James Thurber explains the New Yorker comma

May 17, 2016

James Thurber’s book The Years with Ross (1959), which recounts the early years of the New Yorker under Harold Ross’s stewardship, has much to recommend it. Thurber fans are likely to have read it already but will not object to revisiting a short passage or two, while those yet to be acquainted may be encouraged to seek it out.

james thurber - the years with ross - new yorkerRecalling dinner one spring evening in 1948, Thurber describes being mostly a spectator while Ross and H. L. Mencken hold court:

The long newspaper experience of the two men, certain of their likes and dislikes, and their high and separate talents as editors formed basis enough for an evening of conversation. They were both great talkers and good listeners, and each wore his best evening vehemence, ornamented with confident conclusions, large generalizations, and dark-blue emphases. . . .

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Sarcastic punctuation in The X-Files

December 21, 2015

English has no standard punctuation mark or typographic style to show sarcasm or verbal irony. This lack has inspired a whole menagerie of proposals over the centuries, including backwards question marks, upside-down or zigzag exclamation marks, and left-slanting typefaces (‘ironics’, ‘Sartalics’). Some have gained niche usage, while others faded more or less instantly: only the winking smiley ;-) ;) has become widespread, and only in informal text.

I notice the gap sometimes when chatting online, for example when I misinterpret someone’s tone or they misinterpret mine. A tongue-in-cheek statement can easily be taken at face value if the reader doesn’t know the writer well. This happens often on Twitter, where strangers’ statements can spread without much pragmatic context.

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Emoticon generation specialist

December 4, 2015
[click image to enlarge]

partially clips comic - emoticon generation specialist

‘Waiter in uniform’ comic by the excellent Partially Clips


An ampersand and a caret is: &^. I wonder what he did with them.

Punctuating Yeats and reading writers’ minds

March 23, 2015

‘Yeats’s handwriting resembles a mouse’s electrocardiogram,’ writes the late Daniel Albright in his preamble to the marvellous Everyman Library edition of W. B. Yeats’ Poems, which he edited.

Albright gives a similarly forthright account of the poet’s spelling and punctuation, excerpted below. While acknowledging his debt to Richard Finneran, who oversaw a different collection of Yeats’s poems, Albright parts company from him in two ways:

First, he is more respectful of Yeats’s punctuation than I. He supposes […] that Yeats’s punctuation was rhetorical rather than grammatical, an imaginative attempt to notate breath-pauses, stresses, and so forth; and that the bizarre punctuation in some of Yeats’s later poems is due to the influence of experimental modernists such as T.S. Eliot and Laura Riding. I suppose that Yeats was too ignorant of punctuation to make his deviations from standard practice significant. Although Yeats surely wished to make his canon a text worthy of reverence, he conceived poetry as an experience of the ear, not of the eye. He could not spell even simple English words; he went to his grave using such forms as intreage [‘intrigue’] and proffesrship. His eyesight was so poor that he gave up fiction-writing because the proof-reading was too strenuous. Finally, Yeats himself admitted, ‘I do not understand stops. I write my work so completely for the ear that I feel helpless when I have to measure pauses by stops and commas’.

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Accent prejudice and multiple hyphens

January 15, 2015

Time to recap my recent posts for Macmillan Dictionary Blog. Anti-multiple-hyphen tendencies considers the strangely common aversion to ‘hyphenating up’ such compounds as self-driving car fantasists and anti-water protest groups:

The potential for ambiguity varies. The capitals in Paris Principles-compliant mechanism mean the phrase is unlikely to mislead, but in anti-social justice websites the familiarity of anti-social compared to social justice could make readers hesitate. Hyphenating the full compound solves this. . . .

[Washington Post copy editor Bill] Walsh writes that ‘what you must not do is arbitrarily decide to disconnect the unit by using only the most obvious hyphen and ditching the rest. Hyphenation is often an all-or-nothing proposition.’ I tend to agree. Hyphens misused can misdirect. But even when their presence or omission is trivial and non-life-threatening, getting it right (or as right as possible; there are grey areas) matters as a courtesy to readers. It gives them confidence in the writer-editor-publisher team.

The post has further discussion of the problem along with opinions from other editors.


Accent prejudice in the mainstream was prompted by two items: an article by Dr Katie Edwards in the UK Telegraph about the appalling extent of accentism in the academic world; and a Channel 4 quiz show on which a participant had his Scottish accent mocked.

[A]s we grow up we get used to hearing other accents, some like our own, some not, and we see nothing to gain by making fun of them. Quite the contrary: phonetic diversity can be a source of cordial fun and interest regardless of any background in linguistics or dialectology. . . .

Criticising someone’s speech, whether it’s the sound of their vowels or their use of ‘improper’ regionalisms, is often a socially sanctioned way of expressing distaste for their socio-economic status, educational history, or area of origin. It says nothing about the person with the accent except bare facts or probabilities about their background. But it says a lot about the person making the criticism, none of it favourable.

You can read the rest for more on accent prejudice in different domains, or browse older articles in my archive at Macmillan.


Lane Greene at the Economist follows up on what he calls ‘the last acceptable prejudice’.

Non-life-threatening unselfconscious hyphens

October 10, 2014

Happy the reader who is unselfconscious about hyphens. Or is it unself-conscious? Un-selfconscious? When we add a prefix to a word that’s already (sometimes) hyphenated, it’s not always obvious whether and where a hyphen should go in the new compound. Tastes differ. Even un-self-conscious has its advocates.

I’m all for the solid, unambiguous unselfconscious, recommended by the Oxford Manual of Style among others. But different compounds raise different issues, and there’s variation and disagreement in each case over which style works best. That may be understating it: Fowler referred to “chaos” and “humiliation” in the prevailing use of hyphens.

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Oxford commas, Nelson Mandela, and Stephen King

September 15, 2014

The Oxford comma (the one right before and in the title of this post) has been in the news again. It never really goes away, but now and then it intrudes more noticeably into general and specialist discussion. I’ve a couple of brief points to make about it, but anyone unsure of the terrain should first read my earlier post on the Oxford, Harvard, or serial comma, as it is variously known.

The Oxford comma is one of those in-group niceties that some wordsmiths use to mark their editorial or writerly identities. It has become a sort of tribal badge of style, reinforced by whether your preferred authority prescribes it – for example, the Chicago Manual of Style strongly recommends it, while the AP Stylebook says leave it out.

It’s remarkably divisive, so I’ll restate for the record that I’m not a die-hard Oxford comma user or leaver-outer. I like it, and I tend to use it, but not always. Neither its use nor its omission is a universal solution – ambiguity can arise either way, so it doesn’t make sense to be inflexible about it.

This tweet is a case in point:

@socratic tweet - oxford comma on mandela, 800-year-old demigod and dildo collector

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