February 24, 2015 | by Damion Searls
Adventures in dictionaries.
In the novel by Patrick Modiano I’m translating, a bus stops at Cross Road in Bournemouth “devant un cottage pimpant,” and I had a feeling, somehow, that my first try, “in front of a pimpin’ little cottage,” was probably not right.
“Origin obscure,” says the Oxford English Dictionary about pimp. You can hear a titch more donnish vinegar in the etymology than the stolid lexicographers usually let show:
Generally thought to be in some way related to 16th century French pimper, vb., present participle pimpant alluring or seducing in outward appearance or dress…. French pimper is taken as ≈ Provençal pimpar, pipar, to render elegant. But these leave much to be explained in the history of the word before 1600.
Much to be explained indeed. Read More »
February 10, 2015 | by Damion Searls
Naming wines in translation.
Valentine’s Day is upon us and if, to bedazzle your beau or belle, your tastes turn to thoughts of white tablecloths and candlelight, your thoughts will likely turn to tastes of wine.
But which wine? It can be hard to navigate those artisanal descriptions, so easy to mock—notes of saddle leather, jujubes, and turpentine with a hint of combed cotton, and so on. The basic questions are no simpler, though. “Red or white?” ignores orange wine, whites tinted a little longer than usual from the grape skins: basically the opposite of rosé, where red-wine grapes are peeled faster than usual. There’s also gray wine (vin gris, actually pinkish), which is white wine from black grapes usually used for red wine such as pinot noir, and even yellow wine (vin jaune), a special variety from the Jura in eastern France, though what white wine isn’t yellow when you think about it. Provençal pink wines—rosés—are colored gooseberry, peach, grapefruit, cantaloupe, mango, or mandarin, according to the Provence Wine Council: vote for your favorite here. Read More »
January 27, 2015 | by Damion Searls
But shouldn’t that be the other way around?
Like Thomas Wyatt, who can’t quite let go, I can’t quite let go of that Wyatt poem about what she hath deserved. He says in it that love was not just a dream: “It was no dream, I lay broad waking.” The last two words are an obvious yet pleasantly unfamiliar double-synonym for wide awake.
But what’s so wide about it?
To see the link between alertness and vast side-to-side extent—and why we’re also said to be speedy asleep—the place to start is with awake. The “a-” is a weakened form of the preposition on or in, by the same verbal laziness that turned one into the article an, and then before consonants into a, pronounced “uh.” To go on board or on shore, to be in bed or on a slant, is to be aboard, ashore, abed, aslant, not to mention astern, abreast, ahead (originally nautical as well), afoot, aloof (on the luff side, to windward, steering clear), far afield, run aground. We don’t think of them as contractions of preposition + noun anymore, but many of our location and direction words have this form: afar, amid, atop, athwart, askew, awry, gone astray, and less obviously across, away, apart, around, aside, taken aback.
Read More »
December 9, 2014 | by Damion Searls
December through the eyes of an Elizabethan poet.
It is now definitely December. Another November survived, and a grim November it was, too, the month Thoreau used to call November Eat-heart—days “as will almost oblige a man to eat his own heart,” in which “you must hold on to life by your teeth.” “You can hardly screw up your courage to take a walk … If you do feel any fire at this season out of doors, you may depend upon it, it is your own.” Even the life-affirming Nicholas Breton goes dark: “Now begins the Goshawk to weed the wood of the Pheasant, and the Mallard loves not to hear the bells of the Falcon. The winds now are cold, and the Air chill, and the poor die through want of Charity.”
Breton, ca. 1554–1626, was a prolific Elizabethan poet, friend to Edmund Spenser, with a penchant for powerfully balanced rhythms (“Sing a dirge on Spenser’s death, / Till your souls be out of breath”), but he’s justly forgotten today. Justly except for his fantastic Fantasticks: Serving for A Perpetuall Prognostication (1626). Along with lesser vignettes on the elements, seasons, hours, and major holidays, Fantasticks contains twelve little descriptions of the months that deserve to be immortal.
Starting in January, when “Time begins to turn the wheel of his Revolution,” Breton’s vivid natural and social descriptions march steadily through the year: “the Squirrel now surveyeth the Nut and the Maple, and the Hedgehog rolls up himself like a football”; in June, “the little Lads make Pipes of the straw, and they that cannot dance, will yet be hopping”; in September, “the winds begin to knock the Apples’ heads together on the trees, and the fallings are gathered to fill the Pies for the Household.” Each month ends with a kicker as balanced as a brace of oxen: May “is from the Heavens a Grace, & to the Earth a Gladness. Farewell.”
Here is December: Read More »
November 18, 2014 | by Damion Searls
The rhythms of overheard speech.
In Martin Walser’s 1987 book Brandung, about a German professor teaching abroad at the very un-German University of California, Berkeley—a novel really not worth reading unless you are interested in German-English translation and able to read it in the Berkeley sun, to a whiff of eucalyptus or a glimpse of Mount Tamalpais, and even then I didn’t finish it—the professor overhears a bit of dialogue. A student steps into an elevator and says “Going up?”; the one in the elevator says “Trying to.” The professor, “who did after all teach English back home, was crushed to realize, yet again, that he would never master this language.” Not long afterward, he sees a campus newspaper headline, “Sex Blind Admission,” and tries and fails to reconstruct the line in German. “English is a language for headlines,” he thinks.
I saw a headline myself in Berkeley, on the unbelievably trashy San Francisco Examiner: “Cops Fear Pimp Turf War.” Five punchy syllables, each pretty much any part of speech—it took me a moment to understand what it meant, then I knew I had witnessed greatness. (I’m not the only one who noticed: a weekly DJ night called “Cops Fear Pimp Turf War!” sprang up a few months later in San Francisco.)
It was walking in downtown Manhattan, on the other hand, past the new construction of, according to the slogan around the scaffolding, TWENTY INDIVIDUALLY-CURATED FINELY-CRAFTED CONDOMINIUM RESIDENCES, that a couple hurried past and we heard the man say, “The problem is in this country people believe they deserve something ... ” Whether his complaint targeted the members of the 1 percent who were building or planning to live in these super-creative residences, or the passersby resenting that they couldn’t, or other groups altogether, it was also a classic example of American speech:
The problem is in
this country people believe
they deserve something
It’s not a haiku—the haiku form has demands besides 5-7-5 syllables: seasonal key words (kigo), one image, two moments with a turn or jump cut between them indicated by a “cutting word” (kireji). It’s the serendipitous, spoken, American form: the overheard haiku. Read More »
October 21, 2014 | by Damion Searls
On a sentence by Robert Walser.
It is worth remembering that there once was a time when every letter, number, and punctuation mark printed on paper started life as a sculpture. Someone had to make the letterforms by hand, in three dimensions; the individual characters could all look alike because they were all molten metal poured into the same mold (hence: font), but someone had to make the molds. The first time this hit home for me was when I thought about changing the type size in letterpress days: rather than pressing CTRL+> or CTRL+<, the whole font—every letter, capital and lowercase and italic and roman, every number and symbol—would have to be recarved, by hand, from scratch. Redesigned, too, since different proportions work better at different sizes. Tiny furniture’s got nothing on typefaces.
They’re sculptures, not drawings, because the angle and depth of the sides affect the look of the printed letter. These can be adequately controlled along the outline of a letter, but for the inner lines and negative spaces—the triangle in an A, the near-rectangles in a serifed E—it’s hard to gouge out the cavities precisely enough. So a D, for instance, would start out as a rod of steel whose tip is carved into a semicircle: a counterpunch, tempered to be harder than the steel of the punch. Pounding this into the flat end of another rod makes a semicircle-shaped hole. Carving around the hole makes a raised D, or rather a raised ᗡ. Slamming that rod into another block of metal (softer than the steel, usually copper) makes a ᗡ-shaped hole, the matrix. Pouring molten metal into that and letting it cool produces the piece of type. Then the letters are set into a stick, in reverse order; clamped together; and ink is rolled onto the surface before it is flipped again onto a sheet of paper, leaving a D-shaped black mark.
By my count, that’s five turnarounds: counterpunch, punch, matrix, piece of type, printed character. There’s a strange reversal in time, too, since every other kind of counterpunch (in boxing, in debate) reacts to the punch, while here it pre-exists the punch. I’ve never gotten tired of replaying the transformations in my mind—positive, negative, positive, negative, mirrored, counting and recounting them, following the fate of a raised waning half-moon to the empty space in a printed D. The dreamy dizziness felt like what art is. Read More »