Dick Cavett is generally well regarded as a writer, but I am trying to understand why. I do not remember reading anything he has ever written that had not been overwritten. His recent piece “The Wrath of Grapes” in the NY TImes is typical of what I have read by him.
Like most bad writing, the nastiness of the piece exists on a number of levels. There is, of course, the obvious problem with writing about being drunk, which is a topic best covered by adolescents at MySpace or ex-boyfriends in text messages. Cavett figured the NY Times readers were missing out on the fun, so he decided to write a two-part piece on his adventures with a bottle of Scotch during the 1960s. Thanks, Dick.
Things get worse when he starts writing and comes up with this paragraph:
The mouth was a distinct displeasure. I remember saying aloud, to no one, “It tastes like I’ve eaten an assortment of larvae.” I tried to laugh but the head pain forbade any more than a murmur of self-appreciation. I made it to the sink as Vesuvius erupted.
The paragraph starts off well enough, but when Cavitt describes the larvae as an “assortment,” he has started overwriting. Most people cannot identify with eating larvae in the first place, so I doubt describing the taste as “an assortment of larvae” rather than as “larvae” is much like differentiating between the tastes of cookies-and-cream and vanilla.
Then there is the use of “forbade” which only a nun at a grammar school in 1962 would use with a straight face. But the coup de grace is his allusion to Vesuvius, which fans of classical correspondence know quite well since it suffocated Pliny the Elder under a blanket of volcanic ash and rock.
What strikes me about Cavitt’s writing is not that its stuffed with pseudo-intellectual silliness but that it relies on diction and allusion for its sophistication. Those two rhetorical tools mark the style of Cavitt, and both are focused on words, not phrases and clauses. When Cavitt needs precision and accuracy, he reaches for individual words with multiple syllables and uses them to make himself sound worldly and well-read.
Word choice is an important part of writing well, but it is only a small part of good style and has the danger of leading to overwriting. Having an ear for what sounds right means more than reaching for a thesaurus; it means being in tune to the rhythms of phrases and clauses and how they affect the style and aesthetics of the sentences and paragraphs. Good writers know this.
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