Compound Sentence Quotes

Where did this come from?” I bristle at the question. “I wrote it right in front of you. I didn’t cheat.” “I’m not accusing you of cheating. I’m asking why you were able to put together five hundred words about a poem, when I can rarely get more than a compound sentence out of you.

Isn't language loss a good thing, because fewer languages mean easier communication among the world's people? Perhaps, but it's a bad thing in other respects. Languages differ in structure and vocabulary, in how they express causation and feelings and personal responsibility, hence in how they shape our thoughts. There's no single purpose "best" language; instead, different languages are better suited for different purposes. For instance, it may not have been an accident that Plato and Aristotle wrote in Greek, while Kant wrote in German. The grammatical particles of those two languages, plus their ease in forming compound words, may have helped make them the preeminent languages of western philosophy. Another example, familiar to all of us who studied Latin, is that highly inflected languages (ones in which word endings suffice to indicate sentence structure) can use variations of word order to convey nuances impossible with English. Our English word order is severely constrained by having to serve as the main clue to sentence structure. If English becomes a world language, that won't be because English was necessarily the best language for diplomacy.

Sometimes, in the course of my hopeless quest, I would pick up and dip into one of the ordinary books that lay strewn around the castle. Whenever I did, it seemed so insipid and insubstantial that I flew into a rage and hurled it at the wall after reading the first few sentences. I was spoilt for any other form of literature, and the mental torment I endured was comparable to the agony of unrequited love compounded by the withdrawal symptoms associated with a severe addiction.

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.

I use “perpetrated” because it’s the kind of word that passive-voice writers are fond of. They prefer long words of Latin origin to short Anglo-Saxon words—which compounds their trouble and makes their sentences still more glutinous. Short is better than long. Of the 701 words in

To see Ramses, at fourteen months, wrinkling his brows over a sentence like 'The theology of the Egyptians was a compound of fetishism, totem-ism and syncretism' was a sight as terrifying as it was comical. Even more terrifying was the occasional thoughtful nod the child would give. ...the room was dark except for one lamp, by whose light Emerson was reading. Ramses, in his crib, contemplated the ceiling with rapt attention. It made a pretty little family scene, until one heard what was being said. '...the anatomical details of the wounds, which included a large gash in the frontal bone, a broken malar bone and orbit, and a spear thrust which smashed off the mastoid process and struck the atlas vertebra, allow us to reconstruct the death scene of the king.' ... From the small figure in the cot came a reflective voice. 'It appeaws to me that he was muwduwed.'...' a domestic cwime.'...'One of the ladies of the hawem did it, I think.' I seized Emerson by the arm and pushed him toward the door, before he could pursue this interesting suggestion.

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.

I found the number, called the compound and said to the man on the phone that the owner of the vehicle couldn’t collect it because he was dead. He was my father. That he didn’t mean to leave the car there but he died. That he really didn’t mean to leave it. Lunatic sentences, deadpan, cut from rock. I didn’t understand his embarrassed silence. He said, ‘Sorry, oh God. I’m so sorry’, but he could have said anything at all and it would have signified nothing. We had to take Dad’s death certificate to the compound to avoid the towing fee. This also signified nothing. After

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.

You’ve been coming here a lot,” Cara says as she approaches. “Are you afraid of the rest of the compound? Or of something else?” She’s right, I have been coming to the control room a lot. It’s just something to pass the time as I wait for my sentence from Tris, as I wait for our plan to strike the Bureau to come together, as I wait for something, anything. “No,” I say. “I’m just keeping an eye on my parents.” “The parents you hate?” She stands next to me, her arms folded. “Yes, I can see why you would want to spend every waking hour staring at people you want nothing to do with. It makes perfect sense.” “They’re dangerous,” I say. “More dangerous because no one else knows how dangerous they are but me.” “And what are you going to do from here, if they do something terrible? Send a smoke signal?” I glare at her. “Fine, fine.” She puts up her hands in surrender. “I’m just trying to remind you that you aren’t in their world anymore, you’re in this one. That’s all.” “Point taken.

In the second story of his column, Safire replies to a diplomat who received a government warning about "crimes against tourists (primarily robberies, muggings, and pick-pocketings)." The diplomat writes, Note the State Department's choice of pick-pocketings. Is the doer of such deeds a pickpocket or a pocket-picker? Safire replies, "The sentence should read 'robberies, muggings and pocket-pickings.' One picks pockets; no one pockets picks." Significantly, Safire did not answer the question. If the perpetrator were called a pocket-picker, which is the most common kind of compound in English, then indeed the crime would be pocket-picking. But the name for the perpetrator is not really up for grabs; we all agree that he is called a pickpocket. And if he is called a pickpocket, not a pocket-picker, then what he does can perfectly well be called pick-pocketing, not pocket-picking, thanks to the ever-present English noun-to-verb conversion process, just as a cook cooks, a chair chairs, and a host hosts. The fact that no one pockets picks is a red herring - who said anything about a pick-pocketer?

Watts-English, Fortson, Gibler, Hooper, & DeBellis, 2006). Further compounding this limited verbal and conceptual ability is the observation that children from low verbal families develop language skills even more slowly (Hart & Risley, 2003). This results in protracted immature language usage, fewer words, shorter sentences, and the consideration of fewer details than children from high verbal families (Papalia & Olds, 1979).

I kicked my flip-flops off and pulled my knees to my chest. Mason sprawled next to me, his head propped on a pillow. His legs, which almost hung off the end of the tiny bed, were crossed at the ankle. “How was work?” I asked. He rolled his eyes and grumbled about the students who used the computer lab, compatibility issues and a whole bunch of other stuff I didn’t understand. Being that he was a computer science major, he was always frustrated by questions he found dumb. I tried to be supportive by letting him vent, but I also enjoyed giving him a hard time about it. I stared blankly at him. “I’m sorry, you’re speaking nerd again.” “You’re hilarious. Considering you’re fluent in it.” He made his voice girly. “Did you hear about the nucleotide enzymatic compound synthesis?” I bit back my smile. “That doesn’t even make sense. And I don’t sound like that. But I am impressed you remembered all that from Biology.” “You have no idea how long I’ve been waiting to use all those words in one sentence.” I laughed as he grinned proudly

Here are several strategies for enhancing communication when addressing an audience of second-language English speakers: Slow down. Slow down. Slow down. Use clear, slow speech. Enunciate carefully. Avoid colloquial expressions. Repeat important points using different words to explain the same thing. Avoid long, compound sentences. Use visual representations (pictures, tables, graphs,

The challenge and the solution were described in memorable terms in September 1898 by William Crookes, a chemist and a physicist, in his presidential address on wheat delivered at the British Association’s annual meeting in Bristol. The most quoted sentence from his presentation was that “all civilised nations stand in deadly peril of not having enough to eat,” and he estimated that the rising demand would bring a global wheat supply shortfall as soon as 1930. But he also identified the most effective solution and its most important component: increased crop fertilization and higher applications of nitrogen, the macronutrient that most often limits wheat (and indeed all cereal) yields. Crookes correctly observed that neither the animal manures nor the planting of green manures (alfalfa, clover) could meet future needs, and that the supply of the era’s only important inorganic fertilizer, Chilean nitrates mined in the desert of Atacama, was obviously limited. What was needed was to tap the unlimited supply of atmospheric nitrogen, to change the inert molecule (N2) that forms nearly 80 percent of air’s mass into a reactive compound (preferably ammonia, NH3) that could be assimilated by crops and supply the macronutrient guaranteeing higher yields.

November–December January–February March–April May–June Sentence Skills Punctuation / Capitalization of First Word – Capitalize first word, proper nouns; use commas in a list; and insert correct end punctuation. Sentences Versus Fragments – Distinguish between a sentence and a fragment. – Correct fragments. – Identify and correct fragments and run-ons in paragraphs. Scrambled Sentences – Rearrange sequences of words into sentences, adding correct capitalization and punctuation. Sentence Types – Write a statement, question, exclamation, and command about a picture, topic, or text. – Write questions about a topic, picture, or text. Conjunctions (because, but, so) – Complete sentence stems with because, but, and so. – Independently write sentences with because, but, and so. Continue previous sentence activities. Sentence Expansion – Expand kernel sentences with appropriate Q words: who, what, when, where, why, and how. – Determine whether a specified part of a sentence tells who, what, when, where, why, and how. Sentence Combining – Combine sentences with compound subjects using pronouns, conjunctions (and, but, because, and so), and transitions when appropriate. Subordinating Conjunctions – Complete sentences beginning with subordinating conjunctions after, before, whenever, even though, since, and if. – Practice writing T.S.s with subordinating conjunctions. Continue previous sentence activities. Appositives – Identify an appositive in a sentence. – Match appositives to noun phrases. Transition Words and Phrases – Fill in correct transitions in paragraphs with blanks (time-sequence, illustration, change-of-direction, and conclusion). – Follow a given sentence with another one beginning with an illustration or cause-effect conclusion transition (Colonists needed transportation for their goods. As a result,________ Blacksmiths

January–February March–April May–June Sentence Skills Punctuation / Capitalization of First Word – Capitalize first word, proper nouns; use commas in a list; and insert correct end punctuation. Sentences Versus Fragments – Distinguish between a sentence and a fragment. – Correct fragments. – Identify and correct fragments and run-ons in paragraphs. Scrambled Sentences – Rearrange sequences of words into sentences, adding correct capitalization and punctuation. Sentence Types – Write a statement, question, exclamation, and command about a picture, topic, or text. – Write questions about a topic, picture, or text. Conjunctions (because, but, so) – Complete sentence stems with because, but, and so. – Independently write sentences with because, but, and so. Continue previous sentence activities. Sentence Expansion – Expand kernel sentences with appropriate Q words: who, what, when, where, why, and how. – Determine whether a specified part of a sentence tells who, what, when, where, why, and how. Sentence Combining – Combine sentences with compound subjects using pronouns, conjunctions (and, but, because, and so), and transitions when appropriate. Subordinating Conjunctions – Complete sentences beginning with subordinating conjunctions after, before, whenever, even though, since, and if. – Practice writing T.S.s with subordinating conjunctions. Continue previous sentence activities. Appositives – Identify an appositive in a sentence. – Match appositives to noun phrases. Transition Words and Phrases – Fill in correct transitions in paragraphs with blanks (time-sequence, illustration, change-of-direction, and conclusion). – Follow a given sentence with another one beginning with an illustration or cause-effect conclusion transition (Colonists needed transportation for their goods. As a result,________ Blacksmiths needed certain tools. Specifically,__________) Continue previous sentence activities. Appositives – Match an appositive to a noun or noun phrase. – Fill in blanks with appositives. – Given an appositive, write a sentence. – Given a topic, write a T.S. using an appositive. Transition Words and Phrases – Insert transition words or phrases (time-sequence, illustration, change-of-direction, and conclusion) into given paragraphs. Single-Sentence Summary – Given the subject, use question words without a kernel

May–June Sentence Skills Punctuation / Capitalization of First Word – Capitalize first word, proper nouns; use commas in a list; and insert correct end punctuation. Sentences Versus Fragments – Distinguish between a sentence and a fragment. – Correct fragments. – Identify and correct fragments and run-ons in paragraphs. Scrambled Sentences – Rearrange sequences of words into sentences, adding correct capitalization and punctuation. Sentence Types – Write a statement, question, exclamation, and command about a picture, topic, or text. – Write questions about a topic, picture, or text. Conjunctions (because, but, so) – Complete sentence stems with because, but, and so. – Independently write sentences with because, but, and so. Continue previous sentence activities. Sentence Expansion – Expand kernel sentences with appropriate Q words: who, what, when, where, why, and how. – Determine whether a specified part of a sentence tells who, what, when, where, why, and how. Sentence Combining – Combine sentences with compound subjects using pronouns, conjunctions (and, but, because, and so), and transitions when appropriate. Subordinating Conjunctions – Complete sentences beginning with subordinating conjunctions after, before, whenever, even though, since, and if. – Practice writing T.S.s with subordinating conjunctions. Continue previous sentence activities. Appositives – Identify an appositive in a sentence. – Match appositives to noun phrases. Transition Words and Phrases – Fill in correct transitions in paragraphs with blanks (time-sequence, illustration, change-of-direction, and conclusion). – Follow a given sentence with another one beginning with an illustration or cause-effect conclusion transition (Colonists needed transportation for their goods. As a result,________ Blacksmiths needed certain tools. Specifically,__________) Continue previous sentence activities. Appositives – Match an appositive to a noun or noun phrase. – Fill in blanks with appositives. – Given an appositive, write a sentence. – Given a topic, write a T.S. using an appositive. Transition Words and Phrases – Insert transition words or phrases (time-sequence, illustration, change-of-direction, and conclusion) into given paragraphs. Single-Sentence Summary – Given the subject, use question words without a kernel sentence to create a summary sentence. Continue previous sentence activities. Sentence Combining – Combine sentences using appositives, pronouns, and conjunctions.

If two or more clauses grammatically complete and not joined by a conjunction are to form a single compound sentence, the proper mark of punctuation is a semicolon.

Do not join independent clauses with a comma. If two or more clauses grammatically complete and not joined by a conjunction are to form a single compound sentence, the proper mark of punctuation is a semicolon.

He wasn’t dying—he was being harvested. Flayed alive by nerves that refused silence, each breath shredded like lungs packed with razors. A blink drew blood. A thought detonated fire. His studio became a mausoleum, and he, its invalid—crucified, disowned by his own biology. He had begged for the compound that once shackled the torment—denied. They called it withdrawal; he knew it as state-sanctioned mutilation. His fingers clawed through endless typos, desperate to name the unnamable. Even his phone collapsed mid-sentence, unable to carry one more fragment of his possession. He wasn’t sick. He was erased. Invalidated. A failed experiment rotting in plain view, too grotesque for rescue. And still he burned.

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