It’s easy to get lost in the microcosm of your job and think that the rest of the world should be operating within your work-day paradigms. Today, for instance, I was editing an extremely poorly written blog post, and instead of whistling while I worked and cheerfully improving the piece, my to-author queries just started getting more and more touchy; I was enraged that such a person could exist, someone with such a paltry ability to form a solid sentence! With such little knowledge of punctuation and the difference between an em- and en-dash!
So I had to stop. Put it away. Breathe. Realize that I live in a weird, underground world that is detached from most people’s everyday reality. A world in which editors obsess over language precision and the correctness of a word for hours. A world in which you strive not to betray an author’s trust by changing a comma. A world in which, if our jobs are done well, no reader even thinks of our existence.
Being a copy editor makes you super-attuned (almost presciently) to detail, but it also makes you an ass. I don’t know why a knowledge of grammar makes people self-righteous, but being a copy editor is a fast track to unbearable party behavior. Guion can’t go out to dinner without me making snide remarks about apostrophes and how most people think “portobella” or “portabella” is the correct name of the mushroom “portobello.” I’ll launch into a tidy tirade if you talk about how your English teacher told you that two spaces belong between every sentence. It’s amazing that I have any friends at all.
Because it’s a hard thing to turn off, this editing nature. I’ve been reading a memoir by a stroke survivor, and instead of thinking, Wow, this woman is amazing, and she has overcome so much, all I can think is, Couldn’t she afford an editor? What is this run-on nonsense? What is the deal with these double spaces between sentences?
Many of my coworkers say that they can’t read for pleasure anymore because of this curse. Or, if they do read, they can only turn to the lowest common denominator fiction (e.g., Nelson DeMille), fiction that requires only a marginal part of your brain.
I don’t want to resort to that, but I admit that reading Proust was a heck of a lot harder than it might have been if I’d had a different profession. Or Faulkner. Or Woolf. Or any of the writers that I deeply love and admire. Since Infinite Jest, fiction has been much harder on me. I gravitate toward nonfiction now. I don’t even read the short stories in the New Yorker; they don’t interest me. I don’t know if this turn away from fiction can be blamed on my handful of years spent editing or on David Foster Wallace, but something significant in my reading life has shifted.
I miss stories, but I crave knowledge. I want to know about everything. Reading 100 books a year doesn’t seem like enough. It’s a foolish endeavor, to want to know everything, but it’s never felt like a vain striving. Rather, I’d like to class it with Annie Dillard’s deep curiosity about the universe, spanning from the vast Milky Way all the way down to the mystical formation of a butterfly in its chrysalis. I want to know about all of these things, and I want to be able to tell these stories.
Goat moth. Source: Wikimedia Commons.
I can’t pretend to have Dillard’s level of beautiful, boundless curiosity, but I can aspire to it. To know, to have precision, to be curious; I think of these as developing attributes of my small life as a copy editor.
I have, perhaps, always been this way; it’s just now that I’m realizing that my love of being a copy editor has fit perfectly within my natural design. Being a good editor means knowing right from wrong; valuing precision; internalizing arcane details of our complex and often nonsensical language; memorizing rules; ably recalling information about history, politics, and culture; possessing all of this knowledge and holding it at the ready, on a precipice of your brain.
I learned to read when I was 3; I enjoyed being sent to time-out because it meant I could stay in my room and read; I read straight through our set of encyclopedias when I was 7 or 8 (remember when you had physical encyclopedias? An alphabetized set that probably lived in your parent’s basement?). When I got to “D,” my mother had to explain the birds and the bees to me earlier than she expected, because I was confused as to why a woman would use a diaphragm during something called “intercourse.” I memorized the names of exotic animals and thought of them as my invisible companions. (Guion and I have been watching David Attenborough’s fabulous documentary series, “The Life of Mammals,” and every episode brings me this childlike glee when I can successfully identify an unusual animal. A tapir! A pangolin! A dik-dik! Heaven!)
As a child, I wanted all of the information (a history, a theory, a flood), and a large part of me still does.
I have often noticed that these things, which obsess me, neither bother nor impress other people even slightly. I am horribly apt to approach some innocent at a gathering and, like the ancient mariner, fix him with a wild, glitt’ring eye and say, “Do you know that in the head of the caterpillar of the ordinary goat moth there are two hundred twenty-eight separate muscles?” The poor wretch flees. I am not making chatter; I mean to change his life.
— Annie Dillard, Pilgrim at Tinker Creek