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Matthew Zipf on how– in the hands of a true literay stylist– the humble comma is a matter of precision, logic, individuality, and music…

… The most conspicuous mark of Renata Adler’s style is its abundance of commas. In her two novels, Speedboat (1976) and Pitch Dark (1983), there are a few sentences that edge on the absurd: “For some time, Leander had spoken, on the phone, of a woman, a painter, whom he had met, one afternoon, outside the gym, and whom he was trying to introduce, along with Simon, into his apartment and his life.” A critic tallied it up, counting “40 words and ten commas—Guinness Book of World Records?” Each of those commas had its grammatical defense, but Adler’s style did not comply with the usual standards of fluent prose. She cordoned off phrases, such as “on the phone,” that other writers would just run through. One reader, responding to a 1983 New York magazine profile of Adler, wrote in a letter to the editor, “If the examples of Renata Adler’s writing … are typical, Miss Adler will never make it to the road. The way is ‘jarringly, piece by piece, line by line, and without interruption’ blocked by commas.” The reader was quoting one of Adler’s own comma-laden critical phrases against her. The editors titled the letter “Comma Wealth.”

Adler’s comma usage differs from the balanced rhythms of 18th-century essayists, as well as from the breathless lines common among American writers after Hemingway. Her punctuation jars, and turns abruptly, like a skater’s blade stopping and sending up shards of ice. She likes to leave out conjunctions in chains of adjectives, as in her film review of  “a leering, uncertain, embarrassing, protracted little comedy.” Certain lines of hers work almost entirely by carefully placed commas, which tighten the style, each one a rivet on the page: “But this I know, or think I know, that idle people are often bored and bored people, unless they sleep a lot, are cruel.” A hesitation, a stutter, and then a swing into the qualification (“unless they sleep a lot”). Interestingly, no comma in “bored and bored people”: grammar sacrificed for rhythm and speed.

Not everyone saw the elegant precision in how she pointed her sentences. After one of her books came out, a critic wrote that “virtually every sentence is peppered with enough commas to make the prose read like a series of hiccups.” Another letter writer complained of her “muddled syntax and wandering, endless sentences.”

But Adler’s style had its admirers, too. “Nobody in this country writes better prose than Renata Adler’s,” a critic wrote in a Harper’s review of her first novel. New Yorker staff writer Elif Batuman recently said that she could not think of a living stylist she admired more. But the most insightful comment might have come from a man splitting the difference. At The New York Times, where in 1968 Adler had become the daily film critic, editor Abe Rosenthal addressed a concerned colleague by first conceding that Adler was no great stylist, and then suggesting a metaphor: She’s olives. The readers will grow to like her…

… Adler sang of punctuation. In Pitch Dark, there is an associative run, typical of her novels, that reads: “And this matter of the commas. And this matter of the paragraphs. The true comma. The pause comma. The afterthought comma. The hesitation comma. The rhythm comma. The blues.” I wonder if everyone hears the music in that “riff,” as she calls it, with the rhythm of the short fragments and the satisfaction of the last monosyllable. There is also, within the musical list, a legitimate sorting of functions. The afterthought comma, Adler said, was when you wanted to add something, and there was no obvious way to do it. The true comma was the grammatical one, separating phrases or clauses. When spoken, it could function differently from other commas. To read out loud, “For some time, Leander had spoken, on the phone, of a woman …” you should not rest at each phrase. The true comma does not always require a pause.

Punctuation controls two things: logical separation and breath. In Adler’s words, “part of it is meaning, and part of it is cadence.” Writers weigh each role differently. Didion wrote that grammar was a piano she learned to play by ear, and she seems to have given priority to breath. Adler learned grammar in school, where she diagrammed sentences, and then at The New Yorker, which gave far more weight to logic. The magazine, where she began working at age 24, was alternately beloved and deplored for its commas. If a phrase was not essential to the sentence, the editors wanted it enveloped: thus “on the phone,” a wrapped-up appositive. (“May I offer you a comma?” the magazine’s editor, William Shawn, used to say to Adler in editing sessions.) Punctuation grew into a dogmatic inheritance, a passion, and a trademark of the magazine. E. B. White wrote that “commas in The New Yorker fall with the precision of knives in a circus act, outlining the victim.”

Knives are an apt metaphor. The first systematic survey of English punctuation, published in 1785, recorded that the Greek komma means “a segment, or a part cut off [from] a complete sentence.” The word comes from koptein, to cut. Precision, too, is a kind of cutting, a drawing of lines. It has a coincident etymology in Latin: praecidere means “to cut off.” Adding commas does not necessarily make your work precise, and you can write clearly without much punctuation. Precision might come, for example, in short declarative sentences. It relies on other things, too, such as diction, the mot juste. But the wish to separate accurately, to put different things into different cells, connects, at least in Adler’s case, to an actual grammatical usage. When she launches into one of her riffs, when she begins listing, or when she describes a phone call, her work suggests the old definition of thought as collecting and dividing: cutting between concepts as a good butcher slides his knife along the natural joints…

… In Writing Degree Zero, Roland Barthes described the “loneliness of style.” It is “the writer’s ‘thing,’ ” he wrote, “his glory and his prison, it is his solitude.” Adler is meticulous about her style. During her time as a film critic, she lost days to dealing with New York Times editors, who kept changing her prose, making edits that she had already thought of and decided against (“there was rarely the conception that in doing sentences a writer chooses among options,” she wrote about the experience). Her pieces for the Times sometimes appeared without her having seen the final version. She was happier at The New Yorker, where, though they might propose significant changes, the magazine’s editors made sure “not to attribute to the writer a single word, or a single cut, or a single mark of punctuation, which the writer had not seen and, in some sense, approved.” She has always cared about those things. For without the grand plot of a detective novel, without the large, vivid characters of Austen or Dickens, what Adler has is style. It is her solitude, her glory, her thing…

Eminently worth reading in full: “In the Matter of the Commas” (in The American Scholar).

* Renata Adler, Pitch Dark

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As we punctuate with passion, we might send farsighted birthday greetings to (a somehat more parsimonious, but still deft, user of commas) Alexander Herzen (Aleksándr Ivánovich Gértsen); he was born on this date in 1812. A Russian thinker and writer he was a key inspiration for agrarian populism and Russian socialism. With his writings, many composed while exiled in London, he attempted to influence the situation in Russia, contributing to a political climate that led to the emancipation of the serfs in 1861. Perhaps most notably, he published the important social novel Who is to Blame? (in 1845–46) and his autobiography, My Past and Thoughts (written 1852–1870), is considered one of the best examples of that genre in Russian literature.

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