Tag Archives: writing

77. Adverbially Farewell

yol 5Your Own Language, 5: Adverbially Farewell

I am here to present a eulogy to an old and treasured friend, the suffix -ly.

As adversity separates the men from the boys, the suffix -ly separates the adverbs from the adjectives. At least, it used to.

As a matter of full disclosure, I am not a linguist. I am fascinated by languages, but I haven’t taken the time to learn them. I once spoke two semesters worth of Hindi and I can still embarrass myself in German, but my studies have mostly been as an onlooker. I have read several dozen books purporting to explain linguistics, but books by real linguists make tensor calculus look easy.

Still, I can expound on the really low level stuff.

Two factors are at work in language, position and word endings. Latin was not positional. Veni, vidi, vici (I came, I saw, I conquered) could be stated in any word order without losing meaning because the form of each word defines its function.

English can be positional. If we say the boy ate the dog, we assume it was a hot dog because word order tells us who was the eater and who was the eaten. If we said the flic ate the flak, we don’t need a dictionary to know who did the eating; word order tells us.

But I also said eater and eaten. These are constructions which depend on endings, not word order. English swings both ways. If I say the eater ate the eaten, we all say, “So what?” But if I say the eaten ate the eater, I am speaking nonsense. Or maybe I meant that the one who is usually the eaten ate the one who is usually the eater, in which case we know we have witnessed an ironic reversal of circumstances.

It can be complicated, but let’s keep it simple. Adverbs typically end in -ly; adjectives don’t. (Ugly is the exception).

Here are three quick nonsense examples, quickly presented. (Okay, four.)

  • “The rapid river flowed rapidly through the canyon.”
  • “The beautiful sunset reflected beautifully off the cathedral.”
  • “The angry citizen spoke angrily to his Congressman.”

Once upon a time and place, say Oklahoma in 1962, teachers taught this distinction and expected student to know it. Even then, however, only word nerds like me continued to make the distinction after the ink had dried on the final exam.

Apparently anchormen never got the word. Ad men say whatever they want, truth and grammar notwithstanding, so they don’t count.

In 2016, if I hear someone making the distinction between adjective and adverb, my ears perk up, it is so unexpected.

I think it is fair to say that Steve Jobs drove the final nail in the coffin. When he urged us all to “Think different”, he made it official that even smart guys don’t need grammar. Now anyone who puts up a sign reading “Shop local” can say, “If it is good enough for Jobs . . .“

Okay, true confession. This isn’t actually the rant it appears to be. I will continue to fight the battle of the adverb personally, but the war is over, and I know it.

Actually, it probably doesn’t matter. I know what Jobs means from context and word order. Losing the -ly ending probably won’t make any difference in the English language. It is just one of the natural ongoing changes that occur in all languages.

Once, in post 53, I said that, as users of the English language facing change, we have only one obligation. If the change is stupid, don’t use it. The loss of -ly isn’t stupid. It just hurts my ears.

76. What is Language?

yol 4Your Own Language, 4: What is Language

The last thing I said in post 73 was that if you want to write, you have to create your own version of English. That seems insane on the face of it. Create your own version of English? Why not just use the real thing?

Because there is no such thing as the real thing. I pity the teachers who have to teach “proper” English because that beast does not exist in the wild, and attempts to create it in the laboratory have all failed.

Language, like history, is a product of the winners. You people in New England; why do you think you don’t eat grits, and say ain’t and y’all? It is entirely because Pickett’s charge failed at the Battle of Gettysburg.

No one does linguistic imperialism as well as the English. I didn’t say British. Great Britain consists of England and three other historic countries which were conquered and welded onto England against their will, and whose languages were crushed by the conquerors.

America gained its independence late in this process. English was already the dominant language and its dialects were dispersed throughout America to morph into the dialects we still have. (see post 12) Conquered languages like Gaelic and Scots survived in the backcountry of Britain to see a resurgence in the last fifty years, but died quickly in America.

After American independence, the languages of the two countries diverged until George Bernard Shaw was able to quip, “England and America are two countries separated by a common language.” Part of the divergence was due to American adoption of Amerindian, African, and Spanish vocabulary, part was natural drift, and part of it was the rise of industrialism in both countries before rapid international communication was common. To put it another way, American cars have hoods and trunks instead of bonnets and boots because cars were invented after 1776 and before the internet.

The French have a government agency designed to regulate proper French. It doesn’t work. Ordinary Frenchmen disregard it, but the bureaucrats still try. Britain attempts to unify and codify it’s many dialects and languages through its public schools. At many times in Britain’s history, in-school use of dialects that deviated from governmentally supported norms was severely punished.

That wouldn’t work in America. If a teacher from London had had the misfortune of landing in the Oklahoma of my childhood, the local farmers would have taken him aside to say, “You’re from England, why the Hell can’t you speak English.” This line would have been delivered in an Okie accent that the Londoner probably would not have understood.

All of this leads to the question, “Who is in charge of our language?”, but that requires a post of its own, next Tuesday, after we attend a funeral on Monday.

75. Parts of Speech, Oh, No!

yol 3The next posts are tagged teaching, as well as the usual SF, fantasy and writing. I taught school for twenty-seven years, mostly science, along with a little of everything else, including reading and writing. So pardon me while I rant a little.

My idea of Hell is being an English teacher, working all day with textbooks written by Satan’s emissaries, then going home and spending all night correcting horrible writing. My idea of an angel is someone who does that out of duty, or love of writing, or love of children.

The problem with English textbooks is that they are written by people who can’t write. Or rather, have only written for other English teachers, who learned their trade by writing for other English teachers, who learned their trade . . .

If textbook writers had to sell their wares at Barnes and Noble, they would starve. But people don’t buy textbooks, bureaucrats do.

Let’s start with the most basic lie textbooks tell.

Your Own Language, 3: Parts of Speech, Oh, No!

The next time someone asks you if (insert word of your choice) is a noun, the correct answer is:

  • Yes
  • No
  • Sometimes, but not always
  • It all depends.

That seems evasive, but it is actually the correct answer.

Parts of speech exist and are critically important in understanding and mastering English, but they are not things, they are functions. I am tempted to say verbs not nouns, but partially accurate analogies confuse more than they help.

Wait! I saw you reaching for that off switch.

Of course you are an adult, and far from grammar school (an interesting concept, “grammar school”) but some of you are teachers and most of you are parents, or will be. I want to show you a fallacy. It won’t take long.

Parts of speech morph. Verbs turn into nouns, which turn into verbs again, sometimes with odd results. When I was a boy, if a salesman had said he had to service his customers, he would have been making an off-color sexual reference. Service meant sex, in absence of emotion; bulls serviced cows. Or it meant the carrying out of a mechanical act. The serviceman (noun) at the service (adjective) station serviced (verb) your car.

A salesman served (verb) his customers, and that act was the service (noun) he provided for them. Over my lifetime I have seen the noun service become a verb again with results that still sound wrong to my ear.

Nail. It is a word, but it is not a part of speech. It can act as a part of speech, that is, it can take on a function, but which function it takes on can’t be guessed by seeing the word in isolation.

“He hung his shirt on a nail.” Clearly nail is a noun here because of its function in a sentence.

“Nail that board back up on the fence where the dog knocked it down.” Clearly nail is a verb here because of its function.

“His new nail gun increased his productivity.” Here nail is an adjective.

Most of the time, as children in school, or as adults learning a foreign language, we get our parts of speech as lists to be memorized in isolation. If a child is told to memorize a list of nouns – bat, ball, dog, horse, house – we have already begun a lifelong pattern of generating ignorance. The brightest students will learn in spite of the handicaps thrown in their way; the rest will decide they are too stupid to learn. And all because we taught them things that aren’t true.

74. Writing vs. Storytelling

yol 2Your Own Language, 2: Writing vs. Storytelling

Here is a confession. I’ve never read Harry Potter. I’ve tried, but I could never get through the first book; the writing was too dull for me. It would have been fine for a romance, or a modern slice-of-life, or even a western, but fantasies need to sing. At least in my universe.

A Potterfanatic friend of mine tells me that the movies follow the books extremely well, and I find the movies superb. Whatever I think of Rowling’s writing style, she is a first-class storyteller.

We have to judge Homer entirely on his storytelling, since no one has ever heard his original delivery.

Shakespeare is noted for both language and storytelling, and I don’t dispute it. But just between us, if you took one of his comedies with its misunderstandings and cross-dressing disguises, and stripped it of its beautiful language, wouldn’t it look at home on I Love Lucy?

Pavane, by Keith Roberts, is one of my favorites for beauty of writing. If you read the reviews on Goodreads, you will find a strong division between those who praise the beauty of his writing and those who find him confusing, disorganized, and sometimes lacking in believability. I can’t buy that, because his writing trumps any weaknesses in storytelling – for me.

In my own writing, if I had to choose I would take beauty of writing over storytelling. But we don’t choose; we strive for both.

Of course, it’s all artificial. Analysis always is, but analysis is a useful tool if you don’t let it get in the way of creativity. Critics use analysis to tell us how we screwed up, and rarely, what we did right. We use analysis to try to catch our faults before they can.

What about you? This series of posts are meant for would-be writers, not casual onlookers. Which side of the writing vs. storytelling dichotomy do you come down on?

Try this experiment. Choose a favorite novel, then look it up in Goodreads and read at least thirty reviews. You might want to beware of the respondents who are young readers just getting their wings, but you will probably find most of them to be mature and intelligent. It can be eye opening to see how many different ways readers react to the same work.

There are masterpieces that everybody loves and dogs that can’t find a friend, but I find the mid-rated books most instructive. They tend to have their advocates and detractors arrayed around the notion of beauty of writing vs. strong storytelling. I can usually see both viewpoints even when they are trouncing one of my favorites. Or praising something I find unreadable.

Here is another experiment. Try it if you dare. Take the twenty books you most love, the ones which have changed your life. Look them up in Goodreads. If everybody hates what you most love, you may not be destined to be the next Stephen King.

Or not; you never know.

73. Your Own Language

    YOL 1 Welcome to 2016. I have been dense-packing this website with nine posts per week since mid-2015, in support of the upcoming release of Cyan, the novel which signals my return from the graveyard of forgotten writers.
     Science fiction readers tend to be closet or would-be writers themselves. With that in mind, the next eight posts in A Writing Life will be an unabashed how-to series.

Your Own Language
first post of 8

I have spent the last fifty-five years perfecting the ability to write in a dead language – grammatical English.

Before you close me out without reading further, let me assure you that I fight back against English grammar as much as anyone else who deals with it daily. The grammar books of my childhood and youth were of little use in learning to write well; the ones I saw during my years as a teacher were positively harmful. Most of what they taught needed to be unlearned to avoid becoming a mental cripple.

I have come to these two conclusions about English.

  • Those who slavishly follow grammatical rules end up sounding like pretentious fools.
  • Those who ignore grammatical rules end up sounding like ignorant fools.

As Kirk said to Spock, the truth lies somewhere in between.

I grew up on a farm outside a tiny town in Oklahoma. The version of English my people spoke did not follow Strunk and White, but it still had rules. You would never say to a friend, “Y’all come over after work.” Only ignorant Northerners said that when mocking us. You would say, “Come over after work,” or, “Would you like to come over after work.” In the South, you is second person singular and y’all (you all) is second person plural, a grammatical nicety far superior to the way standard English collapses singular and plural into a single word.

It wasn’t standard grammar, but it was grammar nonetheless, and if you didn’t follow the rule, you looked ignorant.

If I had planned to be a farmer, I would simply have talked like everybody around me. It is a valid dialect, capable of great expressiveness. But I had decided to go to college to become a scientist, so I had to master standard English.

Try that is a tiny town in Oklahoma in the fifties. I dare you.

Fifty-some years, two master’s theses, and many novels later, I’m still working at it. Here are some of the things I’ve learned along the way.

  • There is no such thing as Standard English.
  • What I took for Standard English and spent a lifetime mastering was only a snapshot of a continuously changing scene.
  • The language I made my own, has largely disappeared.
  • What typically passes for English today is as chaotic as a bowl of alphabet soup, but . . .
  • If you choose a typical passage written in 1950, or 1900, or 1850, or 1800 it will be equally chaotic.
  • Chaotic or not, readers read and understand the writing of their own era. And pay for it, if it’s interesting or exciting.
  • Generally speaking, so-so writers make more money than really wonderful writers, if they are also excellent storytellers.
  • You have to create your own version of English.

Prince of Exile, 1, introduction

Welcome back to Serial in its normal form. I did not want my fantasy short story Prince of Exile broken up by a change of year. Beginning tomorrow, it will appear in eleven additional posts, with this post as an introduction.

I have been writing fantasy of one kind or another since the beginning. In 1972 I wrote the opening lines of Valley of the Menhir, (post 39) three years before I decided to try my hand at novels. Most of the fantasy I’ve written has been in that universe; the Land of the Menhir has become almost a second home to me.

This story stands separate and a lot further along the continuum from medieval to mythical. It takes place adjacent to a land of Kings and barmaids, and in that land at the same time – sort of. The Prince is more than a little hard to pin down.

The initial rush of emotion that told me I had a story crying to be written came when I first heard the Doors’ performance of Celebration of the Lizard on their 1970 album Absolutely Live. When I heard . . .

Brothers and sisters of the pale forest
Children of the night
—–
Tomorrow we enter the town of my birth
I want to be ready.

. . . I knew I had to take those words, absorb them, transmute them, and bring them back again. The story that emerged did not contain the words of the poem; nevertheless, they are its genesis and essence.

(Pardon the brevity of the quotation; I am punctilious about not stealing other artist’s words.)

Two other fragments were necessary to this story; I am a fan of Michael Moorcock and of Elric, but Stormbringer always repelled me. In part 2, I decided to offer my anti-Stormbringer in rebuke.

The second fragment comes from childhood, from a book called Wild Animals I have Known by Ernest Thompson Seton, which I bought when I was about twelve. In one of his stories, all based on real events, Seton says, “Every true story ends in death.” Or so my mind constructed his meaning; I still have the book, but I have never since been able to find the passage that affected me so deeply. Most likely, I had rebuilt his actual words, “The life of a wild animal always has a tragic end,” which is a subtly but critically different observation.

Over the years, while recognizing the reality of Seton’s statement, whatever words he actually used to convey it, I have also come to realize that the opposite is equally true. No action, for good or ill, ends with the actor’s life. All the things we do have reverberations that long outlive us. In other words, “No true story ever ends.”

In Prince of Exile, I finally found the right place to use that conundrum.

You might guess from the length of this introduction that Prince of Exile is something special to me. I may be my favorite among all the things I’ve written. Although it would be hard to rank Prince above something I’ve spent years polishing, at least pound for pound it ranks first.

There is one flaw in the story, which I have no intention of fixing. If you were to read it cold, you would  expect to find that the prince is the king’s son. No. The King is a king; the Prince is the prince. Not related the way you would think at all. Logically, I should change one or the other, but I can no more do that than Ursula LeGuin could change Ged’s name because someone might think she meant God. Anyway, structural flaws don’t mean so much in a story that comes from this deep.   Prince of Exile begins tomorrow.

72. New Year on a New Planet

Welcome to 2016. Even though my upcoming novel Cyan has been moved back to an April release date, some of the Cyan related posts are tied to the solar calendar. For example . . .

Why do we start our year on “New Years Day”? The Chinese don’t. Traditional Jews don’t. Islamic nations don’t. Our New Year might make some sense if it started on an equinox or a solstice, but it doesn’t.

Where does a circle – or an orbit – start? Silly question; it doesn’t. Yet we have seasons, and seasons make the year. Where we start counting the days of that year is arbitrary. And if there were no seasons, as on Cyan where there is no axial tilt . . .

Gus Leinhoff, one of the first explorers of Cyan, said:

The philosopher observes that the life of a man is like the passing of the seasons, from springlike birth, through the autumn of age, and winter’s death. In spring’s rebirth, year after year, the philosopher’s metaphor becomes the prophet’s revelation, as we try to see a new life for ourselves after the death that awaits us all.

What philosophies and religions might come out of this planet of endless springtime, and how will our children understand the briefness of their own lives without the endless cycle of seasons to provide a metaphor for their understanding.

Perhaps Gus worried too much. Humans are resilient, and the DNA evolved by a billion years on Earth cannot be reset quickly. Twenty years after the first colonists arrived on Cyan . . .

The long days and seasonless years had begun to seem normal, even to the oldest colonists. There was a whole generation of Cyan-born children, nearly thirty thousand of them now, who had known nothing else. The humans weren’t quite emulating a yeast culture, but they were multiplying fast.

Birthdays were artificial reminders of the yearly rhythms of old Earth. They served no practical function on Cyan, but they had become important rituals, just as the old, nearly abandoned holiday of Xmas (or Christmas as some extreme purists still called it) had been revived to mark the end of a year. An Earth year, that is, which was the only kind of year anyone memorialized.

A trip around Procyon where nothing changes can hardly be called a year.

from Spoon River

hiatusSpoon River Anthology: Lucinda Matlock

Edgar Lee Masters is not overlooked, and his Spoon River is well known, but not well enough. It would be hard for it to have its due, since it is, for my taste anyway, one of the crowning achievements of American literature.

Masters lets his 200 plus characters speak their minds without authorial censorship. They are grave, gay, kind, angry, cynical, full of love, full of hatred, spewing venom and offering forgiveness. Masters never tries to arbitrate. He simply lets them tell their stories from the grave, but he does juxtapose. Tom Merritt tells of being killed by his wife’s lover, then his wife tells her story, then the killer tells his. Three stories on three pages, but with viewpoints so different they could be in different universes.

Choosing a poem to illustrate Spoon River could become an exercise in choosing what I believe, thus skewing the picture. Spoon River is huge in variety. Like the Bible, you can find arguments somewhere in it to bolster any position.

Instead, I’ll give you what seems to be Masters’ favorite, the story of his grandmother, given under another name.

Lucinda Matlock
from The Spoon River Anthology
Edgar Lee Masters – 1915

I went to the dances at Chandlerville,
And played snap-out at Winchester.
One time we changed partners,
Driving home in the moonlight of middle June,
And then I found Davis.
We were married and lived together for seventy years,
Enjoying, working, raising the twelve children,
Eight of whom we lost
Ere I had reached the age of sixty.
I spun, I wove, I kept the house, I nursed the sick,
I made the garden, and for holiday
Rambled over the fields where sang the larks,
And by Spoon River gathering many a shell,
And many a flower and medicinal weed —
Shouting to the wooded hills, singing to the green valleys.
At ninety-six I had lived enough, that is all,
And passed to a sweet repose.
What is this I hear of sorrow and weariness,
Anger, discontent and drooping hopes?
Degenerate sons and daughters,
Life is too strong for you —
It takes life to love Life.

Hiatus, sort of ends today. The fantasy short story Prince of Exile will begin here Monday.

71. New Year, New Century

DSCN4794The end of the year is my favorite season. Whether you are Christian or not, the story of the birth of the Christ child is also the birth of hope, the birth of joy, and the birth of innocence. We need all those things in our world. I have come to love this season more now than I did when I was a child.

Add a sense of the world’s renewal at the turning of the year that comes to us from the pagan roots of our Christmas festivals, and it all becomes pretty magical.

I have already spent time celebrating the year’s end as we Westerners see it. Now, on the last day of the year, I would like to turn toward the East, to a land beyond the land of the Magi.

*****

Rabindranath Tagore is a Bengali writer who won the Nobel prize for literature in 1913. He is largely unknown in America, and for good reason. His work is hard going – not because of difficuty of language (there are plenty of translations), but because it is the product of a spiritualism that is beyond the American norm. America loves it’s gurus; we all know that. But the ones who make it here tend to have a gift for sound bites, an easy pop-psych message, and a face the camera loves.

Tagore was glitz free.

When I was studying Anthropology, my subject area was South Asia. I ran across Tagore’s poem Sunset of the Century in a textbook, and was so taken by it that I quoted part of it when I wrote A Fond Farewell to Dying, and quoted it again as the sub-title of this website.

At sunset, December 31, 1899, Tagore looked at his land, crushed under a hundred and fifty years of British domination, and looked forward to the new century which he hoped would bring India its freedom.

Here is the excerpt I quoted in Fond Farewell:

Be not ashamed, my brothers, to stand before the proud and the powerful.
With your white robes of simpleness.
Let your crown be of humility, your freedom the freedom of the soul.
Build God’s throne daily on the ample bareness of your poverty.
And know that what is huge is not great and pride is not everlasting.

That last line is probably my favorite quotation of all time. The complete poem is in today’s Serial post.

Sunset of the Century

hiatusToday, in A Writing Life, I explain my connection to this poem. You can take a look there; I won’t repeat myself here.

Sunset of the Century
Rabindranath Tagore
(Written in the Bengali on the last day of 1899.)

 The last sun of the century sets amidst the blood-red clouds of the West and the whirlwind of hatred.
The naked passion of self-love of Nations, in its drunken delirium of greed, is dancing to the clash of steel and the howling verses of vengeance.
The hungry self of the Nation shall burst in a violence of fury from its own shameless feeding.
For it has made the world its food,
And licking it, crunching it, and swallowing it in big morsels,
It swells and swells
Till in the midst of its unholy feast descends the sudden heaven piercing its
heart of grossness.

 The crimson glow of light on the horizon is not the light of thy dawn of peace,my Motherland.
It is the glimmer of the funeral pyre burning to ashes the vast flesh, – the self-love of the Nation, – dead under its own excess.
Thy morning waits behind the patient dark of the East,
Meek and silent.

 Keep watch, India.
Bring your offerings of worship for that sacred sunrise.
Let the first hymn of its welcome sound in your voice, and sing,
‘Come, Peace, thou daughter of God’s own great suffering.
Come with thy treasure of contentment, the sword of fortitude,
And meekness crowning thy forehead.’
Be not ashamed, my brothers, to stand before the proud and the powerful
With your white robe of simpleness.
Let your crown be of humility, your freedom the freedom of the soul.
Build God’s throne daily upon the ample bareness of your poverty
And know that what is huge is not great and pride is not everlasting