I have written, elsewhere and at some length, details of how certain sentences get written and the work I hope they do. Let me extrapolate an example here.

“The North Carolina Mutual Life Insurance agent promised to fly from Mercy to the other side of Lake Superior at 3:00.”

This declarative sentence is designed to mock a journalistic style. With a minor alteration it could be the opening of an item in a small town newspaper. It has the tone of an everyday event of minimal local interest, yet I wanted it to contain important signs and crucial information. The name of the insurance company is that of a well-known black-owned company dependent on black clients, and in its corporate name are “life” and “mutual.” The sentence starts with “North Carolina” and closes with “Lake Superior”—geographical locations that suggest a journey from south to north—a direction common for black immigration and in the literature about it, but which is reversed here since the protagonist has to go south to mature. Two other words of significance are “fly” and “mercy.” Both terms are central to the narrative: flight as escape or confrontation; mercy the unspoken wish of the novel’s population. Some grant it; some despise it; one makes it the sole cry of her extemporaneous sermon upon the death of her granddaughter. Mercy touches, turns, and returns to Guitar at the end of the book, and moves him to make it his own final gift to his former friend. Mercy is what one wishes for Hagar; what is unavailable to and unsought by Macon Dead, senior; what his wife learns to demand from him, and what the townsfolk believe can never come from the white world, as is signified by the inversion of the name of the hospital from Mercy to “No-Mercy.” But the sentence turns, as all sentences do, on its verb. “Promise.” The insurance agent does not declare, announce, or threaten his act; he promises, as though a contract is being executed between himself and others.