Humour: Quirks and Perks

igor-ovsyannykov https://unsplash.com/search/pottery?photo=HT_MKv4MuVc

Humour is one of those things that you recognise about the time it makes you smile. Most people would rather enjoy it than figure out its rhetorical secrets. But there’s good reason to make an effort: not everyone is born a humorist, and I believe that those of us left without the gift can still learn to throw a joke, the way even the worst apprentice learns to throw a pot—it may be a laughing stock, but it’ll hold water.

Don’t let the first line of the Quote throw you.

Quote: Practically everyone is a manic depressive of sorts, with his moments and his down moments, and you certainly don’t have to be a humorist to taste the sadness of situation and mood. But there is often a rather fine line between laughing and crying, and if a humorous piece of writing brings a person to the point where his emotional responses are untrustworthy and seem likely to break over into the opposite realm, it is because humor, like poetry, has an extra content. It plays close to the big hot fire which is Truth, and sometimes the reader feels the heat.

— E. B. White in his essay, Some Remarks on Humour.

Truth can banish and burn like fire;
          Truth can cleanse and calm like water.
Truth can be relative and unknowable,
          Truth can be worth dying for.
Truth is hysteria at wit’s end and euphoria at life’s beginning.
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Truth is the reason we can cry while laughing and laugh while crying,
          and why it’s not the same thing,
                    and why poetry still makes sense centuries later,
                    and why humour doesn’t, but we write more of it anyway.

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Style: Quirks and Perks

Style is an increment in writing. When we speak of Fitzegerald’s style, we don’t mean his command of the relative pronoun, we mean the sound his words make on paper. All writers, by the way they use language, reveal something of their spirit, their habits, their capacities, and their biases. This is inevitable as well as enjoyable. All writing is communication; creative writing is communication through revelation—it is the Self escaping into the open. No writer long remains incognito.
E. B. WhiteAn Approach to Style in Strunk & White

White puts it so plainly, so delicately. Only skilled writers show their spirit, their capacities, their biases because their expressive medium is no longer cluttered by ungainly turns of phrase and forced plot devices. Don’t his words make you want to reach that increment in writing where you too have style? (Not to say that you don’t already.)

White also reaffirms that hiding behind words is not possible: the better you write, the more each word says about who you are.

Perhaps I will now commit sacrilege—if so, please avert your eyes and ears, and click away—by placing alongside one of the most timid and decorous writers, E. B. White, the complete opposite: one of the most brash and indecorous men, Charles Bukowski.

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Writing: Quirks and Perks

It is now necessary to warn you that your concern for the reader must be pure: you must sympathize with the reader’s plight (most readers are in trouble about half the time) but never seek to know the reader’s wants. Your whole duty as a writer is to please and satisfy yourself, and the true writer always plays to an audience of one. Start sniffing the air, or glancing at the Trend Machine, and you are as good as dead, although you may make a nice living.
— E. B. White, Approach to Style in Strunk & White

 

bird

Fly free

 

In other words, stop trying to imitate J. K. Rowling or Stephen King; their duty is to themselves, your duty is to yourself.

A bit of motivation for all those (in the complement of Rowling and King) who are planning to write this weekend.


Reading recommendations

  1. The Elements of Style, by William I. Strunk and E. B. White. 
  2.  Essays of E. B. White, by E. B. White.
  3. My other two blog posts on White’s work: Avian Black Humour and Rosebuds Bow Courteously.

Avian Black Humour

I see him, again, concealed in the lowest branches of a spruce on a small island off the Maine coast—a soft, balmy night. He is observing the arrival of Leach’s petrels, whose burrows are underneath the tree—eerie, strange birds, whose chuckling and formless sounds might have been the conversation of elves.

This is E. B. White writing in his essay Mr. Forbush’s FriendsWho and what and, dear me, why elves?

Edward Howe Forbush wrote Birds of Massachusetts and Other New England States (1927–29), a book E. B. White cherished and returned to over the years, and subsequently wrote about in the aforementioned essay calling it “a three-volume summation of the avian scene”. Through his own writing, White transmitted Mr Forbush’s enthusiasm and even found merit in his rich prose occasionally touched with purple but never with dullness or disenchantment — high praise from the co-author of Strunk & White, where Omit needless words is a dictum carved in stone.

A rather dull topic for those not interested in birds, isn’t it?

But, no!

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Rosebuds Bow Courteously

Roses bowing for love

Quote: The pasture pond was unruffled but had the prickly surface caused by raindrops, and it seemed bereft without geese. The sky was a gloomy grey. Two rosebuds bowed courteously to each other on the terrace.

A vivid few sentences by E. B. White in his essay, Eye of the Edna, from the book Essays of E. B. White. He is describing his farmyard before Hurricane Edna struck New England in 1954.

What makes the Quote quiver?

Vividness, word choice, and economy.

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