The Best-Kept Secret of Clichés: How to Upgrade Our Uses and Abolish Our Abuses of Language
A manifesto against mindless language, or how to get off autopilot in the art of communication.
By Maria Popova
“Aphoristic thinking is impatient thinking,” Susan Sontag wrote in her diary in 1980, lamenting the commodification of wisdom. But there is a yet greater abuse of language that bespeaks such impatience that bleeds into cognitive laziness — the aphorism’s cousin, the cliché, arguably the most successful meme of language. In It’s Been Said Before: A Guide to the Use and Abuse of Clichés (public library), lexicographer and linguistics researcher Orin Hargraves embarks on a quest to empower you to “proceed with the confidence that you have made peace with clichés through greater understanding and that you have established a relationship with them that will serve your interests when you write and speak.”
That understanding begins with the word itself: Hargraves points out that it comes from French, where it originally denoted “a convenience of printing, specifically a stereotype block bearing text that was used to produce multiple printed copies” — hence its present semantic representation of a reusable template-expression. Hargraves outlines his mission in unambiguous terms:
I have persisted in my attempt to stop some clichés in their flight, capture and anesthetize them, splay their dull wings, pin them to the specimen board, and make them visible for all to see, so that they may be revealed in their true lack of color. My intention is to make speakers and writers more aware of the occasions when they are using clichés or when they think that they need to — for it must surely be the case that clichés are largely used mindlessly, given their viral proliferation. An increased awareness of clichés and the detriment that they typically represent to effective communication should serve as a motive for language users to consider alternatives to them.
Indeed, this viral nature of clichés is both the reason for their success and their greatest failure of imagination. Hargraves explains:
A quality of clichés that is typically overlooked when people are disparaging them is that many of them are really very clever and original. Or rather, they were very clever and original the first time they appeared… Clichés are very often a victim of their own early success.
And yet defining what makes a cliché remains a tricky endeavor — while most language scholars agree that its core characteristics are “overuse and ineffectiveness,” it’s hard to arrive at agreement over these qualities or who is to judge their degree of manifestation. Hargraves writes:
Nearly all judgments about what constitutes a cliché have traditionally relied on consensus: if enough people think a form of words is overused, or if a person who is perceived as having some authority about language declares such a thing, then the word or phrase becomes a cliché. The result of this haphazard process is that many phrases are designated clichés without there being evidence of their frequent use. That is, infrequently used words and phrases may be deemed clichés, simply because a large number of people, or a small number of influential people, find them annoying or designate them as clichés for some other reason… But they are never annoying in equal measure, to the same people, in the same contexts, and for the same reasons.
But while human judgments of what constitutes overuse are invariably subjective, lexicographers can turn to artificial intelligence for a more reliable assessment. A corpus — “a collection of natural language in machine-readable form, assembled for the purpose of linguistic research” — can reveal statistical relationships between words and their usage in specific groupings in natural speech or writing. Hargraves explains:
From these statistics emerge portraits of the life of words, their mating habits, their abuses, their triumphs and failings, in a much clearer and more comprehensive light than can be gleaned from casual reading or listening; it is a portrait that is far more dependable than the one that results from merely consulting your intuition about how often a form of words is used or whether people use it consistently, aptly, or inappropriately. Modern computational lexicography makes it possible to learn at a glance which pairs or groups of words are getting together far more often than their overall frequency in the language suggests that they would. Such pairings of words are called collocations and may include typical combinations representing several different parts of speech, such as adjective + noun (like abject poverty), noun + noun (like software download), or adverb + verb (like virtually guarantee).
Often, however, it is misuse rather than overuse that renders something a cliché. Hargraves offers an illustrative example:
Take the noun phrase best-kept secret. Best-kept, as an adjective, has few uses in English other than to precede the word secret, and discounting the adjective dark, best-kept is the adjective most likely to be found preceding secret in nearly every genre of writing. But as a few examples will show, things that are dubbed best-kept secrets are in fact often not secret at all, and it is rarely specified, sometimes not even implied, in what sense they are “kept.” This, in effect, makes both parts of this compound expression not very meaningful. It is also the case that the best-kept secret is found preponderantly in journalism, a medium that is by its nature contrary to the idea of “secret.”
Indeed, Hargraves holds journalism particularly accountable for perpetuating clichés — the very tendency, no doubt, that originated the disparaging pun “churnalism.” He writes:
Of all genres … none is more cliché-burdened today than journalism. Journalism has been historically and continues to be the true home of the cliché… Many phrases originate in genres outside of journalism and continue to have a specific or technical meaning in their place of origin: matter of fact in law, for example, or exhibit a tendency in scientific writing. Once an expression has made a home in the fertile and supportive soil of journalism, however, it thrives and grows in thick patches, often losing its particular semantic characteristics.
He goes on to bemoan the fact that “journalism contains more clichés per unit of text than any other genre” and later hones the precision of his arrow, making the unambiguous assertion that “journalism is demonstrably the greatest repository of cliché in English,” adding that “this is not a criticism, just a fact.” Curiously, though, Hargraves makes a distinction between “journalism” and “blogging,” chastising them on a sliding scale of “spreading and popularizing (and thus further deadening) clichéd expressions” — a rather dated divide in an era when some of the best independent journalism takes place on “blogs” and every major print publication has an online presence of the “blog” variety. (Blogs, he argues, are “full of unedited writing that is shot through with clichés, which are gobbled up uncritically by the avid perusers of these genres” — a rather ungenerous depiction of online readers, to say nothing of writers.) Journalism, after all, is a genre of cultural commentary and criticism, and a blog is merely a platform for publishing, whatever the genre — comparing a genre to a platform seems, to use the appropriate and thus non-clichéd idiom, an apples-to-oranges proposition.
But misplaced distinction aside, Hargraves makes a gravely valid and urgent point about the responsibility of writers today, be they “journalists” or “bloggers,” in an age when writing is considered “content” and treated as the vacant page-filler the term implies; when Emerson and Longfellow’s journal lives on to publish “native advertising” for the Church of Scientology on the web and once-reputable business magazines have reincarnated as listicle-purveyors online. Echoing Schopenhauer’s lament on writing “for the sake of filling up paper,” Hargraves’s words ring with particular poignancy in our present context of formulaic language that borders on content farming:
People who are required to write — whether hastily or not — and those who write without any awareness of what separates good writing from bad, such as poorly educated students or poorly read adults, naturally write in a semiautomatic style… Taken together then, carelessness and ignorance are certainly responsible for a great deal of cliché that is expressed in speech and print.
Journalists are required to produce verbiage hastily most of the time. While their work is typically edited, it is not edited for clichés because cliché is a substantial part of the code of journalism, and consumers of journalism accept conventional and stereotyped ways of expressing ideas, whether consciously or unconsciously, as part of the diet. Because of the natural tendency of speakers and writers to be influenced by what they read and hear, it is also inescapable that journalists are the greatest vectors of cliché in English.
Therein lies Hargraves’s most important point — a case for the eradication of clichés as a political act, part of our shared civic responsibility as readers, writers, and users of language. Echoing Virginia Woolf’s manifesto for the glory of language, he writes:
There is so much writing and speech that has clearly been done with no clear thought given to the purpose of the words that compose it. If all writing was entirely of this kind, it seems likely that people would be put off reading and clichés would live in a rather small, moribund world that would eventually extinguish itself. But we all must read, whether for entertainment, vital communication, or acquiring new information; and all of the writing we read is bound to contain some portion of cliché. Because of these factors we cannot help exposing ourselves to cliché and being infected by it. Whether we become active vectors of cliché ourselves is a matter of choice. All that is required for clichés to flourish is for good writers to disengage their attention from what they are doing.
A cliché in itself and by definition has no element of originality and if a cliché is to be used, it places greater demands on a thoughtful writer to justify its use in preference to a more straightforward or succinct expression. Requiring a cliché to do more than it normally does by extending its meaning, application, or reference is one way to do this.
What Penguin publisher Sir Allen Lane memorably said of design, Hargraves asserts about language:
It takes only a little more time, but considerably more effort, to write mindfully than it does to write mindlessly. You have to engage your intellect and examine the requirements of what you mean to express, and the words available to do it for you. But writing mindfully can be developed to become a habit with some effort, just as writing mindlessly becomes a habit with no effort.
In the remainder of It’s Been Said Before, Hargraves draws on corpus data to identify some of the most toxic clichés in the English language and goes on to equip us with the tools and critical thinking necessary for using more imaginative alternatives to them. Complement it with a stimulating examination of another centerpiece of linguistic communication, the magical world of metaphor, then revisit these five excellent books on language.
Published August 4, 2014