A Quote by Brian P. Cleary

I like all things grammatical, and I had already written several books about parts of speech, and even the alphabet, so everything that makes up a sentence and even a word was covered except for punctuation.
Speech and prose are not the same thing. They have different wave-lengths, for speech moves at the speed of light, where prose moves at the speed of the alphabet, and must be consecutive and grammatical and word-perfect. Prose cannot gesticulate. Speech can sometimes do nothing more.
I would like to say a few things about that photo in 'Tatler'. I have no regrets. The article was about the 20 cleverest people in England, covered up only by the thing that makes them clever. A saxophonist, for example, had only his saxophone, and an artist, his easel. So I was covered by books.
Where strictness of grammar does not weaken expression, it should be attended to. . . . But where, by small grammatical negligences, the energy of an idea is condensed, or a word stands for a sentence, I hold grammatical rigor in contempt.
Commercial books don't even get covered. The reason why so many book reviews go out of business is because they cover a lot of stuff that nobody cares about. Imagine if the movie pages covered none of the big movies and all they covered were movies that you couldn't even find in the theater?
I've had every chemo in the alphabet, most of them more than once. Some of them that aren't even in the alphabet, they're just numbers - clinical trials. But I bet if you added all those up, it would have to be like 60- or 70-something. I've had 23 bone marrow aspirations. Having one isn't fun and I've had 23. So that's been tough.
The integers of language are sentences, and their organs are the parts of speech. Linguistic organization, then, consists in the differentiation of the parts of speech and the integration of the sentence.
Native speakers of a language know intuitively whether a sentence is grammatical or not. They usually cannot specify exactly what is wrong, and very possibly they make the same mistakes in their own speech, but they know-unconsciously, not as a set of rules they learned in school-when a sentence is incorrect.
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.
The written word is the only anchor we have in life. How extraordinary would it be if we had even three or four paragraphs written honestly about their lives by our ancestors?
The Elephantine papyri - written as some of the books of the Bible are being written - is true social and legal documentation, and to historians overwhelmingly powerful and moving, even when ostensibly about trivial things.
Man, wow, there's so many things to do, so many things to write! How to even begin to get it all down and without modified restraints and all hung-up on like literary inhibitions and grammatical fears.
Hard-covered books break up friendships. You loan a hard covered book to a friend and when he doesn’t return it you get mad at him. It makes you mean and petty. But twenty-five cent books are different.
I've always had a fondness for language... English. Not that I use it correctly but I like words. I like books and I like poetry.. I like the written word... and the sung word.
The young adult literature is relatively new - it just kind of exploded in the 2000s. When I grew up, there weren't bookstores with sections dedicated to teen lit, nor was my generation raised reading books written specifically for us. Because of that, today we still think of books for teens as children's books and so when you write a book that includes sensitive topics, it just seems even more controversial. What's troubling to me about that is these are issues adults know that teens deal with. Not writing about them makes them something we don't, or can't talk about.
I make very involved drawings, even little structures, and try using design to figure out the rhythm of a plot. If there are several narrators then a clue has to pop up in the first line. There have to be certain grammatical clues, or distinctive names.
Yeah, well, the F-bomb - it's become as ubiquitous as the word 'like.' People just throw the word 'like' around as punctuation. And I think in a lot of everyday speech, the F-bomb has become a kind of dash or a comma.
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