Would you convey my compliments to the purist who reads your proofs and tell him or her that I write in a sort of broken-down patois which is something like the way a Swiss waiter talks, and that when I split an infinitive, God damn it, I split it so it will stay split, and when I interrupt the velvety smoothness of my more or less literate syntax with a few sudden words of bar-room vernacular, that is done with the eyes wide open and the mind relaxed but attentive.
You will find that the truth is often unpopular and the contest between agreeable fancy and disagreeable fact is unequal. For, in the vernacular, we Americans are suckers for good news.
I was under twenty when I deliberately put it to myself one night after good conversation that there are moments when we actually touch in talk what the best writing can only come near. The curse of our book language is not so much that it keeps forever to the same set phrases . . . but that it sounds forever with the same reading tones. We must go out into the vernacular for tones that haven't been brought to book.
Voice is the je ne sais quoi of spirited writing. It separates brochures and brilliance, memo and memoir, a ship's log and The Old Man and the Sea. The best writers stamp prose with their own distinctive personality; their timbre and tone are as recognizable as their voices on the phone. To cultivate voice, you must listen for the music of language-the vernacular, the syntactic tics, the cadences.
Comic books are what novels used to be - an accessible, vernacular form with mass appeal - and if the highbrows are right, they're a form perfectly suited to our dumbed-down culture and collective attention deficit.
until the theologians and the ordained clergy begin to communicate with ordinary people in the vernacular, in a way that they can understand, I’m going to have to do this sort of thing.
I don't know the rules of grammar... If you're trying to persuade people to do something, or buy something, it seems to me you should use their language, the language they use every day, the language in which they think. We try to write in the vernacular.
Oh, this I have to see. I love it when you go for the vernacular. Jugular.
I'm extremely profane, unconsciously so, when I see something great for the first time; I don't know why, but beauty and profanity are related to me in the same way. It may be that I want to think of art in the vernacular, but I have no control over what comes out of my mouth when my eyes take in great beauty...it might just be the reason I avoid going to museums with elderly ladies.
Minority art, vernacular art, is marginal art. Only on the margins does growth occur.
What interests me is what you might call vernacular writing, writing that connects you to a place.
Mrs. James, my fifth-grade teacher, introduced us to some of the great literature of African American culture. I won my first blue ribbon reciting the vernacular poems of Paul Lawrence Dunbar, in particular "Little Brown Baby."
Every black American is bilingual. All of them. We speak street vernacular and we speak 'job interview.'
I tended to emphasize the secular, the casual, the colloquial, the vernacular against the sacred.
There are tools that help sharpen freestyle skills like having a diverse vernacular, some sense of music theory, being outspoken, phrasing, spacing, cross word puzzles, thesauruses, the ability to expand on an issue and embellish that with more descriptive terminology.
I was deeply impressed and moved by his masterful playing. He was highly polished, profound, subtle, and intense. He was extremely fluent in a great combination of the traditional vernacular with his own. Hearing it unfold and being in a position to participate was a great pleasure. Part of being an accompanist is that the stronger the soloist, the more I can do all that I know to do. So, Joe was as good as it gets.
The architect who combines in his being the powers of vision, of imagination, of intellect, of sympathy with human need and the power to interpret them in a language vernacular and time--- is he who shall create poems in stone.
What's impossible not to notice, though - it's all around us - is the diminution of American prose: How pedestrian it has become. Pick up any short story and listen to its voice, the tedious easy vernacular that mistakes transcription for realism. This would display an understandable pragmatism if it were a pandering to common-denominator readers; but it is, in fact, a kind of hifalultin literary ideology, the less-is-more Hemingway legacy put through an up-to-the-minute industrial blender.
If we had written Tristan in the true vernacular the audience would have been very small. It wouldn't have even been Shakespearean. It would have been so Celtic you wouldn't understand what was going on.
The Color Purple really floored me. That book was just incredible because I loved the language. The biggest deal of that book was that I loved the poetry of broken English. Broken English and vernacular. It just floored me that you can actually capture the way people really talked. And I also really connected to the social class element.
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