Posts Tagged ‘shorthand’
September 2, 2016 | by Danielle McLaughlin
Revisited is a series in which writers look back on a work of art they first encountered long ago.
In the summer of 1986, I finished secondary school, and that autumn I enrolled in a secretarial course in Cork City. It was a course of a kind that I suspect no longer exists, with bookkeeping exercises involving sheets of carbon paper, classes in shorthand, typing learned on manual typewriters. I have a hazy recollection of being instructed in how to walk properly, and of someone who ran a modeling agency coming to talk to us. The talk was of little interest to me, perhaps because my modeling prospects were precisely zero. My secretarial prospects, unfortunately, were not much better, something that didn’t go unnoticed by the tiny, fierce woman tasked with teaching us. Still, I remember fondly the sweeps and curves and wriggles of Gregg shorthand as we practiced giving shape to language. Words like get or racket with their piglet-style tails, or yell and yam and Yale with their resemblance to mutant tadpoles. We took words apart and mined them for sound, converted that sound into something close to art. Read More »
June 5, 2014 | by Sadie Stein
Like most families, mine makes frequent use of shorthand. In the case of me and my mother, much of the talk derives from the work of Georgette Heyer, the prolific author who created the genre of Regency Romance in the first half of the twentieth century. As my mother had, I read all of the books in my early teens, and even today, our exchanges are liberally peppered with the idiosyncratic language of Heyer’s novels—or, as she might put it, “Regency cant.”
Something popular is “all the crack.” Exaggeration becomes “doing it much too brown.” A young relative fresh from the sticks “needs a little town bronze.” A snob is “high in the instep.” And our favorite, of course, is “impervious to the most brutal snubs,” a phrase which one finds applicable with dismaying frequency.
Heyer was a famously scrupulous researcher with a vast archive of materials and detailed notes on all aspects of the eras she portrayed. (In addition to the Regency, Heyer set books in the Georgian and Medieval periods; she also wrote modern mysteries.) Her files contained subject headings like “Beauty, Colours, Dress, Hats, Household, Prices, and Shops.”
While devotees will argue passionately for their favorite Heyers (mine, not that you asked, are Cotillion, Devil’s Cub, and, of course, The Grand Sophy—I don’t like the May-December jaded-rakes ones) it can’t be denied that there are certain recurring tropes in her work. One biographer defined these as the “saturnine male lead, the marriage in danger, the extravagant wife, and the group of idle, entertaining young men.” To this I would add a mad chase at the book’s end, which oftentimes brings together disparate characters at a remote and random inn. But all are characterized by their real wit, fully realized characters, and utterly satisfying conclusions. (Okay, A Civil Contract, not so much.) Read More »