A Quote by John Burnside

I love long sentences. My big heroes of fiction writing are Henry James and Proust - people who recognise that life doesn't consist of declarative statements, but rather modifications, qualifications and feelings.
Whatever simplicity I've achieved in writing, I think I owe most of it to Jean Renoir and Hemingway: simple, declarative sentences. I've read some very good writers, but the sentences were so long that I've forgotten what the point was.
While reading writers of great formulatory power — Henry James, Santayana, Proust — I find I can scarcely get through a page without having to stop to record some lapidary sentence. Reading Henry James, for example, I have muttered to myself, "C’mon, Henry, turn down the brilliance a notch, so I can get some reading done." I may be one of a very small number of people who have developed writer’s cramp while reading.
I started writing the one-sentence stories when I was translating 'Swann's Way.' There were two reasons. I had almost no time to do my own writing, but didn't want to stop. And it was a reaction to Proust's very long sentences.
I didn't go to university; I hardly went to school, but I grew up among people well versed in Henry James and Proust, and just felt this endless, total inadequacy.
If Wells recognized any merit in [Henry] James, it was his undeniable talent for using very long sentences in order to say nothing at all. p. 516
I liked teaching Henry James. When you look down at a Henry James novel from a helicopter height, you find an intricate spider web that all clings together.
The distinction between literary and genre fiction is stupid and pernicious. It dates back to a feud between Robert Louis Stevenson and Henry James. James won, and it split literature into two streams. But it's a totally false dichotomy.
A lot of writers fall in love with their sentences or their construction of sentences, and sometimes that's great, but not everybody is Gabriel Garcia Marquez or James Joyce. A lot of people like to pretend that they are, and they wind up not giving people a good read or enlightening them.
I was in Venice teaching, so I reread Henry James's "The Wings of the Dove." I love James.
Mr. Henry James writes fiction as if it were a painful duty.
I had the idea in my twenties that a writer could immediately become the late Henry James. Henry James himself had to mature. Even Saul Bellow did.
I write longer sentences than most of the others, maybe because I probably like Henry James more than they do.
At times of crisis or distress, it's poems that people turn to. (Poetry) still has a power to speak to people's feelings, maybe in a way that fiction, because it works in a longer way, can't. There's a little bit of your brain that mourns and grieves that you're not writing poetry, but actually as long as I'm writing something, I'm happy.
There are some simple maxims which I think might be commended to writers of expository prose. First: never use a long word if a short word will do. So, if you want to make a statement with a great many qualifications, put some of the qualifications in separate sentences. Third: do not let the beginning of your sentence lead the reader to an expectation which is contradicted by the end.
The work of Henry James has always seemed divisible by a simple dynastic arrangement into three reigns: James I, James II, and the Old Pretender.
The work of Henry James has always seemed divisible by a simple dynastic arrangement into three reigns: James I, James II, and the Old Pretender
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