Can everyone hear me? If you can't, please signal wildly
either now or at any time during my remarks. First off, let
me thank the National Institutes of Health, and Dale Johnson
in particular, for inviting me to address you for a few minutes
this wintry afternoon. It is a great honor for me. I also
want to express my pleasure that NIH and other branches of
government have adopted a Plain Writing philosophy. It would
be hard to imagine a more useful initiative.
My plan today is to talk briefly about the power of language,
particularly clear and simple language, and then invite questions,
rebut outraged comments, dodge brickbats. You know the drill.
What escapes us in daily life is clarity. Our days are blurry
with unfocused desires, unresolved problems, imprecision and
indecision. Should we change our jobs, divorce our husband
or wife, place our nine year old in private school? We dither.
We wait for… revelation, which never comes, and then we follow
our guts or hearts or instincts… almost never our minds or
reason… and finally act, then regret our choice, and then grow
reconciled to it. We stumble along through life, in a fog
of our own making.
But in writing any of us may find a temporary refuge, a stay
from this uncertainty and confusion. For the writing of a
diary entry or a progress report, a memoir or a memo, allows
us to fabricate soul-cleansing order out of unruly chaos through
the orderly progress of sentences. We take the jumble of an
experience, or an experiment, and we create design, beauty,
meaning. An aphorism, for instance, shows in miniature the
pleasure possible from even a few well chosen words. Haven't
we all felt certain vague truths that are only crystallized
for us when a poet or philosopher enunciates them:
"Character is fate." (Heraclitus)
"In love there is always one who kisses
and one who offers the cheek."
"Those who are slow to know suppose
that slowness is the essence of knowledge." (Nietzsche)
"One can pretend to be serious,
but one can't pretend to be witty." (Sacha Guitry)
"Life is a maze in which we take
the wrong turning before we have learned to walk."
(Cyril Connolly)
As scientists or administrators, you have all been taught
the cardinal virtue of plain prose: If writing is communication,
then only clear writing is effective communication. Consider
a famous example: In George Orwell's "Politics and the English
Language" the author of 1984 translated a celebrated Biblical
passage into modern English:
"Objective consideration of contemporary
phenomena compels the conclusion that success or failure
in competitive activities exhibits no tendency to be commensurate
with innate capacity, but that a considerable element of
the unpredictable must invariably be taken into account."
Now, that's certainly plain enough, isn't it? And it certainly
has a familiar ring for anyone who's ever worked in Washington.
But still most of us slightly prefer our Ecclesiastes in the
wording of the Authorized version:
"I returned, and saw under the sun,
that the race is not to the swift, nor the battle to the
strong, neither yet bread to the wise, nor yet riches to
men of understanding, nor yet favour to men of skill; but
time and chance happeneth to them all."
Allow me another, more personal example. Some 35 years ago
I passed a summer working on a truck farm, spending mindless
hour after hour picking cucumbers. For a while, to amuse myself
I recited all the poetry I could remember; then sang all the
pop songs I knew; and finally, out of desperation, started
playing word games in the hot sun. My favorite of these was
Periphrastic Translation--taking simple phrases and turning
them into a kind Sesquipedalian gobbledygook. Sexual interdigitation
was, for instance, holding hands. Perhaps you will recognize
the following:
"While absorbing visual information
from my kinescope a gentleman appears and informs me in
the art of how much more completely reflective my body's
upper wearing apparel could conceivably appear."
Can't you just hear the Rolling Stones belting out those
lyrics? Of course, you can, though Mick actually preferred:
"While watching my TV a man comes on
and tells me how white my shirts could be."
What is the cause for so much elaborate and preposterous
language? Schopenhauer--not a guy I get to quote everyday--explained
it a hundred and fifty years ago:
Some writers, he observed, "try to make the reader believe
that their thoughts have gone much further and deeper than
is really the case. They say what they have to say in long
sentences that wind about in a forced and unnatural way; they
coin new words and write prolix periods which go round and
round the thought and wrap it in a sort of disguise. They
tremble between the two separate aims of communicating what
they want to say and of concealing it. Their object is to
dress it up so that it may look learned or deep, in order
to give people the impression that there is very much more
in it than for the moment meets the eye.
" All in all, far better to keep in
mind the advice of Winnie-the Pooh: "I am a bear of very
little brain, and long words bother me."
Certainly one must beware of dumbing down or over-simplifying
or over-systematizing when writing up complex matters. But
if you have spent weeks, months, years of your life on a piece
of research, don't you want the product of your time and thought
presented cogently, with elegance and power?
Yes, power. The great Russian short story writer Isaac Babel
once proclaimed:
"There is no iron which can enter the
human heart with such stupefying effect, as a period placed
at just the right moment."
In the past Latin and rhetoric were taught regularly in school,
and an educated man was always expected to write clearly and
persuasively, and at times to achieve beauty.
As a result, when I was growing up, it was fairly common
to see people reading books like Thirty Days to a More Powerful
Vocabulary. Back then, people were more interested in social
advancement than spiritual growth, and it was widely believed
that a command of English was a way up in the world. As a
boy, I can remember listening to records of John Gielgud and
Charles Laughton reading poetry and wanting to possess a speaking
voice as distinctive as theirs. Any effort to improve diction,
to acquire linguistic confidence, does pay some dividend.
Education, after all, derives from intelligently focused effort.
As Samuel Beckett once advised, in words that should be inscribed
in classrooms: Fail. Fail again. Fail better.
Nowadays, though, our language swings between two poles:
the ugly, rebarbative sounds of teenspeak, hip-hop lyrics,
chatroom lingo and the abstruse, sometimes impenetrable jargons
of science, literary theory, law and many other specialized
fields. In both cases, ritual words act as markers, demonstrations
of one's membership in the cult, but the audience for such
dialects is restricted to the true believers, the in-crowd,
fellow professionals.
Here is where Shaker plainness plays its part, maintaining
a common discourse that we can all share, emulate and admire.
Clarity, one might say, begins at home.
The writer Somerset Maugham observed that if one were to
write perfectly one would write like Voltaire: The French
ironist's prose is always lucid, terse, witty. In America
the early masters of clean-lined simplicity are Thoreau and
Emerson; in English literature, the classic models are
Dryden, Swift, Addison and Hazlitt. Samuel Johnson once
asserted that whosoever would learn to write English should
give his days and nights over to the study of Addison. Which
is what Benjamin Franklin did, as he tells us in his autobiography.
Such prose is conversational, sometimes rising toward aphorism,
but always forceful, concise and harmonious. Nothing ever
jars or seems stilted or merely rhetorical. As George Orwell,
our modern master of this plain style, observed: Good prose
should be transparent, like a window pane.
Not that the creation of a courteous and attractive style
doesn't require work. One has to listen carefully to the rhythm
and tonality of sentences. Of his own easy-going style, Elmore
Leonard once said, "if it sounds like writing, I rewrite it."
All well and good, of course, but in real life people are
usually writing their reports under pressure, with deadlines
looming, at the end of sorely trying days.
"Each venture' said T. S. Eliot,
Is a new beginning, a raid on the inarticulate
With shoddy equipment always deteriorating
In the general mess of imprecision of
feeling."
Good writing, indeed, has never been easy except in the Red
Smith sense. You may recall that the famous sportswriter noted
that there was nothing to writing.
"All you do is sit down at a typewriter
and open a vein."
More seriously, the would-be author, whether scientist or
administrator, should bear in mind the character of someone
like Florence Nightingale. I'm not joking. Here's how Lytton
Strachey describes that eminent Victorian:
"It was not by gentle sweetness and
self-abnegation that order was brought out of chaos; it
was by strict method, by stern discipline, by rigid attention
to detail, by ceaseless labor, by the fixed determination
of an indomitable will."
Perhaps it might be of some small use to describe how I myself
write. Each week I contribute either a book review or an essay
to Book World, generally 1500-1800 words. Most of these pieces
are composed over the course of an evening, at the Post, starting
after I've already put in a day working as an editor. No believer
in inspiration, come 6 o'clock I start figuring out the lead
paragraph.
To me, this is the most important part of a piece, because
it sets the tone for all that follows. I aim to establish
a certain voice, as well as capture the reader's attention
with some verbal blandishment or startling anecdote. In fact,
over the years I have made a little study of openings to novels,
biographies and such, being ever on the lookout for striking
examples: My favorite "lede" is that to the 19th-century
courtesan Hariette Wilson's memoirs:
"I shall not say why and how I became,
at the age of fifteen, the mistress of the Earl of Craven."
I think that's hard to beat for tantalizing.
As to fiction, here's how a short story ought to begin:
"The talk had veered round to runes
and curses and witches, one bleak December evening, where
a few of us sat warm in easy chairs round the cheery fire
of the Billiards Club. ' Do you believe in witches?' one
of us said to Jorkens. "It isn't what I believe that matters
so much,' said Jorkens; "only what I have seen."
"After I find my lede I whisper it over to myself and fiddle
around with the next sentence or two. Then I return to the
beginning and read everything through again and add another
few lines. And so I go along, building up the piece through
accretion, gradually attaching more and more sentences, always
reading everything over from the top, again and again, perhaps
changing a word or two with each go-through. When I finally
reach the end I work especially hard on the kicker paragraph,
so that I conclude with a rousing flourish or a soft diminuendo.
At this point, I print out my piece, go home to sleep, and
the next morning revise it on the subway, usually appalled
by various solecisms which I correct on the hard copy. I then
make changes on my computer version and I'm done.
For years I kept pinned to my bulletin board a sentence of
writerly warning, Truman Capote's famous put-down of Jack
Kerouac: "That's not writing, it's typing." I'm always worried
that my prose will be too dry and stiff, since I have no flair
for metaphor. Yet besides clarity, sentences need rhythm,
warmth, color. Think of Randall Jarrell's scathing put down
of a now forgotten poet's mechanical verse:
"His poems sounds as if they were written
on a typewriter by a typewriter."…
To become a better writer, one needs to pay attention. Be
sensitive to what you read. Listen to the melody of syntax.
Did you know that two of the great masters of modern English
prose, humorist P.G. Wodehouse and hard-boiled crime writer
Raymond Chandler, both attended Dulwich school in England,
within a few years of each other? No one matches Wodehouse
for similes and delicious hyperbole:
"He drank coffee with the air of a man
who regretted it was not hemlock."
"I attribute my whole success in life
to a rigid observance of the fundamental rule™ Never have
yourself tattooed with any woman's name, not even her initials."
"Like so many substantial citizens of
America, he had married young and kept on marrying, springing
from blonde to blonde like the chamois of the Alps leaping
from crag to crag."
One shouldn't try to imitate such inimitable prose, but its
example can help improve anyone's sentences.
As for Chandler: His descriptions can take your breath away:
"A large black and gold butterfly
fishtailed in and landed on a hydrangea bush almost at
my elbow, moved its wings slowly up and down a few times,
then took off heavily and staggered away through the
motionless hot scented air."
Staggered away is a brilliant touch, worthy of Nabokov. But
I like the following even better, for the way it builds to the
final unexpected word:
"The bar entrance was to the left. It
was dusky and quiet and a bartender moved mothlike against
the faint glitter of piled glassware. A tall handsome blond
in a dress that looked like seawater sifted over with gold
dust came out of the Ladies' Room touching up her lips and
turned toward the arch, humming."
As Chandler once said of himself as a writer:
" I live for syntax."
How does one produce such sentences? Or at least sentences
that can be read with something approaching this degree of
pleasure. I do have a few suggestions:
1) You really have to care about your subject. Have something
to say. If you are indifferent or bored, your writing will
be limp, dull and bland. No matter how seemingly dreary
the memo you need to write, you must discover some way to
make it fun for yourself. To interest is the first duty
of art.
2) Your sentences need to give you pleasure. The choice
of words, the rhythm of the clauses, the sounds of the words--you
should read your work aloud and listen to your voice on
the page. Make sure that each sentence does a job. Eliminate
verbal noiseûclutter, deadwood, mere verbiage.
3) Keep your audience in mind. Not that you need to write
down or up, but you do need to imagine how your words will
register in the mind of others. You should try to read your
piece as if you were a stranger to it, recasting anything
cumbersome, polishing and honing every sentence. Ideally,
a friend or spouse should also look it over before submission:
As they say in newspapers, every writer needs an editor.
But do remember that, according to H.G. Wells, "no passion
in the world is equal to the passion to alter someone else's
draft." Not least make sure your message is clear yet that
you are faithful to its complexity.
4) Strive to write in your own voice. Not that you should
be overly eccentric or egotistical. But if you can't make
your writing personal, reflective of your inner self, it
will never give you satisfaction. In this regard, bear in
mind Mark Twain's caution: "Only presidents, editors and
people with tapeworms have the right to use the editorial
we."
5) The final product, whether it is a brochure or a lab
report, should be a source of pride, not necessarily a lot
of pride, but at least some. Otherwise, what's the point?
May I also offer a few bits of stylistic counsel?
1) The adjective is the enemy of the noun.
2) Be careful of rhetorical flights, cliches, vulgarisms,
mixed metaphors, the passive voice.
3) Make your prose move quickly.
4) Use examples and anecdotes.
5) Don't be afraid to move sentences and paragraphs around.
Try to prevent your pieceäs structure from "freezing" too
early. Stay flexible.
6) For those of you producing highly technical writing,
I recommend the counsel of the Roman rhetorician Quintilian:
"One should not aim at being possible to understand, but
at being impossible to misunderstand.ä
7) Last, remember Paul Valery's wonderful aphorism about
artistic creation: "A poem is never finished; it is only
abandoned."
I probably don't need to tell you that
anyone who writes should read Strunk and White's Elements
of Style and, if possible, William Zinsser's On Writing Well.
Buy a dictionary and a thesaurus. Use them.
Let me leave you with one last story about plain writing.
When composing his memoir of Rupert Brooke, the most dashing
of the young poets who died during World War I, Edward Marsh
flamboyantly wrote that Brooke left Cambridge University in
"a blaze of glory." But when the poet's mother, a woman of
strong character, read this, she crossed out the melodramatic
phrase "a blaze of glory" and replaced it with a single word:
"July."
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