I like to think of the individual words, then you put the word in the sentence, then you have to think about what that word means in the sentence, then you have to read the sentence in the paragraph - you're sort of building up like that; that's my philosophy.
Basically, "Making a Murderer" chronicles a set of crimes committed in Wisconsin: Manitowoc, Wisconsin. The first crime is a miscarriage of justice. Steven Avery is convicted and sentenced to a very, very long prison sentence for the assault on a woman. And it comes to light through DNA evidence that he was not the assailant.
Joyce's writing in Dubliners contains some of the most unshowily beautiful sentences in the English language. I learned from him that if you write a good, clean line of English, you can get under a reader's skin. The reader won't even know why, but there you are. Didion, Berger, the many others I mentioned above, and many, many poets I haven't mentioned. Writers of this calibre are the moving targets the rest of us are always chasing.
It is one thing to write a good sentence, another to write a good book.
When we started, I was delivering meals to people in Atlanta. We were a direct-care organization. And it was - people needed meals, they needed transport, they needed medication, they needed buddy systems. They had a death sentence. There was AZT, and that was just prolonging the agony, basically. Now people, of course, if they are on antiretrovirals, they face a lifetime of health, basically. I mean, it doesn't - it's I would say in the 99 percent certainty bracket that if you are on that medication, you will have a healthy life.
I suspected learning a language would be both useful and enjoyable (I love memorising lists of things), and would get rid of the embarrassment of being monolingual at 21. I'd been obsessed with reading for as long as I could remember, the only thing I'd ever thought I might want to be was a writer, but I was much better at crafting sentences than at stringing plots together.
For many years I wanted to be a rock star but of course that didn't work out. I did however write on napkins and pieces of paper sentences and occurrences. I decided maybe I should write a book because I had been writing so much. I'm actually writing a book based on The Room that will hopefully be published soon.
The notion of the writer as a kind of sociological sample of a community is ludicrous. Even worse is the notion that writers should provide an example of how to live. Virginia Woolf ended her life by putting a rock in her sweater one day and walking into a lake. She is not a model of how I want to live my life. On the other hand, the bravery of her syntax, of her sentences, written during her deepest depression, is a kind of example for me. But I do not want to become Virginia Woolf. That is not why I read her.
The only thing going on is the progression of words and sentences across page after page and so suddenly we see this immersive kind of very attentive thinking, whether you are paying attention to a story or to an argument, or whatever. And what we know about the brain is the brain adapts to these types of tools.
The mysterious thing about writing poetry is that when you're - when things are going poorly, when you're not thinking well, even making two sentences together is extremely hard and I just can't make the connections.
So, some of the most difficult formal poems that I've written, say one sentence sonnets, I've been able to do those fairly quickly whereas some of the clearest, simplest lyrics that I've written have taken me the longest to get to the clarity of feeling that you're looking for.
So it's not a thing that's a struggle. It's work, but it's not a struggle. It's fun. And she had a very particular way of emphasizing points and making her point, and that had to do with bringing out a word that you didn't normally think was the most important word in the sentence.
When you say: The simple truth is this, and then you pause, and then you finish the sentence, people stop, and they think specifically about what you're saying. And it's, in essence, trying to boil it down to something that's very understandable and meaningful.
You know, in the sentence of humanity this place needs to be a parentheses. And when I say parentheses I mean I'm talking like you go around it. Leave it alone. Let it exist. And what I want people to see with this film is not only a respect for this place from the bottom of my heart.
Whatever sentence is passed on the Gang of Four won't be excessive. They brought harm to millions upon millions of people.
For many years, questions about the meaning of life were dismissed as senseless. We were told that life, not being a word or sentence or anything language-like, can't intelligibly be said to have meaning. An encouraging development in the last couple of decades is a return by philosophers to addressing - as nearly all people do at some time or another - the question of life's meaning.
There is something myopic and stunted in focussing only on the meaning of words and sentences. And this myopia is especially unfortunate when combined with a rather abstract view of a language as a set of elements and rules for combining these. For the result is to divorce enquiry into meaning from attention to the way words - and gestures, facial expressions, rituals and so on - are embedded in practices, in what Wittgenstein called 'the stream of life'.
It turns out, in fact, that 'theories of meaning' are typically not about meaning in an everyday or 'folk' sense at all. They are theories designed to compute the truth or assertibility conditions of sentences from their components.
The Civil War was fought, in a sense, over whether that sentence - all men are created equal - is to be taken literally. And the southerners in the 1850s argued that it was not.
What defenders of the system typically fail to acknowledge is that the reason violent offenders comprise a fairly large percentage of the state prison population is because they typically receive longer sentences than non-violent offenders.
People on probation and parole are typically denied the right to vote, and in eleven states people are denied the right to vote even after completion of their sentences.
We would never throw up our hands and say to those white boys - well, too bad, if you had just stayed away from marijuana or not dealt dope to your friends when you were 18 you wouldn't be serving a life sentence in prison right now. You wouldn't be locked out of jobs, unable to even get work at McDonalds. No, instead we'd say, "What's wrong with us as a nation that we would condemn so many of our young men to a life of poverty, exclusion, and scorn simply because they made a few mistakes in their youth?".
In response to the advocacy of groups like Mothers Against Drunk Driving, most states adopted tougher laws to punish drunk driving. Numerous states now have some type of mandatory sentencing for this offense - typically two days in jail for a first offense and two to ten days for a second offense. Possession of a tiny amount of crack cocaine, on the other hand, was given a mandatory minimum sentence of five years in prison.
The vastly different sentences afforded drunk drivers and drug offenders tells us who is viewed as disposable - someone to be purged from the body politic - and who is not. Drunk drivers are predominately white and male.
I write, fighting for every sentence, fighting to hold the reader with every paragraph.
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