A Quote by Don DeLillo
There's a moral force in a sentence when it comes out right. It speaks the writer's will to live.
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Every sentence has a truth waiting at the end of it and the writer learns how to know it when he finally gets there. On one level this truth is the swing of the sentence, the beat and poise, but down deeper it's the integrity of the writer as he matches with the language. I've always seen myself in sentences. I begin to recognize myself, word by word, as I work through a sentence. The language of my books has shaped me as a man. There's a moral force in a sentence when it comes out right. It speaks the writer's will to live.
I'm a very laboured writer. I hammer it out sentence by sentence, and it takes a long time. That's what the work is, right? To make the reader think it is not hard to do.
When a plane crashes and some die while others live, a skeptic calls into question God's moral character, saying that he has chosen some to live and others to die on a whim; yet you say it is your moral right to choose whether the child within you should live or die. Does that not sound odd to you? When God decides who should live or die, he is immoral. When you decide who should live or die, it's your moral right.
We cannot anticipate the moral circumstances under which we will live. And therefore [I refuse] to say that I will not live in a moral circumstance that requires violence.
If there are degrees of evil, it is hard to say who is more contemptible: the brute who assumes the right to force the mind of others or the moral degenerate who grants to others the right to force his mind.
If an instrument similar to a geiger-counter could be invented that counted moral judgements instead, we would learn to duck as people became increasingly 'moral', since lethal force is usually imminent. So far from moral fervour being an alternative to force, it is frequently the overture, the accompaniment and the memorial to it.
I finish the book so I can see how it's going to end. I write that first sentence, and if it's the right first sentence, it leads to the right second sentence and three years later you have a 500-page manuscript, but it really is like going on a trip, going on a journey. It's a voyage.
I'm a language-oriented writer who proceeds sentence by sentence.
The script of 'Shogun' was so tight that you could not take a word out of a sentence, you could not take a sentence out of a scene, and you certainly couldn't take out a scene without putting ripples right through the back or the front of the overall story.
On the 'Star,' you were forced to learn to write a simple declarative sentence. This is useful to anyone. Newspaper work will not harm a young writer and could help him if he gets out of it in time.
The story itself should force its moral upon you. You find out what the moral is by writing the story.
I feel at various times in my life that I've been at a point where I had to choose between a death sentence and a life sentence. And I want to live. What do I do to live? What do I do to be vital? And the answer is always creativity.
Put on the game tape. The game tape speaks volumes because I'm in live action, I'm out there making reads, going through progressions, redirection protection, signaling hot routes, getting the offense in and out of the right play.
The libertarian approach is a very symmetrical one: the non-aggression principle does not rule out force, but only the initiation of force. In other words, you are permitted to use force only in response to some else's use of force. If they do not use force you may not use force yourself. There is a symmetry here: force for force, but no force if no force was used.
The necessary consequence of man's right to life is his right to self-defense. In a civilized society, force may be used only in retaliation and only against those who initiate its use. All the reasons which make the initiation of physical force an evil, make the retaliatory use of physical force a moral imperative. If some "pacifist" society renounced the retaliatory use of force, it would be left helplessly at the mercy of the first thug who decided to be immoral. Such a society would achieve the opposite of its intention: instead of abolishing evil, it would encourage and reward it.
The only way [the book can be written] is to set the unbook-the gilt-framed portrait of the book-right there on the altar and sacrifice it, truly sacrifice it. Only then may the book, the real live flawed finite book, slowly, sentence by carnal sentence, appear.
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