A Quote by Rachel Cusk
There is a slovenly disrespect for truth and reality that has infected and cross-infected the arts; the values of entertainment are relentlessly in the ascendant, to the extent that it becomes virtually impossible to write a naturalistic fictional sentence without feeling that the fabric of that sentence is already compromised.
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Babies born to women who are infected with hep B - and mothers can carry the virus without their knowledge - will almost certainly be infected if they are not vaccinated within twelve hours of birth.
The first sentence of the truth is always the hardest. Each of us had a first sentence, and most of us found the strength to say it out loud to someone who deserved to hear it. What we hoped, and what we found, was that the second sentence of the truth is always easier than the first, and the third sentence is even easier than that. Suddenly you are speaking the truth in paragraphs, in pages. The fear, the nervousness, is still there, but it is joined by a new confidence. All along, you've used the first sentence as a lock. But now you find that it's the key.
An AIDS-free generation would mean that virtually no child is born with HIV; that, as those children grow up, their risk of becoming infected is far lower than it is today; and that those who become infected can access treatment to help prevent them from developing AIDS and from passing the virus on to others.
Writing is linear and sequential; Sentence B must follow Sentence A, and Sentence C must follow Sentence B, and eventually you get to Sentence Z. The hard part of writing isn't the writing; it's the thinking. You can solve most of your writing problems if you stop after every sentence and ask: What does the reader need to know next?
All seems infected that th' infected spy,
As all looks yellow to the jaundiced eye.
From sentence to sentence, in fairy tales there is no reality that is subordinated to any other. Just as, outside the pages there is no reality.
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 would stand and look out over the roofs of Paris and think, "Do not worry. You have always written before and you will write now. All you have to do is write one true sentence. Write the truest sentence that you know.
What you feel when you're writing is the relief of thinking: if you write the sentence correctly, you're clarifying. If you write the right sentence, nothing feels as good.
But sometimes when I was starting a new story and I could not get it going, I would sit in front of the fire and squeeze the peel of the little oranges into the edge of the flame and watch the sputter of blue that they made. I would stand and look out over the roofs of Paris and think, 'Do not worry. You have always written before and you will write now. All you have to do is write one true sentence. Write the truest sentence that you know.' So finally I would write one true sentence, and then go on from there.
I have not written a perfect sentence, in the literary sense. It's a lot easier to throw a perfect pass than to write a perfect sentence, if that sentence is meant to perform more than a mechanical function.
It takes me six months to do a story. I think it out and then write it sentence by sentence - no first draft. I can't write five words but that I change seven.
Circumstances of crimes vary. So do motives. And so do prospects for rehabilitation. The number of imponderables makes it impossible to sentence by formula and still sentence justly.
Every minute of every day, a child under 15 is infected with HIV - the overwhelming majority of children under 15 who are HIV-positive get infected through their mothers at birth. Without treatment, half of these children die before they reach their second birthday.
I spent my entire youth writing slowly with revisions and endless rehashing speculation and deleting and got so I was writing one sentence a day and the sentence had no FEELING. Goddamn it, FEELING is what I like in art, not CRAFTINESS and the hiding of feelings.
Never trust the translation or interpretation of something without first trusting its interpreter. One word absent from a sentence can drastically change the true intended meaning of the entire sentence. For instance, if the word love is intentionally or accidentally replaced with hate in a sentence, its effect could trigger a war or false dogma.
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