Language is always changing, and on a macro level some of the most radical changes have resulted from technology. Writing is the prime example. Millennia after its development, telephony reshaped our communication; mere decades later, computers arrived, became networked, and here I am, typing something for you to read on your PC or phone, however many miles away.
The internet’s effects on our use of language are still being unpacked. We are in the midst of a dizzying surge in interconnectivity, and it can be hard to step back and understand just what is happening to language in the early 21st century. Why are full stops often omitted now? What exactly are emoji doing? Why do people lol if they’re not laughing? With memes, can you even?
Because Internet: Understanding the New Rules of Language is a new book by linguist Gretchen McCulloch that sets out to demystify some of the strange shifts going on in language right now. It provides a friendly yet substantial snapshot of linguistic trends and phenomena online, and it explains with clarity and ebullience what underpins them – socially, psychologically, technologically, linguistically.
‘When future historians look back on this era,’ McCulloch writes,
they’ll find our changes just as fascinating as we now find innovative words from Shakespeare or Latin or Norman French. So let’s adopt the perspective of these future historians now, and explore the revolutionary period in linguistic history that we’re living through from a place of excitement and curiosity.
Here’s a new book spine poem (aka bookmash). For the uninitiated: This is a game where you make a visual poem from the spines of books on your shelf.
*
Secret Place
Wild flowers, the wild places,
The birds of the innocent wood –
The secret place on the black hill,
Half a life still life,
The living mountain
Changing my mind.
Most books about punctuation aim to prescribe the rules for its use. Few take a single mark as their subject and eschew any such aim. The semicolon, adored and avoided in equal measure, is used with joy, anxiety, flair, and deep uncertainty. But where did it come from? Why is it perceived as difficult? And how should you use it anyway?
Cecelia Watson’s welcome biography Semicolon: The Past, Present, and Future of a Misunderstood Mark (Ecco, 2019) sets out to examine these questions, in some cases not so much answering them as subverting their assumptions. As a historian, writing teacher, and philosopher of science, she is well equipped to tackle this thorny field.
Watson is also, significantly, a reformed stickler who outgrew her annoyance at supposed lapses in approved usage. Semicolon spends little time on rules. What may seem a strange omission makes perfect sense as Watson instead proceeds to show how diversely those rules have been advanced by different authorities at different times – and how authors have continually disregarded them in the service of style.
This variability serves as a prism through which Watson explores the subtleties of English prose as reflected in the semicolon, ‘charting its transformation from a mark designed to create clarity to a mark destined to create confusion’. The semicolon, she writes,
is a place where our anxieties and our aspirations about language, class, and education are concentrated, so that in this small mark big ideas are distilled down to a few winking drops of ink.
It’s time for an update on my posts at Macmillan Dictionary Blog, where I write a monthly column on language.
First up is A quick dive into ‘dived’ vs ‘dove’ – which is right, or does it depend on where you are? I outline the history and the growing acceptability of dove:
Dove is a relative newcomer, probably formed by analogy with drive–drove or strive–strove. The OED’s first citation is from 1855, in Henry Wadsworth Longfellow’s Song of Hiawatha: ‘Straight into the river Kwasind Plunged as if he were an otter, Dove as if he were a beaver.’ In later editions Dove became Dived, perhaps under editorial influence.
Is ‘alright’ all right? looks at a common variant spelling but one that usage authorities disagree strongly about:
Alright is not wrong, but many people think it is, so writers are often mindful of where and whether to use it. Editors and publishers will keep ‘fixing’ it until it’s more widely accepted, especially in literary and other elevated contexts. But alright will struggle to gain acceptability until it appears more in those same contexts – a catch-22.
In Where does ‘OK’ come from? I trace the curious etymology of one of the most popular words in the world:
There have been so many suggestions and hypotheses that there’s a lengthy Wikipedia page devoted to all the possibilities. And while each origin story has had its supporters, they all lack persuasive evidence – except one, the case for which was laid out in a series of articles in the 1960s by the American etymologist Allen Walker Read. He showed that OK was based on a running joke among journalists in Boston in the 19th century.
For the 70th anniversary of the publication of 1984, I considered the book’s linguistic legacy in Orwell and the English Language:
That legacy includes compound words and phrases that are now seen sometimes in general usage, among them newspeak, doublethink, thoughtcrime, doubleplusgood (‘excellent’), and doubleplusungood (‘terrible’). The familiar phrases Big Brother and Room 101, as well as entering the common vocabulary, have also become the names of popular TV shows. Other terms, such as thought police, were not invented by Orwell but were popularized by his book.
Over the centuries, simple has meant ‘humble and unpretentious’, ‘unsophisticated’, ‘undistinguished in office or rank’, ‘small and insignificant’, ‘bare’, ‘wretched and pitiful’, ‘lacking knowledge or learning’, ‘foolish or stupid’, ‘not complex in structure’, ‘easily done or understood’, and so on. Some of these senses shade into one another, so it’s not always obvious which one is intended.
Terrence Malick’s film Days of Heaven was in large part created as it went along, its makers open to creative possibility and rediscovering it in editing and post-production. One major change in its design was the removal of much of its dialogue, with Malick and colleagues intent on telling a visual story as much as possible.
To compensate for this reduction of plot and exposition, Malick added a voiceover, as he had done in his earlier Badlands. It was provided by young Linda Manz and can be heard in the beautiful clip below. Some of the voiceover was written by Malick, and some came from Manz based on her hearing a woman read from the Book of Revelation:
In the book Terrence Malick: Rehearsing the Unexpected (2015), edited by Carlo Hintermann and Daniele Villa, film editor Billy Weber talks about Manz and the indelible effect she had on the film – including its characters’ names:
In Irish English, the word grand has the familiar meanings: impressive, magnificent, high-ranking, very large, etc. – size being etymologically salient – but its most common use is in the dialectal sense ‘OK, fine, satisfactory’. As such it often appears in brief, affirmative replies:
How’s it going?
Grand, thanks.
Was the sea cold?
It was grand.
How did the interview go?
I got on grand.
I’ll pick you up in an hour.
Grand.
I’m sorry about that.
Ah no, you’re grand. [Don’t worry about it.]
This use of grand is so routine and prevalent in Ireland that it’s virtually a state of mind (and hence popular in T-shirt designs and the like). This comes in handy for understatement in injurious situations:
‘Words for punctuation,’ Lynne Murphy writes in her new book The Prodigal Tongue, ‘offer a neat little laboratory for viewing the possible fates of migrating words.’
When North America was being settled, norms of punctuation, including the marks’ names, were very much in flux. So when things stabilized, the names in the US and the UK sometimes differed. Certain marks, such as the comma and question mark, acquired the same name in both regions; others, such as the full stop (period, full point), diverged.
The latter group also includes quotation marks, aka inverted commas. But the facts are more complicated – and therefore more interesting – than is generally supposed. Here’s Murphy:
Because Internet: Understanding the New Rules of Language is a new book by linguist Gretchen McCulloch that sets out to demystify some of the strange shifts going on in language right now. It provides a friendly yet substantial snapshot of linguistic trends and phenomena online, and it explains with clarity and ebullience what underpins them – socially, psychologically, technologically, linguistically.
Posted by Stan Carey 
