What is a sentence anyway… is there something special about a period, as opposed to other punctuation marks? Many are available: the colon is a possibility; also its half-brother; and the comma,of course...also the ellipsis—even the mighty m-dash!
Orwell noted that the semicolon is almost redundant. I wonder if sentences that once would have had a semicolon half way through are now split into two sentences.
This mermaid of the punctuation world—period above, comma below—is viewed with suspicion by many people, including well-known writers. George Orwell deliberately avoided semicolons in his novel Coming Up for Air (London: V. Gollancz, 1939). As he explained to his editor (Roger Senhouse) at the time, “I had decided … that the semicolon is an unnecessary stop and that I would write my next book without one” (quoted in George Orwell: The Collected Essays, Journalism & Letters, ed. Sonia Orwell and Ian Angus, in Vol. 4: In Front of Your Nose, Jaffrey, NH: David R. Godine, 2000). Kurt Vonnegut had this advice for writers: “First rule: Do not use semicolons. They are transvestite hermaphrodites representing absolutely nothing. All they do is show you’ve been to college” (A Man Without a Country, New York: Seven Stories Press, 2005).
[...] British journalist Lynne Truss affirmed that “a full stop ought always to be an alternative” to the semicolon (Eats, Shoots & Leaves, New York: Gotham Books, 2004). The American writer Noah Lukeman views the semicolon as a mark more suitable for creative writing. Otherwise, he argues, “The first thing to realize is that one could always make a case for not using a semicolon. As an unnecessary form of punctuation, as the luxury item in the store, we must ask ourselves: why use it at all?” (A Dash of Style: The Art and Mastery of Punctuation, New York: Norton, 2006).
And this article has an infographic “number of semicolons per 100,000 words” for a bunch of famous authors. And it includes this claim (though note that statistics from tools like Google Books Ngram Viewer can suffer from stuff like OCR ideosyncrasies).
You probably notice the older authors I’ve selected use far more than modern authors. Google Books Ngram Viewer, which includes novels, nonfiction, and even scientific literature, hows that semicolon use has dropped by about 70 percent from 1800 to 2000.
The colon seems optional to me, but quotation marks absolutely aren’t, as evidenced by how comparatively unreadable this author’s dialogue looks. From his book “The Road”:
He screwed down the plastic cap and wiped the bottle off with a rag and hefted it in his hand. Oil for their little slutlamp to light the long gray dusks, the long gray dawns. You can read me a story, the boy said. Cant you, Papa? Yes, he said. I can.
That already looks unnecessarily hard to read even though the dialogue is so short. I guess the author made it work somehow, but this seems like artificially challenging oneself to write a novel without the letter ‘E’: intriguing, but not beneficial to either reader or prose.
I respectfully disagree. As with the minor edit on the Boccaccio quote in another of my comments here, eliminating quotes fundamentally changes the way we interpret the scene.
With quotes (and especially with the way dialog is typically paragraphed), human speech is implicitly shown to be so drastically separate from the sensory component of the scene that it requires completely different formatting from the rest of the text.
By eliminating quotes and dialog paragraphing, human speech becomes just another element in the scene being depicted, not separate or any more or less important than the action of screwing down the plastic cap or the functional importance of the oil in the lamp.
The absence of quotes only makes it harder to read if you, the reader, resist this aesthetic and try to force the dialog to be of greater importance than McCarthy is allowing it to be in his novel.
He screwed down the plastic cap and wiped the bottle off with a rag and hefted it in his hand. Oil for their little slutlamp to light the long gray dusks, the long gray dawns.
“You can read me a story,” the boy said. “Cant you, Papa?”
“Yes,” he said. “I can.”
See how the social interaction between Papa and the boy is now positioned as separate from and more important than Papa’s work on the lamp?
He screwed down the plastic cap and wiped the bottle off with a rag and hefted it in his hand. Oil for their little slutlamp to light the long gray dusks, the long gray dawns. “You can read me a story,” the boy said. “Cant you, Papa?” “Yes,” he said. “I can.”
Even if you just add quotation marks, the marks call special and separate attention to the dialog, placing it as a separate component of the paragraph.
I see. I guess I can appreciate that the style is aiming for a particular aesthetic, but for me it’s giving up more in clarity than it gains in aesthetic. In a phrasing like “Cant you, Papa? Yes, he said. I can.” I have to think about who each part of the dialogue belongs to, and which parts are even dialogue, all due to the missing quotation marks.
This style reads to me like someone removed a bunch of parentheses from a math formula, ones which may not be strictly necessary if one knows about some non-universal order of operations. This may look prettier in some sense, but in exchange it will definitely confuse a fraction of readers. I personally don’t think this tradeoff is worth it.
That’s a valid reaction. However, my take is that removal of the quotes is aesthetically useful precisely because it complicates our ability to parse the words as dialog and muddles that sort of naive clarity. Spoken words are sounds, sounds are part of the environment, and it is both a choice and an effort to parse those sounds as dialog.
Most authors opt to do this work for the reader through punctuation, which also enforces interpreting these passages as dialog first and sounds second, if at all. McCarthy makes it easier to interpret spoken words as sounds that are part of the environment. If your aim as a reader is to parse dialog, it will be harder to do this in a McCarthy novel. If your aim is instead to have an aesthetic experience of spoken words as sensation interlaced with other impressions of the environment, then McCarthy’s method of punctuation makes this simpler (and even plants the suggestion that this might be something you as a reader might want to do, if you hadn’t considered the possibility before).
Given that the default, non-quotation text is not, in general, describing sounds in the environment, why do you think a reader would interpret unquoted text as environmental sounds rather than as simply more of the author’s description of goings on in the scene? I can see that presenting spoken words in some format that allows or encourages their interpretation as environmental might be artistically useful, I just don’t see that removing the quotation marks from otherwise-quoted dialog accomplishes that.
By environment, I mean the setting of the scene. Spoken words are sounds in the setting, like the sound of the wind, a gunshot, or an animal’s cry. It just happens that a human voice box is what’s making those particular sounds. McCarthy’s central theme across all the novels of his that I’ve read is the inhumanity of the Mexican-American frontier, and treating human speech as just a sound among other sounds is a key part of how he expresses that theme in his writing style.
Bang he said they wouldn’t fire she replied it happened anyway they concurred.
If the author wants this sentence to be interpreted one way or the other, they should utilize standard punctuation. Your avant garde approach to literature notwithstanding.
A longer sentence is produced by, and is asking the reader to be, putting more things together in the same [momentary working memory context]. Has advantages and disadvantages, but is not the same.
Since this is about written English text (or maybe more broadly, text in Western languages written in Latinic or Cyrillic), the criterion is: ends with a dot, starts with an uppercase letter.
Then the phenomenon could be stem from punctuation habits, as @bfinn says. Did you notice that my original comment doesn’t contain a sentence, by your standards?
What is a sentence anyway… is there something special about a period, as opposed to other punctuation marks? Many are available: the colon is a possibility; also its half-brother; and the comma,of course...also the ellipsis—even the mighty m-dash!
Question marks and exclamation points are dots with an extra bit. Ellipses may be multiple dots, but also indicate an uncertain end to the sentence. (Formal usage distinguishes ”...” for ellipses in arbitrary position and ”....” for ellipses coming after a full stop, but the latter is rarely seen in any but academic writing, and I would guess even many academics don’t notice the difference these days.)
What is a sentence anyway… is there something special about a period, as opposed to other punctuation marks? Many are available: the colon is a possibility; also its half-brother; and the comma,of course...also the ellipsis—even the mighty m-dash!
Orwell noted that the semicolon is almost redundant. I wonder if sentences that once would have had a semicolon half way through are now split into two sentences.
Sourcing the Orwell quote:
And this article has an infographic “number of semicolons per 100,000 words” for a bunch of famous authors. And it includes this claim (though note that statistics from tools like Google Books Ngram Viewer can suffer from stuff like OCR ideosyncrasies).
Semicolons are unnecessary? That doesn’t go far enough. Cormac McCarthy got rid of quotation marks, most commas, and almost exterminated the colon.
The colon seems optional to me, but quotation marks absolutely aren’t, as evidenced by how comparatively unreadable this author’s dialogue looks. From his book “The Road”:
That already looks unnecessarily hard to read even though the dialogue is so short. I guess the author made it work somehow, but this seems like artificially challenging oneself to write a novel without the letter ‘E’: intriguing, but not beneficial to either reader or prose.
I respectfully disagree. As with the minor edit on the Boccaccio quote in another of my comments here, eliminating quotes fundamentally changes the way we interpret the scene.
With quotes (and especially with the way dialog is typically paragraphed), human speech is implicitly shown to be so drastically separate from the sensory component of the scene that it requires completely different formatting from the rest of the text.
By eliminating quotes and dialog paragraphing, human speech becomes just another element in the scene being depicted, not separate or any more or less important than the action of screwing down the plastic cap or the functional importance of the oil in the lamp.
The absence of quotes only makes it harder to read if you, the reader, resist this aesthetic and try to force the dialog to be of greater importance than McCarthy is allowing it to be in his novel.
See how the social interaction between Papa and the boy is now positioned as separate from and more important than Papa’s work on the lamp?
Even if you just add quotation marks, the marks call special and separate attention to the dialog, placing it as a separate component of the paragraph.
I see. I guess I can appreciate that the style is aiming for a particular aesthetic, but for me it’s giving up more in clarity than it gains in aesthetic. In a phrasing like “Cant you, Papa? Yes, he said. I can.” I have to think about who each part of the dialogue belongs to, and which parts are even dialogue, all due to the missing quotation marks.
This style reads to me like someone removed a bunch of parentheses from a math formula, ones which may not be strictly necessary if one knows about some non-universal order of operations. This may look prettier in some sense, but in exchange it will definitely confuse a fraction of readers. I personally don’t think this tradeoff is worth it.
That’s a valid reaction. However, my take is that removal of the quotes is aesthetically useful precisely because it complicates our ability to parse the words as dialog and muddles that sort of naive clarity. Spoken words are sounds, sounds are part of the environment, and it is both a choice and an effort to parse those sounds as dialog.
Most authors opt to do this work for the reader through punctuation, which also enforces interpreting these passages as dialog first and sounds second, if at all. McCarthy makes it easier to interpret spoken words as sounds that are part of the environment. If your aim as a reader is to parse dialog, it will be harder to do this in a McCarthy novel. If your aim is instead to have an aesthetic experience of spoken words as sensation interlaced with other impressions of the environment, then McCarthy’s method of punctuation makes this simpler (and even plants the suggestion that this might be something you as a reader might want to do, if you hadn’t considered the possibility before).
Given that the default, non-quotation text is not, in general, describing sounds in the environment, why do you think a reader would interpret unquoted text as environmental sounds rather than as simply more of the author’s description of goings on in the scene? I can see that presenting spoken words in some format that allows or encourages their interpretation as environmental might be artistically useful, I just don’t see that removing the quotation marks from otherwise-quoted dialog accomplishes that.
By environment, I mean the setting of the scene. Spoken words are sounds in the setting, like the sound of the wind, a gunshot, or an animal’s cry. It just happens that a human voice box is what’s making those particular sounds. McCarthy’s central theme across all the novels of his that I’ve read is the inhumanity of the Mexican-American frontier, and treating human speech as just a sound among other sounds is a key part of how he expresses that theme in his writing style.
That still leaves the question of how the reader is to distinguish a sound (speech) from a description of sounds.
Can you give an example?
Bang he said they wouldn’t fire she replied it happened anyway they concurred.
If the author wants this sentence to be interpreted one way or the other, they should utilize standard punctuation. Your avant garde approach to literature notwithstanding.
A longer sentence is produced by, and is asking the reader to be, putting more things together in the same [momentary working memory context]. Has advantages and disadvantages, but is not the same.
Since this is about written English text (or maybe more broadly, text in Western languages written in Latinic or Cyrillic), the criterion is: ends with a dot, starts with an uppercase letter.
Then the phenomenon could be stem from punctuation habits, as @bfinn says. Did you notice that my original comment doesn’t contain a sentence, by your standards?
Question marks and exclamation points are dots with an extra bit. Ellipses may be multiple dots, but also indicate an uncertain end to the sentence. (Formal usage distinguishes ”...” for ellipses in arbitrary position and ”....” for ellipses coming after a full stop, but the latter is rarely seen in any but academic writing, and I would guess even many academics don’t notice the difference these days.)