A faithful reader writes: “I have enjoyed your column for many years. But I’m wondering why you use so many big words?”
Obviously, I do it to impress the ladies. But that’s not the only reason.
I once began a column about Conrad Black this way: “Now that the loquacious practitioner of prolix prose – that earnest icon of inestimable erudition, that braggart-general of besotted bookishness – is (well, let’s not gild the lily) out of jail, the time has come for Canadians to rally behind their once-fellow citizen and provide him with what he so desperately needs: A job.”
I might have written the passage this way: “Now that the chatty writer – that representative of knowledge, that avid reader – is (well, let’s not gild the lily) out of jail, the time has come for Canadians to rally behind their once-fellow citizen and provide him with what he so desperately needs: A job.”
Still, something important would have been lost in the translation: The homage to Black’s love affair with complex, often arcane, language, which seems to me the grimly humorous part of the fallen media baron’s diminished station in his life behind bars.
Of course, the debate over what makes good writing has been raging (if only at university English departments and in newsrooms) for decades. Somehow, circumlocution (using too many words to express an idea) has been confused with lexicon (the state of a person’s vocabulary).
One of the wisest teachers on the subject was former New York Times editor William Zinsser who wrote, in his seminal work “On Writing Well”: “During the late 1960s the president of a major university wrote a letter to mollify the alumni after a spell of campus unrest. ‘You are probably aware,’ he began, ‘that we have been experiencing very considerable potentially explosive expressions of dissatisfaction on issues only partially related.’
“He meant that the students had been hassling them about different things. I was far more upset by the president’s English than by the students’ potentially explosive expressions of dissatisfaction. I would have preferred the presidential approach taken by Franklin D. Roosevelt when he tried to convert into English his own government’s memos, such as this blackout order of 1942:
“‘Such preparations shall be made as will completely obscure all Federal buildings and non-Federal buildings occupied by the Federal government during an air raid for any period of time from visibility by reason of internal or external illumination.’
‘Tell them,’ Roosevelt said, ‘that in buildings where they have to keep the work going to put something across the windows.’”
Although Zinsser clearly preferred shorter words to longer ones, what really bugged him was clutter and bafflegab.
In fact, some of the most beautiful words in English are deliciously multi-syllabic: serendipity, denouement, effervescent and evocative; labyrinthine, lissome, panacea and riparian; ripple, scintilla, susurrous and talisman.
And, occasionally, when it’s not overplayed, latinate diction just seems right. “I noticed how much I love the word abrasive,” writes professional copyeditor Sarah McCartney in a recent blog post. “We could shorten it to rude, but that’s not the same thing. It could be replaced with hard or tough or hurtful or scary or harsh. Still not good enough. Abrasive implies lasting and painful damage from a light, fleeting touch, like scraping your fingers on a brick wall. . .When I’m editing business documents, I do spend a lot of time extracting long words that exist only as insulation for delicate egos. But sometimes the shorter alternative doesn’t quite do the job.”
Indeed, If the job is to be funny, sometimes the shorter word doesn’t even show up for work.
So, with apologies to my faithful reader, I don’t mean to appear obstreperous or abstruse. But my appetency for the appropriate apothegm will continue ad libitum as long as I am able to eschew obfuscation.
Look it up, pal.
Alec Bruce is a Moncton-based writer on politics, economics and current affairs. Check out his other blog here at Atlantic Business Magazine (ABMOnline): The Uneasy Chair.
