In “The New Sentence,” Ron Silliman analyzes a literary style that he calls the “new sentence.” This concept signifies a significant shift in the structure and meaning of sentences in contemporary poetry and prose. Silliman claims that by combining elements of poetry and everyday English, the new phrase alters our understanding of literature.

Line Breaks and Sentence Structure

Silliman begins by discussing the function of line breaks in poetry. Throughout history, line breaks have been used to create ambiguity and allow for several readings. He argues that sentence grammar now directly incorporates this function. In contemporary literature, a completed phrase is compared to a line of poetry. Sentences and lines were once considered separate entities with their own structures and regulations, therefore this is a significant departure.

Consider, for instance, that every line in a poem were a phrase. This would change our perspective on the form of poetry. An commonplace line, such as “I peered into it,” may have a new meaning when it is placed within a poetic structure. This idea demonstrates how sentences can develop a “interior poetic structure,” in addition to their usual grammatical shape.

Incorporating Everyday Language

Silliman highlights how poetry can now incorporate common speech thanks to the new phrase. He quotes “One Spring,” a poem by David Bromige that turns quotes from a Sonoma newspaper into brand-new words. This illustrates how simple words may gain new life and meaning when placed in poetic context.

The new sentence can contain more real-world substance. Silliman claims that as the form moves downward from the total, quoted sentences are able to interact with their context. A simple sentence like “Danny always loved Ireland” could indicate many things depending on how it is interpreted in relation to the lines that precede and follow it. This interaction’s rich texture encourages readers to engage with the language more deeply.

Syllogistic Movement

One of the most important aspects of Silliman’s theory is “syllogistic movement,” or the way concepts and meanings shift between sentences. He argues that this movement is controlled and contained rather than chaotic, allowing readers to focus on the phrase. The links between words can give the impression of rhythm and flow, much like in a musical piece.

Silliman provides examples to illustrate this movement. For instance, consider the following sentences:

• “I was left holding the bag.”
• “I peered into it.”
• “The ground was approaching fast.”
• “It was a side of himself he rarely showed.”

The first line’s usage of a cliché can give the impression that it is metaphorical, but the second sentence’s repetition creates continuity. The third sentence, which suggests impending movement and weight, akin to falling, shifts the attention. The fourth sentence, which introduces the next paragraph, humorously presents the previous sentences as leading to a conclusion.

Its syllogistic movement pattern allows each sentence to play off the others, making for an interesting read. Silliman emphasizes that rather than altering the meaning, the objective is to enhance the way sentences interact.

Characteristics of the New Sentence

Silliman lists a number of traits of the novel sentence that set it apart from more conventional forms:

Paragraph Organization: The new sentence uses paragraphs to structure statements, emphasizing quantity above argument or logic.

Unity of Quantity: The paragraph is reduced to a quantity-based unit, which permits a more comprehensive examination of concepts without being constrained by rigid logical frameworks.

Sentence Length as Measure: Sentence length serves as a gauge, affecting how readers interpret the text’s cadence and rhythm.

Altered Sentence Structure: Sentence constructions are purposefully altered to promote polysemy and ambiguity, allowing for a variety of interpretations.

Controlled Syllogistic Movement: A close interaction with the language itself is made possible by the restricted and constrained syllogistic movement.

Primary and Secondary Movement: While secondary syllogistic movement covers the entire paragraph or piece of work, primary syllogistic movement takes place between individual phrases.

Focus on Language: Readers are kept interested in the language at the sentence level and below by the focus on syllogistic flow.

Example: “For She” by Carla Harryman

To bolster his claims, Silliman analyzes the one-paragraph poem “For She” by Carla Harryman. The poem’s lines, which touch on a range of relationships and life subjects, weave a complicated web of meaning.

For example, “The back of the hand resting on the pillow was not wasted,” the poem’s opening line, sets the tone of intimacy and reflection. The sentences that follow elaborate on this idea by fusing recollections, emotions, and individual experiences. The poem flows between numerous images and ideas to show how each line relates to the others.

In order to create a sense of coherence, Harryman employs charged pronouns, parallel structures, and the term “Maxine,” according to Silliman. In the lines, “I hesitated, held her up,” The line “I tremble, jack him up,” which intensifies the poem’s emotional depth and rhythm, best exemplifies this parallel composition. The way one phrase builds upon the others encourages readers to go deeper.

Contrast with Postmodern Cultural Texts

Silliman contrasts Harryman’s approach with Frederic Jameson’s explanation of postmodern cultural texts. Jameson argues that single signifiers are separated from meaning, but Silliman argues that Harryman’s work shows the deep relationships between individual phrases. The cohesion produced by the repeated names and pronouns elevates the piece above common fragments.

The new sentence structure enables a more in-depth exploration of meaning beyond simple tale or character development. It emphasizes the significance of context, the relationships between sentences, and the pauses between words.

Evolution of the New Sentence

Silliman discusses the evolution of the new phrase as a distinct literary method. He acknowledges that it has roots in earlier forms of poetry and notes that works like Barrett Watten’s “Chamber Music” may exhibit it. Unlike established literary forms that have been easily embraced, the new phrase defies easy description.

Its resistance to being categorized as just a style suggests its importance as a structural breakthrough. The new sentence reinterprets our concept of literary meaning by challenging the signified’s (meaning) traditional dominance and highlighting the significance of the form itself.

In conclusion, Ron Silliman’s “The New Sentence” provides a perceptive analysis of contemporary phrase formation in prose and poetry. By emphasizing the relationship between sentences, the use of everyday language, and the concept of syllogistic movement, Silliman offers a fresh perspective on how people engage with literature. The new sentence represents a significant improvement in literary style by encouraging readers to explore the richness and depth of language in novel and imaginative ways. Through examples and a thorough analysis, Silliman shows how the distinction between poetry and prose is blurring, creating a dynamic environment for writers and readers in the current era.