TED2016
Mary Norris: The nit-picking glory of The New Yorker's Comma Queen
Meri Noris (Mary Norris): Cepidlačka slava "Njujorkerove" kraljice zareza
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"Lektorisanje za "Njujorker" je poput pozicije šortstopera u bejzbol ekipi iz prve lige - svaki i najmanji pokret zapažaju kritičari", kaže Meri Noris, koja je na toj poziciji više od trideset godina. Tokom tog vremena, stekla je reputaciju zbog strogosti i zato što je "zaluđenica zarezima", ali ovo je neosnovano, kaže ona. Iznad svega, njen rad ima jedan cilj: da se postara da pisci izgledaju dobro. Ovim šarmantnim govorom, istražite "Njujorkerov" naročit stil s osobom koja o tome najviše zna.
Mary Norris - Copy editor
As a copy editor for the New Yorker, Mary Norris enforces some of the most authoritative (some might say eccentric) style rules in publishing. Full bio
As a copy editor for the New Yorker, Mary Norris enforces some of the most authoritative (some might say eccentric) style rules in publishing. Full bio
Double-click the English transcript below to play the video.
00:13
I have spent the past 38 years
trying to be invisible.
trying to be invisible.
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Provela sam proteklih 38 godina,
pokušavajući da budem nevidljiva.
pokušavajući da budem nevidljiva.
00:19
I'm a copy editor.
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Ja sam lektorka.
00:21
I work at The New Yorker,
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Radim u "Njujorkeru",
00:23
and copyediting for The New Yorker
is like playing shortstop
is like playing shortstop
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a lektorisanje za "Njujorker"
je poput pozicije šortstopera
je poput pozicije šortstopera
00:27
for a Major League Baseball team:
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u bejzbol ekipi iz prve lige:
00:29
every little movement
gets picked over by the critics --
gets picked over by the critics --
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svaki i najmanji pokret
zapažaju kritičari -
zapažaju kritičari -
00:33
God forbid you should commit an error.
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ne dao vam bog da pogrešite.
00:37
Just to clarify: copy editors don't choose
what goes into the magazine.
what goes into the magazine.
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Samo da razjasnimo: lektori ne odlučuju
šta će da bude objavljeno u novinama.
šta će da bude objavljeno u novinama.
00:41
We work at the level of the sentence,
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Mi radimo na nivou rečenice,
00:43
maybe the paragraph,
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možda pasusa,
00:45
the words, the punctuation.
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reči, interpunkcije.
00:48
Our business is in the details.
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Mi se bavimo detaljima.
00:50
We put the diaeresis, the double dot,
over the "i" in "naïve."
over the "i" in "naïve."
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Stavljamo dijarezu, duplu tačku,
iznad "i" u "naïve".
iznad "i" u "naïve".
00:56
We impose house style.
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Mi namećemo stil izdavačkoj kući.
00:58
Every publication has a house style.
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Svaka publikacija ima svoj stil.
01:01
The New Yorker's
is particularly distinctive.
is particularly distinctive.
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Naročito se ističe "Njujorkerov".
01:04
We sometimes get teased for our style.
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Ponekad nas zadirkuju zbog stila.
01:07
Imagine -- we still spell
"teen-ager" with a hyphen,
"teen-ager" with a hyphen,
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Zamislite - i dalje pišemo
"tin-ejdžer" sa crticom,
"tin-ejdžer" sa crticom,
01:11
as if that word had just been coined.
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kao da je ta reč upravo skovana.
01:14
But you see that hyphen in "teen-age"
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Ali vidite crticu u "tin-ejdž"
01:18
and that diaeresis over "coöperate,"
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i dijarezu iznad "coöperacije,"
01:21
and you know you're reading
The New Yorker.
The New Yorker.
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i znate da čitate "Njujorker".
01:23
Copyediting at The New Yorker
is a mechanical process.
is a mechanical process.
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Lektorisanje za "Njujorker"
je mehanički postupak.
je mehanički postupak.
01:27
There is a related role called
query proofreading,
query proofreading,
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Imamo srodnu ulogu koja se zove recezent,
01:30
or page-OK'ing.
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iliti odobravalac stranica.
01:32
Whereas copyediting is mechanical,
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Dok je lektorisanje mehaničko,
01:35
query proofreading is interpretive.
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recenzije su interpretativne.
01:38
We make suggestions to the author
through the editor
through the editor
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Pravimo sugestije za autora
preko urednika
preko urednika
01:42
to improve the emphasis of a sentence
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da popravi emfazu u rečenici
01:44
or point out unintentional repetitions
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ili ukazujemo na nenamerna ponavljanja
01:47
and supply compelling alternatives.
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i nudimo ubedljive alternative.
01:52
Our purpose is to make
the author look good.
the author look good.
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Naša svrha je da učinimo
da pisac dobro izgleda.
da pisac dobro izgleda.
01:55
Note that we give our proofs
not directly to the author,
not directly to the author,
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Imajte na umu da mi korekcije
ne dajemo direktno piscima,
ne dajemo direktno piscima,
01:58
but to the editor.
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već uredniku.
02:00
This often creates
a good cop/bad cop dynamic
a good cop/bad cop dynamic
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Ovo često stvara dinamiku
dobrog i lošeg policajca
dobrog i lošeg policajca
02:04
in which the copy editor -- I'll use that
as an umbrella term --
as an umbrella term --
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u kojoj je lektor - koristiću to
kao okvirni termin -
kao okvirni termin -
02:08
is invariably the bad cop.
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bez izuzetka loš policajac.
02:12
If we do our job well, we're invisible,
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Ako dobro odradimo posao, nevidljivi smo,
02:14
but as soon as we make a mistake,
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ali čim napravimo grešku,
02:16
we copy editors become glaringly visible.
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mi lektori postajemo upadljivo vidljivi.
02:21
Here is the most recent mistake
that was laid at my door.
that was laid at my door.
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Evo najskorije greške
koja mi je servirana.
koja mi je servirana.
02:25
[Last Tuesday, Sarah Palin,
the pre-Trump embodiment
the pre-Trump embodiment
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[Prošlog utorka, Sara Pejlin,
pretrampovsko otelotvorenje
pretrampovsko otelotvorenje
02:29
of populist no-nothingism
in the Republican Party,
in the Republican Party,
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populističke bez-ništavnosti
iz Republikanske partije,
iz Republikanske partije,
02:32
endorsed Trump.]
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podržala je Trampa.]
02:34
"Where were The New Yorker's fabled
copy editors?" a reader wrote.
copy editors?" a reader wrote.
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"Gde su bili 'Njujorkerovi'
čuveni lektori?" pisao je čitalac.
čuveni lektori?" pisao je čitalac.
02:39
"Didn't the writer mean
'know-nothingism'?"
'know-nothingism'?"
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"Zar pisac nije mislio 'neznalice'?"
02:42
Ouch.
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Joj!
02:44
There's no excuse for this mistake.
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Nema izgovora za ovu grešku.
02:46
But I like it: "no-nothingism."
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Ali mi se sviđa: "bez-ništavnosti".
02:49
It might be American
vernacular for "nihilism."
vernacular for "nihilism."
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Može da bude
američki žargon za "nihilizam".
američki žargon za "nihilizam".
02:53
(Laughter)
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(Smeh)
02:57
Here, another reader quotes
a passage from the magazine:
a passage from the magazine:
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Ovde, drugi čitalac citira
pasus iz novina:
pasus iz novina:
03:00
[Ruby was seventy-six, but she retained
her authoritative bearing;
her authoritative bearing;
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[Rubi je imala 76 godina,
ali je zadržala autoritativno držanje;
ali je zadržala autoritativno držanje;
03:04
only her unsteady gait belied her age.]
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samo je njen nesiguran hod
maskirao njene godine.]
maskirao njene godine.]
03:08
He added:
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Dodao je:
03:09
"Surely, someone at The New Yorker
knows the meaning of 'belied,'
knows the meaning of 'belied,'
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"Sigurno neko u 'Njujorkeru'
zna značenje reči 'maskirao',
zna značenje reči 'maskirao',
03:13
and that it is the opposite
of how it is used in this sentence.
of how it is used in this sentence.
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a ono je suprotno
tome kako je iskorišćeno u ovoj rečenici.
tome kako je iskorišćeno u ovoj rečenici.
03:16
Come on! Get it together."
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Ma hajde! Saberite se."
03:18
Belie: to give a false impression.
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Maskirati: odavati lažni utisak.
03:22
It should have been "betrayed."
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Trebalo je da stoji "odavao".
03:25
E.B. White once wrote
of commas in The New Yorker:
of commas in The New Yorker:
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E. B. Vajt je jednom pisao
o zarezima u "Njujorkeru":
o zarezima u "Njujorkeru":
03:28
"They fall with the precision
of knives outlining a body."
of knives outlining a body."
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"Padaju preciznošću noževa
koji ocrtavaju telo."
koji ocrtavaju telo."
03:33
(Laughter)
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(Smeh)
03:34
And it's true -- we get a lot
of complaints about commas.
of complaints about commas.
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A to je istina - primamo mnogo žalbi
zbog zareza.
zbog zareza.
03:38
"Are there really two commas
in 'Martin Luther King, Jr., Boulevard'?"
in 'Martin Luther King, Jr., Boulevard'?"
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"Da li stvarno postoje dva zareza u
'Martina Lutera Kinga, mlađeg, bulevaru'?"
'Martina Lutera Kinga, mlađeg, bulevaru'?"
03:42
There may not be on the sign, but yes,
that is New Yorker style for "Jr."
that is New Yorker style for "Jr."
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Možda nema na ploči, ali da,
to je "Njujorkerov" stil za "mlađi".
to je "Njujorkerov" stil za "mlađi".
03:48
One wag wrote:
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Jedan vragolan je napisao:
03:50
["Please, could you expel,
or, at least, restrain,
or, at least, restrain,
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["Molim vas, možete li da oterate,
ili, bar, da obuzdate,
ili, bar, da obuzdate,
03:53
the comma-maniac,
on your editorial staff?"]
on your editorial staff?"]
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zaluđenika zarezima,
iz vašeg uredništva?"]
iz vašeg uredništva?"]
03:56
(Laughter)
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(Smeh)
03:58
Ah, well.
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Pa, dobro.
03:59
In this case, those commas
are well-placed,
are well-placed,
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U ovom slučaju,
zarezi su dobro upotrebljeni,
zarezi su dobro upotrebljeni,
04:01
except that there should not be one
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osim što je suvišan onaj
04:03
between "maniac" and "on."
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između "zarezima" i "iz".
04:05
(Laughter)
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(Smeh)
04:06
Also, if we must have commas
around "at least,"
around "at least,"
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Takođe, ako moramo
da imamo zareze oko "bar",
da imamo zareze oko "bar",
04:10
we might change it up
by using dashes around that phrase:
by using dashes around that phrase:
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mogli bismo da ih zamenimo
koristeći crtice oko te fraze:
koristeći crtice oko te fraze:
04:14
"... -- or, at least, restrain --"
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"...- ili, bar, obuzdate -"
04:18
Perfect.
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Savršeno.
04:19
(Applause)
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(Aplauz)
04:21
Then there's this:
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Zatim imamo sledeće:
04:22
"Love you, love your magazine,
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"Volim vas, volim vaše novine,
04:24
but can you please stop writing
massive numbers as text?"
massive numbers as text?"
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ali možete li, molim vas, da prestanete
da slovima ispisujete ogromne brojeve?"
da slovima ispisujete ogromne brojeve?"
04:29
[two and a half million ...]
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[dva i po miliona...]
04:30
No.
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Ne.
04:31
(Laughter)
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(Smeh)
04:34
One last cri de coeur
from a spelling stickler:
from a spelling stickler:
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Jedan skorašnji vapaj
pravopisnog cepidlake:
pravopisnog cepidlake:
04:37
["Those long stringy things
are vocal cords, not chords."]
are vocal cords, not chords."]
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["Te duge trakaste stvari
su vokalne žice, ne žbice."]
su vokalne žice, ne žbice."]
04:42
The outraged reader added,
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Zgroženi čitalac je dodao,
04:44
"I'm sure I'm not the first to write
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"Siguran sam da nisam prvi koji pišem
04:46
regarding this egregious
proofreading error,
proofreading error,
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zbog ovih nečuvenih lektorskih grešaka,
04:49
but I'm equally sure I won't be the last.
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ali sam jednako siguran
da neću biti poslednji.
da neću biti poslednji.
04:52
Fie!"
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Uf!"
04:53
(Laughter)
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(Smeh)
04:55
I used to like getting mail.
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Nekad sam volela da dobijam pisma.
04:59
There is a pact
between writers and editors.
between writers and editors.
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Postoji dogovor između pisaca i lektora.
05:01
The editor never sells out the writer,
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Lektor nikad ne izdaje pisca,
05:04
never goes public about bad jokes
that had to be cut
that had to be cut
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nikad u javnosti ne iznosi
nebuloze koje su morale da budu izbačene
nebuloze koje su morale da budu izbačene
05:07
or stories that went on too long.
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ili priče koje su se odužile.
05:10
A great editor saves a writer
from her excesses.
from her excesses.
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Sjajan lektor spašava pisca
od njegovih ispada.
od njegovih ispada.
05:15
Copy editors, too, have a code;
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Lektori takođe imaju kodeks;
05:17
we don't advertise our oversights.
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ne reklamiramo naše previde.
05:20
I feel disloyal divulging them here,
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Osećam se nelojalno dok ih ovde otkrivam,
05:23
so let's have look at what we do right.
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pa osvrnimo se na naše uspehe.
05:27
Somehow, I've gotten
a reputation for sternness.
a reputation for sternness.
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Nekako sam dobila reputaciju
zbog strogosti.
zbog strogosti.
05:31
But I work with writers who know
how to have their way with me.
how to have their way with me.
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Ali radim s piscima
koji znaju da izađu na kraj sa mnom.
koji znaju da izađu na kraj sa mnom.
05:35
I've known Ian Frazier, or "Sandy,"
since the early 80s.
since the early 80s.
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Poznajem Ijana Frejzijera, iliti "Sandija"
od ranih '80-ih.
od ranih '80-ih.
05:39
And he's one of my favorites,
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I on mi je jedan od omiljenih,
05:41
even though he sometimes writes a sentence
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iako ponekad piše rečenice
05:44
that gives a copy editor pause.
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koje nateraju lektora da se zamisli.
05:46
Here is one from a story
about Staten Island
about Staten Island
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Evo jedne iz priče o Staten Ajlandu
05:49
after Hurricane Sandy:
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nakon uragana Sendi:
05:52
[A dock that had been broken
in the middle and lost its other half
in the middle and lost its other half
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[Pristanište koje je puklo po sredini
i izgubilo svoju drugu polovinu
i izgubilo svoju drugu polovinu
05:56
sloped down toward the water,
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naginjalo se prema vodi,
05:58
its support pipes and wires
leaning forward
leaning forward
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njegove noseće cevi i žice
su se naginjale napred
su se naginjale napred
06:02
like when you open a box
of linguine and it slides out.]
of linguine and it slides out.]
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kako rezanci klize kad otovrite kutiju.]
06:06
(Laughter)
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(Smeh]
06:07
This would never have got past
the grammarian in the days of yore.
the grammarian in the days of yore.
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Ovo nikad ne bi moglo da prođe
kod lingvista starog kova.
kod lingvista starog kova.
06:12
But what could I do?
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Ali šta sam mogla?
06:13
Technically, the "like" should be an "as,"
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Tehnički, "kako" bi trebalo da bude "kao",
06:16
but it sounds ridiculous,
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ali zvuči smešno,
06:17
as if the author were about to embark
on an extended Homeric simile --
on an extended Homeric simile --
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kao da se pisac sprema da ukrca
na produženo homerovsko poređenje -
na produženo homerovsko poređenje -
06:22
"as when you open a box of linguine."
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"kao kad otvorite kutiju rezanaca."
06:25
(Laughter)
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(Smeh)
06:26
I decided that the hurricane
conferred poetic justice on Sandy
conferred poetic justice on Sandy
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Odlučila sam da je uragan
izvršio poetsku pravdu nad Sandijem
izvršio poetsku pravdu nad Sandijem
06:31
and let the sentence stand.
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i pustila sam da rečenica ostane.
06:33
(Laughter)
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(Smeh)
06:34
Generally, if I think something is wrong,
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Generalno, ako smatram
da nešto nije dobro,
da nešto nije dobro,
06:36
I query it three times.
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proverim to tri puta.
06:37
I told Sandy that not long ago
in a moment of indiscretion and he said,
in a moment of indiscretion and he said,
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Saopštila sam to nedavno Sandiju
u trenutku nesmotrenosti i on je rekao:
u trenutku nesmotrenosti i on je rekao:
06:41
"Only three?"
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"Svega tri puta?"
06:43
So, he has learned to hold out.
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Te je naučio da se uzdržava.
06:45
Recently, he wrote a story
for "Talk of the Town,"
for "Talk of the Town,"
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Nedavno je napisao priču
za "Gradsku priču",
za "Gradsku priču",
06:47
that's the section
at the front of the magazine
at the front of the magazine
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to je rubrika na prvoj strani časopisa
06:49
with short pieces on subjects
ranging from Ricky Jay's exhibit
ranging from Ricky Jay's exhibit
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gde su crtice o raznim temama,
od izložbe Rikija Džeja
od izložbe Rikija Džeja
06:52
at the Metropolitan Museum
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u muzeju Metropolitan
06:54
to the introduction
of doggie bags in France.
of doggie bags in France.
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do predstavljanja
restoranskih kesa u Francuskoj.
restoranskih kesa u Francuskoj.
06:57
Sandy's story was about
the return to the Bronx
the return to the Bronx
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Sandijeva priča je bila
o povratku u Bronks
o povratku u Bronks
07:00
of Supreme Court Justice Sonia Sotomayor.
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sutkinje vrhovnog suda Sonje Sotomajor.
07:02
There were three things
in it that I had to challenge.
in it that I had to challenge.
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Tu sam tri stvari
morala da dovedem u pitanje.
morala da dovedem u pitanje.
07:05
First, a grammar query.
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Prvo, gramatika.
07:06
The justice was wearing black
and Sandy wrote,
and Sandy wrote,
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Sutkinja je bila u crnom
i Sandi je napisao:
i Sandi je napisao:
07:09
[Her face and hands stood out
like in an old, mostly dark painting.]
like in an old, mostly dark painting.]
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[Njeno lice i ruke su štrčali
kako na staroj, uglavnom mračnoj slici.]
kako na staroj, uglavnom mračnoj slici.]
07:15
Now, unlike with the hurricane,
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Sad, za razliku od uragana,
07:17
with this "like," the author
didn't have the excuse
didn't have the excuse
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piscu za ovo "kako" nije bio izgovor
07:19
of describing hurricane damage.
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opis štete od uragana.
07:21
"Like" in this sense is a preposition,
and a preposition takes an object,
and a preposition takes an object,
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"Kako" je u ovoj rečenici predlog,
a predlog zahteva objekat,
a predlog zahteva objekat,
07:25
which is a noun.
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to jest imenicu.
07:26
This "like" had to be an "as."
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Ovo "kako" je moralo da bude "kao".
07:29
"As in an old, mostly dark painting."
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"Kao na staroj, uglavnom mračnoj slici."
07:32
Second, a spelling issue.
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Zatim pitanje pisanja reči.
07:34
The author was quoting someone
who was assisting the justice:
who was assisting the justice:
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Pisac je citirao nekoga
ko je pomagao sutkinji:
ko je pomagao sutkinji:
07:37
["It will be just a minute.
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["Uskoro počinjemo.
07:39
We are getting the justice mic'ed,"]
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Ozvučavamo (mic'ed) sutkinju.]
07:43
Mic'ed?
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Mic'ed?
07:44
The music industry spells it "mic"
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U muzičkoj industriji pišu "mic"
07:47
because that's how it's spelled
on the equipment.
on the equipment.
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jer tako piše na opremi.
Nikad ga nisam videla ovako napisanog
u službi glagola
u službi glagola
07:49
I'd never seen it used
as a verb with this spelling,
as a verb with this spelling,
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2427
07:51
and I was distraught
to think that "mic'ed"
to think that "mic'ed"
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i bila sam uzrujana mišlju da bi "mic'ed"
07:54
would get into the magazine on my watch.
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moglo da završi u novinama
pored mene žive.
pored mene žive.
07:56
(Laughter)
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1011
(Smeh)
07:57
New Yorker style for "microphone"
in its abbreviated form is "mike."
in its abbreviated form is "mike."
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"Njujorkerov" stil za "mikrofon"
u skraćenom obliku je "mike".
u skraćenom obliku je "mike".
08:02
Finally, there was a sticky
grammar and usage issue
grammar and usage issue
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Na kraju, imali smo zeznuto
pitanje gramatičke upotrebe
pitanje gramatičke upotrebe
08:05
in which the pronoun has to have
the same grammatical number
the same grammatical number
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u kojem zamenica mora
da bude istog gramatičkog broja
da bude istog gramatičkog broja
08:08
as its antecedent.
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kao i prethodna reč.
08:11
[everyone in the vicinity
held their breath]
held their breath]
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[svako u blizini su držali njihov dah]
08:15
"Their" is plural and "everyone,"
its antecedent, is singular.
its antecedent, is singular.
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"Oni" je množina,
a "svako" joj prethodi i u jednini je.
a "svako" joj prethodi i u jednini je.
08:19
You would never say,
"Everyone were there."
"Everyone were there."
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Nikada ne biste rekli: "Svako su bili tu".
08:22
Everyone was there. Everyone is here.
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Svako je bio tu. Svako je ovde
08:26
But people say things like,
"Everyone held their breath" all the time.
"Everyone held their breath" all the time.
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Ali ljudi stalno govore stvari poput:
"Svaki su držali njihov dah."
"Svaki su držali njihov dah."
08:30
To give it legitimacy,
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Da bi to ozakonili,
08:31
copy editors call it
"the singular 'their,'"
"the singular 'their,'"
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lektori to zovu "jednina od 'oni'"
08:34
as if calling it singular
makes it no longer plural.
makes it no longer plural.
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kao da nazivajući ga jedninom
prestaje da bude množina.
prestaje da bude množina.
08:37
(Laughter)
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(Smeh)
08:39
It is my job when I see it in print
to do my best to eliminate it.
to do my best to eliminate it.
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Moj je posao, kad ga vidim na papiru,
da dam sve od sebe da ga eliminišem.
da dam sve od sebe da ga eliminišem.
08:45
I couldn't make it,
"Everyone held her breath,"
"Everyone held her breath,"
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Nisam mogla
"Svaka je držala njen dah",
"Svaka je držala njen dah",
08:47
or "Everyone held his breath,"
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1692
ili "Svaki je držao njegov dah",
08:49
or "Everyone held his or her breath."
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2562
ili "Svaki/a je držao/la
njen ili njegov dah."
njen ili njegov dah."
08:52
Whatever I suggested had to blend in.
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Šta god da bih predložila
moralo je da se uklopi.
moralo je da se uklopi.
08:55
I asked, through the editor,
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Pitala sam preko urednika,
08:56
if the author would consider changing it
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2048
da li bi pisac razmislio da to izmeni
08:58
to "All in the vicinity
held their breath,"
held their breath,"
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u: "Svi u blizini su držali njihov dah",
09:01
because "all" is plural.
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jer je "svi" u množini.
09:02
Nope.
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Ne.
09:04
I tried again: "All those present
held their breath?"
held their breath?"
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Pokušala sam ponovo: "Svi prisutni
su držali njihov dah?"
su držali njihov dah?"
09:07
I thought this sounded vaguely judicial.
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Pomislila sam kako ovo zvuči blago sudski.
09:09
But the editor pointed out
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Ali je urednik istakao
09:10
that we could not have "present"
and "presence"
and "presence"
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2405
da ne možemo da imamo
"prisutni" i "prisutnost"
"prisutni" i "prisutnost"
09:13
in the same sentence.
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u istoj rečenici.
Kad je poslednja korektura stigla,
09:15
When the final proof came back,
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09:16
the author had accepted "as" for "like,"
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pisac je prihvatio "kao" umesto "kako"
09:19
and "miked" for "mic'ed."
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1935
i "miked" umesto "mic'ed".
09:21
But on "Everyone held their breath,"
he stood his ground.
he stood his ground.
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Ali se držao:
"Svako su držali njihov dah".
"Svako su držali njihov dah".
09:25
Two out of three isn't bad.
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Dve od tri nije loše.
09:28
In the same issue,
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U istom broju,
09:29
in that piece on doggie bags in France,
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2522
u tom članku
o restoranskim kesama u Francuskoj,
o restoranskim kesama u Francuskoj,
09:31
there was the gratuitous use
of the f-word by a Frenchman.
of the f-word by a Frenchman.
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3738
Francuz je ničim izazvano
upotrebio reč na j.
upotrebio reč na j.
09:36
I wonder, when the mail comes in,
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Pitam se, kad stigne pošta,
09:38
which will have offended the readers more.
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šta je više uvredilo čitaoce.
09:41
(Laughter)
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(Smeh)
09:43
Thank you.
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Hvala vam.
09:44
(Applause)
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3352
(Aplauz)
ABOUT THE SPEAKER
Mary Norris - Copy editorAs a copy editor for the New Yorker, Mary Norris enforces some of the most authoritative (some might say eccentric) style rules in publishing.
Why you should listen
Mary Norris settled into her 30-year New Yorker copy-editing post almost by accident -- and after a picaresque series of occupations ranging from checking feet at a Cleveland swimming pool to driving a milk truck. Over the years, she has mustered her skills in the service of such storied writers as Philip Roth, Pauline Kael and George Saunders.
In her book Between You & Me, Norris reflects on her career, the oft-debated quirks of New Yorker style, the serial comma and the joys of a well-sharpened pencil.
Mary Norris | Speaker | TED.com