When the Flock Changed: David Foster Wallace & Maud Newton

In a recent piece for The New York Times, Maud Newton makes the suggestion that David Foster Wallace’s essays — more than Cheetos, beer, amusing cat videos, and Jolt Cola — are largely to blame for chatty Internet discourse. Newton suggests that Wallace’s “Tense Perfect” (a review of Bryan Garner’s Dictionary of Modern American Usage collected in Consider the Lobster as “Authority and American Usage”) is “as manipulative in its recursive self-second-guessing as any more straightforward effort to persuade.” She tries pinning the mimetic transmission of Wallace’s syntax on “Dave Eggers’s literary magazine and publishing empire,” but doesn’t offer a single example (save for Eggers’s “Rules and Suggestions for Enjoyment of This Book,” a citation so overbroad that it can equally apply to the notice about shooting anyone in search of a plot at the head of The Adventures of Huckleberry Finn). Newton cites David Foster Wallace’s “E Unibus Pluram” as the “ur-text of this movement,” but fails to establish much beyond cannibalizing a thoughtful Keith Gessen essay from eleven years ago (as well as its AO Scott antecedent). She then concludes that “the idea of writing is to provoke and persuade, not to soothe. And the best way to make an argument is to make it, honestly, passionately, without regard to whether people will like you afterward.”

It’s too bad that Newton lacks the logos and the level head to heed her own advice, and that she can’t level with us about her bilious biases. Conflation is not persuasion, nor is cleaving to one’s syntactic prejudices a reliable way of responding to an argument. Newton’s essay comes off as the work of a careless and needlessly furious blogger who has been given an unanticipated platform, not someone who takes the art of writing (and thinking about writing) seriously. There are numerous problems with her argument, as sloppy and as derivative in its thinking as the self-congratulatory folderol Newton claims to have abandoned during an apparent halcyon intellectual period sometime after the age of 20, where she “was forced to confront serious practical and ethical questions” in law school. (Those ethics took Newton a long way in 2008, when Newton was offered a paid junket trip to England by a publisher, and, by her own admission, accepted the quid pro quo “within a half-hour of receiving the offer.”)

Like any common and overworked lawyer massaging boilerplate from practice guides, much of Newton’s “argument” about Wallace’s regular guy schtick has been cribbed from this 2002 Languagehat post. Newton complains of the “I’m-just-a-supersincere-regular-guy-who-happens-to-have-written-a-book-on-infinity approach.” Languagehat’s Stephen Dodson complains that “[t]his sort of smarmy regular-guy rhetoric from someone who knows you know he’s a famous author and who is setting himself up as an all-knowing authority makes me sick.” Dodson, however, had the decency to be transparent about his fury, confining his gripes to the article in question. What’s especially striking is that Newton, cognizant that she is writing for The New York Times, adopts the self-same “regular gal schtick” for her piece. And it is with this simplistic stance that Newton reveals her reductionist stature as a thinker.

Instead of using specific examples to provide a helpful lexical lineage for her claims (citing, for example, the very blogs impaired with Wallace-inspired banter), Newton offers little more than unfounded and dimly ironic speculation that has nothing to do with Wallace:

I suppose it made sense, when blogging was new, that there was some confusion about voice. Was a blog more like writing or more like speech? Soon it became a contrived and shambling hybrid of the two. The “sort ofs” and “reallys” and “ums” and “you knows” that we use in conversation were codified as the central connectors in the blogger lexicon. We weren’t just mad, we were sort of enraged; no one was merely confused, but kind of totally mystified. That music blog we liked was really pretty much the only one that, um, you know, got it. Never before had “folks” been used so relentlessly and enthusiastically as a term of general address outside church suppers, chain restaurants and family reunions. It’s fascinating and dreadful in hindsight to realize how quickly these conventions took hold and how widely they spread. And! They have sort of mutated since to liberal and often sarcastic use of question marks? And exclamation points! “Oh, hi,” people say at the start of sentences on blogs, Twitter and Tumblr these days, both acknowledging and jokily feigning surprise at the presence of the readers who have turned up there.

Let’s do the work that Newton couldn’t be bothered to do. Because if you’re going to promulgate information about the methods and manner in which people use language, then it’s important to consider the whole larder.

One can spend a lifetime ruminating upon “uh” and “um,” which psychologists have recently suggested play roles as conversational managers. But what Newton is trying to peg here is speech disfluency — specifically, those fillers often emerging as one is deliberating over a thought. Fillers hardly originate with Wallace, nor are they confined to English. To offer one historical example, here’s some glorious dialogue from The City Wives’ Confederacy — a 1705 play written by Sir John Vanbrugh:

Cor. Let me read it, let me read it, let me read it, let me read it, I say. Um, um, um, — Cupid’s — um, um, um, — Darts, um, um, um, — Beauty, — um, — Charms, — um, um, um, — Angel, — um, — Goddess, — um, [Kissing the letter.] um, um, um, — truest Lover, — um, um — eternal Constancy, — um, um, um, — Cruel, — um, um, um, — Racks, — um, um, um — Tortures, — um, um, — fifty Daggers, — um, um, um, — bleeding Heart, — um, um, — dead Man, — Very well, a mighty civil letter, I promise you; not one smutty word in it: I’ll go lock it up in my comb-box.

For full effect, try reading that passage aloud. What sounds seemingly annoying in textual form becomes positively poetic as you’re saying it. But Vanbrugh didn’t stop there. We find this exchange in Scene II:

Mon. Um — a guinea, you know, Flippanta, is —
Flip. A thousand times genteeler; you are certainly in the right on’t; it shall be as you say — two hundred and thirty guineas.
Mon. Ho — Well, if it must be guineas — Let’s see — two hundred guineas —
Flip. And thirty; two hundred and thirty.

Now imagine that some snotty journalist or critic had told Vanbrugh that he couldn’t use “um” or “you know” or “let’s see” in his dialogue because, if he had published these words, they might be codified as the central connectors in the theatrical lexicon. If Vanbrugh’s dialogue had been scrubbed, how then might we have known — in a time before movies, gramophones, and computers — how people talked? One can hardly imagine reading masterpieces like The Adventures of Huckleberry Finn or Finnegans Wake in anything other than their unique patois. Therefore, should one be so needlessly tendentious when it comes to blogs?

Newton’s feckless fig isn’t really about what Wallace (or any blogger) has to say. It’s about how they say it. As anyone who has waded through academic papers knows, there are often brilliant kernels contained inside dense and impenetrable style. But a person of true and eclectic intellectual rigor wouldn’t hold the thinker accountable based solely on the syntax.

Since Newton is unable to establish a clear connection between Wallace and “the stylized mess that is Gen-X-and-Y Internet syntax” (and unable to comprehend that many of these syntactical eccentricities have recirculated for centuries), we are therefore forced to conclude that Newton is needlessly hostile to any sentence that isn’t written in the plain and vanilla language that she holds so dear to her cold and humorless heart.

This is the position of a lexical reactionary, not just a Wallace hater. Because if Newton were genuinely interested in language or people or the often magical way that words are transmitted in our culture, she wouldn’t be so quick to condemn. She would actually do the legwork and use these findings to offer a persuasive argument instead of outsourcing it to her readership (“Visit some blogs…to see these tendencies writ large,” “The devices can be traced back to him, though…,”). Is that not persuasion? But Newton isn’t interested in listening to anything other than the sound of her own voice — the vitiated “plain question and plain answer” ideal plucked from Life on the Mississippi that, in Newton’s uncomprehending hands, becomes more inimical than imitable. She doesn’t understand that distinct writing can often be forged from imitation — as the many fresh talents who have mimicked Hemingway (Ann Beattie, Raymond Carver, Hunter S. Thompson) can attest. And in telling New York Times readers that imitation and repetition are wrong or “dreadful in hindsight,” Newton reveals herself to be committed to the act of expressive conformity. The Newtonian ideal, rooted in misanthropic nihilism, leaves no room for prototypes or apprenticeship — even though, having shed the burden of “her own archives,” she cannot actually lodge a proper argument here. In short, Maud Newton has transformed into a cultural atavist who argues along the lines of Lee Siegel. You can respond to her argument, but only using the words and the terms that she has established. (And as Joe Winkler has argued, why should Wallace be judged by foreign standards?)

When contemplating the state of culture and language, it helps to view the reuse of expressive terminology through context. A helpful linguistic anthropology volume authored by Alessandro Duranti suggests that “Oh, hi!” has been in use — largely over the telephone or after an awkward social encounter — decades before Wallace published a single word. “Oh, hi!” is modeled on “Ah ciao!” “Oh” initially appeared before “hi” when the answerer awkwardly attempted to return a greeting without knowing the greeter’s name. So it makes sense that someone using Twitter or Tumblr, unaware of the sheer scale of readers, would start a post this way. (And to return to Gessen’s essay, this might very well reflect his humorous aside that “in the long run books are not written for the editors of prestigious magazines or the professors of fashionable theories.” In other words, speculating on a readership is best left to the crass and artless marketers.)

Newton is right to suggest that the intersection between writing and speech is what led to the early conversational feel of blogs, but she never considers the possibility that those who were sending their thoughts and feelings into the electronic ether truly had no idea who they were reaching. (On the “Oh, hi” question, she does concede midway through the piece that those who write this way may be simultaneously “acknowledging and jokily feigning surprise.” But observe the strange suspicion here. Sometimes a cigar is just a cigar. It’s telling that Newton’s article offers no space for sincerity, that the Newtonian ideal involves directness without nuance or irony.) She assumes that most of the early bloggers were readers of Wallace and Eggers, rather than those who may very well have left the house and conversed with fun and interesting people. It doesn’t occur to Newton that, in using words like “folks,” bloggers were using the very voices they might employ in everyday conversation. And just as we’ve seen in the Vanbrugh play, the Internet’s early days (at least, what we’ve been able to preserve of them) offer us an unprecedented treasure trove of how certain phrases and words made their way into our vernacular. Much as digital cameras have ushered in an age that is the most photographed in human history, digital conversation has afforded us an equally vast and limitless tapestry.

So Newton’s blinkered prohibition of “folks” outside of some implied Midwestern setting is not only needlessly condescending, but it suggests that writing in one’s voice is rooted almost exclusively in mimicking trendy magazine articles rather than responding to conversational cadences. This isn’t a question of being liked or craving admiration and appeal. It’s about speaking in terms that keep the conversation, whether contentious or conciliatory, alive.

Internet culture was built in large part by smart people being trapped in soul-sucking jobs and desiring to connect with others. In “E Unibus Pluram,” Wallace identified television as “an absolute godsend for a human subspecies that loves to watch people but hates to be watched itself.” The time has certainly come to unpack some of these arguments into something that includes the Internet’s complexities. But Newton isn’t sharp enough to build from Wallace’s points, even as she disagrees with him. She cannot, for example, consider the obvious truth that, in an era of Twitter and Google Plus, the watchers have become the watched. Rather than serving up a plainspoken exemplar within her essay that articulates an original point and lives up to her declared ideal (or puts her on the line, as Zadie Smith did in her Facebook essay when confessing “not being liked is as bad as it gets”), the great irony here is that Newton herself has soothed her readership using the very methods that Wallace (and Newton in failed ironic mode) condemned. Newton, by publishing her essay at The New York Times instead of her blog, craves the very admiration and approval she dismisses as toxic. She wants to be read, but she is not especially interested in practicing the very intellectual rigor she champions. Because if she were, she would be crystal-clear in establishing her terms. She cannot identify even one of the many critics “making their arguments in this inherently self-undermining voice.” Who are these mysterious Wallacites wandering in the woods? Do they have axes and are they killing bitter attorneys who can’t finish their novels (and have an infuriating need to report constantly on this)? Does Newton really think so little of Wallace readers or bloggers that she cannot consider the possibility that they may very well be influenced by other authors? She thus undermines her own argument.

Newton’s spectacular failure to consider these subtleties may have something to do with not steeping herself in Wallace’s complete catalog. The phrases “plus, worse,” “pleonasm,” and “What this article hereby terms a ‘Democratic Spirit'” come from the very essay (“Tense Perfect”) she commends as “one of his best and most charming essays,” yet not from the same paragraph. “Totally hosed” comes from the famous 2005 Kenyon commencement. In other words, the only four Wallace texts that Newton has consulted for her piece are three essays: “E Unibus Pluram” (1993), “Authority and American Usage” (1999), “Big Red Son” (1998), and the Kenyon address. It seems to me that if you’re going to do a David Foster Wallace takedown, you should rely on a good deal more than the usual greatest hits. That’s a bit like writing about the Beach Boys when you’ve only heard “Good Vibrations” once.

Newton’s piece is less about offering a new argument or repudiating an old one, and more about expressing an uninformed position on Wallace and linguistics. It’s about standing against the possibilities of language and ideas. It’s about dictating the terms of how one should think while disingenuously suggesting that the reader can think for herself.

That’s a skill set that comes quite naturally to an embittered tax attorney. But it’s somewhat amazing that such a misleading and superficial approach would be welcomed by the ostensible Paper of Record.

UPDATE: Some additional responses:

(1) The New Inquiry‘s Matt Pearce, who notes that “Newton’s criticism obscures the fact that she and Wallace have more in common on intellectual honesty and integrity and straightforwardness than her essay lets on.”

(2) Callie Miller, who writes, “Life is short, wars are being fought, loved ones are dying every day…must we really be so intense about our books?” That’s a very good question.

(3) Alexander Chee, who agrees more with Maud Newton than I do, writes that Wallace “was a writer whose work gave back a vision of the world that pierced the scrim of the fear we were all feeling. If we imitated him, or imitated each other imitating him, really, I think we did it because of how we all wanted to find our way through. But it became like a game of telephone, but with style, and what had once been able to clarify something soon obscured them.”

(4) Glenn Kenny, who worked at Premiere when “Big Red Son” came in, clarifies what Wallace meant by the “sort of almost actually” fillers that Newton bemoans: “Each one, as we see, serves a different function, or I should say, implies a different state of mind, and each state is competing with the other. By the point in the essay at which the description of Goldstein arrives, the reader ought to have sussed out that Wallace has some very substantial problems with both pornography and the industry that produces it. But he’s also been bracingly honest about the attraction that walks hand in hand with his repulsion, and when he’s not going at his subject with something resembling all-out disgust (as in the passages about Paul Little, a.k.a. Max Hardcore), there’s a bracing and troubled honesty at work here, as in all of Wallace’s essayistic work, a desire to get at moral truth without being, well, moralistic; and a constant ambivalence.”

(5) CulturePulp’s Mike Wallace writes: “But for Maud Newton to also join a parade of lesser writers staking out lit-cred for themselves by throwing the freshly dead Wallace under the bus — and then to passive-aggressively blame him for all sorts of not-his-fault jackassery — is for me to sort of politely tell Maud Newton to piss off.”

(6) Matt Kiebus: “If Ms. Newton wants to live in a world where people make arguments ‘straightforwardly, honestly, passionately and without regard to whether people will like you afterward,’ that’s her choice. And although I think she may need a fucking time machine to find the world she’s looking for, I still respect her opinion.”

(7) The Oncoming Hope: “Newton seems to conflate unserious language with Southern dialectical norms, which is all the more surprising given how many times she’s blogged about the liveliness of Southern Texan vernacular.”

(8) Weeks later, the Huffington Post‘s Omer Rosen begins a multi-part offering (with Casey Michael Henry) on David Foster Wallace’s appropriation.

Is the New York Times Banning “Tweet” in the Newsroom?

This morning, The Awl‘s Choire Sicha reported that New York Times standards editor Phil Corbett had issued a memo to the newsroom suggesting that “tweet” (that verb used to refer to the act of posting on Twitter) was being actively discouraged within the Gray Lady’s mighty halls. The memo, which announced that “‘tweet’ has not yet achieved the status of standard English” went on to express dismay about “tweet” being used as a noun or verb. How could a word — reflecting a colloquialism, a negologism, or jargon — ever be used in a serious newspaper? Corbett advised using the staid “say” or the vanilla “write” as a surrogate.

Rumors then began to circulate on Twitter — in part, promulgated by The Awl — that the Times was banning the use of “tweet” entirely. New York Times Artsbeat blogger Dave Itzkoff was the first to declare that the ban was not true. Yet there remained the matter of confirming the memo’s veracity.

I contacted Corbett, and he confirmed that the memo published by The Awl had indeed been disseminated around The New York Times. “I specifically say that ‘tweet’ may be acceptable in some situations,” wrote Corbett in an email. “I’m basically urging people to view it in the category of colloquialisms, which we might use in for special effect and in contexts that call for an informal, conversational tone. But we try to minimize use of colloquial language — as well as jargon — in straight news writing.”

In other words, if a New York Times reporter is using Twitter to get a quote from a source for a big news story, the very practical notion of using “wrote” instead of “tweeted” is sound policy. But does “tweet” get an outright ban? Hardly.

The Mysterious Origins of “Oh Snap!”

Is it possible that the 1910 children’s novel, The Bobbsey Twins at School, was a prescient influence on hip-hop?

“Oh, Snap! Snap!” cried Freddie. “Don’t go there!” But Snap kept on, and Freddie, afraid lest his pet dog be bitten, caught up a stone and threw it at the place.

Probably not. But “Oh snap!” and “Don’t go there!” were clearly phrases that begged to be loosened into the English language. And they both made their way into the American vernacular through hip-hop.

This article concerns “Oh snap!” — that handy phrase which accompanies a moment of consternation or a dutiful dissing. The phrase has seen more frequent use in mainstream media, and, in 2009, it is just about at the point where “My bad” was in 2004. Here again, we have two words that linger in popular culture well past their shelf life, a term that once populated the lingua franca of a minority subculture and that is now loosened from the lips of Caucasians who think they are in the know.

But where did “Oh snap!” came from? And why did it take two decades to establish itself prominently in mainstream culture?

I’ve become more than a tad obsessed with these questions, but I have developed a working theory.

Now if you’re interested in slang, you can take one of two positions. Get excited by it or get smug about it. The Indianapolis Monthly‘s Cara McDonald (writing in July 2004, no less, well after “Oh snap!” was in popular use) chose the former:

She sparkles and burbles, all oh my goshes and oh my goodnesses; when she forgets where she put her tracks and shouts, “Oh, snap!” — presumably a euphemism for “shit.”

And here’s what the linguists have to say. We are informed unhelpfully by The New Partridge Dictionary of Slang and Unconventional English that “oh snap!” was “used as a mild oath.” But there appears to be no effort by Connie Elbe, the cited linguist who “discovered” the phrase in October 2002 and published the results as editor of UNC-CH Campus Slang, to track down its cultural references. (Elbe, incidentally, was thanked in the acknowledgments section in Tom Wolfe’s I Am Charlotte Simmons, which may explain why that novel’s campus patois is out-of-touch.)

In Alonzo Westbrook’s 2002 book, Hip Hoptionary, he identifies “Oh, snap” as either an “epiphany; to understand something, like a light turned on” or “a gesture where one literally snaps a finger after a statement to emphasize a point, like the period at the end of a sentence.”

But the first time I heard “Oh snap!” was in Biz Markie’s “Just a Friend.” (The usage is best observed in the above video at the 4:12 mark, so that one can get a sense of the timing preceding the “Oh snap!” moment.) This was in 1989. And “Oh snap!” was quickly picked up by many of the high school punkasses — including me — who were likewise amused by Markie’s deliberately awful singing.

Markie, however, was hardly the first. The earliest written trace I can find of “Oh snap!” is in William Hauck Watkins and Eric N. Franklin’s 1984 volume, Breakdance!:

I said, “Oh, snap, what’s that?” He said, “It’s the new style called breaking.” I said, “It looks like you’re going to break your body.”

Breaking did not quite survive. But “Oh snap!” certainly did. A hip-hop group by the name of Latin Empire used “Oh snap!” in a Spring 1991 interview published in Centro 3, 2. The first USENET use of the phrase was, not surprisingly, on November 7, 1997 on rec.music.hip-hop. Even a rock fan by the name of Dwayne Lutchna used the phrase in a This Week in Rock segment that appeared on MTV. “Oh snap!” was making the rounds.

But it didn’t entirely stick. At least not in the way that it has today. For a while, it looked as if the phrase would disappear into the crevices with “Hells yeah!” and “getting jiggy with it.” But then comedians like Tracy Morgan and Dave Chappelle began using “Oh snap!” in their routines. Then it became fair game for everybody. (It is now used regularly by Jon Stewart on The Daily Show.)

The big question is where Markie and his friends got the tip from. Is it possible that the phrase came from England?

From Norman Harrison’s Once a Miner (1954) — a hard depiction of Southeast English mining:

Oh, snap. All right; you’d better get yours if you want.

We see the phrase also in the 1994 film, Tom and Viv, which is interesting, considering that the film is a period piece. “Oh snap. I was in Lagos,” says Maurice Haigh-Wood.

From Peter Ackroyd’s novel, First Light (1996):

“Tell me,” he added, more comfortably, “what are you drinking?”

“Gin and it.”

“Oh snap. So am I. Isn’t it lovely?”

So we see a British usage of “Oh snap!” from four decades before that is quite similar to the American usage of “Oh snap!” in the 1980s and 1990s.

If “Oh snap!” did come across the Atlantic and make its way into the hip-hop community, one wonders how this happened. Was there some seminal moment in which “Oh snap!” was unfurled at a breakdancing showdown? A moment in which all witnessing the usage of “Oh snap!” felt compelled to remember it and cite it to their friends? Did “Oh snap!” serve as a response to “Snap out of it,” which was possibly considered a less definitive term?

These are questions that require an investigation in which it may not be possible to find the missing link. But assuming that “Oh snap!” crossed the Atlantic, the American and British forms prove that a phrase can evolve in two different nations and adopt an attitude specific to each, even when the phrase conveys the same meaning.

Words of the Year

I am very disappointed in Oxford’s Word of the Year. “Hypermiling,” a present participle arriving now like a file cruelly lodged between two front teeth, lacks the tang of last year’s “locavore.” It’s only slightly better than 2006’s “carbon neutral” — a term that rustles from the lips with the same gushing disgust as “enema.” 2005’s “podcast” was not bad. But I now fear that Oxford has become prejudicial towards words lazily coined from stray suffixes and prefixes. If you ask me, Susie Dent, who also works at the Oxford University Press, does a much better job of finding words that encapsulate specific years than the “official” Oxford word. And for those seeking more linguistic alternatives, start from the Wikipedia links and get lost.

[UPDATE: Well, it appears that Susie Dent has a better flair for words of the year than the Americans. Ms. Dent has selected “credit crunch” — far more applicable to our everyday world than “hypermiling.” Indeed, such is the power of “credit crunch” that it could very well be misconstrued for a breakfast cereal. Clearly, Ms. Dent needs to advise the Americans in some capacity.]

Word Count and Ancient Novels

From a letter to the New York Times editor, January 7, 1899:

Have you taken note of the fact that the majority of successful novels are long? I mention this fact because a few years ago — about the time The Prisoner of Zenda made such a hit — it was predicted that all the widely read novels of the future would be very short. Not long ago your own London correspondent W.L. Alden predicted that the novel of the future would be only 40,000 or 50,000 words long.

I have calculated very closely the length of the prominent novels of the last two or three years, and I find that Mrs. Steel’s On the Face of the Waters is 150,000 words, Ford’s Honorable Peter Stirling is 145,000, Hugh Wynne, 170,000; Corleone, 165,000; Quo Vadis, 210,000; The Landlord at Lion’s Head, 120,000; The Seats of the Mighty, 115,000; The Manxman, 220,000; The Christian, 210,000; The Gadfly, 105,000; A Soldier of Manhattan, 100,000. Against this list of long novels appears Soldiers of Fortune and The Choir Invisible, which are of medium length, about 75,000 words each, while in the 40,000 novel list we have only Hopkinson Smith’s Tom Grogan and John Fox’s Kenutuckians.

I have purposefully omitted the 1898 novels from the above, but when we come to the year just closing we find the tendency to length still more accentuated. Take the two best and most successful American historical novels of the present season — Mr. Altsheler’s A Herald of the West and Miss Johnston’s Prisoners of Hope — and we find that one is about 120,000 words and the other 130,000. Mr. Parker’s very successful Battle of the Strong is about 135,000 words; Mr. Page’s Red Rock, which is a study rather than a historical novel, is 140,000 words; David Harum is about 110,000 words; Helbeck of Bannisdale is 110,000 words; Ms. Crowninshield’s lively story of adventure, Latitude 19, is 145,000 words; Evelyn Innes, which many think the finest novel of 1898, is 175,000 words; Roden’s Corner is at least not a short novel, nor is The Red Axe. All these have passed the test of commercial success, which is the final arbiter in such matters. In view of these facts, does the reign of the very short novel seem to be at hand?


* * *

I know very few of the titles that the good C.T. Adams has kindly listed for us to investigate. But for those who find a 900-page book imposing, the above statistics are worth remembering. I have added links to the complete text of the books that Adams mentions. It is a great credit to our information age that only Manxman could not be located.* Adams is right to observe that George Moore’s Evelyn Innes is somewhat promising — that is, for those who like slightly florid, monosyllabic noun-heavy sentence constructions. (“Iron-grey hair hung in thick locks over his forehead, and, shining through their shadows, his eyes drew attention from the rest of his face, so that none noticed at first the small and firmly cut nose, nor the scanty growth of beard twisted to a point by a movement habitual to the weak, white hand,” reads one such sentence.) My current beard, such as it is, is not habitual to any movement by my hand. But I am very much taken with this image, and I’m wondering if men have, over the past century, resisted the impulse to tug and twist at their facial hair in such a matter. The time is ripe for a comeback.

There’s more from Moore: “The vague pathos of his grey face was met by the bright effusion of hers, and throwing her arms about him, she kissed him on the cheek.” Who knew pathos could be vague? But “vague pathos” is a wonderful idea. And I particularly like the antediluvian sentence construction.

I’m serious! The forgotten novels that people raved about a century ago are worth revisiting — if only for the odd and enjoyable syntax. (I’m afraid that Moore’s dialogue didn’t impress me as much as the sentences.) Can you imagine a novelist today getting away with a woman “regretting her tongue’s indiscretion?” A man named Sir Owen is “seemingly a tall man, certainly above the medium height,” which suggests that Moore isn’t certain. But then how often are any of us certain about how tall some people are? “Wall paper” has not yet been crammed into one word. An upper-class man in his thirties is described as “three-and-thirty,” and I’m considering adopting this manner of speech if anybody ever asks my age.

“The nakedness of the unfinished and undecorated church was hidden in the twilight of the approaching storm….” This is very old school, but I’m again strangely fond of this phrasing, even if I’m not inclined to use such a prepositional phrase in my own writing. If an MFA tried to write a sentence like this today, she’d be asked to revise the sentence read something like: “The undecorated church hid in the storm.” This isn’t nearly as interesting. And you can’t really make this sentence work without the past tense.

Don’t discount the old novels. There are quirky ideas here to be discovered, tinkered around with, and employed in your own writing.

* — UPDATE: The good Rory Ewins has pointed out that Manxman is available online. I had mistyped it “Maxman.” Thank you, Rory. And thank you, Internet!

A Supplemental Lexicon to Ross Raisin’s Fiction

Between reading Sarah Hall’s three novels earlier this year and Ross Raisin’s debut novel, I’ve found to my astonishment that I’ve become more than a bit obsessed with the Northern English dialect. One striking quality of Ross Raisin’s quite disturbing debut novel, God’s Own Country (known in the U.S. as Out Backward), is its reliance on very specific slang to advance the novel and to occlude the reality of what’s happening before us. I became so wonderfully caught up in the words that Raisin pulled a fast one on me, and I ended up abdicating my own common sense. The book’s nineteen-year-old first-person narrator, Sam Marsdyke, lives in a small town in Yorkshire and clings to a vernacular in an effort to assert his frequently misunderstood and often besmirched individualism. The effect becomes one in which the outside reader hopes to understand this troubled character, lest the reader be IDed by Marsdyke as one of the superficial “ramblers” (or tourists) invading his home turf. And the prose’s close association with the Northern England landscape creates a fascinating dilemma for anyone attempting to masticate upon this book on multiple levels.

The verb “gleg” is the neologism that is most frequently used throughout the book. “Gleg” is more commonly used as an adjective in Scotland and means “alert and quick to respond,” but, in Raisin’s hands, it’s often used as a gruff surrogate for “look.” To gleg is to retreat in some sense. But glegging also involves the only place where Marsdyke can maintain his identity. Glegging may be somewhat good for all of us, provided we do not glog in the process.

But because I had the reaction that I had, what follows is an effort to track the many interesting words throughout Raisin’s novel, which may prove of help to readers tackling this interesting novel. Standard British slang terms like “sod” and “tosspot” are ignored. I’m hoping to provide more additional information about specific words as I learn more about them. Page numbers refer to the American edition of the book. Readers are invited to comment upon any additional findings or clear up any etymological mishaps.

aflunters: Yorkshire term for “in a state of disorder.Usage in Book: “the ew was all aflunters” (95), “my head was too aflunters” (157)

bairn: Scottish term for “child.” Usage in Book: “When I was a barin I’d kept…” (28, ref. to Gilbert & Sullivan’s HMS Pinafore?) “a list of bairns, couplings and dead” (41), “I’d gave him that mug as a bairn” (99)

barmpot: A clumsy idiot. Var. of barmy. Usage in Book: “You barmpot, it’s the middle of the bleeding night.” (23), “laughing together like barmpots” (143)

babby: Often used in Northern dialect as a noun for baby or child, Raisin has his narrator sub in a noun for an adjective. Usage in Book: “a babby little feller” (10) “looking like a babby” (50), “I just lay there like a babby with my lids shut” (89), “feel for the babby” (95), “The ewe was licking at her babby” (114), “the rustle of a babby too full of dander to sleep” (123), “my babby, my babby, you’re alive” (126)

beltenger: A Hungarian term for enclosed or inland sea. Usage in Book: “a beltenger of a storm on the ocean” (33)

blatherskite: A Scottish noun for a noisy talker of blatant rubbish. The usage in the book sees Raisin again using a noun in verb form. Usage in Book: “and blatherskite about that rude Marysdyke boy” (66) Also, the local newspaper is referred to as The Blatherskites’ News.

bogtrotted: Originally, a bogtrotter was an offensive term for an Irishman. But it also means one who trots around bogs. Usage in Book: “to show all the places they’d bogtrotted over” (134), “gone off bogtrotting” (168)

brazzent: Yorkshire for “inadvisably generous.” Usage in Book: “a brazzent-looking farmer in a raggedy jacket” (149)

budgerigars: An Australian parakeet. (Perhaps the fact that Mum keeps many budgerigars in one of the farm’s rooms is a wry allusion to Australia’s origins as an English prison colony? Or does this have something to do with the budgerigar’s ability to survive in very dry parts of Australia?) Usage in Book: “That, or she was talking to the budgerigars.” (3) “She thought her buderigars were bonny and all” (47), “the buderigars chattering bollocks at each other” (99), “I was sure the budgerigars would start chattering” (127), “chattering away like budgerigars” (175)

buffit: Stool. Another term used in Wakefield. Usage in Book: “who’d take over his buffit in the corner” (29), “bar buffits reeking with fifty years of smoke” (102), “hunkered over on a metal buffit” (120), “using our bags as buffits” (153)

bummelkite: An obscure 19th century word for blackberry. From an 1895 article, “The Cumberland Dialect,” The Gentleman’s Magazine: “a very puzzling word, and the glossaries do not explain it. Some vocabularies treat it as a corruption of bramble-kite, only to make that darker which was dark enough before, because it leaves the final syllable unexplained.” Usage in Book: “The drone of the brummelkite filled my brain” (145)

charver: Var. of chava. Unruly youth. Usage in Book: “like my old charver on the pier” (193)

choiled up: Pent up, guarded. Don’t know precise etymology, but it’s definitely a Northern English term. Usage in Book: “She was proper choiled up a long while” (116)

chunter: to grumble or grouse mildly or tediously. (Again, like “gleg,” what’s striking is the way that Raisin often uses this verb as a noun.) Usage in Book: “a chunter of talk came through the door-crack” (4) “chuntering in his corner” (31), “chuntering to some old cloth-head at the counter” (57), “I heard him chuntering, fuck off, or something like that” (63), “leaves chuntering with the wind” (71), “She chuntered off to the cupboard with the tins” (92), “she was chuntering to herself” (98), “You’d hear the moles chuntering” (115), “I’d hear him chuntering” (149), “no lasses chundering in the deep-fat fryer” (164)

clog-poppers: Those who have recently died. (Related site.) Usage in Book: “But I marked toward the other end the paper, near the clog-poppers….” (42)

collywobbles: Stemming from the Latin term for cholera, usually in reference to a rumbling stomach. Colly is English dialect for dust. Usage in Book: “for she had the collywobbles” (82, which comes shortly after “a smudgy coal-cloud” seeps around the house)

crambazzled: A very specific Northern word for a man who is old before his time, generally due to illness or drink. Usage in Book: “I hadn’t crambazzled myself half to death with drink as yet.” (32)

crammocky: “Crammocky creel” is a Yorkshire term for a wooden framework hoisted to the ceiling, generally used for drying oatcakes or clothes. Usage in Book: “my joints all crammocky from lying still so long” (59), “I stood up and paced crammocky circles” (143)

crozzle: Yorkshire use. To dry out and become crispy due to burning heat. Usage in Book: “the skin underneath all crozzled with drowsiness” (176)

daffled: Baffled. You’ll probably remember this one from Bram Stoker’s “We aud folks that be daffled” in Dracula although I can’t seem to find a specific etymology. Usage in Book: “She looked daffled then” (104)

doylem: Yet another Yorkish word for idiot, of which there are quite a lot of in this book! Usage in Book: “Talk to her, you doylem…” (50), “for he was a doylem” (101)

ferntickle: A Northern dialect word for freckles. Comes from ME farntikylle — resembling the seed of the fern. Usage in Book: “I could see the little brown ferntickles speckling her nose and the tops of her cheek.” (14)

fizzogs: From “physiognomy.” Shorthand for face. Usage in Book: “some by the looks on your fizzogs” (33)

flowtered: Yorkish folk term for in being in a state of trepidation or nervousness. Usage in Book: “my brain had been flowtered by those gommerils in the car” (43), “No, I said, flowtered…” (57), “I didn’t know what they were so flowtered about” (73), “The ewe will start to get flowtered first” (94), “she got flowtered when she saw it” (124), “I got flowtered then” (138), “I started getting something flowtered” (164)

fratchen: Yorkshire. To argue. Usage in Book: “she didn’t fratchen with me” (153)

gawby: A baby, a dunce. (1913 Webster, provincial in some sense, but what province precisely?) Usage in Book: “If I’d not been such a gawby forgetting about maggots….” (17), “turned into a gawby” (188), “a herd of gawby sergeants” (194)

gleg: See introduction. Usage in Book: “I went for a gleg in the freezer….” (4) “a quick gleg past him” (11) “When I glegged in…” (27) “I glegged in at him…” (32) “A few of the other sheep glegged up.” (40) “I was itching for a gled across at her.” (51), “too far yet to gleg inside” (65), “I never got to gleg what he’d written” (92), “Father glegged up at her” (100), “I glegged an eye up” (103), “I was worried someone else might gleg the message” (113), “I glegged another look at my watch” (123), “I glegged round to see if she was watching” (125), “glegged up an instant from their crossword puzzle” (136), “glegging an eye at me over the top” (137), “He had a gleg round once” (142), “I glegged over the stump top” (144), “glegged me gaining” (172), “I glegged the four-by-four” (175), “I tried to gleg the entrance pool” (181), “He’d always gleg over at me” (202)

glishy: Sticky. And while there are many usages of this adjective which can be found on Google, I can’t seem to determine where the word originated from. A Verdurian term? Is Raisin an RPG enthusiast? (This may explain the many references to board games, including Monopoly and Scrabble, throughout the book.) Usage in Book: “glishy magazines of horse arses jumping over a fence” (10), “all bright and glishy like a piece of flesh with the skin torn off” (100), “the glishy black stones” (184)

gommeril: A fool. Dialectical, common to Yorkshire. Origin unknown. Usage in Book: “still red from before with the gommerils” (35), “my brain had been flowtered by those gommerils in the car” (43)

heart-slufffened: Heartbroken. Unknown origin, but spoken in the 1860s. Usage in Book: “she was so heart-sluffened” (154), “sat sluffened” (173)

hubbleshoo: A Yorkshire term for commotion that can be traced back to 1855. Usage in Book: “a hubbleshoo of noise” (24) “the hubbleshoo of small boys spewing out the bus” (42), “a hubbleshoo of bleats” (68), “a hubbleshoo of activity” (112), (189)

jarp: To strike or smash. More spec., to crack a hard-boiled egg with another. This is an Easter game. Durham & Tyneside dialect. Usage in Book: “My hands jarped off from the vibration.” (38), “Wetherill’s shout jarped my attention” (145)

jipping: From A Dictionary of Slang and Unconventional English: “staining (part of a horse) with India ink to conceal a blemish. Usage in Book: “My neck, bag and legs were all jipping from stones and heather tangles…” (129)

kecks: Variation of the Yorkshire “kegs” for trousers. Usage in Book: “Blotchy wiping his hand on his kecks” (76), “the band of my kecks” (150), “dragged my kecks” (200)

ligged out: Yorkish term for “laid out.” Usage in Book: “with the pup ligged out between” (58), “Sal was ligged out retching in the stable” (83), “ligged out on the slope of the hollow” (107), “one of the sheep ligged out between the wall and the back of the pen” (123), “I ligged out on my belly” (133)

lugger-bugger: Mover. Marsdyke is quite taken throughout the book with singsong hyphenated nouns that rhyme. See also “mother-smothering” on 6. Usage in Book: “as if they feared the lugger-buggers might set it in the vegetable plot” (5), (7)

mafted: Yorkshire. Very hot or breathless. Usage in Book: “I was mafted from walking so quick” (164), “a mafting hot afternoon” (168)

mardy: See H2G2 entry. Usage in Book: “she wasn’t mardy any more” (156), “she was mardy again” (169)

mawnging: “Mawngy” is a Yorkshire adjective for bad-tempered, but Raisin has appropriated it for use as a verb. Usage in Book: “there was nothing any of them could do about it but for mawnging” (29) Another hint: “a mawngy crow sat in a tree gawping into space.” (68), “didn’t mawnge about it” (153)

nazzart: North East dialect for rascal. Usage in Book: “the bone-idle nazzart” (100), “Get back here, you old nazzart” (140, 143), “my brain was in a nazzartly mood” (168)

nithering: To shiver or tremble with cold. Scottish and Northern English. Variation of “blithering.” Usage in Book: “A month on and you’d stil be nithering cold if you came up there without a coat.” (96)

nobbut: Yorkshire adverb for “only.” An homage to Alan Titchmarsh’s Nobbut a Lad? Usage in Book: (42)

panacalty: I’ve heard of the Northern English dish panacalty, but I haven’t tried it yet. Here’s a recipe. Usage in Book: “I’ve panacalty on the go” (112), “fried up their bacon and their panacalty” (147)

parkin: A kind of ginger cake originating in Northern England. Usage in Book: “She was making the Christmas parkin.” (79), “I bolted another piece of parkin.” (81)

powfagged: Lancashire term for “tired.” Usage in Book: “powfagged and sleepy-eyed from the walk” (58), “we were powfagged after our adventures” (142)

raggald: A Norse term for “villain” used in Calderdale. Usage in Book: “That raggald — he pushed me over the side!” (33)

ramblers: hikers wandering the English countryside. In the book, Marsdyke speaks perjoratively of the ramblers and, at one point, gets into a violent skirmish with them. Although the term can’t be found in this helpful British slang dictionary, it is used in this 2003 BBC News article. Usage in Book: (1), “bright enough the ramblers needed their sunglasses” (56), “Ramblers’ pub other side of Felton Top” (56), “ramblers arfing and barfing about cuckoos and the like” (72), “I hadn’t caught on it was her at first, I’d thought it was a rambler” (99), “We were proper ramblers now” (131), “He must’ve stole it off a rambler” (134), “Well, ramblers, it’s a gradely day for it” (169)

sarnie: sandwich. Usage in Book: “She threw another piece of sarnie.” (108), “She’d even made sarnies.” (132), “punnets of sarnies” (146), “munching us sarnies in quiet” (153), “ate the rest the sarnies” (157)

scarper: to flee or depart suddenly; esp. without having paid one’s bills. Usage in Book: “I waited for them to scarper…” (3) “The whelps were scarpering.” (20), “I kicked the fallen sarnie at him and scarpered” (150)

scran: Slang for rations. Usage in Book: “She had a scran with her and all” (99)

sile: To rain heavily. Yorkshire. Usage in Book: “listening to the rain sile down” (154), “siling down like this” (156)

skittled: Skittles is, of course, a game of ninepins involving a wooden ball or disc knocking down pins. Usage in Book: “It was a job to keep from laughing as they skittled about…” (2)
Related: Interestingly, Raisin has Marsdyke use “skitter” in reference to the girl he’s mad about on 5. “Skitter” is close to “skittle,” both in sound and definition. But it is a less parochial verb. (There is also “skiffling for her bag” at 107 and “it skiffled about in the straw” at 125.) Thus, is this Marsdyke’s attempt at understanding the new neighbors? Another variation is “upskittled”: “I had an upskittled frame of the whelps cowering under Father’s chair” (20), “I wasn’t mighty upskittled to hear she wasn’t helping” (65)

snicket: Known predominantly as the surname of Daniel Handler’s pen name, “snicket” is actually a Northern term for a narrow passageway between two houses or an alleyway. And knowing the precise definition makes Raisin’s usage of the word particularly fun. Usage in Book: “I saw a thin snicket between two books cocked against each other.” (13), “except for a snicket where it wasn’t drawn fully” (136). Also snickleway: “down a snickleway between a house and the back the station” (140), “a snickleway path through the yellow” (147)

snitter: Snitter is not only a village in Northumberland, but it’s the name of a character in Richard Adams’s The Plague Dogs. Snitter was a fox terrier sold to animal research after his master had died. In light of the book’s emphasis on dogs and whelps, this usage has multiple meanings. Usage in Book: “a snitter of talk” (42)

spiceloaf: Is Raisin a Star Wars geek? I can find no trace of the word, but it was used in Aaron Allston’s Star Wars novel, Betrayal as a food consisting of dense meat ground, spiced, and heated to order. Allston is a Texan. I do not know if Allston appropriated the term from Northern England or if Raisin caught sight of the word in the Star Wars novel or invented it on the fly. (Aha, it is a Yorkshire term for currant bread. So where did Allston get it?) Usage in Book: “a look in her eyes that said, I’m a loopy old spiceloaf” (65)

sump-pool: There are two British-specific definitions for “sump” in my unabridged dictionary: “4. Brit crankcase 5. Brit Dial. a swamp, bog or muddy pool.” The usage of “sump-pool” refers to the latter definition, but perhaps foreshadows Marsdyke’s perception as a crankcase by some within the small town he dwells in. Usage in Book: (1), “mud-sumps around the gate” (96)

tantled: Yorkshire for “to waste time, to dawdle.” Usage in Book: “I tantled near the entrance” (148)

Tesco: A British supermarket chain. Used to delineate the difference between ramblers and countrymen in a humorous context at the beginning of the book. Usage in Book: “That is such nice ham. / Isn’t it? Tesco, you know.” (2)

tidgy: Variation of twitchy, but Yorkshire specific? Usage in Book: “stumbling about the place on tidgy twig-legs.” (94), “picking tidgy wooden forks into cartons” (182)

trull: Trull is known to be an affluent area in Somerset. But the usage here is likely to involve the female prostitute or harlot definition used by Joyce and Kipling. Usage in Book: “the whiskery old trull” (22), “you daft trull” (171)

trunklements: This is actually an obscure and regional word of slang that specifies “any other items, not specified.” “Trunklements” appear to be associated with the West Yorkshire city of Wakefield. Usage in Book: “I fetched a basket, cloth, and some other trunklements…” (9), “pictures and trunklements off the walls” (101), “all manner of trunklements in the window” (141), “some feckless trunklement no one would ever buy” (181)

unsneck: To unlatch or unfasten. Found in A Glossary of Words Used in South-west Lincolnshire (1886). Usage in Book: (10) Also “sneck” in “I snecked open the gate to her garden.” (80), “a sneck-lifetr” (169), “unsnecking the cord” (188)

Literary Skeleton Crew

There remain four books in the old apartment: Iain M. Banks’s Excession (which I am currently reading), Steven Gillis’s Temporary People (which I hope to get around to reading quite soon!), a galley of The Letters of Allen Ginsberg (which I hope to read after all the other books I have to read, which are now sitting in the new apartment), and my trusted Random House Webster’s Unabridged Dictionary. There are a handful of oversized volumes now in boxes, but I choose to leave these contents alone. Cardboard bottles for makeshift vintners, ready for an odor tendered by topography and not by time.

The dictionary, being a dutiful and invaluable companion, will most certainly be the last volume transported. You never know when an impulse to flip through the seven crevices might kick in. I’ll feel sufficiently settled in once dictionary and desk have migrated. They remain attached not so much at the hip, but certainly with an invisible tether. I now find myself pondering this old apartment denuded of books and remain preternaturally excited about these preternatural limitations: a veritable jig and tonic! A mere four books sitting in for a cast of thousands! A skeleton crew! I’ve opened up the Ginsberg book and located this one-paragraph letter that Ginsberg wrote to Eisenhower:

Rosenbergs are pathetic, government will sordid, execution obscene. America caught in crucifixion machine, only barbarians want them burned I say stop it before we fill our souls with death-house horror.

This was 1953. It didn’t do any good. No doubt a present Ginsberg type scribing a current message to the President along similar lines might become a “No Fly” list candidate. Unless, of course, the President has received a remarkable spate of hate mail. This remains unknown. He’s certainly not sharing with us.

Did Ginsberg have only four books to work from? Probably not. Did he consult the books he had to write this letter? Probably not. But he did read newspapers.

There remains, for the present time, an Internet connection. But Bartleby is no substitute for a good book. Control-F makes everything too easy. Better to plunge into textual anarchy and unferret some strange passage, such as the one above.

And what does Mr. Gillis give us? A random flip to page 102:

The machine was an old ink wheel mimeograph, silver-grey with a smooth metal cartridge and a round plastic bottle of blue ink loaded into the underside.

I approve of the E over the A in “grey.” I was terrified of reading beyond the word “blue,” for I had hoped that the “round plastic bottle of blue” might connote bottled water, some eccentrically designed machine. But with “ink,” this ambiguity was sullied!

The unabridged points out that the word “mimeograph” was “formerly a trademark.” One of Edison’s lost patents, now liberated into the lingua franca. Even though nobody really uses a mimeograph machine anymore. Will LaserJet suffer such a fate? Will there come a point in which nobody will really remember HP and the word “laserjet” will become released from corporate avarice? A hundred years from now, some amateur etymologist will flip through the unabridged dictionary and see “formerly a trademark” for “laserjet” (with the crude caps humbled), with the meaning somewhat transmuted and no mention of the parent company. But today, we must tread carefully. LaserJet is a registered trademark.

If America remains “caught in crucifixion machine,” then certainly there is hope within the native tongue. And would such a line of inquiry have been pursued had I been surrounded by all of my books? Perhaps there is something to be said for Spartan literary studies.

Alec Baldwin: Stylistic Innovator?

November 18, 2007: “I miss all of the 30 ROCK cast and crew, who I don’t see anymore because of this motherfucking, motherfucking, motherfucking strike.”

Well, you have to give the man points for the serial modifier. I certainly haven’t seen anything like it in print. (Conversation, on the other hand, is a different mother altogether.)

I put forth this query: Is there anybody in the history of letters who has banged that word out three times in a row? From Denis Johnson’s National Book Award-winning Tree of Smoke: “Everything that’s got it’s shitty fingerprints which I can see smeared all over you and glowing like a motherfucking, Bozo-the-Clown goddam target.” Another close contender is Robert Bolano’s The Savage Detectives: “Motherfucking hemorrhoid-licking old bastard, I saw the distrust in his pale, bored little monkey eyes right from the start, and I said to myself this asshole will take every chance he gets to spit on me, the motherfucking son of a bitch.” That’s two, but they’re not close together and it certainly doesn’t equal Baldwin’s holy trinity. (There is, of course, Aimee Bender’s delightful story, but it doesn’t quite have this context.)

Is it possible that Baldwin is making new efforts at stylistic expression through his blog? Or does the motherfucker only have “motherfucking” on his mind? (I likewise wonder, given his fixation for mothers, how he would have responded to the Voight-Kampff test.)

Politics and the Culinary Language

New York Times: “And according to [food service industry research firm principal] Tom Miner, ‘The food has to be fast, it has to be handheld, and No. 1 across the board is egg and cheese on a bread carrier.'”

I don’t know if I find the phrase “bread carrier” as appealing as Jenny D, in large part because I think it’s silly to put “bread” and “carrier” in the same noun phrase. I can get behind “bread bowl” because the bread has been constructed as such. But to me, “bread carrier” sounds like a Samsonite innovation gone terribly wrong. It also suggests a strange cowardice on the part of Tom Miner. Why not just say bagel like the rest of us? Or did Miner, forced into the position of advocating food at large, feel the need to be non-exclusionary about bread in general? Did he fear an array of phone calls and emails from those restaurants and wholesalers using English muffins? Who knew that bread could be so political?

“You Have a Good Voice for TV and Radio”

What American accent do you have?

Your Result: The Midland

“You have a Midland accent” is just another way of saying “you don’t have an accent.” You probably are from the Midland (Pennsylvania, southern Ohio, southern Indiana, southern Illinois, and Missouri) but then for all we know you could be from Florida or Charleston or one of those big southern cities like Atlanta or Dallas. You have a good voice for TV and radio.

The Northeast
The Inland North
The West
The South
North Central
What American accent do you have?
Quiz Created on GoToQuiz

(via Books Inq.)

Fuck Yeah

Social Science Research Network: “This Article is as simple and provocative as its title suggests: it explores the legal implications of the word fuck. The intersection of the word fuck and the law is examined in four major areas: First Amendment, broadcast regulation, sexual harassment, and education. The legal implications from the use of fuck vary greatly with the context.” And, by the way, there are some fun footnotes and here. (via MeFi)