Being bold in Irish English

In standard English the primary meaning of the adjective bold is ‘brave, courageous, unafraid, daring’. This can shade into a related, negative sense of impudence, brazenness, or presumption. Another common sense is ‘visibly prominent, distinct, strong, or clear’, often associated with lines or colour. For nuance, compare the definitions by M-W, AHD, Oxford, Macmillan, Cambridge, and Collins.

When I first learned the word, though, it was in none of these senses: it meant ‘naughty, mischievous’. If I heard someone (including myself) described as bold, it meant they were misbehaving – or maybe being playful in a cheeky way. This is a very common usage in Irish English but absent from standard English; there’s no mention of it in the OED.

The sense is so intrinsic to the word in Ireland that when I read this line in Swing Time by Zadie Smith last week, I had to read it twice to be sure of the intent:

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Link love: language (71)

It’s past time for a linkfest, so here’s a selection of items from the world of language and linguistics that caught my eye in recent months.

Normally I include some audio material, but I’ll save that for a post on podcasts in the hopefully-not-too-distant future. In the meantime, happy reading.

Ombud.

Word aversion.

White emoji, black skin.

Losing your native language.

Icelandic: a lively linguistic fossil.

The globe-trotting history of golazo.

Irish English for the non-Irish (PDF).

Saving Stephen Hawking’s synthetic voice.

How grammar superstitions can unravel good writing.

How the Brothers Grimm changed historical linguistics.

Something interesting is happening to exclamation marks!

The Speech Community

I recently enjoyed Language and Social Context: Selected Readings (Penguin, 1972), edited by Pier Paolo Giglioli. It includes some articles so famous that even a non-linguist like me knew them (John Searle on speech acts, William Labov on nonstandard English), along with many that I didn’t.

One article I especially liked is ‘The Speech Community’ (1968) by linguistic anthropologist John J. Gumperz, in which he describes that unit as ‘any human aggregate characterized by regular and frequent interaction by means of a shared body of verbal signs and set off from similar aggregates by significant differences in language usage’.

The idea of a speech community is very useful when discussing and thinking about language: we easily forget how highly social and context-dependent are the linguistic rules and norms we observe more or less unconsciously. Gumperz goes on:

Savouring each preposition

In ‘The Last Campaign’, from her story collection Orange Horses (Tramp Press, 2016), Maeve Kelly portrays a marriage whose members have deeply contrasting – and sometimes clashing – communication styles. Martha and Joe are a middle-aged couple devoted to each other and to their farm, on which much of their conversation turns:

Herself and Joe met at the tap on the wall outside. He hosed down his boots, thinking about something.

‘Isn’t it a beautiful day, Joe,’ she said. ‘You might get the last of the hay drawn in today.’

‘I might,’ he said, looking up at a small, dark cloud away on the horizon and checking the direction of the wind. ‘If it holds. I think there’s a change.’

‘It’ll hardly break before this evening,’ she said.

‘Maybe not.’

She wondered to herself why his sentences were always so short. Words spilled over in her own mind so much. She had to hold them back, conscious always of his brief replies and afraid she might become garrulous in her effort to fill the void. ‘Communication,’ she reminded herself sometimes, ‘is not only made with speech.’

From this brief exchange we understand not only each character’s expressive preferences but also the effect of the difference on Martha, who would likely be more talkative were Joe not so taciturn. For this lack she must console herself with truisms. And yet their mutual fondness is unmistakable and is underscored implicitly as the tale unfolds.

A family isolated by language

Arja Kajermo’s short novel The Iron Age (Tramp Press, 2017) has a few passages that describe the difficulties of being linguistically marooned when you’re a child whose family moves to another country. The narrator is a Finnish girl transplanted to Sweden in the 1950s when her father finds work there:

We were now what Mother called ummikko. We were people who could only speak our own language and we could not understand the language around us. And the people around us could not understand us. It was a terrible fate to be ummikko. It was like being deaf and dumb Mother said. Outside our own home we were like cows that could only stand and stare.

The children’s teacher, hoping to address the problem, sends a letter home with Tuomas, the girl’s brother. Their father translates it painstakingly with the help of a dictionary. Tuomas is to learn Swedish fast, and to do so he must forget his native Finnish and not speak it at all, anywhere: ‘It was for his own good and he would do better at school if he complied.’

Their mother considers this plan ‘ridiculous’, but their father accedes, being unwilling to go against the teacher’s instruction. A natural, secretive compromise ensues:

Look at the cut of this Irish expression

Growing up in rural Ireland, I regularly heard – and still occasionally hear – some version of the phrase the cut of someone. It’s an informal idiom that means the state or appearance of someone and usually incorporates criticism or amusement or both. Here’s an example I just read in Deirdre Madden’s novel Nothing Is Black:

‘Look at the cut of me!’ Claire’s mother had said the last time she’d visited her. She’d been sitting by a mirror, combing out her faded hair. ‘I’m as grey as a badger. How come I look so old, yet I feel no different to what I was forty years ago? Where’s the sense in that?’ She’d started to laugh …

In Irish literature the expression is generally found in dialogue or in vernacular narrative. Madden’s example is typical in a few ways: it’s light-hearted, colloquial, and deprecatory – in this case self-deprecatory. In a similar vein, the next two examples involve mirrors. Marian Keyes, Anybody Out There:

Good advice in Bottle Rocket

Even among fans of Wes Anderson, his debut film Bottle Rocket (1996) remains relatively unsung, less seen and less acclaimed than the likes of Rushmore, The Royal Tenenbaums, and Moonrise Kingdom. It lost money and wrong-footed viewers, but over time it found its audience – some of them, anyway. Martin Scorsese, for one, loves it, and so do I.

Bottle Rocket is a sweet, slacker caper film about lifelong friendship and inept crime. It’s a heist film, road movie, and buddy comedy in one. Two of those buddies are Owen Wilson and Luke Wilson, brothers in real life, starring in their first feature film. Luke’s character has a love interest (‘Which part of Mexico are you from?’ ‘Paraguay’), which prompts the following reflection in a letter to his sister: