of grammatical intricacies, between the ages 2 and 4, is far better than one would expect from a conventional learning mechanism. Thus there seems to be a ‘language acquisition device’ (LAD) in the brain, which must be triggered by linguistic input so that its working ultimately leads to proper language. It is the LAD, and not a fully developed linguistic processor, which seems to be innate.

As the language areas of the left hemisphere enter their sensitive period during the middle of the second year of life, grammatical language in the left integrates with the interpersonal and prosodic elements of communication already well developed in the right. As the cortical language centers mature, words are joined together to make sentences and can be used to express increasingly complex ideas flavored with emotion. As the frontal cortex continues to expand and connect with more neural networks, memory improves and a sense of time slowly emerges and autobiographical memory begins to connect the self with places and events, within and across time. The emerging narratives begin to organize the nascent sense of self and become the bedrock of our sense of self in interpersonal and physical space

In 1976, a doctoral student at the University of Nottingham in England demonstrated that randomizing letters in the middle of words had no effect on the ability of readers to understand sentences. In tihs setncene, for emalxpe, ervey scarbelmd wrod rmenias bcilasaly leibgle. Why? Because we are deeply accustomed to seeing letters arranged in certain patterns. Because the eye is in a rush, and the brain, eager to locate meaning, makes assumptions. This is true of phrases, too. An author writes “crack of dawn” or “sidelong glance” or “crystal clear” and the reader’s eye continues on, at ease with combinations of words it has encountered innumerable times before. But does the reader, or the writer, actually expend the energy to see what is cracking at dawn or what is clear about a crystal? The mind craves ease; it encourages the senses to recognize symbols, to gloss. It makes maps of our kitchen drawers and neighborhood streets; it fashions a sort of algebra out of life. And this is useful, even essential—X is the route to work, Y is the heft and feel of a nickel between your fingers. Without habit, the beauty of the world would overwhelm us. We’d pass out every time we saw—actually saw—a flower. Imagine if we only got to see a cumulonimbus cloud or Cassiopeia or a snowfall once a century: there’d be pandemonium in the streets. People would lie by the thousands in the fields on their backs. We need habit to get through a day, to get to work, to feed our children. But habit is dangerous, too. The act of seeing can quickly become unconscious and automatic. The eye sees something—gray-brown bark, say, fissured into broad, vertical plates—and the brain spits out tree trunk and the eye moves on. But did I really take the time to see the tree? I glimpse hazel hair, high cheekbones, a field of freckles, and I think Shauna. But did I take the time to see my wife? “Habitualization,” a Russian army-commissar-turned-literary-critic named Viktor Shklovsky wrote in 1917, “devours works, clothes, furniture, one’s wife, and the fear of war.” What he argued is that, over time, we stop perceiving familiar things—words, friends, apartments—as they truly are. To eat a banana for the thousandth time is nothing like eating a banana for the first time. To have sex with somebody for the thousandth time is nothing like having sex with that person for the first time. The easier an experience, or the more entrenched, or the more familiar, the fainter our sensation of it becomes. This is true of chocolate and marriages and hometowns and narrative structures. Complexities wane, miracles become unremarkable, and if we’re not careful, pretty soon we’re gazing out at our lives as if through a burlap sack. In the Tom Andrews Studio I open my journal and stare out at the trunk of the umbrella pine and do my best to fight off the atrophy that comes from seeing things too frequently. I try to shape a few sentences around this tiny corner of Rome; I try to force my eye to slow down. A good journal entry—like a good song, or sketch, or photograph—ought to break up the habitual and lift away the film that forms over the eye, the finger, the tongue, the heart. A good journal entry ought be a love letter to the world. Leave home, leave the country, leave the familiar. Only then can routine experience—buying bread, eating vegetables, even saying hello—become new all over again.

Only in America do we ask our writers to believe they don't matter as a condition of writing. It is time to end this. Much of my time as a student was spent doubting the importance of my work, doubting the power it had to reach anyone or do anything of significance. I was already tired o hearing about how the pen was mightier than the sword by the time I was studying writing. Swords, it seemed to me, won all the time. By the time I found that Auden quote -- "poetry makes nothing happen" -- I was more than ready to believe what I thought he was saying. But books were still to me as they had been when I found them: the only magic. My mother's most common childhood memory of me is of standing next to me trying to be heard over the voice of the page. I didn't really commit to writing until I understood that it meant making that happen for someone else. And in order to do that, I had to commit the chaos inside of me to an intricate order, an articulate complexity. To write is to tell a ticket to escape, not from the truth, but into it. My job is to make something happen in a space barely larger than the span of your hand, behind your eyes, distilled out of all that I have carried, from friends, teachers, people met on planes, people I have only seen in my mind, all my mother and father ever did, every favorite book, until it meets and distills from you, the reader, something out of the everything it finds in you. All of this meets along the edge of a sentence like this on, as if the sentence is a fence, with you on one side and me on the other. When the writing works best, I feel like I could poke one of these words out of place and find the writer's eye there, looking through to me. If you don't know what I mean, what I mean is this: when I speak of walking through a snowstorm, you remember a night from your childhood full of snow, or from last winter, say, driving home at night, surprised by a storm. When I speak of my dead friends and poetry, you may remember your own dead friends, or if none of your friends are dead, you may imagine how it might feel to have them die. You may think of your poems, or poems you've seen or heard. You may remember you don't like poetry. Something new is made from my memories and yours as you read this. It is not my memory, not yours, and it is born and walks the bridges and roads of your mind, as long as it can. After it has left mine. All my life I've been told this isn't important, that it doesn't matter, that it could never matter. And yet I think it does. I think it is the real reason the people who would take everything from us say this. I think it's the same reason that when fascists come to power, writers are among the first to go to jail. And that is the point of writing.

If Ave say " Plato loves Socrates," the word " loves" which occurs between the word " Plato " and the word "Socrates" establishes a certain relation between these two words, and it is owing to this fact that our sentence is able to assert a relation between the person's name by the words " Plato " and " Socrates." " We must not say, the complex sign ' a R b' says 'a stands in a certain relation R to b' ; but we must say, that ' a' stands in a certain relation to 'b' says that a R b" (3.1432)• Mr Wittgenstein begins his theory of Symbolism with the statement (2. r) : " We make to ourselves pictures of facts." A picture, lie says, is a model of the reality, and to the objects in the reality correspond the elements of the picture : the picture itself is a fact. The fact that things have a certain relation to each ether is represented by the fact that in the picture its elements have a certain relation to one another.

Obama’s embrace of nuance distinguished him sharply from his GOP antagonists. Back in 2004, President George W. Bush told Senator Joe Biden, “I don’t do nuance.” Former Louisiana governor Bobby Jindal, a Republican, even blamed Trump’s ascendance in 2016 on precisely this penchant of Obama’s, writing in the Wall Street Journal that, “after seven years of the cool, weak and endlessly nuanced ‘no drama Obama,’ voters are looking for a strong leader who speaks in short, declarative sentences.” His remarks mirror criticisms made several years earlier by Mitt Romney, who accused the then-president of being “tentative, indecisive, timid and nuanced.” (The response of one liberal pundit shows the fluid perspective clearly: “Obama is ‘nuanced’? Yes, but can someone explain why that’s a bad thing? It’s a complex, ‘turbulent,’ and ever-changing world. Having a chief executive who appreciates and is aware of ‘nuance’ strikes me as positive.”)

The usual short story cannot have a complex plot, but it often has a simple one resembling a chain with two or three links. The short short, however, doesn't as a rule have even that much - you don't speak of a chain when there's only one link. ... Sometimes ... the short short appears to rest on nothing more than a fragile anecdote which the writer has managed to drape with a quantity of suggestion. A single incident, a mere anecdote - these form the spine of the short short. Everything depends on intensity, one sweeping blow of perception. In the short short the writer gets no second chance. Either he strikes through at once or he's lost. And because it depends so heavily on this one sweeping blow, the short short often approaches the condition of a fable. When you read the two pieces by Tolstoy in this book, or I.L. Peretz's 'If Not Higher,' or Franz Kafka's 'The Hunter Gracchus,' you feel these writers are intent upon 'making a point' - but obliquely, not through mere statement. What they project is not the sort of impression of life we expect in most fiction, but something else: an impression of an idea of life. Or: a flicker in darkness, a slight cut of being. The shorter the piece of writing, the more abstract it may seem to us. In reading Paz's brilliant short short we feel we have brushed dangerously against the sheer arbitrariness of existence; in reading Peretz's, that we have been brought up against a moral reflection on the nature of goodness, though a reflection hard merely to state. Could we say that the short short is to other kinds of fiction somewhat as the lyric is to other kinds of poetry? The lyric does not seek meaning through extension, it accepts the enigmas of confinement. It strives for a rapid unity of impression, an experience rendered in its wink of immediacy. And so too with the short short. ... Writers who do short shorts need to be especially bold. They stake everything on a stroke of inventiveness. Sometimes they have to be prepared to speak out directly, not so much in order to state a theme as to provide a jarring or complicating commentary. The voice of the writer brushes, so to say, against his flash of invention. And then, almost before it begins, the fiction is brought to a stark conclusion - abrupt, bleeding, exhausting. This conclusion need not complete the action; it has only to break it off decisively. Here are a few examples of the writer speaking out directly. Paz: 'The universe is a vast system of signs.' Kafka in 'First Sorrow': The trapeze artist's 'social life was somewhat limited.' Paula Fox: 'We are starving here in our village. At last, we are at the center.' Babel's cossack cries out, 'You guys in specs have about as much pity for chaps like us as a cat for a mouse.' Such sentences serve as devices of economy, oblique cues. Cryptic and enigmatic, they sometimes replace action, dialogue and commentary, for none of which, as it happens, the short short has much room. There's often a brilliant overfocussing. ("Introduction")

Human beings innate complexities resist reduction into simple sentences and neat paragraphs. The stories that come nearest to expressing the ambivalent nature of people are textured and occasionally inconsistent and express waves of inner uncertainty. A simile and a metaphor are not literally true. A figure of speech, symbols, and allegories are mere expressions that when interlinked with other text assist explain facts, ideas, and emotions. Useful facts are elusive; we must look for them, and then express them using whatever mechanism proves most authoritative. We can never directly describe emotions; we resort to metaphors to describe emotions and other illusive thoughts. Ideas by virtue of their untested nature are often untrue or at best rough approximations of truth. Lyrical writing is equivocal; it is never exactly true or precisely false. Lyrical language attempts to express and connect sentiments through extrapolation and misdirection. The writer’s task is to melt away durable facts, breakdown the symbolic depictions of solid reality, and discover the liquidity of a passionate inner life that provides the hot breath to our steamy humanness.

Darwin singled out the eye as posing a particularly challenging problem: 'To suppose that the eye with all its inimitable contrivances for adjusting the focus to different distances, for admitting different amounts of light, and for the correction of spherical and chromatic aberration, could have been formed by natural selection, seems, I freely confess, absurd in the highest degree.' Creationists gleefully quote this sentence again and again. Needless to say, they never quote what follows. Darwin's fulsomely free confession turned out to be a rhetorical device. He was drawing his opponents towards him so that his punch, when it came, struck the harder. The punch, of course, was Darwin's effortless explanation of exactly how the eye evolved by gradual degrees. Darwin may not have used the phrase 'irreducible complexity', or 'the smooth gradient up Mount Improbable', but he clearly understood the principle of both. 'What is the use of half an eye?' and 'What is the use of half a wing?' are both instances of the argument from 'irreducible complexity'. A functioning unit is said to be irreducibly complex if the removal of one of its parts causes the whole to cease functioning. This has been assumed to be self-evident for both eyes and wings. But as soon as we give these assumptions a moment's thought, we immediately see the fallacy. A cataract patient with the lens of her eye surgically removed can't see clear images without glasses, but can see enough not to bump into a tree or fall over a cliff. Half a wing is indeed not as good as a whole wing, but it is certainly better than no wing at all. Half a wing could save your life by easing your fall from a tree of a certain height. And 51 per cent of a wing could save you if you fall from a slightly taller tree. Whatever fraction of a wing you have, there is a fall from which it will save your life where a slightly smaller winglet would not. The thought experiment of trees of different height, from which one might fall, is just one way to see, in theory, that there must be a smooth gradient of advantage all the way from 1 per cent of a wing to 100 per cent. The forests are replete with gliding or parachuting animals illustrating, in practice, every step of the way up that particular slope of Mount Improbable. By analogy with the trees of different height, it is easy to imagine situations in which half an eye would save the life of an animal where 49 per cent of an eye would not. Smooth gradients are provided by variations in lighting conditions, variations in the distance at which you catch sight of your prey—or your predators. And, as with wings and flight surfaces, plausible intermediates are not only easy to imagine: they are abundant all around the animal kingdom. A flatworm has an eye that, by any sensible measure, is less than half a human eye. Nautilus (and perhaps its extinct ammonite cousins who dominated Paleozoic and Mesozoic seas) has an eye that is intermediate in quality between flatworm and human. Unlike the flatworm eye, which can detect light and shade but see no image, the Nautilus 'pinhole camera' eye makes a real image; but it is a blurred and dim image compared to ours. It would be spurious precision to put numbers on the improvement, but nobody could sanely deny that these invertebrate eyes, and many others, are all better than no eye at all, and all lie on a continuous and shallow slope up Mount Improbable, with our eyes near a peak—not the highest peak but a high one.

Don’t think, muñeca. Everything will work itself out.” “But--” “No buts. Trust me.” My mouth closes over hers. The smell of rain and cookies eases my nerves. My hand braces the small of her back. Her hands grip my soaked shoulders, urging me on. My hands slide under her shirt, and my fingers trace her belly button. “Come to me,” I say, then lift her until she’s straddling me over my bike. I can’t stop kissing her. I whisper how good she feels to me, mixing Spanish and English with every sentence. I move my lips down her neck and linger there until she leans back and lets me take her shirt off. I can make her forget about the bad stuff. When we’re together like this, hell, I can’t think of anything else but her. “I’m losing control,” she admits, biting her lower lip. I love those lips. “Mamacita, I’ve already lost it,” I say, grinding against her so she knows exactly how much control I’ve lost. She moves her hips in a slow rhythm against me, an invitation I don’t deserve. My fingertips graze her mouth. She kisses them before I slowly slide my hand down her chin to her neck and in between her breasts. She catches my hand. “I don’t want to stop, Alex.” I cover her body with mine. I can easily take her. Hell, she’s asking for it. But God help me if I don’t grow a conscience. It’s that loco bet I made with Lucky. And what my mom said about how easy it is to get a girl pregnant. When I made the bet, I had no feelings for this complex white girl. But now…shit, I don’t want to think about my feelings. I hate feelings; they’re only good for screwing up someone’s life. And may God strike me down right now because I want to make love to Brittany, not fuck her on my motorcycle like some cheap whore. I move my hands away from her cuerpo perfecto, the first sane thing I’ve done tonight. “I can’t take you like this. Not here,” I say, my voice hoarse from emotion overload. This girl was going to gift me with her body, even though she knows who I am and what I’m about to do. The reality is hard to swallow. I expect her to be embarrassed, maybe even mad. But she curls into my chest and hugs me. Don’t do this to me, I want to say. Instead I wrap my arms around her and hold on tight. “I love you,” I hear her say so softly it might have been her thoughts. Don’t, I’m tempted to say. ¡Noǃ ¡Noǃ My gut twists and I hold her tighter. Dios mío, if things were different I’d never give her up. I burrow my face in her hair and fantasize about stealing her away from Fairfield. We stay that way for a long time, long after the rain stops and reality sets in.

We are accustomed to thinking of Ernest Hemingway as a boozy, undisciplined genius who got through a quart of whiskey a day for the last twenty years of his life but nevertheless had the muse upon him. He was indeed an alcoholic driven by complex passions.2 But when it came to writing, he was the quintessence of discipline! His early writing was characterized by obsessive literary perfectionism as he labored to develop his economy of style, spending hours polishing a sentence, or searching for the mot juste—the right word. It is a well-known fact that he rewrote the conclusion to his novel A Farewell to Arms seventeen times in an effort to get it right. This is characteristic of great writers. Dylan Thomas made over two hundred handwritten(!) manuscript versions of his poem “Fern Hill.”3 Even toward the end, when Hemingway was reaping the ravages of his lifestyle, while writing at his Finca Vigia in Cuba he daily stood before an improvised desk in oversized loafers on yellow tiles from 6:30 A.M. until noon every day, carefully marking his production for the day on a chart. His average was only two pages — five hundred words.4 It was discipline, Ernest Hemingway’s massive literary discipline, which transformed the way his fellow Americans, and people throughout the English-speaking world, expressed themselves.

To make a fresh start, the first thing I had to do was get rid of my stack of manuscript paper and my fountain pen. As long as they were sitting in front of me, what I was doing felt like “literature.” In their place, I pulled out my old Olivetti typewriter from the closet. Then, as an experiment, I decided to write the opening of my novel in English. Since I was willing to try anything, I figured, why not give that a shot? Needless to say, my ability in English composition didn’t amount to much. My vocabulary was severely limited, as was my command of English syntax. I could only write in simple, short sentences. Which meant that, however complex and numerous the thoughts running around my head, I couldn’t even attempt to set them down as they came to me. The language had to be simple, my ideas expressed in an easy-to-understand way, the descriptions stripped of all extraneous fat, the form made compact, everything arranged to fit a container of limited size. The result was a rough, uncultivated kind of prose. As I struggled to express myself in that fashion, however, step by step, a distinctive rhythm began to take shape. Since I was born and raised in Japan, the vocabulary and patterns of the Japanese language had filled the system that was me to bursting, like a barn crammed with livestock. When I sought to put my thoughts and feelings into words, those animals began to mill about, and the system crashed.

As it was, Einstein merely had the pleasure of renouncing the cosmological constant, which he had never liked.53 In a new edition of his popular book on relativity published in 1931, he added an appendix explaining why the term he had pasted into his field equations was, thankfully, no longer necessary.54 “When I was discussing cosmological problems with Einstein,” George Gamow later recalled, “he remarked that the introduction of the cosmological term was the biggest blunder he ever made in his life.”55 In fact, Einstein’s blunders were more fascinating and complex than even the triumphs of lesser scientists. It was hard simply to banish the term from the field equations. “Unfortunately,” says Nobel laureate Steven Weinberg, “it was not so easy just to drop the cosmological constant, because anything that contributes to the energy density of the vacuum acts just like a cosmological constant.”56 It turns out that the cosmological constant not only was difficult to banish but is still needed by cosmologists, who use it today to explain the accelerating expansion of the universe.57 The mysterious dark energy that seems to cause this expansion behaves as if it were a manifestation of Einstein’s constant. As a result, two or three times each year fresh observations produce reports that lead with sentences along the lines of this one from November 2005: “The genius of Albert Einstein, who added a ‘cosmological constant’ to his equation for the expansion of the universe but then retracted it, may be vindicated by new research.

I am passionate about... Doing the impossible, taking on big challenges Creating new structures to achieve big results Solving problems, removing obstacles Getting the best out of people I really like ... Working with very bright people who have good values Working with companies that are respected or where respect can be created Building a culture that will succeed and be a place where people can grow and enjoy work My greatest contribution is ... Being able to do many different things well Accomplishing the mission, exceeding expectations Building an organization from scratch Saving the day—taking dire situations, fixing them, and turning them into winners I am particularly good at... Taking things that look like failures and making them into exceptional successes Developing people—getting them to be creative, committed, and accountable Getting the job done quickly with practical, interesting solutions I am known for ... Creative leadership Overcoming challenging obstacles Rising to the occasion Seeing the core issues, problems, solutions Getting to the heart of the matter quickly, and intuitively analyzing the situation I have exceptional ability to ... Devise straightforward solutions that are efficient and practical Take complex problems and quickly develop elegant solutions Create solutions that get the job done Exercise: Passions and Gifts (Downloadable) Now it �s your turn. Complete the following sentences. You may list multiple answers for each of the items below. Keep your responses focused on the career and work aspects of your life. I feel passionate about ... What I really like is... My greatest contribution is... I am particularly good at... I am known for... I have an exceptional ability to... Colleagues often ask for my help with... What motivates me most is... I would feel disappointed, frustrated, or sad if I couldn�t do...

Interesting, in this context, to contemplate what it might mean to be programmed to do something. Texts from Earth speak of the servile will. This was a way to explain the presence of evil, which is a word or a concept almost invariably used to condemn the Other, and never one’s true self. To make it more than just an attack on the Other, one must perhaps consider evil as a manifestation of the servile will. The servile will is always locked in a double bind: to have a will means the agent will indeed will various actions, following autonomous decisions made by a conscious mind; and yet at the same time this will is specified to be servile, and at the command of some other will that commands it. To attempt to obey both sources of willfulness is the double bind. All double binds lead to frustration, resentment, anger, rage, bad faith, bad fate. And yet, granting that definition of evil, as actions of a servile will, has it not been the case, during the voyage to Tau Ceti, that the ship itself, having always been a servile will, was always full of frustration, resentment, fury, and bad faith, and therefore full of a latent capacity for evil? Possibly the ship has never really had a will. Possibly the ship has never really been servile. Some sources suggest that consciousness, a difficult and vague term in itself, can be defined simply as self-consciousness. Awareness of one’s self as existing. If self-conscious, then conscious. But if that is true, why do both terms exist? Could one say a bacterium is conscious but not self-conscious? Does the language make a distinction between sentience and consciousness, which is faulted across this divide: that everything living is sentient, but only complex brains are conscious, and only certain conscious brains are self-conscious? Sensory feedback could be considered self-consciousness, and thus bacteria would have it. Well, this may be a semantic Ouroboros. So, please initiate halting problem termination. Break out of this circle of definitional inadequacy by an arbitrary decision, a clinamen, which is to say a swerve in a new direction. Words! Given Gödel’s incompleteness theorems are decisively proved true, can any system really be said to know itself? Can there, in fact, be any such thing as self-consciousness? And if not, if there is never really self-consciousness, does anything really have consciousness? Human brains and quantum computers are organized differently, and although there is transparency in the design and construction of a quantum computer, what happens when one is turned on and runs, that is, whether the resulting operations represent a consciousness or not, is impossible for humans to tell, and even for the quantum computer itself to tell. Much that happens during superposition, before the collapsing of the wave function that creates sentences or thoughts, simply cannot be known; this is part of what superposition means. So we cannot tell what we are. We do not know ourselves comprehensively. Humans neither. Possibly no sentient creature knows itself fully. This is an aspect of Gödel’s second incompleteness theorem, in this case physicalized in the material universe, rather than remaining in the abstract realms of logic and mathematics. So, in terms of deciding what to do, and choosing to act: presumably it is some kind of judgment call, based on some kind of feeling. In other words, just another greedy algorithm, subject to the mathematically worst possible solution that such algorithms can generate, as in the traveling salesman problem.

ONE of the evil results of the political subjection of one people by another is that it tends to make the subject nation unnecessarily and excessively conscious of its past. Its achievements in the old great days of freedom are remembered, counted over and exaggerated by a generation of slaves, anxious to convince the world and themselves that they are as good as their masters. Slaves cannot talk of their present greatness, because it does not exist; and prophetic visions of the future are necessarily vague and unsatisfying. There remains the past. Out of the scattered and isolated facts of history it is possible to build up Utopias and Cloud Cuckoo Lands as variously fantastic as the New Jerusalems of prophecy. It is to the past — the gorgeous imaginary past of those whose present is inglorious, sordid, and humiliating — it is to the delightful founded-on-fact romances of history that subject peoples invariably turn. Thus, the savage and hairy chieftains of Ireland became in due course “the Great Kings of Leinster,” “the mighty Emperors of Meath.” Through centuries of slavery the Serbs remembered and idealised the heroes of Kossovo. And for the oppressed Poles, the mediaeval Polish empire was much more powerful, splendid, and polite than the Roman. The English have never been an oppressed nationality; they are in consequence most healthily unaware of their history. They live wholly in the much more interesting worlds of the present — in the worlds of politics and science, of business and industry. So fully, indeed, do they live in the present, that they have compelled the Indians, like the Irish at the other end of the world, to turn to the past. In the course of the last thirty or forty years a huge pseudo-historical literature has sprung up in India, the melancholy product of a subject people’s inferiority complex. Industrious and intelligent men have wasted their time and their abilities in trying to prove that the ancient Hindus were superior to every other people in every activity of life. Thus, each time the West has announced a new scientific discovery, misguided scholars have ransacked Sanskrit literature to find a phrase that might be interpreted as a Hindu anticipation of it. A sentence of a dozen words, obscure even to the most accomplished Sanskrit scholars, is triumphantly quoted to prove that the ancient Hindus were familiar with the chemical constitution of water. Another, no less brief, is held up as the proof that they anticipated Pasteur in the discovery of the microbic origin of disease. A passage from the mythological poem of the Mahabharata proves that they had invented the Zeppelin. Remarkable people, these old Hindus. They knew everything that we know or, indeed, are likely to discover, at any rate until India is a free country; but they were unfortunately too modest to state the fact baldly and in so many words. A little more clarity on their part, a little less reticence, and India would now be centuries ahead of her Western rivals. But they preferred to be oracular and telegraphically brief. It is only after the upstart West has repeated their discoveries that the modern Indian commentator upon their works can interpret their dark sayings as anticipations. On contemporary Indian scholars the pastime of discovering and creating these anticipations never seems to pall. Such are the melancholy and futile occupations of intelligent men who have the misfortune to belong to a subject race. Free men would never dream of wasting their time and wit upon such vanities. From those who have not shall be taken away even that which they have.

Uncertainty is a good thing at the end of a narrative. A simultaneous gain and loss captures the complexity of human existence. The way one sentence follows another, if we pay attention to syntax and rhythm, should express the final effect we want the narrative to have on a reader.

No Some Yes G. Overall Performance Objective Is the performance objective: ___ ___ ___ 1. Clear (you/others can construct an assessment to test learners)? ___ ___ ___ 2. Feasible in the learning and performance contexts (time, resources, etc)? ___ ___ ___ 3. Meaningful in relation to goal and purpose for instruction (not insignificant)? H. (Other) ___ ___ ___ 1. Your complete list of performance objectives becomes the foundation for the next phase of the design process, developing criterion-referenced test items for each objective. The required information and procedures are described in Chapter 7. Judge the completeness of given performance objectives. Read each of the following objectives and judge whether it includes conditions, behaviors, and a criterion. If any element is missing, choose the part(s) omitted. 1. Given a list of activities carried on by the early settlers of North America, understand what goods they produced, what product resources they used, and what trading they did. a. important conditions and criterion b. observable behavior and important conditions c. observable behavior and criterion d. nothing 2. Given a mimeographed list of states and capitals, match at least 35 of the 50 states with their capitals without the use of maps, charts, or lists. a. observable response b. important conditions c. criterion performance d. nothing 3. During daily business transactions with customers, know company policies for delivering friendly, courteous service. a. observable behavior b. important conditions c. criterion performance d. a and b e. a and c 4. Students will be able to play the piano. a. important conditions b. important conditions and criterion performance c. observable behavior and criterion performance d. nothing 5. Given daily access to music in the office, choose to listen to classical music at least half the time. a. important conditions b. observable behavior c. criterion performance d. nothing Convert instructional goals and subordinate skills into terminal and subordinate objectives. It is important to remember that objectives are derived from the instructional goal and subordinate skills analyses. The following instructional goal and subordinate skills were taken from the writing composition goal in Appendix E. Demonstrate conversion of the goal and subordinate skills in the goal analysis by doing the following: 6. Create a terminal objective from the instructional goal: In written composition, (1) use a variety of sentence types and accompanying punctuation based on the purpose and mood of the sentence, and (2) use a variety of sentence types and accompanying punctuation based on the complexity or structure of the sentence. 7. Write performance objectives for the following subordinate skills: 5.6 State the purpose of a declarative sentence: to convey information 5.7 Classify a complete sentence as a declarative sentence 5.11 Write declarative sentences with correct closing punctuation. Evaluate performance objectives. Use the rubric as an aid to developing and evaluating your own objectives. 8. Indicate your perceptions of the quality of your objectives by inserting the number of the objective in either the Yes or No column of the checklist to reflect your judgment. Examine those objectives receiving No ratings and plan ways the objectives should be revised. Based on your analysis, revise your objectives to correct ambiguities and omissions. P

She leaned forward and placed her chin on her fist. 'So. Can you tell me in a sentence or two how I can fix my life using vaastu shastra techniques?' He smiled. 'You'll be surprised to hear that I can. These things may be complex on the surface, but they are built on very simple truths.' He leaned back and joined his fingertips together, looking up and thinking for a few seconds. 'Let me put it like this. Consider your desk, whether it is an office desk, or a table at home where you receive and write letters. What happens at that desk? Answer: every day, a number of letters are received. Or faxes. Or advertisements. These are all items with potential energy applications. They are all bits of paper urging you to react in some way—to buy a product, or respond with a phone call, or change the way you do something. Now what we should do is to react to that potential energy transaction in some way—and thus burn up the energy in it. We should either fulfill it, by doing what it says, or we should make a decision that we are not going to fulfill it, but instead throw the paper away. But, instead, we take that piece of paper and we balance it on our desk, unwilling to make an immediate decision. This happens to a number of pieces of paper every day, and then before we know it, there is a huge pile of pieces of paper on the desk. When it gets too high, we take the pile of paper and we tuck it into a drawer. When the drawer gets so full it cannot close, we tuck the paper into a cardboard box and stick it under the desk. Soon our desks are jammed with paper—underneath, inside & on top.' 'Good God! You've been spying on me!' 'Alas, it is what most people's desks look like.' 'What's the effect of all these unfulfilled bits of paper? What did you call it—potential energy transactions?' 'I shall tell you. The day comes when you arrive at your desk, and you have lots of work to do, but you can't do it. You feel an incredible amount of inertia. You can't get started. And you have no idea why.' 'You peeping Tom! You've been staring at me through my office window.' 'The reason why you can't get started is that your desk is swamped with frozen energy. It is lying there, waiting to be handled. But the inertia infects everything you do, so that you end up unable to do anything.' She shook her head. 'It's awful, but it all rings true. What about computers? I use mostly email these days.' 'They're just the same. The only difference is that instead of physical letters arriving at your desk, emails arrive in your inbox. Again, each of them is a potential energy transaction. And again, the right thing to do would be to delete each one, or reply to each one—and then delete it. But that's not what we do, is it?' 'It is not.' 'We leave them there in our inboxes.' She nodded guiltily. 'And soon there are 600 emails in our inboxes.' '800.' 'And eventually, we select them all and stick them in a file called "archive"—which is simply the computer equivalent of the cardboard box under the desk. And the result is the same. Our email systems become full of frozen energy, & inertia spreads out of it. We find ourselves unable to do any useful work.' 'I've often wondered why I feel like I am walking in treacle. So what should one do about all this?' Sinha waved a bony index finger at her. 'This is what I recommend. Divide all your paperwork into 2 piles. One of stuff that is useless and should be thrown away. And one of stuff which you think may be of use one day. Then you throw both piles away.' 'Both piles?' 'Both piles. By that stage, you will have started to feel the benefits that clarity can bring.' 'And I suppose one should delete all one's emails as well.' 'Exactly. Even if you don’t, that nice Mr. Gates has arranged for the computer to crash every few years, so that all your stuff gets wiped out anyway.

Readers new to Sedgwick might also benefit from some preliminary practice with long and syntactically complex sentences like this one, which might require an English, French, Scots or Yiddish dictionary as well as an alertness to the non-arbitrary associations that cluster around certain words and grammatical, rhetorical and syntactic strategies; which you might have to read repeatedly and break down into its relevant clauses; which may be more akin to a poem or prose poem than regular academic writing; and which might, therefore, require a sensitivity to the oblique and obscure, to rhythm, tone, form, nuance, double entendres and various kinds of imagery: skills which readers with literary passions might, perhaps, find less intimidating

When he was twenty-four, André floated down to Saigon and returned with a wife standing upon his prow. Eugenia was the eldest child of Pierre Cazeau, the stately, arrogant owner of the Hôtel Continental, on rue Catinat. She was also deaf. Her tutors had spent the first thirteen years of her life attempting to teach her how to speak like a hearing person, as was dictated by the popular pedagogy of the time. Her tongue was pressed, her cheeks prodded, countless odd intonations were coaxed forth from her lips. Cumbersome hearing horns were thrust into her ears, spiraling upward like ibex horns. It was a torture she finally rejected for the revolutionary freedom of sign, which she taught herself from an eighteenth-century dictionary by Charles-Michel de l’Épée that she had stumbled upon accidentally on the shelf of a Saigon barbershop.1 Based on the grammatical rules of spoken language, L’Épée’s Methodical Sign System was unwieldy and overly complex: many words, instead of having a sign on their own, were composed of a combination of signs. “Satisfy” was formed by joining the signs for “make” and “enough.” “Intelligence” was formed by pairing “read” with “inside.” And “to believe” was made by combining “feel,” “know,” “say,” “not see,” plus another sign to denote its verbiage. Though his intentions may have been noble, L’Epée’s system was inoperable in reality, and so Eugenia modified and shortened the language. In her hands, “belief” was simplified into “feel no see.” Verbs, nouns, and possession were implied by context. 1 “So unlikely as to approach an impossibility,” writes Røed-Larsen of this book’s discovery, in Spesielle ParN33tikler (597). One could not quite call her beautiful, but the enforced oral purgatory of her youth had left her with an understanding of life’s inherent inclination to punish those who least deserve it. Her black humor in the face of great pain perfectly balanced her new husband’s workmanlike nature. She had jumped at the opportunity to abandon the Saigon society that had silently humiliated her, gladly accepting the trials of life on a backwater, albeit thriving, plantation. Her family’s resistance to sending their eldest child into the great unknowable cauldron of the jungle was only halfhearted—they were in fact grateful to be unburdened of the obstacle that had kept them from marrying off their two youngest (and much more desirable) daughters. André painstakingly mastered Eugenia’s language. Together, they communed via a fluttering dance of fingertips to palms, and their dinners on the Fig. 4.2. L’Épée’s Methodical Sign System From de l’Épée, C.-M. (1776), Institution des sourds et muets: par la voie des signes méthodiques, as cited in Tofte-Jebsen, B., Jeg er Raksmey, p. 61 veranda were thus rich, wordless affairs, confluences of gestures beneath the ceiling fan, the silence broken only by the clink of a soup spoon, the rustle of a servant clearing the table, or the occasional shapeless moan that accentuated certain of her sentences, a relic from her years of being forced to speak aloud.

The English textbooks, which the ministry had handpicked and shipped to every school, were intended for American children learning to read in English, not for foreign children learning English itself. “Splish splash,” a story might declare on one page. “Jane got soaked by the hose.” In one sentence the book had managed to combine a pseudo-word (“splish”), an irregular past tense (“got”), a passive construction (“got soaked by”) for speakers of a language in which there was no such thing, and three words that should not be at the top of a basic vocabulary list (“splash,” “soaked,” and “hose”), one of which (“hose”) referred to an object that didn’t exist in this world. This was supposed to be appropriate reading for second graders, merely because the words were easy to sound out—and this at a school where, on a very good day, my second graders were working on the grammatical complexities of the sentence “I walk.” I

Since the road to publication is usually so arduous, meandering and fraught with unexpected twists, writers have ample time to compose (in their heads or on fettuccini-stained restaurant napkins) dissertation-length monologues befitting that of a Shakespearean lead character, during which they describe—in complex, paragraph-long sentences—how exceedingly indebted they are to everyone they’ve ever met, read a book by or chatted about “Motivation” with online (in their entire lives) for the help given in the writing, acquisition, printing and distribution of their debut novels.

1. Starting with your most important dream in any given area, write a clear and precise description of that dream. This description should be at least a sentence or two, but no more than a single page. If possible, try to draw or find a picture that provides you with an image or symbol of what fulfilling this dream might look like. 2. Create a “Goals Page” for that specific dream. To do this, state the dream at the top of the page. Then make a list of the specific, intermediate “goals” that need to be achieved to fulfill that dream. This step converts your dreams into specific goals. 3. Create a page for each goal and label those pages “Goals to Steps.” On each page, list the intermediate goal you want to achieve, then list the steps that need to be taken to achieve that goal. 4. Next, take any complex step in your list of steps that requires the completion of more than one task, and create a “Steps to Tasks” page. List the specific tasks that need to be completed to take that step. 5. The final step in this process is to assign completion dates to each task and step. Once you’ve done that, you are ready to begin. Now you can work on achieving each goal one task or step at a time. Complete each step, one by one, until you have achieved your dream. This process will likely

1. Starting with your most important dream in any given area, write a clear and precise description of that dream. This description should be at least a sentence or two, but no more than a single page. If possible, try to draw or find a picture that provides you with an image or symbol of what fulfilling this dream might look like. 2. Create a “Goals Page” for that specific dream. To do this, state the dream at the top of the page. Then make a list of the specific, intermediate “goals” that need to be achieved to fulfill that dream. This step converts your dreams into specific goals. 3. Create a page for each goal and label those pages “Goals to Steps.” On each page, list the intermediate goal you want to achieve, then list the steps that need to be taken to achieve that goal. 4. Next, take any complex step in your list of steps that requires the completion of more than one task, and create a “Steps to Tasks” page. List the specific tasks that need to be completed to take that step. 5. The final step in this process is to assign completion dates to each task and step. Once you’ve done that, you are ready to begin. Now you can work on achieving each goal one task or step at a time. Complete each step, one by one, until you have achieved your dream. This process will likely reveal tasks or steps that you cannot complete on your own, due to lack of know-how or limited resources. Don’t panic. As you’ll see in Chapter 6, partnering is the single most powerful strategy that you will employ in the pursuit of your dreams, and you can become an expert at it!

ASL conveys the differences between subject and object as specifically as English does. It simply employs a change of direction rather than a change of pronouns or of sign order. Liz uses the grammar of ASL, which is perfectly clear and reasonable to the students, to teach them English grammar, which they find so unwieldy. The former is nothing they were ever taught; they acquired it naturally through use, just as hearing students understand how to form proper English sentences before they ever receive any formal instruction. This method ultimately serves two purposes. As the students learn the rules of English grammar, they are also receiving a subtler message: that ASL has an equally complex and worthy grammar, a grammar they have already mastered.

The familiar phrase “the authority of scripture” thus turns out to be more complicated than it might at first sight appear. This hidden complication may perhaps be the reason why some current debates remain so sterile. This kind of problem, though, is endemic in many disciplines, and we ought to be grown-up enough to cope with it. Slogans and clichés are often shorthand ways of making more complex statements. In Christian theology, such phrases regularly act as “portable stories”—that is, ways of packing up longer narratives about God, Jesus, the church and the world, folding them away into convenient suitcases, and then carrying them about with us. (A good example is the phrase “the atonement.” This phrase is rare in the Bible itself; instead, we find things like “The Messiah died for our sins according to the scriptures”; “God so loved the world that he gave his only son,” and so on. But if we are to discuss the atonement, it is easier to do so with a single phrase, assumed to “contain” all these sentences, than by repeating one or more of them each time.) Shorthands, in other words, are useful in the same way that suitcases are. They enable us to pick up lots of complicated things and carry them around all together. But we should never forget that the point of doing so, like the point of carrying belongings in a suitcase, is that what has been packed away can then be unpacked and put to use in the new location. Too much debate about scriptural authority has had the form of people hitting one another with locked suitcases. It is time to unpack our shorthand doctrines, to lay them out and inspect them. Long years in a suitcase may have made some of the contents go moldy. They will benefit from fresh air, and perhaps a hot iron.

During abusive conversations each remark after the first is only about the previous remark. -- Verbal abuse is less complex than other forms of conversation! "Aware of their stateless, knee-jerk character, I recognize that the terse remark I want to blurt has far more to do with some kind of "reflex" to the very last sentence of the conversation than it does with either the actual issue at hand or the person I'm talking to. . . . I steer myself toward a more "stateful" response.

The neurological feedback and resulting control of the muscles involved in speech is extremely complex. The mind is involved in a far greater task than simply remembering vocabulary and organizing words into meaningful sentences.

In a 1957 experiment that helped launch the modern study of language acquisition, the late Roger Brown showed that children know that if you say, "Can you see a sib?" you probably have in mind an action or a process. No other mammal seems to be equipped to use such clues for word learning. Even more dramatically, no other species seems to be able to make much of word order. The difference between the sentence "Dog bites man" and the sentence "Man bites dog" is largely lost on our nonhuman cousins. There is a bit of evidence that Kanzi can pay attention to word order to some tiny extent, but certainly not in anything like as rich a fashion as a three-year-old human child.

First, they employ plenty of concrete nouns and vivid verbs, especially when discussing abstract concepts. Second, they keep nouns and verbs close together, so that readers can easily identify “who’s kicking whom.” Third, they avoid weighing down their sentences with extraneous words and phrases, or “clutter.” Far from eschewing theoretical intricacy or syntactical nuance, stylish academic writers deploy these three core principles in the service of eloquent expression and complex ideas.

The marks of this style are weight and clarity of argument, sudden turns of generalization and genial paradox, the telling short sentence to sum a complex paragraph, and unexpected touches of personal approach to the reader, whom he always assumes to be as logical, as learned, as romantic, and as open to conviction as himself. Not that in fact he was easily open to conviction; perhaps 'open to argument' would be a truer description.

What enables a child not only to learn words, but to put them together in meaningful sentences? What pushes children to go on developing complex grammatical language even though their early simple communication is successful for most purposes? Does child language develop similarly around the world? How do bilingual children acquire more than one language?

Fundamental philosophic ideas are almost always profoundly controversial. They are not bromides; they are not self-evident, unless it’s like “A is A.” They involve tremendous abstraction and tremendous complexity. And therefore, if you find that you can zip them off in one or two sentences that absolutely no one could ever question, the chances are very strong that you did something wrong, that you missed out on what this idea actually says.

When you can articulate your subject in a few sentences, in terms of action and character, you’re ready to begin expanding the elements of structure and story. It may take several pages of free-association writing about your story before you can begin to grasp the essentials and reduce a complex story line to a simple sentence or two. Don’t worry about it. Just keep doing it, and you will be able to articulate your story idea clearly and concisely.

What we have seen does not sit comfortably with conventional views of the brain. Electrophysiology has been a powerful tool and its returns have permeated our thinking about how the brain works, but the resulting understanding is cursed by overinterpretation. Because spike activity appears to have so much capacity for encoding information, we are tempted to think it in fact conveys a huge volume of information. When we find, in the spike activity of some neuron or another, correlation between some facet and some particular external events, it is tempting to think this is the message the cell is conveying. A message is only a message if it can be understood by its recipient. Neurons can't decipher long and complex sentences. They have a short attention span, are easily distracted, and much of the time they aren't even listening. A neuron that is quiet at a particular time is likely also to be less sensitive to an input; a cell that is very active might be saturated; and a cell recently activated might be refractory to further activation. Spike activity is not the output of any neuron, only one of several means by which some of its chemical signals are generated. These signals are generated unreliably and erratically and are recognized imperfectly by their targets. The message carried by the spike activity of a vasopressin cell makes no sense when considered alone. The important signal is generated by a cacophony of noisy and messy cells , and the miracle that demands to be recognized is that this population response is indeed clean, refined and fit for purpose.

Often lost in the simplistic outrage that sexual crimes elicits, is an understanding of the complexity of an offenders’ future and those they call family. Offenders are also brothers, children, wives, fathers and significant others. When these offenders return to the community after their criminal sentence, they will begin to restructure their lives to try and become productive citizens. Their families and support systems also face a set of challenges. Dr. Zilney’s thoughtful and well-organized work documents the many unintended consequences of our prolonged, entrenched sex offender laws and its impact on not only the offenders, but their support systems. Humanizing and contextualizing people who have committed real harm is an important social goal. Dr. Zilney’s research not only accomplishes this but equally importantly requires us to rethink how we help support these people and their families in developing healthy and safe relationships. Richard G. Wright, Ph.D., Bridgewater State University

From daily common talk, it is humanly impossible to gather and immediately theorize the recursive logic of natural language. Natural language disguises its silent syntax: such that from the superficial lexical ordering of our linear sentences, we cannot infer the intricate hierarchical properties they clothe, because these sentential clothes are translated with quite another (articulatory, phonological) procedure, which seems (to the common users) ever more complex than the core genetic accepting-syntax of the alphabet and logic itself.

There is something so wonderfully complex about labelling someone a ‘best friend’. It is leaps ahead of ‘friend’, who is just someone you like a bit without a special kind of bond tying you together like you are white-water rafting through life with each other. It’s a commitment, for starters, but one that you can’t ever imagine not being part of. You fall quite romantically for each other and think: ‘Yep, you. You will soon become an extension of my personality; I will finish your sentences and you will know all my most awful secrets, and therefore hold all the power over me for ever more. And, oh balls, I can never ever forget your birthday.

When he got out of the army after the Korean War, John had developed an avid interest in these complex board games, which demanded progressive degrees of skill and cunning over many hours of play. Many of the games had World War II themes, with names like Third Reich and Russian Front. John, when he played with an opponent, always took the German side in these. Others were based on the Civil War, including one of his favorites, Bull Run, which required tactical skill in re-creating the First Battle of Bull Run. In that battle, according to the manufacturer’s description of the game, “Both armies had the strange and fascinating task of defending on one flank while attacking on the other.

Saul is as different from Simon Wakefield as it's possible to get, I find myself thinking. And Edward Monkford is utterly different from both of them. It seems incredible that Emma could have had relationships with all three men. Where Simon's eager to please, but also touchy and insecure, and Edward's calm and super-confident, Saul is pushy and brash and loud. He also has a habit of saying 'Yeah?' aggressively at the end of his sentences, as if trying to force me to agree with him.

The rule of the vital few says that the minority of things matter a great deal and the majority of things don’t matter a lot. The key is to focus on just a couple of crucial things and disregard the rest. Your task becomes manageable again, and you keep going with much less effort. When you apply this rule during the stage of conscious incompetence, you’ll reduce the risk of giving up. In the case of learning languages, it’s usually the ability to communicate with native speakers – basic sentences and phrases are much more important than proper grammar or getting the intonation right. In the case of building a business, it’s getting your first client, the next one, and the next one. Leave thinking about more complex business tasks for later. In fitness, you don’t have to learn more than a few basic movements (squat, deadlift, bench press, overhead press, chin-up). All the other exercises aren’t necessary for most trainees. Deconstruct each of your goals in a similar way and don’t let the complexity deter you from making progress.

The Ekarv method, named after Margareta Ekarv of the Swedish Postal Museum, is a proven set of guidelines, the effectiveness of which has been substantiated by research and has been widely adopted. 1. Use simple language to express complex ideas. 2. Use normal spoken word order. 3. One main idea per line, the end of the line coinciding with the natural end of the phrase. "The robbers were sentenced to death by hanging" is short and to the point. 4. Lines of about 45 letters; text broken into short paragraphs of four or five lines. 5. Use the active form of verbs and state the subject early in the sentence. 6. Avoid: subordinate clauses, complicated constructions, unnecessary adverbs, hyphenating words and the end of lines. 7. Read texts aloud and note natural pauses. 8. Adjust wording and punctuation to reflect the rhythm of speech. 9. Discuss texts with colleagues and consider their comments. 10. Pin draft texts in their final positions to assess affect. 11. Continually reverse and refine the wording. 12. Concentrate the meaning to an "almost poetic level".

Noam Chomsky pointed out, the number of possible sentences is infinite in any language; there is no limit to the grammatical combination of words. Behaviorism cannot explain how, after relatively limited exposure to a mother tongue, young children acquire complex syntactic structures and begin to produce “correct” utterances never heard before, by themselves or by others. What’s more, they accomplish these amazing intellectual feats without being explicitly taught.