Zinsser on Writing

I found William Zinsser, On Writing Well: An Informal Guide to Writing Nonfiction, 5th ed., in a discard bin  a while back for a quarter. A nice find and a good read. His politics are leftish, are they not? But I won't hold that against him. From what I have read, his advice is good. Like Orwell before him, he urges a style spare and stripped-down: "the secret of good writing is to strip every sentence to its cleanest components." (p.7) But, like Orwell, he has trouble taking his own advice:

Every word that serves no function, every long word that could be a short word, every adverb that carries the same meaning that's already in the verb, every passive construction that leaves the reader unsure of who is doing what — these are the thousand and one adulterants that weaken the strength of a sentence.(p.7)

Suppose we rewrite the sentence in accordance with Zinsser's advice:

Every useless word, every word that could be shortened, every adverb whose meaning is already in the verb, every passive construction that leaves the reader unsure of who is doing what — these are the adulterants that weaken a sentence.

Without changing the thought at all, I took a sentence of 54 words and rewrote it in 39 words, saving 15 words. "Thousand and one" is useless filler and false precision, and "weaken the strength of" is pleonasm.

But the deeper issue is whether a lean style is always best. Why should every long word be traded in for a short one? It is a bit like demanding that one always dress in a purely functional way, stripping from one's apparel all ornamentation. That would get rid of all ties, especially those most precious of ties, the bow tie. Think of all the 'fashion accessories' the ladies would have to renounce.

I'm a sartorial functionalist myself, and wouldn't be caught dead in a bow tie or in suspenders. Formal attire for me is anything in excess of my 'loincloth.' But in my writing I compensate: I allow myself a modicum of elegance, a bit of leisurely strut and glide. I thumb my nose at editors and schoolmarms who think all prose must fit the same crabbed mold. I won't apologize for 'modicum' or 'sartorial' or for an allusion to Sartor Resartus; if the reader doesn't get it, that is his problem. Are we writing only for the culturally retarded?

And is it always wrong to use an adverb whose meaning is already in the verb? Mocking Al Franken, I may describe him as a 'lying liar' thus rubbing his nose in his own idiotic redundancy.

These quibbles notwithstanding, Zinsser's book promises both pleasure and instruction.