The ambiguous Oxford comma

April 21, 2017

The more finicky a distinction, the more fanatically people take sides over it. The Oxford comma (aka serial comma, series comma, etc.) is a case in point. Some people – often copy editors or writers – adopt it as a tribal badge and commit to it so completely that it becomes part of their identity. They become true believers.

Being a true believer means adhering to the faith: swearing, hand on stylebook, that the Oxford comma is the best option, end of story. ‘It eliminates ambiguity,’ they assert without qualification. Many claim to use it ‘religiously’, or they convey their devotion to it in analogous secular terms.

Either way, this is dogma, and like all dogma it masks a more complicated (and more interesting) truth.

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Truly, funly, tilly: language notes in Dark Places

July 5, 2016

After reading Gone Girl by Gillian Flynn I blogged briefly about its references to grammar; this post does likewise for her previous book, Dark Places (2009) though the items concern spelling and punctuation more than grammar this time. Slight spoilers follow.

The narrator, Libby Day, as a young girl survived her family being murdered. For most of her adult life she has been living on the money sent to her by donors via her banker, Jim Jeffreys, who:

used to hand me bulging shoe boxes full of mail, most of them letter with checks inside. I’d sign the check over to him, and then the donor would receive a form letter in my blocky handwriting. “Thank you for your donation. It is people like you who let me look forward to a brighter future. Your truly, Libby Day.” It really did say “your” truly, a misspelling that Jim Jeffreys thought people would find poignant.

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‘The’ way to emphasise a word

June 14, 2016

Quotation marks for ‘emphasis’ are common in unedited writing but rare in formal prose, where italics are the usual approach. Bold and underlines are occasionally used; ditto *asterisks* and _underscores_. ALL CAPS and Initial Caps are sometimes favoured but can suggest shouting, humour, or a headline effect, so they’re more suited to informal contexts: both are popular on social media, for example.

There’s an anomalous example in a book I just read, Rough Ride: Behind the Wheel with a Pro Cyclist, an engrossing memoir/exposé by Paul Kimmage (Yellow Jersey Press, revised edition, 2007). It occurs about halfway in; Kimmage is describing the effect of Stephen Roche winning the Tour de France:

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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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