Heads can ache as well as backs

Apart from two years in the fifties, I worked on newspapers and consumer/business/technical magazines from 1951 until 1995. When in 1959 I wrote to Mrs BB’s father to ask for her hand (the tradition then) he agreed, even though he was never sure journalism was a real job. He was a chef, working 6½ days a week.

My two-year blip involved RAF national service. After trawling my psyche the RAF decided I was capable of understanding airborne radio equipment. Basic training (Learning to kill with a bayonet. Avoiding venereal disease. etc) added to technical training took almost a year after which I repaired VHF transmitters/receivers in a large non-air-conditioned shed in Singapore. However incurable athlete’s foot took over and after very primitive and futile treatment I ended up near Doncaster modifying radar antennae used on Lancaster bombers (see pic).

None of which is terribly interesting except to prove that in a mainly sedentary professional life I have also worked manually. Received wisdom says manual work is harder than sitting-down work. I didn’t find this so. Admittedly I wasn’t digging holes or assembling Ford Anglias but I used screwdrivers, soldering irons, Avometers, and some delicacy.

The repair work was complex and I needed to study a large circuit diagram. I found it fairly entertaining but, more particularly, it was a finite world. By comparison a thousand-word article on fork-truck masts, initially at least, presents a huge range of options. An inverted pyramid of work, some of which isn’t entirely enjoyable.

No, I’m not saying I’d rather have been a navvy. Hard work’s where you find it, although most sophists work at desks.

Let's get rid of the clowns

This is almost a coffee-table book and I hate those. But three columns of song lyrics per page justify the layout and it is meant to be read, not displayed.

Sondheim is a perfectionist which may be why he’s only had one real hit – Send In The Clowns. He applies perfectionism to others and attacks most of the greats including my favourite, Lorenz Hart (“jaunty and careless”), Noel Coward (“the master of blather”) and Ira Gershwin (“rhyming poison”). But none ends up more wounded than Stephen Sondheim himself; notably for the early songs in his most famous show, West Side Story.

Not many of us write song lyrics but most of us want to write better. This books tells you how. Sin No. 1 Verbosity (“For me the hardest sin to avoid… unless a character is hyperarticulate for a reason, cleverly rhymed logorrheic patter draws attention to the lyricist, not the character”). Sin No. 3 Redundant adjectival padding (“using a series of synonyms to fill out a line because there’s not enough to say. Eg, Expensive and choice and rare.”) Examples of these and other sins are taken from his own songs.

He agonises over exactness, as we all should. And his arrows hit home. Alan Jay Lerner’s lyrics in My Fair Lady have “an appearance of high gloss” but how about Henry Higgins’ “I’d be equally as willing/For a dentist to be drilling/Than to ever let a woman in my life”. This, says Sondheim, is “a syntactical train wreck, especially noticeable coming from a professor of English so meticulous about the language that the plots depends on it”. Get someone to buy it you for Christmas (it costs £30), laugh and learn.