Reading coincidences: geese edition

August 5, 2017

Konrad Lorenz’s books always have wonderful anecdotes about animals, and On Aggression (1963, tr. Marjorie Latzke) is no exception. One chapter describes habit formation in geese, a greylag goose named Martina in particular, whom Lorenz had reared and who had imprinted on him. Lorenz writes:

University Paperback book cover on Konrad Lorenz's 'On Aggression', featuring a large b&w illustration of a snarling tiger's headIn her earliest childhood, Martina had acquired a fixed habit: when she was about a week old I decided to let her walk upstairs to my bedroom instead of carrying her up, as until then had been my custom. Greylag geese resent being touched and it frightens them, so it is better to spare them this indignity if possible.

Pleased by this information, and by how it was phrased, I tweeted it. Later, after sharing another excerpt on geese behaviour, I added a hashtag:

And there the idea would have remained, except that the next book I picked up, Molly Keane’s Loving and Giving, had its own geese tips.

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F.L. Lucas on style: ‘personality clothed in words’

July 19, 2017

Two of my favourite books on writing have the same one-word title: Style. Years ago I shared an essay by the author of the older Style, Frank Laurence Lucas, and having recently revisited his book, I’ll post a few excerpts.

First published in 1955, Lucas’s Style has dated in certain respects (try to ignore the generic male pronouns), but it is still full of sound advice and insights on the art and mechanics of composition. So then: What is style? Lucas describes it as:

a means by which a human being gains contact with others; it is personality clothed in words, character embodied in speech. If handwriting reveals character, style reveals it still more – unless it is so colourless and lifeless as not really to be a style at all. The fundamental thing, therefore, is not technique, useful though that may be; if a writer’s personality repels, it will not avail him to eschew split infinitives, to master the difference between ‘that’ and ‘which’, to have Fowler’s Modern English Usage by heart. Soul is more than syntax. If your readers dislike you, they will dislike what you say.

Three chapters are titled ‘Courtesy to Readers’. The first, on clarity, concludes with a note on how to achieve it:

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Uptalk in Surrey: The Twinning Hypothesis

July 7, 2017

Uptalk, also called upspeak, rising intonation, and (misleadingly) high-rising terminal, is where someone ends a statement as though it were a question? These two are for illustration? Uptalk is stereotypically associated with Australians, ‘Valley Girls’, and young women generally.

It’s also widely hated. Get people talking about their language peeves, and sooner or later uptalk will crop up. It has been described as an ‘annoying tic’ (The Smithsonian), ‘worse than vocal fry’ (Time), and as a ‘nasty habit’ in Psychology Today, which also worries that ‘statements and opinions will become extinct’. This is feverish doom-mongering.

Even Stephen Fry, normally a tolerant sort, linguistically, gave out about uptalk on UK comedy show Room 101, complaining invidiously that it had ‘invaded Britain entirely’. The host, Paul Merton, said it could be a politeness strategy, though he didn’t call it that, but Fry was having none of it (and went on to censure quotative like, which Merton also defended). Most of the audience found uptalk ‘deeply irritating’:

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Nora and James Joyce: making women’s speech the universal tongue

July 2, 2017

Maybe writing about typos in Ulysses triggered it, but I finally took Brenda Maddox’s book Nora: A Biography of Nora Joyce off the shelf. It’s an exceptional study, rich in insight and research: highly recommended to anyone interested in her life, personality, and relationships, and in the author himself.

Maddox defends Nora soundly against a tendency in some Joyce scholarship to caricature her as ignorant or even illiterate. The scarcity of Nora’s own letters for some decades didn’t help this perception, nor did her famous dislike of Ulysses. She appreciated its value, but ‘her acceptance was always tempered by her dismay at its obscenity’, Maddox writes. When Joyce complained that Wagner, whom Nora loved, was obscene, Nora pointed irrefutably at Ulysses.

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When is a typo not a typo? In the wor(l)d of Ulysses

June 6, 2017

Thus the unfacts, did we possess them, are too imprecisely few to warrant our certitude —James Joyce, Finnegans Wake

As a copy-editor I try to abide by the typographic oath: First, do no harm. When you’re making changes to a writer’s text, whatever you do, don’t introduce an error. But at the risk of undermining that solid principle, there is an occasional exception.

Enter James Joyce.

Cover of OUP edition of "Ulysses", the 1922 text, with cover illustration by Richard Hamilton featuring black and white figures in quasi-Cubist styleThe length and complexity of Ulysses, and the difficulties of its publication, mean that many subtly different versions of the text exist. The first legal edition in the US, which became its standard edition for decades, was based on a pirated copy, for example.

Typographical errors arose inevitably from multiple sources; complicating things further is the fact that some ‘errors’ were deliberate but wrongly ‘corrected’ by printers or editors. And then there were all those rewrites and updates by the author while the thing was being serialised. And afterwards. Brenda Maddox, in Nora, notes that Joyce wrote ‘as much as one third of the final text of Ulysses in the form of corrections or additions in the margins of the proof sheets’.

So there is no ideal, ‘master’ text; in fact Joyce scholars fight over the best way to decide what this even means.

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The Samuel Johnson notes: A very nice word

April 5, 2017

Everyone who uses language has their crutch words. These personal clichés fill a gap in common contexts, giving us a break from the burden of originality. Many are adjectives: academics have noteworthy, campus kids have awesome, and I have nice.

Almost anything positive could invite it: nice tune, nice scarf, nice work, nice idea. I also use nice in its narrower sense meaning subtle, fine-grained: a nice distinction. Both senses are familiar to modern ears. Go back a few centuries, though, and the word becomes a chameleonic stranger.

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A sea of language at full boil

March 10, 2017

Jonathan Lethem is an author whose back catalogue I’ve been slowly, happily pecking away at. His protean, genre-blending style will not appeal to all tastes, but I’ve greatly enjoyed the few I’ve read. The most recent of these is Motherless Brooklyn, which won a couple of awards as the century turned. I single it out here because its narrator is obsessed with language.

Lionel Essrog is an orphan now grown up, more or less, and he has Tourette’s syndrome. (In his acknowledgements Lethem mentions Oliver Sacks, whose book An Anthropologist on Mars has a chapter on Tourette’s.) Lethem’s depiction of the syndrome is sympathetic and thoughtful, but he is alive too to its comic and dramatic possibilities, and the novel is often funny, tense, or otherwise affecting.

Lionel’s Tourette’s has its own particular contours, characterised by compulsive counting, ticcing, tapping (people’s shoulders, especially), kissing, collar-fixing, copying other people’s utterances and actions, and a kind of self-fuelling wordplay that draws on words heard or seen and then cannibalises itself unstoppably.

Early in the novel, staking out a meditation centre with a fellow orphan, the word Zendo catches Lionel’s eye and mind:

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