Despite its occasional use in spoken monologue, the Very Long Literary Sentence properly exists in the mind (hence “stream-of-consciousness”), since the most wordy of literary exhalations would exhaust the lungs’ capacity. Molly Bloom’s 36-page, two-sentence run-on soliloquy at the close of Joyce’s Ulysses takes place entirely in her thoughts. Faulkner’s longest sentence—smack in the middle of Absalom, Absalom! —unspools in Quentin Compson’s tortured, silent ruminations. According to a 1983 Guinness Book of Records, this monster once qualified as literature’s longest at 1,288 words, but that record has long been surpassed, in English at least, by Jonathan Coe’s The Rotter’s Club, which ends with a 33-page-long, 13,955 word sentence. Czech and Polish novelists have written book-length sentences since the sixties, and French writer Mathias Énard puts them all to shame with a one-sentence novel 517 pages long, though its status is “compromised by 23 chapter breaks that alleviate eye strain,” writes Ed Park in the New York Times. Like Faulkner’s glorious run-ons, Jacob Silverman describes Énard’s one-sentence Zone as transmuting “the horrific into something sublime.”
Are these literary stunts kin to Philippe Petit’s highwire challenges—undertaken for the thrill and just to show they can be done? Park sees the “The Very Long Sentence” in more philosophical terms, as “a futile hedge against separation, an unwillingness to part from loved ones, the world, life itself.” Perhaps this is why the very long sentence seems most expressive of life at its fullest and most expansive. Below, we bring you five long literary sentences culled from various sources on the subject. These are, of course, not the “5 longest,” nor the “5 best,” nor any other superlative. They are simply five fine examples of The Very Long Sentence in literature. Enjoy reading and re-reading them, and please leave your favorite Very Long Sentence in the comments.
At The New Yorker’s “Book Club,” Jon Michaud points us toward this long sentence, from Samuel Beckett’s Watt. We find the title character, “an obsessively rational servant,” attempting to “see a pattern in how his master, Mr. Knott, rearranges the furniture.”
Thus it was not rare to find, on the Sunday, the tallboy on its feet by the fire, and the dressing table on its head by the bed, and the night-stool on its face by the door, and the washand-stand on its back by the window; and, on the Monday, the tallboy on its back by the bed, and the dressing table on its face by the door, and the night-stool on its back by the window and the washand-stand on its feet by the fire; and on the Tuesday…
Here, writes Michaud, the long sentence conveys “a desperate attempt to nail down all the possibilities in a given situation, to keep the world under control by enumerating it.”
The next example, from Poynter, achieves a very different effect. Instead of listing concrete objects, the sentence below from F. Scott Fitzgerald’s The Great Gatsby opens up into a series of abstract phrases.
Its vanished trees, the trees that had made way for Gatsby’s house, had once pandered in whispers to the last and greatest of all human dreams; for a transitory enchanted moment man must have held his breath in the presence of this continent, compelled into an aesthetic contemplation he neither understood nor desired, face to face for the last time in history with something commensurate to his capacity for wonder.
Chosen by The American Scholar editors as one of the “ten best sentences,” the passage, writes Roy Peter Clark, achieves quite a feat: “Long sentences don’t usually hold together under the weight of abstractions, but this one sets a clear path to the most important phrase, planted firmly at the end, ‘his capacity for wonder.’”
Jane Wong at Tin House’s blog “The Open Bar” quotes the hypnotic sentence below from Jamaica Kincaid’s “The Letter from Home.”
I milked the cows, I churned the butter, I stored the cheese, I baked the bread, I brewed the tea, I washed the clothes, I dressed the children; the cat meowed, the dog barked, the horse neighed, the mouse squeaked, the fly buzzed, the goldfish living in a bowl stretched its jaws; the door banged shut, the stairs creaked, the fridge hummed, the curtains billowed up, the pot boiled, the gas hissed through the stove, the tree branches heavy with snow crashed against the roof; my heart beat loudly thud! thud!, tiny beads of water grew folds, I shed my skin…
Kincaid’s sentences, Wong writes, “have the ability to simultaneously suspend and propel the reader. We trust her semi-colons and follow until we are surprised to find the period. We stand on that rock of a period—with water all around us, and ask: how did we get here?”
The blog Paperback Writer brings us the “puzzle” below from notorious long-sentence-writer Virginia Woolf’s essay “On Being Ill”:
Considering how common illness is, how tremendous the spiritual change that it brings, how astonishing, when the lights of health go down, the undiscovered countries that are then disclosed, what wastes and deserts of the soul a slight attack of influenza brings to view, what precipices and lawns sprinkled with bright flowers a little rise of temperature reveals, what ancient and obdurate oaks are uprooted in us by the act of sickness, how we go down into the pit of death and feel the water of annihilation close above our heads and wake thinking to find ourselves in the presence of the angels and harpers when we have a tooth out and come to the surface in the dentist’s arm-chair and confuse his “Rinse the Mouth —- rinse the mouth” with the greeting of the Deity stooping from the floor of Heaven to welcome us – when we think of this, as we are frequently forced to think of it, it becomes strange indeed that illness has not taken its place with love and battle and jealousy among the prime themes of literature.
Blogger Rebecca quotes Woolf as a challenge to her readers to become better writers. “This sentence is not something to be feared,” she writes, “it is something to be embraced.”
Finally, from The Barnes & Noble Book Blog, we have the very Molly Bloom-like sentence below from John Updike’s Rabbit, Run:
But then they were married (she felt awful about being pregnant before but Harry had been talking about marriage for a while and anyway laughed when she told him in early February about missing her period and said Great she was terribly frightened and he said Great and lifted her put his arms around under her bottom and lifted her like you would a child he could be so wonderful when you didn’t expect it in a way it seemed important that you didn’t expect it there was so much nice in him she couldn’t explain to anybody she had been so frightened about being pregnant and he made her be proud) they were married after her missing her second period in March and she was still little clumsy dark-complected Janice Springer and her husband was a conceited lunk who wasn’t good for anything in the world Daddy said and the feeling of being alone would melt a little with a little drink.
Sentences like these, writes Barnes & Noble blogger Hanna McGrath, “demand something from the reader: patience.” That may be so, but they reward that patience with delight for those who love language too rich for the pinched limitations of workaday grammar and syntax.
Related Content:
Opening Sentences From Great Novels, Diagrammed: Lolita, 1984 & More
Lists of the Best Sentences — Opening, Closing, and Otherwise — in English-Language Novels
Cormac McCarthy’s Three Punctuation Rules, and How They All Go Back to James Joyce
Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagness
You forgot to mention the god of long sentences — Lazslo Krashnahorkai
And Gabriel Garcia Marquez, particularly Autumn of the Patriarch.
Cortazar, Saramago, Proust …
They are making us hold our breath.
Deliberately.
Semicolons seem almost cheating to me. I deduct two points for each.
I think Proust has some good ones: ” And I should have liked to be able to sit down and spend the whole day there, reading and listening to the bells, for it was so charming there and so quiet that, when an hour struck, you would have said not that it broke in upon the calm of the day, but that it relieved the day of its superfluity, and that the steeple, with the indolent, painstaking exactitude of a person who has nothing else to do, had simply, in order to squeeze out and let fall the few golden drops which had slowly and naturally accumulated in the hot sunlight, pressed, at a given moment, the distended surface of the silence.”
Great blog / Virginia Wolf.
A boring academic perspective: many of these long “run-on” sentences are not at all run-one. Length alone does not a run-on make. Most sentences become run-on when independent clauses are inappropriately linked. Nuff said.
More sentence written by illiterates- lauded by dumb intelligentsia.
Despite its occasional use in spoken monologue, the Very Long Literary Sentence properly exists in the mind (hence “stream-of-consciousness”), since the most wordy of literary exhalations would exhaust the lungs’ capacity. Molly Bloom’s 36-page, two-sentence run-on soliloquy at the close of Joyce’s Ulysses takes place entirely in her thoughts. Faulkner’s longest sentence—smack in the middle of Absalom, Absalom! —unspools in Quentin Compson’s tortured, silent ruminations. According to a 1983 Guinness Book of Records, this monster once qualified as literature’s longest at 1,288 words, but that record has long been surpassed, in English at least, by Jonathan Coe’s The Rotter’s Club, which ends with a 33-page-long, 13,955 word sentence. Czech and Polish novelists have written book-length sentences since the sixties, and French writer Mathias Énard puts them all to shame with a one-sentence novel 517 pages long, though its status is “compromised by 23 chapter breaks that alleviate eye strain,” writes Ed Park in the New York Times. Like Faulkner’s glorious run-ons, Jacob Silverman describes Énard’s one-sentence Zone as transmuting “the horrific into something sublime.”
Despite its occasional use in spoken monologue, the Very Long Literary Sentence properly exists in the mind (hence “stream-of-consciousness”), since the most wordy of literary exhalations would exhaust the lungs’ capacity. Molly Bloom’s 36-page, two-sentence run-on soliloquy at the close of Joyce’s Ulysses takes place entirely in her thoughts. Faulkner’s longest sentence—smack in the middle of Absalom, Absalom! —unspools in Quentin Compson’s tortured, silent ruminations. According to a 1983 Guinness Book of Records, this monster once qualified as literature’s longest at 1,288 words, but that record has long been surpassed, in English at least, by Jonathan Coe’s The Rotter’s Club, which ends with a 33-page-long, 13,955 word sentence. Czech and Polish novelists have written book-length sentences since the sixties, and French writer Mathias Énard puts them all to shame with a one-sentence novel 517 pages long, though its status is “compromised by 23 chapter breaks that alleviate eye strain,” writes Ed Park in the New York Times. Like Faulkner’s glorious run-ons, Jacob Silverman describes Énard’s one-sentence Zone as transmuting “the horrific into something sublime.”
Are these literary stunts kin to Philippe Petit’s highwire challenges—undertaken for the thrill and just to show they can be done? Park sees the “The Very Long Sentence” in more philosophical terms, as “a futile hedge against separation, an unwillingness to part from loved ones, the world, life itself.” Perhaps this is why the very long sentence seems most expressive of life at its fullest and most expansive. Below, we bring you five long literary sentences culled from various sources on the subject. These are, of course, not the “5 longest,” nor the “5 best,” nor any other superlative. They are simply five fine examples of The Very Long Sentence in literature. Enjoy reading and re-reading them, and please leave your favorite Very Long Sentence in the comments.
At The New Yorker’s “Book Club,” Jon Michaud points us toward this long sentence, from Samuel Beckett’s Watt. We find the title character, “an obsessively rational servant,” attempting to “see a pattern in how his master, Mr. Knott, rearranges the furniture.”
Thus it was not rare to find, on the Sunday, the tallboy on its feet by the fire, and the dressing table on its head by the bed, and the night-stool on its face by the door, and the washand-stand on its back by the window; and, on the Monday, the tallboy on its back by the bed, and the dressing table on its face by the door, and the night-stool on its back by the window and the washand-stand on its feet by the fire; and on the Tuesday…
Here, writes Michaud, the long sentence conveys “a desperate attempt to nail down all the possibilities in a given situation, to keep the world under control by enumerating it.”
The next example, from Poynter, achieves a very different effect. Instead of listing concrete objects, the sentence below from F. Scott Fitzgerald’s The Great Gatsby opens up into a series of abstract phrases.
Its vanished trees, the trees that had made way for Gatsby’s house, had once pandered in whispers to the last and greatest of all human dreams; for a transitory enchanted moment man must have held his breath in the presence of this continent, compelled into an aesthetic contemplation he neither understood nor desired, face to face for the last time in history with something commensurate to his capacity for wonder.
Chosen by The American Scholar editors as one of the “ten best sentences,” the passage, writes Roy Peter Clark, achieves quite a feat: “Long sentences don’t usually hold together under the weight of abstractions, but this one sets a clear path to the most important phrase, planted firmly at the end, ‘his capacity for wonder.’”
Jane Wong at Tin House’s blog “The Open Bar” quotes the hypnotic sentence below from Jamaica Kincaid’s “The Letter from Home.”
I milked the cows, I churned the butter, I stored the cheese, I baked the bread, I brewed the tea, I washed the clothes, I dressed the children; the cat meowed, the dog barked, the horse neighed, the mouse squeaked, the fly buzzed, the goldfish living in a bowl stretched its jaws; the door banged shut, the stairs creaked, the fridge hummed, the curtains billowed up, the pot boiled, the gas hissed through the stove, the tree branches heavy with snow crashed against the roof; my heart beat loudly thud! thud!, tiny beads of water grew folds, I shed my skin…
Kincaid’s sentences, Wong writes, “have the ability to simultaneously suspend and propel the reader. We trust her semi-colons and follow until we are surprised to find the period. We stand on that rock of a period—with water all around us, and ask: how did we get here?”
The blog Paperback Writer brings us the “puzzle” below from notorious long-sentence-writer Virginia Woolf’s essay “On Being Ill”:
Considering how common illness is, how tremendous the spiritual change that it brings, how astonishing, when the lights of health go down, the undiscovered countries that are then disclosed, what wastes and deserts of the soul a slight attack of influenza brings to view, what precipices and lawns sprinkled with bright flowers a little rise of temperature reveals, what ancient and obdurate oaks are uprooted in us by the act of sickness, how we go down into the pit of death and feel the water of annihilation close above our heads and wake thinking to find ourselves in the presence of the angels and harpers when we have a tooth out and come to the surface in the dentist’s arm-chair and confuse his “Rinse the Mouth —- rinse the mouth” with the greeting of the Deity stooping from the floor of Heaven to welcome us – when we think of this, as we are frequently forced to think of it, it becomes strange indeed that illness has not taken its place with love and battle and jealousy among the prime themes of literature.
Blogger Rebecca quotes Woolf as a challenge to her readers to become better writers. “This sentence is not something to be feared,” she writes, “it is something to be embraced.”
Finally, from The Barnes & Noble Book Blog, we have the very Molly Bloom-like sentence below from John Updike’s Rabbit, Run:
But then they were married (she felt awful about being pregnant before but Harry had been talking about marriage for a while and anyway laughed when she told him in early February about missing her period and said Great she was terribly frightened and he said Great and lifted her put his arms around under her bottom and lifted her like you would a child he could be so wonderful when you didn’t expect it in a way it seemed important that you didn’t expect it there was so much nice in him she couldn’t explain to anybody she had been so frightened about being pregnant and he made her be proud) they were married after her missing her second period in March and she was still little clumsy dark-complected Janice Springer and her husband was a conceited lunk who wasn’t good for anything in the world Daddy said and the feeling of being alone would melt a little with a little drink.
Sentences like these, writes Barnes & Noble blogger Hanna McGrath, “demand something from the reader: patience.” That may be so, but they reward that patience with delight for those who love language too rich for the pinched limitations of workaday grammar and syntax.
Related Content:
Opening Sentences From Great Novels, Diagrammed: Lolita, 1984 & More
Lists of the Best Sentences — Opening, Closing, and Otherwise — in English-Language Novels
Cormac McCarthy’s Three Punctuation Rules, and How They All Go Back to James Joyce
Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagness
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AUS says:
July 16, 2014 at 6:43 am
You forgot to mention the god of long sentences – Lazslo Krashnahorkai
Reply
Michael Callanan says:
July 16, 2014 at 9:20 am
And Gabriel Garcia Marquez, particularly Autumn of the Patriarch.
Reply
michel says:
July 16, 2014 at 10:26 am
Cortazar, Saramago, Proust …
Reply
Rain,adustbowlstory says:
July 16, 2014 at 1:01 pm
They are making us hold our breath.
Deliberately.
Reply
Martin Cohen says:
July 16, 2014 at 7:44 pm
Semicolons seem almost cheating to me. I deduct two points for each.
Reply
Susan says:
July 17, 2014 at 10:19 pm
I think Proust has some good ones: ” And I should have liked to be able to sit down and spend the whole day there, reading and listening to the bells, for it was so charming there and so quiet that, when an hour struck, you would have said not that it broke in upon the calm of the day, but that it relieved the day of its superfluity, and that the steeple, with the indolent, painstaking exactitude of a person who has nothing else to do, had simply, in order to squeeze out and let fall the few golden drops which had slowly and naturally accumulated in the hot sunlight, pressed, at a given moment, the distended surface of the silence.”
Reply
Alan Shaw says:
October 11, 2015 at 1:56 am
Great blog / Virginia Wolf.
Reply
Liz says:
June 18, 2016 at 10:16 am
A boring academic perspective: many of these long “run-on” sentences are not at all run-one. Length alone does not a run-on make. Most sentences become run-on when independent clauses are inappropriately linked. Nuff said.
Reply
Michael says:
July 23, 2017 at 6:20 pm
More sentence written by illiterates- lauded by dumb intelligentsia.
Reply
who you callin pin head? says:
August 22, 2017 at 8:46 am
Despite its occasional use in spoken monologue, the Very Long Literary Sentence properly exists in the mind (hence “stream-of-consciousness”), since the most wordy of literary exhalations would exhaust the lungs’ capacity. Molly Bloom’s 36-page, two-sentence run-on soliloquy at the close of Joyce’s Ulysses takes place entirely in her thoughts. Faulkner’s longest sentence—smack in the middle of Absalom, Absalom! —unspools in Quentin Compson’s tortured, silent ruminations. According to a 1983 Guinness Book of Records, this monster once qualified as literature’s longest at 1,288 words, but that record has long been surpassed, in English at least, by Jonathan Coe’s The Rotter’s Club, which ends with a 33-page-long, 13,955 word sentence. Czech and Polish novelists have written book-length sentences since the sixties, and French writer Mathias Énard puts them all to shame with a one-sentence novel 517 pages long, though its status is “compromised by 23 chapter breaks that alleviate eye strain,” writes Ed Park in the New York Times. Like Faulkner’s glorious run-ons, Jacob Silverman describes Énard’s one-sentence Zone as transmuting “the horrific into something sublime.”
Reply
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Here’s another amazingly long sentence example I found very eloquent and beautifully written.
From “The Advent of Divine Justice” by Shoghi Effendi
(One sentence, in 133 words. )
Indifferent to the truth that the members of this innocent and proscribed community can justly claim to rank as among the most disinterested, the most competent, and the most ardent lovers of their native land, contemptuous of their high sense of world citizenship which the advocates of an excessive and narrow nationalism can never hope to appreciate, such an authority refuses to grant to a Faith which extends its spiritual jurisdiction over well-nigh six hundred local communities, and which numerically outnumbers the adherents of either the Christian, the Jewish, or the Zoroastrian Faiths in that land, the necessary legal right to enforce its laws, to administer its affairs, to conduct its schools, to celebrate its festivals, to circulate its literature, to solemnize its rites, to erect its edifices, and to safeguard its endowments.
Here is a long sentence for you addicts:
Indifferent to the truth that the members of this innocent and proscribed community can justly claim to rank as among the most disinterested, the most competent, and the most ardent lovers of their native land, contemptuous of their high sense of world citizenship which the advocates of an excessive and narrow nationalism can never hope to appreciate, such an authority refuses to grant to a Faith which extends its spiritual jurisdiction over well-nigh six hundred local communities, and which numerically outnumbers the adherents of either the Christian, the Jewish, or the Zoroastrian Faiths in that land, the necessary legal right to enforce its laws, to administer its affairs, to conduct its schools, to celebrate its festivals, to circulate its literature, to solemnize its rites, to erect its edifices, and to safeguard its endowments, But then they were married (she felt awful about being pregnant before but Harry had been talking about marriage for a while and anyway laughed when she told him in early February about missing her period and said Great she was terribly frightened and he said Great and lifted her put his arms around under her bottom and lifted her like you would a child he could be so wonderful when you didn’t expect it in a way it seemed important that you didn’t expect it there was so much nice in him she couldn’t explain to anybody she had been so frightened about being pregnant and he made her be proud) they were married after her missing her second period in March and she was still little clumsy dark-complected Janice Springer and her husband was a conceited lunk who wasn’t good for anything in the world Daddy said and the feeling of being alone would melt a little with a little drink—I milked the cows, I churned the butter, I stored the cheese, I baked the bread, I brewed the tea, I washed the clothes, I dressed the children; the cat meowed, the dog barked, the horse neighed, the mouse squeaked, the fly buzzed, the goldfish living in a bowl stretched its jaws; the door banged shut, the stairs creaked, the fridge hummed, the curtains billowed up, the pot boiled, the gas hissed through the stove, the tree branches heavy with snow crashed against the roof; my heart beat loudly thud! thud!, tiny beads of water grew folds, I shed my skin.
Technically, the Oath of Allegiance to the U.S.A. is very long, I am not sure of the word count
your dodo brother
Babyyy shark dodododoododododododododooodododododododododoodododododododoodododododoodododododoodododododododoodododododododododoododoodododododododododododoodododododododoododododoododododododododoododododododododoododododooddododoodododododoododododododododoododododododoodododoooddodododdododoodoodododoodododdodod
Babyyy shark dodododoododododododododooodododododododododoodododododododoodododododoodododododoodododododododoodododododododododoododoodododododododododododoodododododododoododododoododododododododoododododododododoododododooddododoodododododoododododododododoododododododoodododoooddodododdododoodoodododoodododdodod My name is bob
hfhr jvfd
hi my name is mrs bob
hi my name is mrs bob hi
a very long sentence could be the most in one area,that has been running now it great,when I thought this famous sence.
ftw3givydsGiyEGIQ&:feiqyeiygf;ieywagfgqf/iouWGHvw;iRUGFWOGHF7;IWGVweghvweubgiuasekeghiowekhgvisudkghvbsugdbviwudkgbvuwygsbrgiwu,geadiugwvdiuhgfbwyejgFBIUEQYGBFDIUAHKGRwo;o8’yhwrg8o3yghweo’rsh;geruwiw;hugiw;h4rog;rwy’o08hgwiugy8owyo’8shwg;oeho0;hutq’/ohr0;uh;59yo/erhy’p53w/3r.
i love gourt to home sllice so what chu doing up in da hood
Here’s a sentence
Joe mama went to Mickey Deez and got fat
The end
OOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO
who lives in a pineapple under the sea?
spoNGE BOB SQUAREPANTS.
Absorbent and yellow and porous is he!
SpongeBob SquarePants!If nautical nonsense be something you wish…
SpongeBob SquarePants!
Then drop on the deck and flop like a fish!
SpongeBob Squarepants!
Have always been fond of this one, which closes out the second chapter of Philip Roth’s American Pastoral (it’s 335 words long, for those who care):
Only after strudel and coffee had capped off a chicken dinner that, what with barely anyone able to stay seated very long in one place to eat it, had required nearly all afternoon to get through; after the kids from Maple got up on the bandstand and sang the Maple Avenue School song; after classmate upon classmate had taken the microphone to say “It’s been a great life” or “I’m proud of all of you”; after people had just about finished tapping one another on the shoulder and falling into one another’s arms; after the ten-member reunion committee stood on the dance floor and held hands while the one-man band played Bob Hope’s theme song, “Thanks for the Memory,” and we applauded in appreciation of all their hard work; after Marvin Lieb, whose father sold my father our Pontiac and offered each of us kids a big cigar to smoke whenever we came to get Marvin from the house, told me about his alimony miseries – “A guy takes a leak with more forethought than I gave to my two marriages” – and Julius Pincus, who’d always been the kindest kid and who now, because of tremors resulting from taking the cyclosporin essential to the long-term survival of his transplant, had had to give up his optometry practice, told me ruefully how he’d come by his new kidney – “If a little fourteen-year-old girl didn’t die of a brain hemorrhage last October, I would be dead today” – and after Schrimmer’s tall young wife had said to me, “You’re the class writer, maybe you can explain it. Why are they all called Utty, Dutty, Mutty, and Tutty?”; only after I had shocked Shelly Minskoff, another Daredevil, with a nod of the head when he asked, “Is it true what you said at the mike, you don’t have kids or anything like that?,” only after Shelly had taken my hand in his and said, “Poor Skip,” only then did I discover that Jerry Levov, having arrived late, was among us.