‘Like’ is an infix now, which is un-like-believably innovative

Like has undergone radical developments in modern English. It can function as a hedge (‘I’ll be there in like an hour’), a discourse particle (‘This like serves a pragmatic function’), and a sentence adverb (‘It’s common in Ireland, like’). These and other non-standard usages are frequently criticised, but they’re probably older than critics think.

More recent is the so-called quotative like (‘I’m like, Whoa!’), also often disparaged. This became widely established impressively fast and is leading to some remarkable usages in younger generations: children saying things like ‘What’s Ernie like?’ to mean ‘What’s Ernie saying?’

So some uses of like are emerging right now, spreading through younger speech communities. In episode 278 of Australia’s Talk the Talk podcast, guest Alexandra D’Arcy – a linguistics professor who literally wrote the book on like – says that while she might say ‘at like the same time’, her son can say ‘at the like same time’, which is not in her grammar at all. It’s a subtle but striking difference.

It gets better. The latest novel use to which like is being put is as an infix. Infixes are a pretty small set in English, so a new one is a genuine surprise, linguistically. In some ways it is unlikeprecedented.

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Buffaloed by the verb buffalo

On a recent mini-binge of James M. Cain novels, I finished a 5-in-1 set from Picador: two I’d read years ago – The Postman Always Rings Twice, Double Indemnity – and three others I soon raced through: Serenade, Mildred Pierce, and The Butterfly.

Cain, in a preface to The Butterfly, reacts to some criticisms of his work, such as that he took his style from Hammett (‘I have read less than twenty pages of Mr Dashiell Hammett in my whole life’).* A blurb from the NYRB hints at his formidable legacy: ‘It is no accident that movies based on three of them helped to define the genre known as film noir: or that Camus used Postman as his model for L’Étranger.’

But the purpose of this post is to examine the vivid verb used, and mentioned, in the title. About midway through The Butterfly, a character’s unexpected appearance prompts the following exchange:

Getting ratioed for your bad take

Technology is a constant source of new vocabulary – not just new words but new ways of using existing words. One I’ve noticed this year is ratio as a verb in internet slang, which I’ve bundled here with the more familiar take as a noun.

Ratio entered English in the 16thC as a noun borrowed from Latin, gaining its familiar modern sense decades later in a translation of Euclid. About a century ago – the OED’s first citation is from 1928 – ratio began life as a verb meaning ‘express as a ratio’ or similar. Here’s an example from Harold Smith’s book Aerial Photographs (1943):

Each print which departs from the average scale or shows any apparent tilt is rectified and ‘ratioed’, or corrected for scale, by means of a projection printer.

And now a new sense of ratio as a verb is emerging on Twitter. (If you’ve seen it elsewhere, let me know.)

Book review: Dent’s Modern Tribes, by Susie Dent

Jargon and slang get a bad press. In the right contexts, though, they serve an important communicative purpose, at the same time allowing users to express their identity as part of a community – and to have fun with language while doing so.

Any specialised activity accumulates its own vocabulary, born of the particular actions, situations, equipment, and people involved. These lingos occasionally leak into other domains, or even the mainstream, but for the most part they remain more or less constrained or hidden, niche terminologies available only to the tribes in question.

In her new book Dent’s Modern Tribes: The Secret Languages of Britain, Susie Dent presents a host of these distinct lexicons for wider appreciation. As well as being a lifelong word lover, Dent is an unabashed eavesdropper, ear always poised for scraps of idiosyncratic interaction. That method, combined with straight-up interviews and chats, has yielded a wealth of material from a great variety of human professions and hobbies: cab drivers and cricketers, actors and anglers, soldiers and spies, roadies and ravers, firefighters and freemasons, teachers and (of course) trainspotters – dozens in all, each a rich source of verbal codes and curiosities.

These lexicons bundle history aplenty. For example, ever since Churchill, as UK home secretary, gave black-cab drivers the right to refuse a fare while eating, cabbies have referred to a meal as a Churchill. A slow period for taxis is called kipper season, ‘apparently from the days when cabbies could only afford to eat kippers’. Other terms are derived from more immediate sources: among cabin crew members a slam-clicker is, echoically, one who ‘goes straight to the hotel on landing and doesn’t emerge again until it’s time to leave’.

Green’s Dictionary of Slang is now available online

Whenever I had a query about slang (and I’ve had many), or felt like a random trawl through the underbelly of language (which was often), my first port of call, traditionally, was Chambers Dictionary of Slang by Jonathon Green. I have several slang dictionaries for various countries or lexical domains, but CDoS was the most generally useful. It has since been superseded: instead of CDoS I now turn to GDoS.

Green’s Dictionary of Slang is the culmination of a life’s work for Green. First published in print as a three-volume behemoth in 2010, to awards and rave reviews, it now emerges in digital form with about 30% ‘revised, augmented and generally improved’. I’ve been beta-testing the website and can report it is a beautiful thing, vast and wondrous, filthy and fabulous, endlessly diverting and eye-opening.

Today, thanks to sterling work by web developer David P. Kendal, sees the official launch of Green’s Dictionary of Slang Online.

Pelecanos: the words, the rhythms, the slang

I’m slowly catching up on the back catalogue of George Pelecanos, who has written about 20 crime fiction novels (and also wrote for The Wire). Recently I read Hell to Pay (2002), which contains several items of linguistic or metalinguistic interest.

The book is one of a handful by Pelecanos that centre on private detectives Derek Strange and Terry Quinn, the first black, the second white, the two ex-cops.

Terry Quinn goes looking for information from sex workers. He bums a cigarette as a way into conversation, but being a non-smoker he has nothing to light it with. Then he encounters Stella, a ‘pale’ girl ‘maybe knocking on the door of seventeen’:

She sat down without invitation. He handed her the cigarette.

‘You got a light?’

‘Sorry.’

‘You need a new rap,’ she said, rooting through her shoulder bag for a match. Finding a book, she struck a flame and put fire to the cigarette. ‘The one you got is lame.’

‘You think so?’

‘You be hittin’ those girls up for a smoke, you don’t ask ’em for a light, you don’t even have a match your own self?’

Quinn took in the girl’s words, the rhythms, the dropping of the g’s, the slang. Like that of most white girls selling it on the street, her speech was an affectation, a strange in-and-out blend of Southern cracker and city black girl.

‘Pretty stupid, huh?’

Strong Language: The return of the ***king

It’s over a year since I blogged about Strong Language. Time to recap.

For the uninitiated, Strong Language is a group blog about swearing – the linguistics and culture of taboo language – set up by James Harbeck and me in 2014. It boasts a great team of writers comprising linguists, lexicographers, historians, editors, and other word adepts.

There are swears in this post, so bail out now if they bother you.