Resisting stylistic inversion no matter what the cost
In a post here last June I asked for editorial staff at The New Yorker to come forward, anonymously if they wish, and explain something to me. Why do they so resolutely refuse to employ subject-verb inversion with reporting frames, even when the policy drives them to print sentences that are not just inept but almost incomprehensible?
Chris Potts first documented the strange practice in one of the earliest Language Log posts back in 2003.) Nobody from the magazine came forward to explain, either then or last year. Instead, New Yorker staff redoubled their efforts to show that nothing could make them consider verb-subject order. On March 21 (p. 54, left column) they published what I think is the worst example yet, buried in the middle of an article by Dana Goodyear about Hollywood writer's-block therapists Barry Michels and Phil Stutz:
"We're like carnies, always out there trying to sell some idea," another writer, who sees Michels, and whose husband, also a writer, sees Stutz, told me.
I continue to wonder, what the hell is wrong with them that they could believe this is fine prose style?
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