Wednesday, March 25, 2015

Inverting "An Artist of the Floating World"

In his New Yorker review of Kazuo Ishiguro's new novel The Buried Giant, James Wood describes the narrators of Ishiguro's earlier novels as follows:
His complacent or muted unreliable narrators, like the painter Ono, in An Artist of the Floating World, or the butler Stevens, in The Remains of the Day, tell stories that mildly and self-servingly repress secrets, shameful compromises, and the wounds of the past. (Both of these narrators have reason to conceal or minimize their involvement with Fascist politics just before the Second World War.).
 While this is an accurate description of Stevens, it gets Ono backwards. I know this, because I misread An Artist of the Floating World the first time I read it. Only a second reading did I notice what makes the novel so distinct and striking: Ono does not "conceal or minimize his involvement" with Fascism. On the contrary, throughout the book, he is trying to acknowledge his guilt – and everyone around him doesn't want to hear about it. They tell him he's exaggerating; they tell him there's no reason for him to feel so guilty. If the novel is a figure of "self-serving repression of secrets", it is the people around Ono who are doing the repression, not Ono himself.

It's time to reread An Artist of the Floating World so I can back up this claim with some evidence!

Saturday, March 21, 2015

Using "that" to refer to people

I saw a complaint about the supposedly increasing use of "that" to refer to people (instead of "who").

Since I have a digital copy of Jane Austen's "Emma," it took me only a few minutes to find an example of such a usage by Austen: Mr. Woodhouse "was a nervous man, easily depressed; fond of every body that he was used to, and hating to part with them; hating change of every kind."

But the Corpus of Historical American English also provides some evidence. I searched for the phrase "man who" and the phrase "man that". Amusingly, "the man that" seems to be decreasing in frequency. From the 1830s to the 1930s (by decades), it appears with at least 200 hits per decade, while since then it has been decreasing, with only 94 hits in the 1990s and 116 in the 2000s.

But the complaint was made by someone from Britain. The BYU corpora do not include a corpus of Historical British English like the COHA for American English, but you can use the BYU corpus site to search Google Books. And again, "man that" has decreased considerably since the 19th century: over 20,000 hits per decade from the 1830s to the 1900s (and up over 30,000 sometimes). Oddly enough, there is then a sudden drop in hits between the 1900s and the 1910s, from over 36k hits to about 12,500. And then it's been pretty steady since then.

So whatever is going on here, it is highly unlikely to be a matter of increasing frequency of use of "that" to refer to people (or at least to refer to "man"). This is what's known as "the frequency illusion."

Sunday, February 22, 2015

"deemed as"? "based on" vs. "based off of"?

A Facebook friend who was grading papers wrote:

Fellow language/grammar enthusiasts: I need another verdict so I know if two more of my pet peeves are justified. My students write that something is "deemed as" rather than simply "deemed" the adjective that follows. They also write that things are "based off of" rather than "based on" other things. I hate both. May I correct them or are these now so common as to be legitimate?

I responded:

This is the kind of thing I love to go a little bit crazy with …

I looked up the phrases in the Corpus of Contemporary American English (COCA) and the Corpus of Global Web-Based English (GLOWBE). These two corpora can be found at the BYU site for linguistic corpora.

For based on vs. based off of:

based on = 61860
based off of = 9

based on = 335832 (US 76525)
based off of = 736 (US 392)

I think you can safely say that “based off of” is not yet Standard English.

Deemed (as): this pair is a bit harder to deal with, because it’s not two distinct phrases (i.e., all hits for “deemed” as are also counted for “deemed”, and many of the uses of “deemed” might be in contexts where “deemed as” would not be used). But here are the numbers:

deemed as = 56
deemed (including the above) = 5141

deemed as = 1419 (US 136)
deemed (including the above) = 39523 (US 5512)

While these ratios lean quite strongly in favor of not using “as” with “deemed,” I think there’s enough uncertainty about the numbers to make “deemed as” worth accepting, as well as enough grounds for understanding where “deemed as” comes from (parallel to “regard as” and “consider as” — which latter form I don’t like, actually, but have to admit exists).

This is only about current usage (1990-2012 with COCA, 2012-2013 with Glowbe), so it doesn’t even address the history of “deemed as” and “based off of.” I bet the former has a long history, while the latter doesn’t. But linguists have a term to refer to people’s sense that a construction is new when it is not: “recency illusion”.

And the Google Books Corpus shows that I’m right: “base d off of” does not appear until the 1990s in American English (though it has risen sharply since). In contrast, “deemed as” has been in steady use for 200 years now.

So mark “based off of” as wrong (and discuss it?), but accept “deemed as” (and talk about the “recency illusion”?).

Thursday, January 15, 2015

Voltaire misattributions

Voltaire was quoted often in the past week: "I disapprove of what you say, but I will defend to the death your right to say it." But Voltaire never said that, as can be read in the "misattributed" section of the Wikiquote page on Voltaire.

Still, at least the quotation is from one person's attempt to sum up Voltaire's position on free speech. The same cannot be said of another Voltaire attribution that just crossed my path: "To learn who rules over you, simply find out who you are not allowed to criticize." This turns out to be a quotation from an American white supremacist named Kevin Strom (see the Wikiquote page again).

Voltaire did actually say a few things. Here's one of them (found by skimming that Wikiquote page): "Un bon mot ne prouve rien." Or as that page translates it, "A witty saying proves nothing."

Charlie Hebdo and the State Monopoly on Violence

A hypothesis for discussion:

Charlie Hebdo is not about freedom of speech. It’s about the state monopoly on violence: “the right to use physical force is ascribed to other institutions or to individuals only to the extent to which the state permits it” (Max Weber, “Politics as a Vocation”). The caricaturists’ “freedom of speech” protects them from state suppression or punishment of their speech as speech. Because they were offended by what the Charlie Hebdo caricaturists drew, the murderers claimed the state’s “right to use physical force” as their own. Such vigilante justice is what should be condemned here; no defense of “freedom of speech” is necessary (or even appropriate?).

Wednesday, January 14, 2015

Erasing "Bringing It All Back Home"

It's the 50th anniversary of recording of Bob Dylan's Bringing It All Back Home. I listened to the whole album this morning while working out, looking for something to write about it. I found myself overwhelmed by how many individual lines and images would be worthy of lengthy posts. So instead of writing a blog post, I have done an erasure of the lyrics.

        homesick   it
It’s          it      alley
       back, write
       it all took  back
       take          fall
It’s          with
It            all
Without    faithful     situations   wall  all
        all    bring              with
Especially  it’s
It            take
       all    away
              call it
Writing                   with
              all    editor
       waitress     kitchen
       all    back alley
With               front
       all    with
It     it
       bringin’ back
Back               back suit
It             with
       it back
              back  took
              it      away
Wait                      it
It’s                  it’s
It’s   take
With all
With        lit 
All           with
Its    it
All    all    fall
With with
Sits with     hermit
All    wait  with
It            it      totally
With ditch
It's                  balloon
       waterfalls pity
It’s                         downfall
                      small        call
       all           nothing      all
It’s          without
              really        waits
It’s    it’s                        it
All                  nothing
              with         really
        it                          it
Nothing                          criticize
        nothing            with
Limited                    it
Obscenity  really
With                      security
It                    bitterly
        fall         naturally
        it’s          it’s
It's All                    take
        it’s all
Take         it’s all
All                                 home
All                          all    home
        taken all
        it’s all                            calls
       it’s all

Saturday, December 06, 2014

Tolkien, Pullman, Rowling

A Facebook discussion that mentioned Tolkien, Pullman, and Rowling led me to write the following comment, which I thought I'd save here for posterity.

I read Tolkien passionately at 14 or so. When I reread LOTR when I was about 22, I had just read "One Hundred Years of Solitude" for the second time. The juxtaposition of Garcia Marquez and Tolkien did not make T look good; if anything, it made him look terrible. — And when my son and I read LOTR out loud a few years ago, we eventually stopped, because it was ... boring. For a while, we entertained ourselves by making fun of it (everybody getting stoned in Lothlorien, for example), but that got boring after a while. — The world T imagines (or "bank-robs", to pick up your phrase) is incredibly impressive, though, as is Pullman's.

I first read Pullman because I read an article that called him "Rowling for adults", so I thought I'd check him out. He has much more ambition than Rowling, and for the most part, he pulls off a lot more. Further, his Mrs. Coulter exposes Rowling's characterization of ridiculous characters (Harry's aunt, uncle, and cousins) as well as of evil characters (above all, Voldemort) as two-dimensional at best.

In "The Amber Spyglass," though, Pullman exposes a flaw in his plotting. In the middle of a battle, one character has to explain something to another for a page or so — and it's clear that the explanation is less for the character than for the reader. This flaw made me notice something about Rowling's plotting: she *never* has to explain anything during exciting passages, because she *always* sets things up earlier. As a result, the exciting passages never get interrupted by explanations, but can just be exciting. — Beyond that, though, when she sets things up earlier, it never reads as "foreshadowing": whatever it is that is being explained is clearly part of the plot at the moment when it is explained, and it never comes across as explaining *for the reader*.

In short, for the creation of a fantasy world, Tolkien. For characterization, Pullman. But for effective plotting, Rowling.

Friday, December 05, 2014

Imaginary Icebergs

(To get the mouseover text, go to the original post here.)

The above comic reminded me of the following poem:


Elizabeth Bishop

We'd rather have the iceberg than the ship,
although it meant the end of travel.
Although it stood stock-still like cloudy rock
and all the sea were moving marble.
We'd rather have the iceberg than the ship;
we'd rather own this breathing plain of snow
though the ship's sails were laid upon the sea
as the snow lies undissolved upon the water.
O solemn, floating field,
are you aware an iceberg takes repose
with you, and when it wakes may pasture on your snows?

This is a scene a sailor'd give his eyes for.
The ship's ignored. The iceberg rises
and sinks again; its glassy pinnacles
correct elliptics in the sky.
This is a scene where he who treads the boards
is artlessly rhetorical. The curtain
is light enough to rise on finest ropes
that airy twists of snow provide.
The wits of these white peaks
spar with the sun. Its weight the iceberg dares
upon a shifting stage and stands and stares.

The iceberg cuts its facets from within.
Like jewelry from a grave
it saves itself perpetually and adorns
only itself, perhaps the snows
which so surprise us lying on the sea.
Good-bye, we say, good-bye, the ship steers off
where waves give in to one another's waves
and clouds run in a warmer sky.
Icebergs behoove the soul
(both being self-made from elements least visible)
to see them so: fleshed, fair, erected indivisible.