“Some of the one-paragraph stories I wrote before the novel took weeks of revision. I’d go mad with concern over semicolons. Conjunctions ruined my sleep. I wanted no needless sound in my sentences. I hated to use adverbs because of the ‘ly
’ endings. They seemed like sloopy trailers. They made the sense mushy and weak and artificial. I didn’t want to mean anything beyond what could inhere in the particular limited aural sensation. Idea and sound had to be exactly the same length, or the same density, as if a word could be flesh. That used to be my idea of real writing. Sculptural.” —Leonard MichaelsRead more of our lost interview with the American writer here.

“Some of the one-paragraph stories I wrote before the novel took weeks of revision. I’d go mad with concern over semicolons. Conjunctions ruined my sleep. I wanted no needless sound in my sentences. I hated to use adverbs because of the ‘ly

’ endings. They seemed like sloopy trailers. They made the sense mushy and weak and artificial. I didn’t want to mean anything beyond what could inhere in the particular limited aural sensation. Idea and sound had to be exactly the same length, or the same density, as if a word could be flesh. That used to be my idea of real writing. Sculptural.” —Leonard Michaels

Read more of our lost interview with the American writer here.
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