"His book is in love with the toothsomeness of language... 'Hyphenated vulgarities,' such as blow-job, 'are comically dainty'..."

"... Dreyer says. Novels can 'shimmy.' Parentheses have elbows. The author’s delight in his tool kit is palpable, as when he enthuses about ending a sentence shaped like a question with a period rather than a question mark. ('It makes a statement, doesn’t it.') Defending the semicolon, Dreyer quotes at length the opening of 'The Haunting of Hill House,' by Shirley Jackson, breathlessly celebrating the passage’s 'tightly woven, almost claustrophobic ideas . . . a paragraph that grabs you by the hand.' He takes a tinkerer’s joy in breaking apart syntax and putting it back together. Restrictive clauses are like Legos to him. 'There’s something bracingly attractive,' he declares, 'about a sentence that brims with parallelism.' It is as if he has thrown open a window on a starry night in winter and stuck his face outside...."

From "The Hedonic Appeal of 'Dreyer’s English'" by Katy Waldman (in The New Yorker). and here's “Dreyer’s English: An Utterly Correct Guide to Clarity and Style" by Benjamin Dreyer.