Unerring Rhythm

There’s this thing that the best writers have — a rhythm?

Philip Pullman had it in spades. Each of his elegantly paced deaths — aargh — still kill self.

And Robert Louis Stevenson has it, too.

Here’s an excerpt from Chapter VII (“I Go to Bristol”), p. 53

The mail picked us up about dusk at the Royal George on the heath. I was wedged in between Redruth and a stout old gentleman, and in spite of the swift motion and the cold night air, I must have dozed a great deal from the very first, and then slept like a log up hill and down dale through stage after stage; for when I was awakened at last, it was by a punch in the ribs, and I opened my eyes, to find that we were standing still before a large building in a city street, and that the day had already broken a long time.

She thinks we can agree that the above is a fine example of sentence rhythm.

Stay tuned.

More Unlikely In Self’s Garden

Self’s garden is very much “in process.”

It used to frustrate her: Nothing seemed to grow right.

She left for three years, and this is what it looks like now:

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A wee little rose in a wooden planter box, that looked dead, dead, dead — in a few months of regular watering, is covered with beautiful magenta blooms.

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She forgot how many irises she planted. The ones in the side yard were deep blue. The ones next to the lime tree were white. And these, against a side fence, are lavender and yellow.

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She hung up this wooden angel 20 years ago. At the time she hung it, nothing grew around it. Now, it’s almost completely obscured by a huge bush of yellow beach daisies.

Stay tuned, dear blog readers. Stay tuned.

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