Three fascinating articles on words, or to be precise, the use of words. For ease of reference, and because what these writers have to say is much more interesting, as well as more expert, than anything I can produce, I will give you the links here:
http://www.ft.com/cms/s/2/8c60799c-24e2-11e0-895d-00144feab49a.html#axzz1BvPeSMTA
http://www.newcriterion.com/articles.cfm/Use-value-6943
http://www.guardian.co.uk/books/2011/feb/11/lost-art-editing-books-publishing
Regular readers will know of my inner suffering when it comes to matters of English useage, both in the grammatical and the stylistic sense. Because I only possess a veneer of education I am frequently caught in the same situation as the parvenu who finds himself sitting next to a Duchess at dinner and inadvertantly uses her skirt instead of his napkin to wipe his lips, he is aware of a faux pas (or 'dropping a bollock', as I think of it) but is not quite sure why or how! Thus, re-reading some of my posts is at best an exercise in unease and at worst a cause of intense embarrassment. These three essays only compound my feelings.
The first, by Adam Haslett in the FT is a review of a book How to Write a Sentence and How to Read One by Stanley Fish. He begins by referring to a work by Strunk & White, The Elements of Style, which, back in 1919 laid down the ground rules for proper American writing. These two worthies, one an eminent professor, the other his pupil, insisted that a sentence in literature should be short and to the point. Haslett provides two examples: from Henry James, the following sentence, “He had a mortal dislike, poor Stransom, to lean anniversaries, and loved them still less when they made a pretence of a figure;” and from Hemingway the exact antithesis: “These were the new dead and no one had bothered with anything but their pockets".
Apparently Fish, being a modernist, decries the strictly prescriptive attitudes of his earlier 20th century precursers, and Haslett agrees with him by insisting that rhythm and form are as informative of meaning as plain words. He offers an example from Lincoln who, on hearing of the capture of Vicksburg, a key transport link for Union forces, wrote: "The father of waters again goes unvexed to the sea." Note the rhythmic quality and power in the syllables: de-dah/ de-de-dah/ de-de-dah/ de-de-dah which would have been ruined if he had written 'goes again'. Haslett, sensibly, says in effect that it's horses for courses and that the style you choose as a writer for any particular subject must be chosen on the grounds of what expresses your thoughts most efficaciously and passes them onto your reader with clarity.
The second essay is by Barton Swaim in The New Criterion and is a review of a new edition of that old classic A Dictionary of Modern English Usage by the sometimes witty, sometimes waspish, H. W. Fowler. I have a copy of an original edition to hand but I rarely have the nerve to read it. Apart from anything else, I don't know, or cannot now remember, the meanings of the technical words and phrases which that (* see comments below) describe English grammar (oh dear, should that have been 'which' or 'that'?) Like Swaim, I am sometimes perplexed by Fowler's strictures over one particular issue, and his almost lackadaisical, 'you choose' attitude to another. For example:
If you wanted to know whether “their” may refer to singular antecedents, for example (If someone isn’t doing their job, they should be fired), Burchfield [the editor of a later edition of Fowler's book] told you that “the issue is unresolved, but it begins to look as if the use . . . is now passing unnoticed.” Maybe the issue is “unresolved,” one thought, but could you please resolve it and tell me whether I should write “they” or “he” or “he or she” and so avoid sounding like an ignoramus to an educated audience? For his part, Fowler—the original Fowler—had called this use of the plural pronoun a “mistake.” He acknowledged rare instances of the use in Fielding and Thackeray, but suggested that “few good writers” could get away with it.
You see, there-in lies the difference between the 'ams' and the 'pros'; I would write "their" and not even realise there was a problem! Anyway, Swaim points up the differences between the (mainly old) prescriptivist teachers of the English language who insist that there are rules, and the contemporary descriptivist linguists and grammarians who, in effect say, anything goes, let it hang out, baby! Apparently, the introduction to this new edition of Fowler's original is written by David Crystal, a man whom I admire and to whom I will forever be indebted because of his superb Shakespearean glossary which no actor/director should be without. Alas, Swaim takes him to task because Crystal is an unapologetic modernist who gives the old 'master' a tough time over his edicts handed down from on high. The debate is summarised rather neatly by Swaim, thus:
To insist on rule-following in the absence of any practical justification for the rule, they argue further, is to engage in class prejudice. And here, I think, is the real reason for the intense dislike descriptivists feel for the older attitudes. The idea of “correctness” is linked in their minds with snobbery. It’s clear from Crystal’s work that he regards “prescriptivism” as an absurd bourgeois bigotry: the half-educated passing sentence on the uneducated for failing to obey rules understood by neither. That suspicion isn’t unreasonable. We’ve all known people who feel they’re superior because they don’t split infinitives.
But you may as well condemn table manners for the same reason. Conventions of politeness aren’t based purely or even primarily on functional considerations—putting one’s elbow on the table doesn’t affect the taste of the food—and they are apt to become tools in the hands of pretentious fools. Yet the proposition that they should therefore be done away with is manifestly preposterous. Certain conventions will govern the ingesting of food in a civilized society. Humans abide by customs when they wish to please their companions or ingratiate themselves, and there’s no point in trying to convince them to stop.
The final piece is a sort of lament for The Lost Art of Editing by Alex Clark in The Guardian. He is concerned with the proper editing of proper books by publishing houses but, if I may insert a personal plea for mercy, I would like to beg forgiveness of my reader for the numerous lapses in the editing of my posts. I am constantly amazed at the errors of spelling, syntax and grammar which I fail to spot despite reading and re-reading them several times. Back to Mr. Clark and his gloomy description of falling standards in the publishing world where old-fashioned editors are no longer considered indispensable. When you think about it, it is a very strange and rare skill to be a good editor, requiring excellent taste and judgment combined with tact and intelligence. Not virtues which are absolutely necessary in the modern publishing world, as one life-long member made clear:
"It's the kind of business," he told me, "where as soon as an author has a tipping point and becomes a big brand, then other forces come into play. Sales and marketing and publicity departments want that author's next book as soon as possible, and it takes its place in budgets and forecasts."
I'm not sure if proof-reading is part of an editor's brief but I have noticed spelling mistakes in books more and more often in recent times, something you rarely saw in the past. Anyway, it's a fascinating glimpse into the world of publishing and well-worth a read.
Now, if anyone spots a spelling or grammatical mistake in this lot, feel free to tell me - because I'll never see it!
ADDITIONAL: I have just checked Fowler's entry for exclamation marks, of which, you may have noticed, I am overfond. Oh God, and I'm still no wiser! (Ooops!)
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