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"His book is in love with the toothsomeness of language... 'Hyphenated vulgarities,' such as blow-job, 'are comically dainty'..." - Hallo friend WELCOME TO AMERICA, In the article you read this time with the title "His book is in love with the toothsomeness of language... 'Hyphenated vulgarities,' such as blow-job, 'are comically dainty'...", we have prepared well for this article you read and download the information therein. hopefully fill posts Article AMERICA, Article CULTURAL, Article ECONOMIC, Article POLITICAL, Article SECURITY, Article SOCCER, Article SOCIAL, we write this you can understand. Well, happy reading.

Title : "His book is in love with the toothsomeness of language... 'Hyphenated vulgarities,' such as blow-job, 'are comically dainty'..."
link : "His book is in love with the toothsomeness of language... 'Hyphenated vulgarities,' such as blow-job, 'are comically dainty'..."

"His book is in love with the toothsomeness of language... 'Hyphenated vulgarities,' such as blow-job, 'are comically dainty'..."

"... Dreyer says. Novels can 'shimmy.' Parentheses have elbows. The author’s delight in his tool kit is palpable, as when he enthuses about ending a sentence shaped like a question with a period rather than a question mark. ('It makes a statement, doesn’t it.') Defending the semicolon, Dreyer quotes at length the opening of 'The Haunting of Hill House,' by Shirley Jackson, breathlessly celebrating the passage’s 'tightly woven, almost claustrophobic ideas . . . a paragraph that grabs you by the hand.' He takes a tinkerer’s joy in breaking apart syntax and putting it back together. Restrictive clauses are like Legos to him. 'There’s something bracingly attractive,' he declares, 'about a sentence that brims with parallelism.' It is as if he has thrown open a window on a starry night in winter and stuck his face outside...."

From "The Hedonic Appeal of 'Dreyer’s English'" by Katy Waldman (in The New Yorker). and here's “Dreyer’s English: An Utterly Correct Guide to Clarity and Style" by Benjamin Dreyer.

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"... Dreyer says. Novels can 'shimmy.' Parentheses have elbows. The author’s delight in his tool kit is palpable, as when he enthuses about ending a sentence shaped like a question with a period rather than a question mark. ('It makes a statement, doesn’t it.') Defending the semicolon, Dreyer quotes at length the opening of 'The Haunting of Hill House,' by Shirley Jackson, breathlessly celebrating the passage’s 'tightly woven, almost claustrophobic ideas . . . a paragraph that grabs you by the hand.' He takes a tinkerer’s joy in breaking apart syntax and putting it back together. Restrictive clauses are like Legos to him. 'There’s something bracingly attractive,' he declares, 'about a sentence that brims with parallelism.' It is as if he has thrown open a window on a starry night in winter and stuck his face outside...."

From "The Hedonic Appeal of 'Dreyer’s English'" by Katy Waldman (in The New Yorker). and here's “Dreyer’s English: An Utterly Correct Guide to Clarity and Style" by Benjamin Dreyer.

Thus articles "His book is in love with the toothsomeness of language... 'Hyphenated vulgarities,' such as blow-job, 'are comically dainty'..."

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