NEKKID PUNDITRY

A note on copy editing. A friend who teaches at USC's Annenberg School for Communication tells me her journalism students at both the graduate and undergraduate levels know so little basic grammar that they can't tell the difference between a noun and a verb.

It's not that bad at the new, improved New York Times Book Review. Yet. But consider this sentence from the excellent essay in yesterday's edition by Thomas Frank, a nekkid pundit I admire:

Despite its naked partisanship and its extreme vulnerability to refutation, the red-blue narrative held the punditry in such awe that, inevitably, it generated its precise antithesis ...

Somebody (a copy editor?) should have caught the error (minor, it's true, but this is the Book Review after all). The incorrect phrase should have been written: "... the red-blue narrative WAS held BY the punditry in such awe that ..."

Using the passive voice would not have been great, but adding those two little words would have fixed the problem without rejiggering the sentence to keep it in the active voice (like so: "The punditry held the red-blue narrative in such awe, despite its naked partisanship and its extreme vulnerability to refutation, that ..." etc.).

Class dismissed.

November 29, 2004 8:34 AM |

Categories:

Me Elsewhere

'WILD SIDE' STILL ROCKS 

Nelson Algren was one of the great American authors of the 20th century, it is no exaggeration to say, and among the most neglected. Consider his underrated classic, "A Walk on the Wild Side." The title -- popularized and co-opted as an idiomatic phrase by Hollywood and Madison Avenue (institutions Algren loathed) -- is familiar to most anyone who speaks English or knows Lou Reed's lyrics. But the novel itself? Hardly.

BUSTER KEATON REVISITED 
Buster Keaton: Tempest in a Flat Hat is not a biography. "This book is merely a fan's notes," Edward McPherson writes in the introduction, although his publisher ignores the disclaimer and calls it a biography on the cover. In fact, the book is a bit of both, a difficult combination to bring off unless you're David Thomson, who set the standard with Rosebud, his penetrating rumination on the life and career of Orson Welles, which was nothing if not a distillation of every obsessive thought he ever had about the myth and the man and all his movies.
LAUREN BACALL, STILL SALTY AT 80 
When Lauren Bacall writes that her singing voice ranges "somewhere between B minus sharp and outer space," she's being candid and funny. It's not every stage star with two Tony Awards for best actress in a musical whose vocal talent offers so little promise. (OK, Harvey Fierstein excepted.) Still less would one admit it.
THE STARS ACCORDING TO BOGDANOVICH 
Peter Bogdanovich's superb collection of movie-star profiles and interviews -- a sequel to Who the Devil Made It, his interviews of top film directors -- begins with an affectionate tale about Orson Welles that reminds us just how intimate the author's connection to Hollywood's greatest has been. But contrary to what we've come to expect from dime-a-dozen celebrities and celebrity interviews not worth two cents, the tale avoids bromidic egotism and journalistic platitudes.
SAMMY'S WHITE DREAMS 
Four decades ago Lenny Bruce sentenced Sammy Davis Jr. to "30 years in Biloxi," stripping him of "his Jewish star" and "his religious statue of Elizabeth Taylor." Now we have two new biographies of Davis that spring him from ridicule, if not from doubts about his legacy, and restore a measure of dignity to a black entertainer whose huge fame and success never overcame his devout wish -- indeed his lifelong effort -- to be white.
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