Monday, January 25, 2010

William Safire, 1929-2009

We know this is old news, but given that this is such a language-focused blog, we couldn't let the great William Safire's passing go without comment.  I myself count his "Fumblerules" among those books that most influenced my own interest in all things grammatical.  If you who haven't had the opportunity to read much, or any, of his wonderful On Language column, he has written several books compiling years of them, including some that are out of print.  He will be missed.

William Safire, a speechwriter for President Richard M. Nixon and a Pulitzer Prize-winning political columnist for The New York Times who also wrote novels, books on politics and a Malaprop’s treasury of articles on language, died at a hospice in Rockville, Md., on Sunday. He was 79.  
(The rest of the article is at the link in the title.)

The Fumblerules of Grammar

Not long ago, I advertised for perverse rules of grammar, along the lines of "Remember to never split an infinitive" and "The passive voice should never be used." The notion of making a mistake while laying down rules ("Thimk," "We Never Make Misteaks") is highly unoriginal, and it turns out that English teachers have been circulating lists of fumblerules for years.
As owner of the world's largest collection, and with thanks to scores of readers, let me pass along a bunch of these never-say-neverisms:
  • Avoid run-on sentences they are hard to read.
  • Don't use no double negatives.
  • Use the semicolon properly, always use it where it is appropriate; and never where it isn't.
  • Reserve the apostrophe for it's proper use and omit it when its not needed.
  • Do not put statements in the negative form.
  • Verbs has to agree with their subjects.
  • No sentence fragments.
  • Proofread carefully to see if you any words out.
  • Avoid commas, that are not necessary.
  • If you reread your work, you will find on rereading that a great deal of repetition can be avoided by rereading and editing.
  • A writer must not shift your point of view.
  • Eschew dialect, irregardless.
  • And don't start a sentence with a conjunction.
  • Don't overuse exclamation marks!!!
  • Place pronouns as close as possible, especially in long sentences, as of 10 or more words, to their antecedents.
  • Hyphenate between sy-
    llables and avoid un-necessary hyphens.
  • Write all adverbial forms correct.
  • Don't use contractions in formal writing.
  • Writing carefully, dangling participles must be avoided.
  • It is incumbent on us to avoid archaisms.
  • If any word is improper at the end of a sentence, a linking verb is.
  • Steer clear of incorrect forms of verbs that have snuck in the language.
  • Take the bull by the hand and avoid mixed metaphors.
  • Avoid trendy locutions that sound flaky.
  • Never, ever use repetitive redundancies.
  • Everyone should be careful to use a singular pronoun with singular nouns in their writing.
  • If I've told you once, I've told you a thousand times, resist hyperbole.
  • Also, avoid awkward or affected alliteration.
  • Don't string too many prepositional phrases together unless you are walking through the valley of the shadow of death.
  • Always pick on the correct idiom.
  • "Avoid overuse of 'quotation "marks."'"
  • The adverb always follows the verb.
  • Last but not least, avoid cliches like the plague; seek viable alternatives.

Friday, January 22, 2010

The Palindrome as Art

The following poem was written by James A. Lindon and first published in Dmitri Borgmann's Beyond Language in 1967. It and some of the other examples below are taken from fun-with-words.com, which is linked in the title.

Doppelgänger

Entering the lonely house with my wife
I saw him for the first time
Peering furtively from behind a bush –
Blackness that moved,
A shape amid the shadows,
A momentary glimpse of gleaming eyes
Revealed in the ragged moon.
A closer look (he seemed to turn) might have
Put him to flight forever –
I dared not
(For reasons that I failed to understand),
Though I knew I should act at once.

I puzzled over it, hiding alone,
Watching the woman as she neared the gate.
He came, and I saw him crouching
Night after night.
Night after night
He came, and I saw him crouching,
Watching the woman as she neared the gate.

I puzzled over it, hiding alone –
Though I knew I should act at once,
For reasons that I failed to understand
I dared not
Put him to flight forever.

A closer look (he seemed to turn) might have
Revealed in the ragged moon
A momentary glimpse of gleaming eyes
A shape amid the shadows,
Blackness that moved.

Peering furtively from behind a bush,
I saw him, for the first time
Entering the lonely house with my wife.


Much more after the jump...

Tuesday, January 19, 2010

Academic mumbo-jumbo

(special thanks to JS for sending this one along)

This abstract of a lecture (at a prestigious academic institution, mind you) might as well be in a foreign language.  Any thoughts on what it might mean?  Names have been omitted to protect the overly intellectual.


"For a symptomatology of the image"

The liberation of the image as a specific epistemic object, unbound from its traditional mimetic function, has gone hand in hand with the postulation of something like an autonomous "reign of pictures". While the newly found "image sciences" ask about the specific differences of images, ____ will explore a different model of thinking. Describing some of the possible "symptoms of the iconic" (replacing the old question "What is an image" by "Where and when is an image?"), the image will serve as an exemplary object for outlining a different episteme (symptomatological, conjectural and thus essentially precarious) of what singularity means.
...
During his Visiting Fellowship at ____, he will be working on the question "Can the subaltern testify?"

"blank" rhymes with . . . ?

After a nearly five-year hiatus, LiquidRidiculous is back with a never-before seen post.  We hope you'll enjoy, and leave a comment.
   ~TomSwifty
-------------------------


Give a listen to the audio pronunciation of "blank" at M-W.com. Note the short "a" in the middle. Now have a gander over at the same thing for "plank". Note the length of the "a." Do they sound the same? If you have a cunning ear for phonetics, you'll agree that the answer is no. If you don't, trust me; I have such an ear. Of course, both words have the same written pronunciation - officially they have the short "a" of blank.

The difference is subtle. Subtle enough that most people don't notice. Subtle enough that the potentates at M-W.com didn't notice. If you aren't listening carefully for it, you'll hear whichever one you normally say. It can lead to some extraordinary IM conversations for people as, uh . . . unique as us.

T: well, blank and black do rhyme
D: uh... no they don't
T: um, what?
D: blank and black? the vowels don't sound the same at all!
T: what are you talking about? they both have a short 'a'!
D: are you insane?!? the 'a' in blank sounds like 'weigh'
T: "blaynk"!?
D: yeah
T: i can't tell if you're kidding or not
D: i've never been more serious

This proved to be a paradigm collision that could only be resolved by actual human speech (ie, the telephone).