The reader over your shoulder

In late October 1939, Robert Graves wrote to Alan Hodge: “I have begun a new book, about English.” Graves and Hodge had recently completed a social history of the between-wars period called The Long Week-End. Now they embarked on this new project, “a handbook for writers of English Prose,” to be called The Reader Over Your Shoulder.

This is a hardcore book with a morsel of tersely written humor thrown in, and adequate piss-taking of the self to make any reader realise that, yes, this is the real shit, y’all. This book makes for a great companion to Strunk/White, not to mention the prose of Arthur Conan Doyle and Graham Greene – two of my favourite writers, of whom the latter gets a bashing.

The first parts of the book contain guidelines and principles on writing of English prose, with plenty of tips and critique concrete enough for any interest in language and the writing of prose to sate all, I believe. The last two thirds of the book are modern examples – mind you, from when the book was written, in England, in the middle of the Second World War – of how brilliant writers succumb to bad grammar, torpid use of doublets, far too complex sentences, and simply using words that are too hard to understand.

Even though the book is written with a fair amount of direct and indirect racism and sexism, it’s deeply meaningful, especially as one considers how much one gains per sentence in the book. In fairness, the last time I read advice this well written, I picked up what is broadly loved as The Book on technical writing. Reading this one is like listening to Glenn Gould playing piano; over all, and foremost, it’s technically brilliant, but deep in the mix, there’s style.

All in all, an excellent chop of English. I give it 4/5.

To finish, remember that self-insight is the best way to understand others.

In late October 1939, Robert Graves wrote to Alan Hodge: “I have begun a new book, about English.” Graves and Hodge had recently completed a social history of the between-wars period called The Long Week-End. Now they embarked on this new project, “a handbook for writers of English Prose,” to be called The Reader Over Your Shoulder.

This is a hardcore book with a morsel of tersely written humor thrown in, and adequate piss-taking of the self to make any reader realise that, yes, this is the real shit, y’all. This book makes for a great companion to Strunk/White, not to mention the prose of Arthur Conan Doyle and Graham Greene – two of my favourite writers, of whom the latter gets a bashing.

The first parts of the book contain guidelines and principles on writing of English prose, with plenty of tips and critique concrete enough for any interest in language and the writing of prose to sate all, I believe. The last two thirds of the book are modern examples – mind you, from when the book was written, in England, in the middle of the Second World War – of how brilliant writers succumb to bad grammar, torpid use of doublets, far too complex sentences, and simply using words that are too hard to understand.

Even though the book is written with a fair amount of direct and indirect racism and sexism, it’s deeply meaningful, especially as one considers how much one gains per sentence in the book. In fairness, the last time I read advice this well written, I picked up what is broadly loved as The Book on technical writing. Reading this one is like listening to Glenn Gould playing piano; over all, and foremost, it’s technically brilliant, but deep in the mix, there’s style.

All in all, an excellent chop of English. I give it 4/5.

To finish, remember that self-insight is the best way to understand others.

In late October 1939, Robert Graves wrote to Alan Hodge: “I have begun a new book, about English.” Graves and Hodge had recently completed a social history of the between-wars period called The Long Week-End. Now they embarked on this new project, “a handbook for writers of English Prose,” to be called The Reader Over Your Shoulder.

This is a hardcore book with a morsel of tersely written humor thrown in, and adequate piss-taking of the self to make any reader realise that, yes, this is the real shit, y’all. This book makes for a great companion to Strunk/White, not to mention the prose of Arthur Conan Doyle and Graham Greene – two of my favourite writers, of whom the latter gets a bashing.

The first parts of the book contain guidelines and principles on writing of English prose, with plenty of tips and critique concrete enough for any interest in language and the writing of prose to sate all, I believe. The last two thirds of the book are modern examples – mind you, from when the book was written, in England, in the middle of the Second World War – of how brilliant writers succumb to bad grammar, torpid use of doublets, far too complex sentences, and simply using words that are too hard to understand.

Even though the book is written with a fair amount of direct and indirect racism and sexism, it’s deeply meaningful, especially as one considers how much one gains per sentence in the book. In fairness, the last time I read advice this well written, I picked up what is broadly loved as The Book on technical writing. Reading this one is like listening to Glenn Gould playing piano; over all, and foremost, it’s technically brilliant, but deep in the mix, there’s style.

All in all, an excellent chop of English. I give it 4/5.

To finish, remember that self-insight is the best way to understand others.