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Suppose a Sentence par Brian Dillon
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Suppose a Sentence (édition 2020)

par Brian Dillon (Auteur)

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1503180,531 (4)1
"A captivating meditation on the power of the sentence by the author of Essayism, a 2018 New Yorker book of the year. In Suppose a Sentence, Brian Dillon, whom John Banville has called "a literary flâneur in the tradition of Baudelaire and Walter Benjamin," has written a sequel of sorts to Essayism, his roaming love letter to literature. In this new book Dillon turns his attention to the oblique and complex pleasures of the sentence. A series of essays prompted by a single sentence-from Shakespeare to Janet Malcolm, John Ruskin to Joan Didion-the book explores style, voice, and language, along with the subjectivity of reading. Both an exercise in practical criticism and a set of experiments or challenges, Suppose a Sentence is a polemical and personal reflection on the art of the sentence in literature. Whether the sentence in question is a rigorous expression of a state of vulnerability, extremity, even madness, or a carefully calibrated arrangement, Dillon examines not only how it works and why but also, in the course of the book, what the sentence once was, what it is today, and what it might become tomorrow"--… (plus d'informations)
Membre:bouillabaisse
Titre:Suppose a Sentence
Auteurs:Brian Dillon (Auteur)
Info:New York Review Books (2020), Edition: Illustrated, 232 pages
Collections:Votre bibliothèque
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Mots-clés:writing, reading, sentence, 2021, essays, books, ebook

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Suppose a Sentence par Brian Dillon

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Essays, literary criticism
  Capybara_99 | Oct 24, 2021 |
Argumentative, discursive, literate and sensitive analyses of writers’ sentences. This book helps the reader’s attention focus on how a sentence is constructed, whilst employing language that allows the reader to also reflect on the essay writer’s words in themselves. The whole is somewhat refined, reflexive and self aware.
In the right mood, or spirit, this is a bracing reminder for close and careful reading.
Without sympathy, the book might read as pretentious twaddle.
Enjoy!

The selection of sentences, of course, also creates a to be read list. As another reviewer has commented, this may create more a list of essayists, than novelists, but in an essay the writer has less need to ensure narrative drive, perhaps, and so time for reflection. ( )
  CarltonC | Jan 14, 2021 |
It’s not unusual for writers to become entranced with, enthused by, enamoured of the sentences of other writers. For years, Brian Dillon wrote out sentences that caught his eye in the backs of notebooks. Then, as a project, he sifted through these sentences, selecting his favourites, and tasking himself with writing an essay provoked by each sentence. Some of these essays focused on the grammatical structure of the sentence. Some focused on the unusual word choices. Some spun off into flights of imagination about the writer, their life, their other sentences, their many other sentences, their oeuvre. Some fixated on the colons, the semi-colons, the commas. 28 essays in total. A feast of sentences. And some of the loveliest writing about prose styling that you could hope for.

Many, indeed most, of these sentences may not be familiar to you. I had encountered very few of them in prior reading. Yet Dillon’s enthusiasm for the sentence itself and its place within its text, or wider place within the writer’s larger output is infectious. However, I wonder whether I’ll bother going on to follow these up. Unlike other enthusiasts of sentences (yes, the phenomenon is not unique), Dillon doesn’t really lead you past his own essays. Much as I admired his writing, it didn’t draw me to the writers he discussed. I wonder why that was. Perhaps his choices were so singular, so niche, that they never rose above his own prose, his own idiosyncratic engagement with his targets. For example, when he discusses Roland Barthes colons, his own essay (and indeed his essays thereafter) take on a preponderance of colons. His enthusiasm for the sentence fragment tends him towards fragmentary sentences of his own. The close reading of linguistic tics, leads the reader to spot Dillon’s own tics, (eg. “For sure,…”).

I enjoyed all of these essays but rather wish that Dillon were more enamoured with more of the sentences of fiction than of non-fiction. The stylings of essayists can be a delight, and perhaps it is a special delight for a renowned essayist, but it doesn’t always draw me in. And so I’d have to say that I’m probably not the ideal reader of this collection (though I suspect my wife might be).

And thus, only gently recommended (at least by me). ( )
  RandyMetcalfe | Jan 7, 2021 |
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"Unless for some perverts the sentence is a body?"
—Roland Barthes, The Pleasure of the Text (1973)
"You can never know enough, never work enough, never use the infinitives and participles oddly enough, never impede the movement harshly enough, never leave the mind quickly enough."
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"A captivating meditation on the power of the sentence by the author of Essayism, a 2018 New Yorker book of the year. In Suppose a Sentence, Brian Dillon, whom John Banville has called "a literary flâneur in the tradition of Baudelaire and Walter Benjamin," has written a sequel of sorts to Essayism, his roaming love letter to literature. In this new book Dillon turns his attention to the oblique and complex pleasures of the sentence. A series of essays prompted by a single sentence-from Shakespeare to Janet Malcolm, John Ruskin to Joan Didion-the book explores style, voice, and language, along with the subjectivity of reading. Both an exercise in practical criticism and a set of experiments or challenges, Suppose a Sentence is a polemical and personal reflection on the art of the sentence in literature. Whether the sentence in question is a rigorous expression of a state of vulnerability, extremity, even madness, or a carefully calibrated arrangement, Dillon examines not only how it works and why but also, in the course of the book, what the sentence once was, what it is today, and what it might become tomorrow"--

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