102
" To those who in their turn selectively handle Mormon history and discourage our probing it in a number of areas, one needs to say (or at least to ask): Haven’t we been, if anything, overly cautious, overly mistrustful, overly condescending to a membership and a public who are far more perceptive and discerning than we often give them credit for? Haven’t we, in our care not to offend a soul or cause anyone the least misunderstanding, too much deprived such individuals of needful occasions for personal growth and more in-depth life-probing experience? In our neurotic cautiousness, our fear of venturing, haven’t we often settled for an all-too-shallow and confining common denominator that insults the very Intelligence we presume to glorify and is also dishonest because, deep down, we all know better (to the extent that we do)? Isn’t our intervention often too arbitrary, reflecting the hasty, uninformed reaction of only one or a couple of influential objectors? Don’t we in the process too severely and needlessly test the loyalty and respect of and lose credibility with many more than we imagine? Isn’t there a tendency among us, bred by the fear of displeasing, to avoid healthy self-disclosure—public or private—and to pretend about ourselves to ourselves and others? Doesn’t this in turn breed loneliness and make us, more than it should, strangers to each other? And when we are too calculating, too self-conscious, too mistrustful, too prescriptive, and too regimental about our roots and about one another’s aesthetic, intellectual, and spiritual life, aren’t we self-defeating? "
107
" All European writers are ‘slaves of their baptism,’ if I may paraphrase Rimbaud; like it or not, their writing carries baggage from an immense and almost frightening tradition; they accept that tradition or they fight against it, it inhabits them, it is their familiar and their succubus. Why write, if everything has, in a way, already been said? Gide observed sardonically that since nobody listened, everything has to be said again, yet a suspicion of guilt and superfluity leads the European intellectual to the most extreme refinements of his trade and tools, the only way to avoid paths too much traveled. Thus the enthusiasm that greets novelties, the uproar when a writer has succeeded in giving substance to a new slice of the invisible; merely recall symbolism, surrealism, the ‘nouveau roman’: finally something truly new that neither Ronsard, nor Stendahl , nor Proust imagined. For a moment we can put aside our guilt; even the epigones begin too believe they are doing something new. Afterwards, slowly, they begin to feel European again and each writer still has his albatross around his neck. "
― Julio Cortázar , Around the Day in Eighty Worlds
109
" Not long ago, I advertised for perverse rules of grammar, along the lines of " Remember to never split an infinitive" and " The passive voice should never be used." The notion of making a mistake while laying down rules (" Thimk," " We Never Make Misteaks" ) is highly unoriginal, and it turns out that English teachers have been circulating lists of fumblerules for years. As owner of the world's largest collection, and with thanks to scores of readers, let me pass along a bunch of these never-say-neverisms:* Avoid run-on sentences they are hard to read. * Don't use no double negatives.* Use the semicolon properly, always use it where it is appropriate; and never where it isn't.* Reserve the apostrophe for it's proper use and omit it when its not needed.* Do not put statements in the negative form.* Verbs has to agree with their subjects.* No sentence fragments.* Proofread carefully to see if you any words out.* Avoid commas, that are not necessary.* If you reread your work, you will find on rereading that a great deal of repetition can be avoided by rereading and editing.* A writer must not shift your point of view.* Eschew dialect, irregardless.* And don't start a sentence with a conjunction.* Don't overuse exclamation marks!!!* Place pronouns as close as possible, especially in long sentences, as of 10 or more words, to their antecedents.* Writers should always hyphenate between syllables and avoid un-necessary hyph-ens.* Write all adverbial forms correct.* Don't use contractions in formal writing.* Writing carefully, dangling participles must be avoided.* It is incumbent on us to avoid archaisms.* If any word is improper at the end of a sentence, a linking verb is.* Steer clear of incorrect forms of verbs that have snuck in the language.* Take the bull by the hand and avoid mixed metaphors.* Avoid trendy locutions that sound flaky.* Never, ever use repetitive redundancies.* Everyone should be careful to use a singular pronoun with singular nouns in their writing.* If I've told you once, I've told you a thousand times, resist hyperbole.* Also, avoid awkward or affected alliteration.* Don't string too many prepositional phrases together unless you are walking through the valley of the shadow of death.* Always pick on the correct idiom.* " Avoid overuse of 'quotation " marks." '" * The adverb always follows the verb.* Last but not least, avoid cliches like the plague; seek viable alternatives." , November 4, 1979; later also published in book form) "
110
" And George Farr had the town, the earth, the world to himself and his sorrow. Music came faint as a troubling rumor beneath the spring night, sweetened by distance: a longing knowing no ease. (Oh God, oh God!)
At last George Farr gave up trying to see her. He had 'phoned vainly and time after time, at last the telephone became the end in place of the means: he had forgotten why he wanted to reach her. Finally he told himself that he hated her, that he would go away; finally he was going to as much pains to avoid her as he had been to see her. So he slunk about the streets like a criminal, avoiding her, feeling his his very heart stop when he did occasionally see her unmistakable body from a distance. And at night he lay sleepless and writhing to think of her, then to rise and don a few garments and walk past her darkened house, gazing in slow misery at the room in which he knew she lay, soft and warm, in intimate slumber, then to return to home and bed to dream of her brokenly. "
― William Faulkner , Soldiers' Pay
111
" There is a problem with writers. If what a writer wrote was published and sold many, many copies, the writer thought he was great. If what a writer wrote was published and sold a medium number of copies, the writer thought he was great. If what a writer wrote was published and sold very few copies, the writer thought he was great. If what the writer wrote never was published and he didn't have enough the money to publish it himself, then he thought he was truly great. The truth, however, was there was very little greatness. It was almost nonexistent, invisible. But you could be sure that the worst writers had the most confidence, the least self-doubt. Anyway, writers were to be avoided, and I tried to avoid them, but it was almost impossible. They hoped for some sort of brotherhood, some kind of togetherness. None of it had anything to do with writing, none of it helped at the typewriter. "
― Charles Bukowski , Women
