书名：How to Write a Sentence 如何写好一个句子

难度：Lexile蓝思阅读指数1270

作者：Stanley Fish斯坦利·菲什

出版社名称：Harper Paperbacks

出版时间：2012

语种：英文

ISBN：9780061840531

商品尺寸：13.5 x 1 x 20.3 cm

包装：平装

页数：166

How to Write a Sentence《如何写好一个句子》主要通过分析世界上伟大作家们（如菲利普·罗斯、安东宁·斯卡利亚、简·奥斯汀等）名篇中的经典句子并提炼出其逻辑构架，从艺术的角度探究如何写出优美的句子。本书为英文版，非常值得学习写作或从事文学创作的读者阅读。 推荐理由： 1.由《纽约时报》专栏作家、美国文学理论家斯坦利·菲什教授撰写； 2.本书并非简简单单地指导如何写作，还注重引导读者学习理解或鉴赏句子从而帮助读者更好地提高自身的写作水平； 3.书中引用了较多的精彩名人名言，也不失为一部“经典语句”赏析合集，也适合文学爱好者细细品读； 4.英文原版，原汁原味，印刷清晰，字体较大，阅读舒适。 New York Times Bestseller  Some appreciate fine art; others appreciate fine wines. Stanley Fish appreciates fine sentences.The New York Times columnist and world-class professor has long been an aficionado of language. Like a seasoned sportscaster, Fish marvels at the adeptness of finely crafted sentences and breaks them down into digestible morsels, giving readers an instant play-by-play. In this entertaining and erudite gem, Fish offers both sentence craft and sentence pleasure, skills invaluable to any writer (or reader).How to Write a Sentence is both a spirited love letter to the written word and a key to understanding how great writing works; it is a book that will stand the test of time. PRAISE FOR HOW TO WRITE A SENTENCE “Both deeper and more democratic thanThe Elements of Style.”— Adam Haslett,Financial Times“A guided tour through some of the most beautiful, arresting sentences in the English language.”— Slate“For both aspiring writer and eager reader, Fish’s insights into sentence construction and care are instructional, even inspirational.”— The Huffington Post“How to Write a Sentence is a must read for aspiring writers and anyone who wants to deepen their appreciation of literature. If extraordinary sentences are like sports plays, Fish is the Vin Scully of great writing.” —Gerald Graff and Cathy Birkenstein, authors ofThey Say/I Say“[A] splendid little volume.”—Boston Globe

大部分人在阅读中都可以将好的句子认出来，但纽约时报的专栏作家斯坦利·菲什（Stanley Fish）却说我们大部分人都不知道自己要怎样才能写出这种好句子来。他的著作How to Write a Sentence《如何写好一个句子》，就是对精心构筑的美好句子的颂歌以及对如何写出它们的指导。 Most people know a good sentence when they read one, butNew York Times columnist Stanley Fish says most of us don’t really know how to write them ourselves. His new book, How To Write A Sentence: And How To Read One, is part ode, part how-to guide to the art of the well-constructed sentence.

斯坦利·菲什（Stanley Fish）是美国文学理论家和法律学者。1938年4月19日生于生于罗得岛上的普罗维登斯。他与后现代主义联系紧密，常常将自己描述成一个反基础主义者。他是戴维森·卡恩大学人文学科的杰出教授，迈阿密佛罗里达国际大学人文和法律学科的教授，以及伊利诺伊州芝加哥大学自由艺术与科学学院的名誉院长。出版著作十多本，如《在我们自己的时代拯救世界》。他也曾在卡多佐法律学院、加州大学伯克利分校，约翰霍普金斯大学、哥伦比亚大学、杜克大学等校担任教授。 STANLEY FISH is a professor of law at Florida International University in Miami, and dean emeritus of the College of Liberal Arts and Sciences at the University of Illinois in Chicago. He has also taught at the University of California at Berkeley, Johns Hopkins University, and Duke University. He is the author of fourteen books, most recentlyFugitive in Flight andSave the World on Your Own Time. He lives in Andes, New York, and New York City.

Why Sentences? Why You Won’tFind the Answer in Strunk and White It’s Not the Thought That Counts What Is a Good Sentence? The Subordinating The Additive Style The Satiric Style: The Return of Content First Sentences Last Sentences Sentences That We Are About Themselves (Aren’t They All?) Epilogue Acknowledgment Index

Why Sentences ? In her bookThe Writing Life (1989), Annie Dillard tells the story of a fellow writer who was asked by a student, “Do you think I could be a writer?” “‘Well,’ the writer said, ‘do you like sentences?’” The student is surprised by the question, but Dillard knows exactly what was meant. He was being told, she explains, that “if he liked sentences he could begin,” and she remembers a similar conversation with a painter friend. “I asked him how he came to be a painter. He said, ‘I like the smell of paint.’” The point, made implicitly (Dillard does not belabor it), is that you don’t begin with a grand conception, either of the great American novel or a masterpiece that will hang in the Louvre. You begin with a feel for the nitty-gritty material of the medium, paint in one case, sentences in the other. But wouldn’t the equivalent of paint be words rather than sentences? Actually, no, because while you can brush or even drip paint on a canvas and make something interesting happen, just piling up words, one after the other, won’t do much of anything until something else has been added. That something is named quite precisely by Anthony Burgess in this sentence from his novelEnderby Outside(1968): And the words slide into the slots ordained by syntax, and glitter as with atmospheric dust with those impurities which we call meaning.