Posts Tagged ‘language’
December 5, 2014 | by Sadie Stein
Today, the Oxford English Dictionary brings us a splendid word of the day: the little-used draffsack. Because we can always use alternatives to glutton.
Not that there’s anything wrong with glutton! Glutton is one of the finest of all words. It is evocative, it feels delicious in the mouth, and it’s also an alternate name for a wolverine. (Personally, I’d much sooner see a movie called Glutton. Although, I guess Hugh Jackman would have to put on a few pounds.)
But draffsack refines the concept. A draffsack is not merely a glutton, but a lazy glutton—as opposed to all the industrious, Diamond Jim Brady–style gluttons one encounters. It can also mean “paunch.” From the old Norse word draff (“brewing derivative”) and sack (“sack”), it is, apparently, Scottish.
Which brings us to Samuel Rutherford Crockett. The OED cites the usage of the term in Crockett’s 1894 novel The Lilac Sunbonnet. S. R. Crockett’s career was a result of his era’s mania for Lowland Scots fiction; his many, many sentimental romances include Flower o’ the Corn, The Surprising Adventures of Sir Toady Lion, Mad Sir Uchtred, and, of course, his 1894 breakout, The Sticket Minister. Crockett was an ordained minister, and many of his forty titles had Christian themes, as well as muckle lowland color and Victorian-style syrup. 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 »
November 18, 2014 | by Dan Piepenbring
Last night, Oxford Dictionaries announced its Word of the Year—vape—and it was hard not to feel, at first, a twinge of disappointment. After all, 2013’s Word of the Year was selfie, which was so ubiquitous, so contentious, so undeniably germane to our times, that think pieces are still being written about it a year later. Selfie was a gift from the lexical gods, a soft disyllable that contained within it the whole winding story of our evolving relationship with technology. Choosing it was almost an act of synecdoche: it stood for a massive and increasingly vexed conversation about our lives online.
But our neology isn’t always so supple; Oxford Dictionaries is on the lookout for words that “reflect the ethos, mood, or preoccupations of that particular year,” and not every year delivers a pluperfect sign of the times. You play the hand you’re dealt. And 2014 has dealt us a lot of duds—slacktivism, budtender, bae, and normcore were on the shortlist this year, all clever and evocative as far as they go, but none of them with that era-encapsulating magic.
And none of them with the guarantee of longevity. I asked Allison Wright, an editor at Oxford University Press, what she and her colleagues look for in the Word of the Year, and she emphasized the importance of finding a word that isn’t “a flash in the pan.” Hence, she said, the ultimate appeal of vape—(v.) inhale and exhale the vapor produced by an electronic cigarette or similar device; (n.) an electronic cigarette or similar device; an act of inhaling and exhaling the vapor produced by an electronic cigarette or similar device—which promises to be around for a little while. Read More »
November 7, 2014 | by Dan Piepenbring
- Fact: the New York Public Library has among its possessions a letter opener with a handle made from the paw of Charles Dickens’s dead cat. (“The story is that he had trained his cat to put out his night candle with his paw.”)
- “Genre doesn’t have to be vexing. It can be illuminating. It can be useful for writers and readers to think in terms of groups and traditions. And a good genre system—a system that really fits reality—can help us see the traditions in which we’re already, unconsciously, immersed.”
- Sixty years ago, the CIA helped to bankroll England’s first-ever animated film: an adaptation of Animal Farm. They thought it would make for great anti-Russian propaganda, especially if they changed the ending, and they knew it would be cheaper to make it in England. “The CIA agent who bought the film rights supposedly promised Mrs. Orwell that he would arrange for her to meet her favorite star, Clark Gable.” Did such a meeting ever occur? When will our government finally tell us the truth?
- Oops: “Do you remember when the Authors Guild sued Google over Google Book Search, which is basically the right to make an index of stuff in books? They said to Google, ‘If you’re going to do this, you’re going to do it on our terms, and you’re going to have to give us a whole $70 million.’ … Google said, ‘$70 million? Let’s shake the sofa and find some change for you.’ Meanwhile, you are guaranteeing that nobody else in the future history of the world will be able to afford to index books, which is one of the ways people find and buy books. Now Google owns that forever, for a mere $70 million! Nice work, Authors Guild. You’ve just made us all sharecroppers in Google’s fields for the rest of eternity.”
- The latest battle in the Usage Wars is really heating up: “If you say ‘It’s not you, it’s me,’ you are probably a native speaker of English or someone with a good command of how native speakers actually speak. If you say ‘It’s not you—it’s I,’ you will quickly achieve the goal of making the other person not want to spend any more time with you. Yet this bizarre formulation is just how Nathan Heller of The New Yorker would have you speak.”
November 4, 2014 | by Dan Piepenbring
- Edgar Allan Poe filed for bankruptcy in 1842. Here’s a long list of his debts, with creditors listed in Philadelphia, Richmond, and New York, and orderly columns of numbers that grow large enough to give you a sympathetic panic attack.
- “If ambitious writers work at the boundaries of the written language (as they should), then they ought do it from a path of mastery, not ignorance; broken rules carry no power if writers and readers don’t notice the transgressions. Proper usage shows us where the earth is, so that, when the time comes, we know what it means to fly.”
- Not unrelatedly: “Dickens published an essay on slang, probably by George Augustus Sala. The 1853 article expressed the view that either slang should be ‘banished, prohibited’ or that there should be a New Dictionary that would ‘give a local habitation and a name to all the little by-blows of language skulking and rambling about our speech, like the ragged little Bedouins about our shameless streets, and give them a settlement and a parish.’ ”
- In which Ann Patchett reminds readers of the New York Times that she’s not married to her dog.
- “I found it odd that there had never been a scientist as a Man Booker judge. There have been many non-literary types amongst the judges: a former spy, a former dancer, a Downton Abbey actor—but science, apparently, was a step too far. Until this year, when I joined the judging panel.”
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 »