"Samuel Beckett spliced his way merrily through such novels as "Molloy" and "Malone Dies", thumbing his nose at the semicolon all the way. James Joyce preferred the colon, as he thought it was more authentically classical. P. G. Wodehouse did an effortlessly marvelous job without it, George Orwell tried to avoid the semicolon completely in "Coming Up for Air" (1939), Martin Amis included just one semicolon in "Money" (1984), and Umberto Eco was congratulated by an academic reader for using zero semicolons in "The Name of the Rose" (1983)."