Essays
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- Programming Bottom-Up - Страница 1
- Lisp for Web-Based Applications - Страница 3
- Beating the Averages - Страница 6
- Java's Cover - Страница 12
- Being Popular - Страница 14
- Five Questions about Language Design - Страница 24
- The Roots of Lisp - Страница 28
- The Other Road Ahead - Страница 29
- What Made Lisp Different - Страница 44
- Why Arc Isn't Especially Object-Oriented - Страница 45
- Taste for Makers - Страница 46
- What Languages Fix - Страница 52
- Succinctness is Power - Страница 53
- Revenge of the Nerds - Страница 57
- A Plan for Spam - Страница 65
- Design and Research - Страница 72
- Better Bayesian Filtering - Страница 76
- Why Nerds are Unpopular - Страница 82
- The Hundred-Year Language - Страница 90
- If Lisp is So Great - Страница 97
- Hackers and Painters - Страница 98
- Filters that Fight Back - Страница 105
- What You Can't Say - Страница 107
- The Word "Hacker" - Страница 114
- The Python Paradox - Страница 117
- Great Hackers - Страница 118
- The Age of the Essay - Страница 125
- What the Bubble Got Right - Страница 131
- Bradley's Ghost - Страница 136
- Made in USA - Страница 137
- What You'll Wish You'd Known - Страница 140
- How to Start a Startup - Страница 147
- A Unified Theory of VC Suckagepad - Страница 159
- Undergraduation - Страница 161
- Writing, Briefly - Страница 166
- Return of the Mac - Страница 167
- Why Smart People Have Bad Ideas - Страница 169
- The Submarine - Страница 173
- Hiring is Obsolete - Страница 177
- What Business Can Learn from Open Source - Страница 183
- After the Ladder - Страница 189
- Inequality and Risk - Страница 190
- What I Did this Summer - Страница 194
- Ideas for Startups - Страница 198
- The Venture Capital Squeeze - Страница 203
- How to Fund a Startup - Страница 205
- Web 2.0 - Страница 217
- How to Make Wealth - Страница 222
- Good and Bad Procrastination - Страница 233
- How to Do What You Love - Страница 236
- Are Software Patents Evil? - Страница 242
- The Hardest Lessons for Startups to Learn - Страница 248
- How to Be Silicon Valley - Страница 255
- Why Startups Condense in America - Страница 260
- The Power of the Marginal - Страница 267
- The Island Test - Страница 275
- Copy What You Like - Страница 276
- How to Present to Investors - Страница 278
- A Student's Guide to Startups - Страница 282
- The 18 Mistakes That Kill Startups - Страница 290
- Mind the Gap - Страница 297
- How Art Can Be Good - Страница 305
- Learning from Founders - Страница 310
- Is It Worth Being Wise? - Страница 311
- Why to Not Not Start a Startup - Страница 316
- Microsoft is Dead - Страница 324
- Two Kinds of Judgement - Страница 326
- The Hacker's Guide to Investors - Страница 327
- An Alternative Theory of Unions - Страница 336
- The Equity Equation - Страница 337
- Stuff - Страница 339
- Holding a Program in One's Head - Страница 341
- How Not to Die - Страница 344
- News from the Front - Страница 347
- How to Do Philosophy - Страница 350
- The Future of Web Startups - Страница 357
- Why to Move to a Startup Hub - Страница 362
- Six Principles for Making New Things - Страница 364
- Trolls - Страница 366
- A New Venture Animal - Страница 368
- You Weren't Meant to Have a Boss - Страница 371
In the things you write in school you are, in theory, merely explaining yourself to the reader. In a real essay you're writing for yourself. You're thinking out loud.
But not quite. Just as inviting people over forces you to clean up your apartment, writing something that other people will read forces you to think well. So it does matter to have an audience. The things I've written just for myself are no good. They tend to peter out. When I run into difficulties, I find I conclude with a few vague questions and then drift off to get a cup of tea.
Many published essays peter out in the same way. Particularly the sort written by the staff writers of newsmagazines. Outside writers tend to supply editorials of the defend-a-position variety, which make a beeline toward a rousing (and foreordained) conclusion. But the staff writers feel obliged to write something "balanced." Since they're writing for a popular magazine, they start with the most radioactively controversial questions, from which-- because they're writing for a popular magazine-- they then proceed to recoil in terror. Abortion, for or against? This group says one thing. That group says another. One thing is certain: the question is a complex one. (But don't get mad at us. We didn't draw any conclusions.)
The RiverQuestions aren't enough. An essay has to come up with answers. They don't always, of course. Sometimes you start with a promising question and get nowhere. But those you don't publish. Those are like experiments that get inconclusive results. An essay you publish ought to tell the reader something he didn't already know.
But what you tell him doesn't matter, so long as it's interesting. I'm sometimes accused of meandering. In defend-a-position writing that would be a flaw. There you're not concerned with truth. You already know where you're going, and you want to go straight there, blustering through obstacles, and hand-waving your way across swampy ground. But that's not what you're trying to do in an essay. An essay is supposed to be a search for truth. It would be suspicious if it didn't meander.
The Meander (aka Menderes) is a river in Turkey. As you might expect, it winds all over the place. But it doesn't do this out of frivolity. The path it has discovered is the most economical route to the sea. [6]
The river's algorithm is simple. At each step, flow down. For the essayist this translates to: flow interesting. Of all the places to go next, choose the most interesting. One can't have quite as little foresight as a river. I always know generally what I want to write about. But not the specific conclusions I want to reach; from paragraph to paragraph I let the ideas take their course.
This doesn't always work. Sometimes, like a river, one runs up against a wall. Then I do the same thing the river does: backtrack. At one point in this essay I found that after following a certain thread I ran out of ideas. I had to go back seven paragraphs and start over in another direction.
Fundamentally an essay is a train of thought-- but a cleaned-up train of thought, as dialogue is cleaned-up conversation. Real thought, like real conversation, is full of false starts. It would be exhausting to read. You need to cut and fill to emphasize the central thread, like an illustrator inking over a pencil drawing. But don't change so much that you lose the spontaneity of the original.
Err on the side of the river. An essay is not a reference work. It's not something you read looking for a specific answer, and feel cheated if you don't find it. I'd much rather read an essay that went off in an unexpected but interesting direction than one that plodded dutifully along a prescribed course.
SurpriseSo what's interesting? For me, interesting means surprise. Interfaces, as Geoffrey James has said, should follow the principle of least astonishment. A button that looks like it will make a machine stop should make it stop, not speed up. Essays should do the opposite. Essays should aim for maximum surprise.
I was afraid of flying for a long time and could only travel vicariously. When friends came back from faraway places, it wasn't just out of politeness that I asked what they saw. I really wanted to know. And I found the best way to get information out of them was to ask what surprised them. How was the place different from what they expected? This is an extremely useful question. You can ask it of the most unobservant people, and it will extract information they didn't even know they were recording.
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