Unless It Moves the Human Heart: The Craft and Art of Writing

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Unless It Moves the Human Heart: The Craft and Art of Writing

3.6 of 5 stars 3.60 · rating details · 251 ratings · 77 reviews

For more than forty years, distinguished author Roger Rosenblatt has also been a teacher of writing, guiding students with the same intelligence and generosity he brings to the page, answering the difficult questions about what makes a story good, an essay shapely, a novel successful, and the most profound and essential question of them all—why write?

Unless It Moves the Hu...more

ebook, 176 pages

Published January 4th 2011 by HarperCollins e-books (first published December 15th 2010)

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Oct 01, 2012 A.L. rated it 5 of 5 stars · review of another edition

I took a class with Roger as an undergrad. I consider myself to be one of a very fortunate few who were able to do this. I look forward to continuing to work with Roger. He didn't talk about what he was writing often, but when he did, we always approached it like we were being given a very special treat that required a great reverence. He didn't talk about this book, though. I found out about it when he published the last part: a letter to his ungrateful students in the New Yorker. This book doe...more

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Sep 05, 2011 Stephanie added it · review of another edition

It is difficult for a book to capture the atmosphere of a classroom, which is what Rosenblatt tries to do here: to pass on his convictions about creative writing, developed through many years of teaching and writing, to a broader audience than fits in his classroom. He writes classroom scenes in dialogue, as if his students all have the timing of stand-up comics and one pithy insight after another falls from his lips. I enjoyed seeing how he cultivates a cranky, somewhat insulting teaching perso...more

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Jun 25, 2011 Marco Kaye rated it 2 of 5 stars · review of another edition

I'm also reading, "Stanford Meisner On Acting," which is a much better book if you apply it holistically to writing than this one.

I bring up "On Acting" because it uses a similar format: a creatively edited transcript of a class in session. It's evident that formats such as these place a lot of emphasis on the personality and insights of the instructor. Duh. But where in "On Acting" you get a sense of Meisner's humor—sometimes a little old man lecherous, if you're into that kind of thing—in "Unl...more

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May 02, 2011 Bruce rated it 3 of 5 stars · review of another edition

I went to the library for another book, but I picked this one up because Rosenblatt wrote it. I’m sure he was my section leader in an English class at Harvard half a century ago. Subsequently he became Senior Tutor and then Master of Dunster House, my residence hall. This little book is really an extended essay, told in the first person, about a somewhat fictional writing class he taught, constructed from his memories and typical students. He uses this setting to discuss principles of writing an...more I went to the library for another book, but I picked this one up because Rosenblatt wrote it. I’m sure he was my section leader in an English class at Harvard half a century ago. Subsequently he became Senior Tutor and then Master of Dunster House, my residence hall. This little book is really an extended essay, told in the first person, about a somewhat fictional writing class he taught, constructed from his memories and typical students. He uses this setting to discuss principles of writing and how he teaches them. The work reads easily, even leisurely. By means of dialogue with his students, Rosenblatt discusses not only teaching approaches but also what he considers the essentials of good stories, focusing first on openings. He explicates what fiction is all about, how it functions, and how the process of writing twists and turns throughout the composition of a piece. His use of humor is effective – he clearly finds his own wit amusing - and the tenor of the book is light but thought provoking, each page containing ideas and perspectives to ponder. Sometimes the book seems unfocused, partly a fictional memoir, if that is a genre and not a contradiction in terms, and partly a personal essay. It certainly can’t be considered a formal framework for writing but rather an encouragement to write out of one’s own experience, a message said many times by many teachers. Rosenblatt’s “rules” of writing, if they are to be considered such, are more his own personal preferences for writing and writing style than dicta to be prescribed for all writers. His informal quips back and forth with his students sometimes come across as self-consciously cute, adding little to the substance other than emphasizing the informality of his teaching style. At the end he includes a long letter to his students, sent to them about a year after the course was over. In it he addressed the art as contrasted to the craft of writing, and this is a moving statement of the soul of what writing is at its very best; this small segment is the work’s highlight, although it would not thus stand out without the context of the rest.(less)

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Apr 18, 2011 Laura Droege rated it 5 of 5 stars · review of another edition

Shelves: nonfiction

This book is everything I love rolled into one. It's a book about the writing craft, to be sure, but it's so much more than that. It's the story of one semester in Rosenblatt's "Writing Everything" class, complete with the lively, diverse group of students and the discussions about everything from their personal backgrounds to writing experiences to snippets of their writings. It's more than a how-to manual or a memoir of teaching writing or even a story of a semester in a classroom. It's about...more This book is everything I love rolled into one. It's a book about the writing craft, to be sure, but it's so much more than that. It's the story of one semester in Rosenblatt's "Writing Everything" class, complete with the lively, diverse group of students and the discussions about everything from their personal backgrounds to writing experiences to snippets of their writings. It's more than a how-to manual or a memoir of teaching writing or even a story of a semester in a classroom. It's about what it takes to move the human heart through writing.

Nothing you write will matter unless it moves the human heart, said the poet A. D. Hope. And the heart that you must move is corrupt, depraved, and desperate for your love. (...) The greatest love you can show it (the world) is to create what it needs, which mean you must know that yourself.

Rosenblatt is funny, his students rag him endlessly (as he does them), and I want to call him up and beg to be in one of his classes. Even if I didn't want a MFA or a career in writing, I would still want him as a teacher. He reminded me a bit of one of my favorite professors when he writes this about his teaching mentor:

he found something valuable in every comment students made, no matter how far off the mark it might be. . . . I'm aware of its warming effect on a classroom. If you give every student the idea that his answer can never be entirely wrong, it makes him feel part of the group enterprise.

Above all, Rosenblatt pleads for us to write.

Writing is the cure for the disease of living. Doing it may sometimes feel like an escape from the world, but at its best moments it is an act of rescue.

This is a book about writing that recognizes what nuts and bolts writing craft books often don't: writing must move the heart. It must have a heart. It must be an extension of the writer's heart. Whether it succeeds or fails depends on the condition of the writer's heart. I wish all would-be and professional writers, their agents and editors, their mentors and advisors realized this.
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Jan 29, 2011 Newengland rated it 3 of 5 stars · review of another edition

Shelves: finished-in-2011, contemporary

I have a nonfiction bookshelf here and it feels weird not to place this book there. It's by TIME essayist Roger Rosenblatt, after all, and about his experiences teaching an MFA writing course at Stony Brook University called "Writing Everything." Why the hesitation, then? Rosenblatt makes up the classroom dialogue between himself and his students, that's why. As he himself writes, it's "fiction, top to bottom," and, turns out, it makes the book a helluva lot funnier than it might have been if he...more I have a nonfiction bookshelf here and it feels weird not to place this book there. It's by TIME essayist Roger Rosenblatt, after all, and about his experiences teaching an MFA writing course at Stony Brook University called "Writing Everything." Why the hesitation, then? Rosenblatt makes up the classroom dialogue between himself and his students, that's why. As he himself writes, it's "fiction, top to bottom," and, turns out, it makes the book a helluva lot funnier than it might have been if he recorded actual classrooms and transposed the back-and-forth such as it was.

Instead we get adult students of every stripe (almost like a sitcom or a reality show!) and of various abilities doing their darnedest to please their witty professor. So yes, if you enjoy a chuckle via academic badinage, you might be jonesing for this book.

What about the structure? The book follows the same design as Roger's course. It starts with stories because that's where it all began (think of your first fireside chat in ancient Greece when that Homer fellow started oraling his tradition with a tale of a sailor's very-long trip home on the wine-dark sea).

As a teacher, I most enjoyed this chapter because Rosenblatt shares not only a few of his own teaching ideas but also a few of those learned from professors HE studied under. Also, the dialogue here is rich in allusions to this author and that, that book and this, and, as you know, we Goodreads sorts just eat that stuff up because it reminds us of... ourselves, maybe.

Rosenblatt is also in rare form when he moves on to essays. This is the second book I've read in recent months that has provided the etymology of the word "essay" (the French word essayer means "to try"). I also got it in Sarah Bakewell's lovely How To Live: A Life of Montaigne in One Question and Twenty Attempts at an Answer. On one point I disagreed with Rosenblatt: he feels a personal essay has to have a point, while memoir does not. To me, many memoirs have points. Or maybe he is saying that I, the reader, am making the point. The memoirist himself is not. Bah. Nonsense, really.

Next, in a "filler" chapter, Rosenblatt talked about the wellworn nostrum of good readers making good writers. Here he allows every fictional student to tell us about his or her earliest books. Prepare, then, for the likes of My Friend Flicka and Lassie (which I don't mind too much -- unless you play the whistling theme song from the TV show, which makes me teary-eyed). This was a slog, to say the least.

And in a final disappointment, Rosenblatt talks about teaching poetry. Actually he doesn't talk about it enough -- here he gives the show more to his students because he is out of his own element, I think. We read some MFA poetry in this chapter, poems Rosenblatt deems "good" (which might make you question your own ability to discern good poetry).

A mixed bag, then. But I urge you to try it if you're a teacher or have any interest in teaching or writing. It's a mere 155 pp. and I checked it out of the library as a preventative against disappointment. You can too.

See if it moves your human heart while you're at it.(less)

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Nov 03, 2010 Rebekah ODell rated it 4 of 5 stars · review of another edition

This charming, compelling book follows a semester in Roger Rosenblatt's writing workshop at Stonybrook University. Part memoir and part practical writing guide, Rosenblatt engagingly writes what could easily have been a vastly inferior book.

One of the things I loved most about this book is that it is as much a book about teaching as it is a book about writing. I found myself underlining gems that I insist on emailing to other teacherly/writerly friends, writing on my chalkboard, and posting as...more This charming, compelling book follows a semester in Roger Rosenblatt's writing workshop at Stonybrook University. Part memoir and part practical writing guide, Rosenblatt engagingly writes what could easily have been a vastly inferior book.

One of the things I loved most about this book is that it is as much a book about teaching as it is a book about writing. I found myself underlining gems that I insist on emailing to other teacherly/writerly friends, writing on my chalkboard, and posting as my Facebook status. For example, I gave my students Rosenblatt's words, "Most nouns contain their own modifiers ... and they will not be improved by a writer who wants to show off by making them any taller, fatter, happier, or prettier than they are" (15). Eureka! Semi-snarky writing critique that I have been dying to give my students in a beautifully eloquent package! He continues,

"I tell them not to stretch to find a different word for the sake of difference. 'Read Hemingway's short stories, where he uses the same words over and over, and the words gain meaning with every repetition. IF you have someone say something, let him 'say' it -- not aver it, declare it, or intone it. Let the power reside in what is said" (15).

It didn't my hurt my appreciation of the book that Rosenblatt references my long-time boyfriend Hemingway. Often. :)

Lots of teacherly jewels reside within this little (less-than-150-page) text. Rosenblatt warns students against "throat-clearing" in their writing -- the tendency to avoid a strong begining by overwriting. He derides the quest for voice as the "latest cliche to signify good writing", and more simply defines it as knowing what you want to say.

I absolutely loved this book. True to his own admonitions, there is no sappy overwriting here, which I was sort of expecting from the subject matter and the cover of the book. While he does chronicle his students' writing forays, they are not dramatically written so as to feel cheesy.

Today on my chalkboard was another Rosenblatt quote, "If you have the goods, there's no need to dress them up. The reader will do that for you." Indeed, Rosenblatt's book has the goods.

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Jan 26, 2011 Margaret rated it 4 of 5 stars · review of another edition

Last Wednesday evening I attended Rosenblatt's reading at Politics & Prose and heard much of what's on these pages, in some cases verbatim. No matter. Every word he said, every story he shared, is worth hearing again. The letter to his writing class, printed on the book's last pages, just might get taped to my wall. It moved me to tears--not impossible to do when the subject is writing and books, but I can't say it's happened in a while. I first became acquainted with Rosenblatt when he mode...more

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Jan 22, 2012 Georgia Herod rated it 5 of 5 stars · review of another edition

Since I'm a writer, I try to read something on the craft of writing periodically. Rosenblatt, a renowned writer and university professor leads a group of students through his "Writing Everything" class. I felt as if I were auditing the class, learning along with the students, and found myself wanting to read and write more. The last chapter was worth it all--it's Rosenblatt's "parting shot" to the students. A writer could get all the details right, but R. says, “for your writing to be great …. I...more

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Oct 31, 2010 Jackie rated it 5 of 5 stars · review of another edition

Shelves: 5-star, about-writing, formative, nonfiction, pleasure-reading, work-review-related-reading

I love the way that Roger Rosenblatt, author of Making Toast as well as several other books, can squeeze so much meaning in so few words. His latest is somewhat a collection of ideas, discussions, and exercises that he has put his writing students through (he is a professor of English and Writing at Stonybrook University), though he does start off by saying "To be clear: nobody really said what I say they said in class. But the ideas expressed here were expressed there." And there is sooooo much...more

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May 06, 2011 Bookseller Cate rated it 3 of 5 stars · review of another edition

I really needed an "inspiring writing book" over the last few days, and I think this served quite well.

So why the middling rating? Well, while the book was an enjoyable read and a lovely memoir, I found the through-line to be a bit wandering. Rosenblatt structures the book as a narrative of some of the conversations that took place during a semester of his "Writing Everything" class.

I found this structure a little disorienting, because I felt like I was sitting in the corner at a party where I...more

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May 31, 2011 Laura Leaney rated it 3 of 5 stars · review of another edition

I am slightly disappointed. The book is set up as a memoir of a class Roger Rosenblatt once taught, but it's a fictionalized amalgamation of students he once had and the comments he once heard from them. The re-created dialogue feels unnatural to me - and all the students are overly bright shining faces hoping to please the professor. I've always been a fan of Rosenblatt, but this little book made me a tad depressed. I've taken enough writing courses to know that there's at least one student who...more

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May 07, 2011 Adam Ross rated it 3 of 5 stars · review of another edition

Shelves: on-writing

An interesting book the conceit of which is following a creative writing teacher and his encounters in class with a group of students and their conversations. It's an interesting and daring move for a writing book, setting it apart in a market saturated in "how-to's" and rule-lists. Nevertheless, the book reads in equal parts abject humility on the part of the teacher, and absolute snobbery in what it holds up as "real" writing. There is the unmistakable air about the book of upper-east-side man...more

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May 21, 2012 Clara rated it 3 of 5 stars · review of another edition

Rosenblatt clearly loves teaching. It's obvious on virtually every page of this book. He seems to genuinely like his students as well. He also loves writing, and those reasons alone--or rather, the way he writes about these--is reason enough to give the book three stars. And, yes, he does share some advice with the reader about what makes for good writing. But possibly not enough.

What I found annoying about the book--ironic in that it's a book about how to write well--is that the voices of the s...more

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May 16, 2013 Tawny rated it 3 of 5 stars · review of another edition

Shelves: literacy, non-fiction

Favorite lines:
1. "Writing is at heart a criticism of life" (38).
2. "We write what we are, what we fear, what we love, what we believe, what we want the world to be" (58).
3. "Writing is the cure for the disease of living. Doing it may sometimes feel like an escape from the world, but at its best moments it is an act of rescue. Each of you has his own way of seeing into suffering and error. But you share the desire to save the world from its blights by going deeper into them until they lie expose...more

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Aug 29, 2012 Kitty rated it 4 of 5 stars · review of another edition

Rosenblatt reminds us in a tender, semi-biographical way, that great writing is not about craft alone, but as the title indicates, must be tied into some sort of usefulness, which in turn is connected to how well we can move another’s heart. This is part of the secret of the epigraph from Mark Twain, “The difference between the almost right word & the right word is really a large matter—it’s the difference between the lightening bug and the lightening.”
The ending chapter, addressed as a lett...more

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Mar 16, 2011 James Murphy rated it 4 of 5 stars · review of another edition

I'd expected this book to tell me more about the experience of writing, and reading, than it does. It's constructd in the form of a memoir in which Roger Rosenblatt recounts a semester of a writing class he teaches at Stony Brook University. Through his teaching points and the loosely remembered and constructed conversations of his class he discusses the elements of writing good fiction, essays, and poetry. My introduction to Rosenblatt and his book came through an interview of him on the PBS Ne...more

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Jun 02, 2012 Bruce rated it 4 of 5 stars · review of another edition

Shelves: finished

I liked it. It is a prose work, a fictional memoir reimagining a class of writing students to whom the author taught writing, mostly poetry and essays it seems. In an epilogue, he punctuates the book with a heartfelt sendoff to love the world, and tell the truth from your own knowing, that can give the world something it doesn't already have. In saying these things, we learn nothing that is new but everything said is timely. The title was true to the content: "unless it moves the human heart." I...more

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Apr 04, 2011 Caryn rated it 3 of 5 stars · review of another edition

I like most books about writing, mainly because they inspire me to write more. This book was jaunty and easy to read, but kind of simplistic. It's a good evocation of a writing class' spirited repartee with an engaged (and engaging) teacher, but the format wore on me after awhile. Roger Rosenblatt, though charmingly self-deprecating, is a little too charming, and the reconstructed dialogue too glibly entertaining to be convincing (Rosenblatt freely admits that he has made up most of the dialogue...more

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Mar 17, 2012 J.T. Robertson rated it 3 of 5 stars · review of another edition

I'm in the middle on this book. On the one hand, I really enjoyed reading it. The "narrative" sections about his class and their interactions were quite enjoyable. The writing advice itself was nothing new. I was surprised to see the author admit he prefers a more minimal style, while keeping an open mind. You don't see that type of honesty very often, and that was one of this book's strengths; the absolute feeling that the author truly believes what he's saying. That said, I didn't come out of...more

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Feb 25, 2012 Michele rated it 5 of 5 stars · review of another edition

Shelves: adult-writing

"Nothing you write will matter unless it moves the human heart, said the poet A.D. Hope. And the heart that you must move is corrupt, depraved, and desperate for your love."

I think "Unless It Moves the Human Heart" is Roger Rosenblatt's Magnum Opus. The final word of a life lived with countless words. It is one of the most inspiring, fun, funny, serious writing books I have read. That it is a work of fiction on the craft of writing is brillant. This is one of the few writing books that I want to...more

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Jun 15, 2012 Kristy rated it 4 of 5 stars · review of another edition

Read this for a class I took last week at UAF: ED595-Teachers as Writers. Rosenblatt recounts the story of a writing class he taught; he uses real work samples but re-imagines their conversations (and tells you that he's going to do that upfront). This was an inspiring read, especially for folks who are relatively new to their identities as writers. He provokes, encourages, and supports his students, and ultimately reminds them that the only real reason to write is to create connections within o...more

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Jun 29, 2011 Roberta rated it 3 of 5 stars · review of another edition

Shelves: professional-interest

This book was charming at times and enlightening at others. It reminded me that the purpose of writing anything is to communicate clearly and, if possible, to add some enchantment. Even a despised briefing note has a story to tell and should tell it well.

That said, I found the structure and style of the book off-putting. To be fair, Rosenblatt does say the dialogues with the students are fiction but I found the conversations unreal and pretentious. Everything the students supposedly said was tr...more

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Aug 26, 2011 Kim rated it 4 of 5 stars · review of another edition

I recommend this book to anyone who is interested in creative writing. The author, a professor of English and Writing, introduces the reader to a group of students enrolled in his "Writing Everything" course. Throughout the book he uses fictional banter to relay pieces of useful wisdom about the craft of writing. While I found some of the banter off-putting it was an effective way to get valuable points across. With that said, it was the last six pages of the book (a letter to the author's stude...more

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Jul 15, 2011 Nanci rated it 4 of 5 stars · review of another edition

Shelves: nonfiction, didn-t-finish

Roger Rosenblatt teaches creative writing, has written for Time magazine and has won numerous prizes for his written work.

This book follows several graduate students in a Creative Writing class that covers novels, essays, poetry, and novellas.

As the reader gets deeper into the book, you get to know the different personalities of the students and their distinct voices.

It is an interesting introduction into the craft of writing and how people learn something that is not straightforward and some...more

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Apr 07, 2011 Mam rated it 4 of 5 stars · review of another edition

Roger Rosenblatt makes me wish I were a writer- or at least a student in his writing class. In a short, concise style, Rosenblatt tells us the story of one semester with one of his classes. Using the classes as an organizing structure, he shows us how he teaches and how his students begin to become writers.

Rosenblatt wears his experience and knowledge lightly, dropping quotes from authors, essays and poet
that illustrate a point. He has definite ideas about what makes writing good but is not did...more

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Jun 07, 2011 Theresa rated it 2 of 5 stars · review of another edition

I think 2.5 stars (solidly in the middle) would be more fair, but I'm choosing to round down.

I didn't find this book particularly helpful or even inspiring. The structure, a fictionalized amalgamation of various writing classes taught by Rosenblatt over the years, made for a decent framework and an orderly way to cover 'Writing Everything' (the title of the course), but ultimately, I don't think it was successful.

I've been in many writing classes at many levels, and none of them ever sounded lik...more

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May 04, 2011 Amy rated it 2 of 5 stars · review of another edition

Shelves: arcs-or-review-copy

Roger Rosenblatt is a huge name in the world of writing. He's written magazine columns, plays, essays, and books and is a master of language. I've always enjoyed his articles in Time-he's a favorite of mine. In this book he describes a semester of teaching several students to write, by having them experiment with different forms of fiction and poetry. In an interview for his book, he describes the concepts he wanted to bring to the classroom to inspire his students:

"In one instance, I closed th...more Roger Rosenblatt is a huge name in the world of writing. He's written magazine columns, plays, essays, and books and is a master of language. I've always enjoyed his articles in Time-he's a favorite of mine. In this book he describes a semester of teaching several students to write, by having them experiment with different forms of fiction and poetry. In an interview for his book, he describes the concepts he wanted to bring to the classroom to inspire his students:

"In one instance, I closed the door and the sound of the closing door would be another sensory stimulus. Once I did it, then I saw that they launched into their work with an entirely different vocabulary and an entirely different zest and a feeling of themselves. Then I began to think, there are other things one can really do to teach one to write in a more sophisticated way. And I started to pay attention to such things. I started paying attention to [things like] the power of the noun, to using anticipation over surprise, imagination over invention, things like this that are not exactly nuts and bolts of writing but they are related and they work in the service of a larger goal."

------------CSMonitor 2/6/2011

Being excited to read these slim guidebook, I was hoping to find ways to improve my own writing with useful advice. I've already learned that I need to be more succinct and edit more carefully. I appreciate what his purpose is, to help writers find humanity in their writing and go beyond the easiest cliches and visual images. I'm sure the actual students that he taught enjoyed the class (I know I would have loved taking it), but reading about it second-hand, almost as if eavesdropping on the class, is incredibly disappointing.

I'm not sure if it's because the dialogue (which must have been recorded for him to have so much detail?) sounds stilted or because the students sound artificial, but it just doesn't feel real. Many times he'll ask a question of the class as a way to open a conversation, but often his advice came off as contrary to what he just stated. It's almost as if it would have been simpler to say "there are no hard and fast rules to writing", because that's the message the book gives. While the involved conversations and arguments in the classroom show intelligent students with a challenging teacher, hearing his interpretation of them and their work is annoying.

I'm not sure who would most enjoy the book. Perhaps for someone looking for motivation to write more experimentally, it would be useful. But for those of us still working on the basics, it wasn't that helpful. I know, I know....I'm setting myself up by saying that about such an esteemed writer. It pretty much guarantees that this post will be full of typos and bad grammar. In any case, for a better experience, his book Making Toast is far more enjoyable and insightful.

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Apr 23, 2011 Bonnie Grove rated it 4 of 5 stars · review of another edition

I read this book quickly, and while I found some of the dialogue (particularly toward the end of the book) stilted and unrealistic, I very much enjoyed the fly ont he wall feeling, and the ah-ha moments I felt as I read.
I recommend Rosenblatt’s book for reasons I can’t articulate. Not because it will teach you about writing a novel, but it presses the writer's consciousness into your grey matter and you come away with a heightened ability to express what, as a writer, you’ve always known.

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May 02, 2012 Kristi rated it 4 of 5 stars · review of another edition

Shelves: on-writing

Lessons on writing, and (less overtly) the art of teaching too, wrapped up in the story of a graduate seminar on writing essays, short stories and poetry.

Rosenblatt says that this is a fictionalized account of the class, and so the story focuses on how he engages his students in the process of learning to write better. It's probably the next best thing to auditing his class -- or maybe better, since he shapes the class conversations etc. to instruct.

A good read -- instructive and fun.

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About Roger Rosenblatt

Roger Rosenblatt’s essays for Time magazine and PBS have won two George Polk Awards, a Peabody, and an Emmy. He is the author of six Off-Broadway plays and 13 books, including the national bestseller Rules for Aging and Children of War, which won the Robert F. Kennedy Book Prize and was a finalist for the National Book Critics Circle Award. He has written two satirical novels, Beet and Lapham Risi...more

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Kayak Morning: Reflections on Love, Grief, and Small Boats

Rules for Aging: Resist Normal Impulses, Live Longer, Attain Perfection

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“Why do we write?
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To make evil intelligible
To make justice desirable
and . . . to make love possible” — 13 people liked it

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