Quotulatiousness

March 16, 2024

Orwell – The New Life (DJ Taylor in discussion with Les Hurst)

Filed under: Books, Britain, History — Tags: , , , — Nicholas @ 02:00

The Orwell Society
Published Jun 9, 2023

DJ Taylor discusses his new biography of Orwell with Les Hurst

Part 2:

The Orwell Society
Published Jun 26, 2023

DJ Taylor answers questions and discusses issues raised by Orwell Society members.

December 9, 2023

QotD: A secret of effective writing

Filed under: Books, Quotations — Tags: , , , — Nicholas @ 01:00

I’m in the process of editing a document for a technical project that is intended to be an introduction for newbies to certain fairly complex issues. While requesting feedback on the project mailing list, I realized that I had accidentally revealed a major secret of really top-grade writing, exactly the sort of thing that put The Cathedral and the Bazaar on the New York Times best-seller list.

I see no reason not to share it with my readers. So here is the relevant part of my request for feedback:

    Please fix typos and outright grammatical errors. If you think you have spotted a higher-level usage problem or awkwardness, check with me before changing it. What you think is technically erroneous may be expressive voice.

Explanation: Style is the contrast between expectation and surprise. Poets writing metric poetry learn to introduce small breaks in scansion in order to induce tension-and-release cycles at a higher level that will hold the reader’s interest. The corresponding prose trick is to bend usage rules or change the register of the writing slightly away from what the reader unconsciously expects. If you try to “fix” these you will probably be stepping on an intended effect. So check first.

(I will also observe that unless you are already an unusually skilled writer, you should not try to replicate this technique; the risk of sounding affected or just teeth-jarringly bad is high. As Penn & Teller puts it, “These stunts are being performed by trained, professional idiots.”)

Eric S. Raymond, “A major secret of effective writing”, Armed and Dangerous, 2011-02-05.

November 3, 2023

QotD: The use of Epigraphy and Papyrology in interpreting and understanding the ancient and classical world

… let’s say you still have a research question that the ancient sources don’t answer, or only answer very incompletely. Where can you go next? There are a few categories, listed in no particular order.

Let’s start with the most text-like subcategories, beginning with epigraphy. Epigraphy is the study of words carved into durable materials like stone or metal. For cultures that do this (so, Mesopotamians, Egyptians, Greeks, Romans: Yes! Gauls, pre-Roman Iberians, ancient Steppe nomads: No!), epigraphy provides new texts to read and unlike the literary texts, we are discovering new epigraphic texts all the time. The downside is that the types of texts we recover epigraphically are generally very limited; mostly what we see are laws, decrees and lists. Narrative accounts of events are very rare, as is the epigraphic preservation of literature (though this does happen, particularly in Mesopotamia with texts written on clay tablets). That makes epigraphy really valuable as a source of legal texts (especially in Greece and Rome), but because the texts in question tend to be very narrowly written (again, we’re talking about a single law or a single decree; imagine trying to understand an act of Congress renaming a post office if you didn’t [know] what Congress was or what a post office was) without a lot of additional context, you often need literary texts to give you the context for the new inscription you are looking at.

The other issue with epigraphy is that it is very difficult to read and use, both because of wear and damage and also because these inscriptions were not always designed with readability in mind (most inscriptions are heavily abbreviated, written INALLCAPSWITHNOSPACESORPUNCTUATIONATALL). Consequently, getting from “stone with some writing on it” to an edited, usable Greek or Latin text generally requires specialists (epigraphers) to reconstruct the text, reconstructing missing words (based on the grammar and context around them) and making sense of what is there. Frankly, skilled epigraphers are practically magicians in terms of being able figure out, for instance, the word that needs to fit in a crack on a stone based on the words around it and the space available. Fortunately, epigraphic texts are published in a fairly complex notation system which clearly delineates the letters that are on the stone itself and those which have been guessed at (which we then all have to learn).

Related to this is papyrology and other related forms of paleography, which is to say the interpretation of bits of writing on other kinds of texts, though for the ancient Mediterranean this mostly means papyrus. The good news is that there is a fairly large corpus of this stuff, which includes a lot of every day documents (tax receipts! personal letters! census returns! literary fragments!). The bad news is that it is almost entirely restricted to Egypt, because while papyrus paper was used far beyond Egypt, it only survives in ultra-dry conditions like the Egyptian desert. Moreover, you have all of these little documents – how do you know if they are typical? Well, you need a very large sample of them. And then we’re back to preservation because the only place you have a very large sample is Egypt, which is strange. Unfortunately, Egypt is quite possibly the strangest place in the Ancient Mediterranean world and so papyrological evidence is frequently plagued by questions of applicability: sure we have good evidence on average household size in Roman Egypt, but how representative is that of the Roman Empire as a whole, given that Egypt is such an unusual place?

Outside of Egypt and a handful of sites (I can think of two) in England? Almost nothing. To top it all off, papyrology shares epigraphy’s problem that these texts are difficult and often require specialists to read and reconstruct them due to damage, old scripts and so on. The major problem is that the quantity of recovered papyrus has vastly outstripped the number of trained papyrologists, bottle-necking this source of evidence (also a lot of ancient papyri get traded on the antiquities black market, potentially destroying their provenance, and there is a special level in hell for people who buy black market antiquities).

Bret Devereaux, “Fireside Friday: March 26, 2021 (On the Nature of Ancient Evidence”, A Collection of Unmitigated Pedantry, 2021-03-26.

October 31, 2023

QotD: Orwell’s “hero” in Nineteen Eighty-Four

Filed under: Books, Quotations — Tags: , , , — Nicholas @ 01:00

Like virtually all utopian or anti-utopian satires, Nineteen Eighty-Four presents drab, flat characters living in a grim world. Their journeys are predictable because their freedoms are narrow, often nonexistent and merely imagined. You cannot judge this book by the conventional criteria signaling a “good” novel. Even the main characters are not three-dimensional figures.

That is how it should be. What would you expect? In a world like this, it would be inconsistent, if not contradictory, to portray human beings who are not stunted and who live exciting lives with unexpected plot twists and turns.

Yet there is a hero in this anti-utopia, and Orwell’s magnificent portrait exemplifies its consummate artistry. The multidimensional, richly drawn “hero” is none other than the setting — that is, the empire of Oceania itself. Its history, its corrupt and tyrannical ruling Party, its oppressive and terrifying technology, its ingenious propagandistic language (“Newspeak”), its hatred of the body and sexuality (Julia belongs to — and pretends to support — the Junior Anti-Sex League): all this makes it a rounded, fascinating, creatively elaborated “character”. And there is no room for any other. Because Oceania is omnipotent and omniscient, it determines that its citizenry — whether prole or Party leader — is a cipher. The setting is, as it were, the (pseudo-Marxist) substructure; the superstructure of character and plot are determined by and beholden to it, utterly secondary and “superfluous” by comparison.

Orwell created an unforgettable, terrifying character — Oceania — and showed its “development” (in the spheres of technology, language, warfare, geopolitics, state torture, social relations, and family and sexuality) with astonishing inventive prowess. That development is manifested above all in Oceania’s range of technological gadgets, Newspeak neologisms, and Party slogans and catchwords.

And that is why Nineteen Eighty-Four is a gripping “novel”. That is, moreover, why it not only became a runaway bestseller in the early Cold War era, but also why it has exerted a cultural impact greater than any work of fiction in the 20th century.

John Rodden and John Rossi, “George Orwell Warned Us, But Was Anyone Listening?”, The American Conservative, 2019-10-02.

October 24, 2023

The English language, who did what to it and when

Filed under: Books, Britain, Europe, History — Tags: , , , , , , — Nicholas @ 04:00

The latest book review from Mr. and Mrs. Psmith’s Bookshelf is John McWhorter’s Our Magnificent Bastard Tongue: The Untold History of English. I’m afraid I often find myself feeling cut adrift in discussions of the evolution of languages, as if I’m floating out of control in a maelstrom of what was, what is, and what might be, linguistically speaking. It’s an uncomfortable feeling and in retrospect explains why I did so poorly in formal grammar classes. When Jane Psmith gets around to discussing actual historical dates, I find my metaphorical feet again:

Shakespeare wrote about five hundred years ago, and even aside from the frequency of meaningless “do” in normal sentences, it’s clear that our language has changed since his day. But it hasn’t changed that much. Much less, for example, than English changed between Beowulf (probably written in the 890s AD)1 and The Canterbury Tales (completed by 1400), another five hundred year gap. Just compare this:

    Hwæt. We Gardena in geardagum, þeodcyninga, þrym gefrunon, hu ða æþelingas ellen fremedon.2

to this:

    Whan that Aprille with his shoures soote,
    The droghte of March hath perced to the roote,
    And bathed every veyne in swich licóur
    Of which vertú engendred is the flour…
    3

That’s a huge change! That’s way more than some extraneous verbs, the loss of a second person singular pronoun (thou knowest what I’m talking about), or a shift in some words’ definition.4 That’s practically unrecognizable! Why did English change so much between Beowulf and Chaucer, and so little between Shakespeare and me?

There’s a two part answer to this, and I’ll get to the real one in a minute (the changes between Old English and Middle English really are very interesting), but actually I must first confess that it was a trick question, because my dates are way off: even if people wrote lovely, fancy, highly-inflected Old English in the late 9th century, there’s no real reason to think that’s how they spoke.

On one level we know this must be true: after all, there were four dialects of Old English (Northumbrian, Mercian, Kentish, and West Saxon) and almost all our written sources are in West Saxon, even the ones from regions where that can’t have been the lingua franca.5 But it goes well beyond that: in societies where literacy is not widespread, written language tends to be highly conservative, formal, and ritualized. Take, for example, the pre-Reformation West, where all educated people used Latin for elite pursuits like philosophical disputatio or composing treatises on political theory but spoke French or Italian or German or English in their daily lives. It wasn’t quite Cicero’s Latin (though really whose is), but it was intentionally constructed so that it could have been intelligible to a Roman. Similarly, until quite recently Sanskrit was the written language of India even though it hadn’t been spoken for centuries. This happens in more modern and broadly literate societies as well: before the 1976 linguistic reforms, Greeks were deeply divided over “the language question” of whether to use the vernacular (dimotiki) or the elevated literary language (Katharevousa).6 And modern Arabic-speaking countries have an especially dramatic case of this: the written language is kept as close to the language of the Quran as possible, but the spoken language has diverged to the point that Moroccan Arabic and Saudi Arabic are mutually unintelligible.

Linguists call this phenomenon “diglossia”. It can seem counter-intuitive to English speakers, because we’ve had an unusually long tradition of literature in the vernacular, but even for those of us who use only “standard” English there are still notable differences between the way we speak and the way we write: McWhorter points out, for example, that if all you had was the corpus of Time magazine, you would never know people say “whole nother”. Obviously the situation is far more pronounced for people who speak non-standard dialects, whether AAVE or Hawaiian Pidgin (actually a creole) or Cajun English. (Even a hundred years ago, the English-speaking world had many more local dialects than it does today, so the experience of diglossia would have been far more widespread.)7

Anyway, McWhorter suggests that Old English seems to have changed very little because all we have is the writing, and the way you wrote wasn’t supposed to change. That’s why it’s so hard to date Beowulf from linguistic features: the written language of 600 is very similar to the written language of 1000! But despite all those centuries that the written language remained the perfectly normal Germanic language the Anglo-Saxons had brought to Britain, the spoken language was changing behind the scenes. As an increasing number of wealhs adopted it (because we now have the aDNA proof that the Anglo-Saxons didn’t displace the Celts), English gradually accumulated all sorts of Celtic-style “do” and “-ing” … which, obviously, no one would bother writing down, any more than the New York Times would publish an article written the way a TikTok rapper talks.

And then the Normans showed up.

The Norman Conquest had remarkably little impact on the grammar of modern English (though it brought a great deal of new vocabulary),8 but the replacement of the Anglo-Saxon ruling class more or less destroyed English literary culture. All of a sudden anything important enough to be written down in the first place was put into Latin or French, and by the time people began writing in English again two centuries later nothing remained of the traditional education in the conservative “high” Old English register. There was no one left who could teach you to write like the Beowulf poet; the only way to write English was “as she is spoke“, which was Chaucer’s Middle English.

So that’s one reason we don’t see the Celtic influence, with all its “do” and “-ing”, until nearly a thousand years after the Anglo-Saxons encountered the Celts. But there are a whole lot of other differences between Old English and Middle English, too, which are harder to lay at the Celtic languages’ door, and for those we have to look to another set of Germanic-speaking newcomers to the British Isles: the Vikings.

Grammatically, English is by far the simplest of the Germanic languages. It’s the only Indo-European language in Europe where nouns don’t get a gender — la table vs. le banc, for instance — and unlike many other languages it has very few endings. It’s most obvious with verbs: in English everyone except he/she/it (who gets an S) has a perfectly bare verb to deal with. None of this amō, amās, amat rigamarole: I, you, we, youse guys, and they all just “love”. (In the past, even he/she/it loses all distinction and we simply “loved”.) In many languages, too, you indicate a word’s role in the sentence by changing its form, which linguists call case. Modern English really only does this with our possessive (the word‘s role) and our pronouns,9 (“I see him” vs. “he sees me”); we generally indicate grammatical function with word order and helpful little words like “to” and “for”. But anyone learning Latin, or German, or Russian — probably the languages with case markings most commonly studied by English-speakers — has to contend with a handful of grammatical cases. And then, of course, there’s Hungarian.

As I keep saying, Old English was once a bog-standard Germanic language: it had grammatical gender, inflected verbs, and five cases (the familiar nominative, genitive, dative, and accusative, plus an instrumental case), each indicated by suffixes. Now it has none. Then, too, in many European languages, and all the other Germanic ones, when I do something that concerns only me — typically verbs concerning moving and feeling — I do it to myself. When I think about the past, I remember myself. If I err in German, I mistake myself. When I am ashamed in Frisian, I shame me, and if I go somewhere in Dutch I move myself. English preserves this in a few archaic constructions (I pride myself on the fact that my children can behave themselves in public, though I now run the risk of having perjured myself by saying so …), but Old English used it all the time, as in Beseah he hine to anum his manna (“Besaw he himself to one of his men”).

Another notable loss is in our direction words: in modern English we talk about “here”, “there”, or “where”, but not so long ago we could also discuss someone coming hither (“to here”) or ask whence (“from where”) they had gone. Every other Germanic language still has its full complement of directional adverbs. And most have a useful impersonal pronoun, like the German or Swedish man: Hier spricht man Deutsch.10 We could translate that as “one speaks German here” if we’re feeling pretentious, or perhaps employ the parental “we” (as in “we don’t put our feet in our mouths”), but English mostly forces this role on poor overused “you” (as in “you can’t be too careful”) because, again, we’ve lost our Old English man.

In many languages — including, again, all the other Germanic languages — you use the verb “be” to form the past perfect for words having to do with state or movement: “I had heard you speak”, but “I was come downstairs”. (This is the bane of many a beginning French student who has to memorize whether each verb uses avoir or être in the passé composée.) Once again, Old English did this, Middle English was dropping it, and modern English does it not at all. And there’s more, but I am taken pity on you …


    1. This is extremely contentious. The poem is known to us from only one manuscript, which was produced sometime near the turn of the tenth/eleventh century, and scholars disagree vehemently both about whether its composition was contemporary with the manuscript or much earlier and about whether it was passed down through oral tradition before being written. J.R.R. Tolkien (who also had a day job, in his case as a scholar of Old English — the Rohirrim are more or less the Anglo-Saxons) was a strong proponent of the 8th century view. Personally I don’t have a strong opinion; my rhetorical point here could be just as clearly made with an Old English document of unimpeachably eleventh century composition, but Beowulf is more fun.

    2. Old English orthography is not always obvious to a modern reader, so you can find a nice video of this being read aloud here. It’s a little more recognizable out loud, but not very.

    3. Here‘s the corresponding video for Middle English, which I think is actually harder to understand out loud.

    4. Of course words shift their meanings all the time. I’m presently reading Mansfield Park and giggling every time Fanny gets “knocked up” by a long walk.

    5. Curiously, modern English derives much more from Mercian and Northumbrian (collectively referred to as “Anglian”) than from the West Saxon dialect that was politically dominant in the Anglo-Saxon period. Meanwhile Scots (the Germanic language, not to be confused with the Celtic language of Scots Gaelic or whatever thing that kid wrote Wikipedia in) has its roots in the Northumbrian dialect.

    6. This is a more interesting and complicated case, because when the Greeks were beginning to emerge from under the Ottoman yoke it seemed obvious that they needed their own language (do you even nationalism, bro?) but spoken Greek was full of borrowings from Italian and Latin and Turkish, as well as degenerate vocabulary like ψάρι for “fish” when the perfectly good ιχθύς was right there. Many educated Greeks wanted to return to the ancient language but recognized that it was impractical, so Katharevousa (lit. “purifying”, from the same Greek root as “Cathar”) was invented as a compromise between dimotiki and “proper” Ancient Greek. Among other things, it was once envisioned as a political tool to entice the newly independent country’s Orthodox neighbors, who used Greek for their liturgies, to sign on to the Megali Idea. It didn’t work.

    The word ψάρι, by the way, derives from the Ancient Greek ὀψάριον, meaning any sort of little dish eaten with your bread but often containing fish; see Courtesans and Fishcakes: The Consuming Passions of Classical Athens for more. Most of the places modern Greek uses different vocabulary than the ancient tongue have equally fascinating etymologies. I think my favorite is άλογο, which replaced ίππος as the word for horse. See here for more.

    7. Diglossia is such a big deal in so many societies that I’ve always thought it would be fun to include in my favorite genre, fantasy fiction, but it would be hard to represent in English. Anyone who’s bounced off Dickon’s dialogue in The Secret Garden or Edgar’s West Country English in King Lear knows how difficult it is to understand most of the actually-existing nonstandard dialects; probably the only one that’s sufficiently familiar to enough readers would be AAVE — but that would produce a very specific impression, and probably not the one you want. So I think the best alternative would be to render the “low” dialect in Anglish, a constructed vocabulary that uses Germanic roots in place of English’s many borrowings from Latin and French. (“So I think the best other way would be to give over the ‘low’ street-talk in Anglish, a built wordhoard that uses Germanic roots in spot of English’s many borrowings …”) It turns out Poul Anderson did something similar, because of course he did.

    8. My favorite is food, because of course it is: our words for kinds of meat all derive from the French name for the animal (beef is boeuf, pork is porc, mutton is mouton) while our words for the animal itself have a good Germanic roots: cow, pig, sheep. Why? Well, think about who was raising the animal and who was eating it …

    9. And even this is endangered; how many people do you know, besides me, who say “whom” aloud?

    10. Yes, this is where Heidegger gets das Man.

October 20, 2023

Orwell on “Boys’ Weeklies” (aka “penny dreadfuls”)

Filed under: Books, Britain, History, Media — Tags: , , , , , — Nicholas @ 03:00

David Friedman is enjoying re-reading some of George Orwell’s collected essays and has some comments on one that I’m quite fond of as well — Orwell’s survey of “Boy’s weeklies” first published in Horizon March of 1940:

The Weeklies, of which Orwell identifies ten, produced by two different publishers and including two older series somewhat different from the others, were very popular reading, targeted at boys up to about fourteen or fifteen. All of the stories in the two older ones and many in the others were set in British public schools; Orwell suggests, plausibly enough, that much of the inspiration for the setting was Kipling’s Stalky and Company.

Orwell focuses mostly on the two older ones, each of which had a stock cast of characters and a setting that showed no sign of changing for the thirty years over which they had been coming out and recognizably stylized plots and dialog. He comments that although each claims to be written by a single named author — “Frank Richards” for one series and “Martin Clifford” for the other — it is obvious that a single author could not have done thirty years of weekly stories and that the stylized writing is in part a way of maintaining the illusion of a single author.

The essay is interesting both for the detailed, and to some extent sympathetic, description of the weeklies

    In the Gem and Magnet there is a model for very nearly everybody. There is the normal athletic, high-spirited boy (Tom Merry, Jack Blake, Frank Nugent), a slightly rowdier version of this type (Bob Cherry), a more aristocratic version (Talbot, Manners), a quieter, more serious version (Harry Wharton), and a stolid, “bulldog” version (Johnny Bull). Then there is the reckless, dare-devil type of boy (Vernon-Smith), the definitely “clever”, studious boy (Mark Linley, Dick Penfold), and the eccentric boy who is not good at games but possesses some special talent (Skinner Wibley). And there is the scholarship-boy (Tom Redwing), an important figure in this class of story because he makes it possible for boys from very poor homes to project themselves into the public-school atmosphere. In addition there are Australian, Irish, Welsh, Manx, Yorkshire and Lancashire boys to play upon local patriotism. But the subtlety of characterization goes deeper than this. If one studies the correspondence columns one sees that there is probably no character in the Gem and Magnet whom some or other reader does not identify with, except the out-and-out comics, Coker, Billy Bunter, Fisher T. Fish (the money-grabbing American boy) and, of course, the masters.

and for Orwell’s analysis of their political implications. He thinks they are designed, probably deliberately by the owners of the firms that publish them, to indoctrinate boys with conservative views — respectful towards the upper classes, ignorantly patriotic, contemptuous of foreigners, blind to the real problems of British society.

    Here is the stuff that is read somewhere between the ages of twelve and eighteen by a very large proportion, perhaps an actual majority, of English boys, including many who will never read anything else except newspapers; and along with it they are absorbing a set of beliefs which would be regarded as hopelessly out of date in the Central Office of the Conservative Party. All the better because it is done indirectly, there is being pumped into them the conviction that the major problems of our time do not exist, that there is nothing wrong with laissez-faire capitalism, that foreigners are un-important comics and that the British Empire is a sort of charity-concern which will last for ever. Considering who owns these papers, it is difficult to believe that this is un-intentional. Of the twelve papers I have been discussing (i.e. twelve including the Thriller and Detective Weekly) seven are the property of the Amalgamated Press, which is one of the biggest press-combines in the world and controls more than a hundred different papers. The Gem and Magnet, therefore, are closely linked up with the Daily Telegraph and the Financial Times. This in itself would be enough to rouse certain suspicions, even if it were not obvious that the stories in the boys’ weeklies are politically vetted. So it appears that if you feel the need of a fantasy-life in which you travel to Mars and fight lions bare-handed (and what boy doesn’t?), you can only have it by delivering yourself over, mentally, to people like Lord Camrose.

The essay ends with a somewhat tentative suggestion that someone ought to produce a left-wing equivalent and a discussion of some problems in doing so.

It is an interesting essay on its own merits. Still more interesting is the response, an article by Frank Richards rebutting Orwell and defending his own work. It turns out that, contrary to Orwell’s confident claim, most of thirty years of weekly stories by “Frank Richards” were produced by the same person, with occasional stories by other authors when he was for some reason not available. Further, as Orwell comments in a later footnote to his essay, Frank Richards was also Martin Clifford, so the same person produced, for thirty years, most of the contents of two different weekly magazines for boys.

His response shows him to be an intelligent and articulate writer. His views are conservative in a general sense; he makes it clear that the setting of the stories is an unchanging 1910 England because he does not think much of the changes since. But he also makes it clear that the reason his stories do not include strikes, unemployment, labor unions, and a variety of other features of the real world is that he believes that providing boys an imaginative foundation in a secure world helps equip them to face future difficulties in a world much less secure.

    Of strikes, slumps, unemployment, etc., complains Mr Orwell, there is no mention. But are these really subjects for young people to meditate upon ? It is true that we live in an insecure world: but why should not youth feel as secure as possible? It is true that burglars break into houses: but what parent in his senses would tell a child that a masked face may look in at the nursery window ! A boy of fifteen or sixteen is on the threshold of life: and life is a tough proposition; but will he be better prepared for it by telling him how tough it may possibly be? I am sure that the reverse is the case. Gray — another obsolete poet, Mr Orwell! — tells us that sorrows never come too late, and happiness too swiftly flies. Let youth be happy, or as happy as possible. Happiness is the best preparation for misery, if misery must come. At least, the poor kid will have had something! He may, at twenty, be hunting for a job and not finding it — why should his fifteenth year be clouded by worrying about that in advance? He may, at thirty, get the sack — why tell him so at twelve? He may, at forty, be a wreck on Labour’s scrap-heap — but how will it benefit him to know that at fourteen? Even if making miserable children would make happy adults, it would not be justifiable. But the truth is that the adult will be all the more miserable if he was miserable as a child. Every day of happiness, illusory or otherwise — and most happiness is illusory — is so much to the good. It will help to give the boy confidence and hope. Frank Richards tells him that there are some splendid fellows in a world that is, after all, a decent sort of place. He likes to think himself like one of these fellows, and is happy in his daydreams. Mr Orwell would have him told that he is a shabby little blighter, his father an ill-used serf, his world a dirty, muddled, rotten sort of show. I don’t think it would be fair play to take his twopence for telling him that!

As a child in England in the early 1960s, I didn’t encounter any of the stories by Frank Richards (at least, I strongly doubt it), but many of the storylines and tropes of his work were still echoed by later authors, especially in the British comics (Lion, Tiger, Valiant, Rover, and The Hotspur among the many offerings). Alongside the heroic adventure stories, the war stories, science fiction, and the (omnipresent) football stories, there were still some that might well have been comic versions of Mr. Richards’ originals.

I missed them after we emigrated, but I was delighted find that the W.H. Smith bookshop at Sherway Gardens carried a few of them (at a significant mark-up, of course) so I was still getting my occasional comic fix until about 1974.

September 25, 2023

Ted Gioia explains why he loves writing for Substack

Filed under: Media, Technology — Tags: , , , , — Nicholas @ 03:00

It’s much easier to reach the audience he wants to share with using his Substack than either Twit-er, er, I mean “X”, or Facebook:

Below I look at some surprising ways Substack has changed the media (and social media) landscape.

This gives me a good excuse to recommend the new Substack app. It’s now my go-to source for informed writing — providing access to a smarter and more diverse group of authors, thinkers, and creators than I’ve found anywhere else.

I’ve now been on Substack for 30 months, and the improvements in the platform during that time have far exceeded my expectations. I didn’t know any music writers on Substack back when I launched, but it now boasts a better roster of critics than any newspaper or magazine. By the way, I’m also subscribing to writers in a dozen or so other fields (culinary arts, economics, literature, finance, technology, psychology, etc.).

I’m a heavy user. I must have signed up for almost a hundred Substacks.

Substack has also added a lot of new features during those 30 months. I especially like Notes, which is similar to Twitter but with extra IQ points. And I’ve also benefited from cross-posting, recommendations, and many other new features. I also applaud options I don’t currently use (like chat and podcasts), because they empower writers and readers.

The reality is that Substack is innovating faster than I can keep up with. But I like it that way. It’s creating an interconnected and independent media ecosystem here.

Best of all are the core values behind all this:

  • Substack supports writers — who receive almost 90% of subscription revenues. This is the exact opposite of the traditional publishing model, where royalty rates of around 10% are typical.
  • I don’t need to attract advertisers, and this frees me from the conflicts-of-interest advertising brings to other platforms.
  • There’s no surveillance or selling of users’ private information here.
  • I share my articles directly with readers, and no algorithm or gatekeeper intervenes to prevent our direct connection.

For these and other reasons, I’ve been an advocate for the platform. And that’s a good introduction to my subject today.

September 7, 2023

J.R.R. Tolkien was completely at odds with the literati of his day

Filed under: Books, Britain, History — Tags: , , , , , — Nicholas @ 03:00

In The Critic, Sebastian Milbank marks the 50th anniversary of the death of J.R.R. Tolkien:

J.R.R. Tolkien

A romantic Edwardian, steeped in Northern European folklore and Victorian literature, Tolkien was and is despised by large parts of the fashionable literary establishment. I have known very few neutral reactions to his work. People either love or loathe Lord of the Rings, which seems doomed to eternally inspire adoration or ire, and nothing much in between.

The often ferocious response of many critics perhaps stemmed from the apparent anachronism of the book, combined with its massive popularity. It was published in 1954, at a time when literary modernism was dominant and pervading the academy. Modernist writers were obsessed with interiority, broke with prior literary convention, and traded in irony, ambiguity and convoluted psychology. Literary critics of the time were taking up the “New Criticism”, which dispensed not only with the previous generation’s fascination with historical context in favour of close reading, but also with the traditionalist concerns for beauty and moral improvement, which were regarded as subjective and emotionally driven. Spare, complex prose, focused on the darker side of society, was in vogue. Into this context dropped 1,200 pages of dwarves, elves and hobbits in a grand battle of good and evil. They were greeted with the sort of enthusiasm one can imagine.

Edmund Wilson called the books “balderdash”, a battle between “Good people and Goblins”. The book’s morality was a sticking point even for the most sympathetic critics, with Edwin Muir lamenting that “his good people are consistently good, his evil figures immovably evil”. As his work travelled into the 60s, political problems cropped up, with one feminist critic writing a book-length attack on the series to denounce it as “irritatingly, blandly, traditionally masculine”.

The mystery of how a book can so sharply divide opinion is answered perhaps by how profoundly original and unusual The Lord of the Rings and Tolkien’s wider legendarium are. They are shamelessly moralistic, written on the basis of exhaustive literary theory, linguistics, geography and world-building, and quite devoid of social commentary or Empsonian irony. Yet they are as much a radical departure from prior literary forms as modernist literature itself is, making the book doubly at odds with prevailing style and doubly original.

The moralism of Tolkien’s work is not, as some critics seem to suppose, the product of schoolboy simplicity. It is far too rigorous for that. So morally charged and orchestrated is the novel, that it would be numbered amongst the small number of works that might have passed Plato’s test for literature. Not only is this in respect of its exacting honouring of good characters and depreciation of wicked ones within its narrative framework, but equally in Tolkien’s utter refusal of allegory, thus meeting Plato’s challenge that poets are dangerous imitators of the world.

September 3, 2023

“This is the world of the Spring and Autumn Annals, and the Zuozhuan

Filed under: China, History, Military — Tags: , , , , — Nicholas @ 03:00

Another anonymous book review at Scott Alexander’s Astral Codex Ten considers the Zuozhuan, a commentary and elaboration of the more bare-bones historical record of the Spring and Autumn Annals:

The first page of the Li Yuanyang edition of Zuo zhuan (16th century).
Wikimedia Commons.

To tell the story of the fall of a realm, it’s best to start with its rise.

More than three thousand years ago, the Shang dynasty ruled the Chinese heartland. They raised a sprawling capital out of the yellow plains, and cast magnificent ritual vessels from bronze. One of the criteria of civilization is writing, and they had the first Chinese writing, incising questions on turtle shells and ox scapulae, applying a heated rod, and reading the response of the spirits in the pattern of cracks. “This year will Shang receive good harvest?” “Is the sick stomach due to ancestral harm?” “Offer three hundred Qiang prisoners to [the deceased] Father Ding?” The kings of Shang maintained a hegemony over their neighbors through military prowess, and sacrificed war captives from their campaigns totaling in the tens of thousands for the favor of their ancestors.

But the Shang faced growing threat from the Zhou, a once-subordinate people from west beyond the mountains. Inspired by a rare conjunction of the planets in 1059 BC, the Zhou declared that there was such a thing as the Mandate of Heaven, a divine right to rule—and while the Shang had once held it, their misrule and immorality had forced the Mandate to pass to the Zhou. Thirteen years later, the Zhou and their allies defeated the Shang in battle, seized their capital, drove their king to suicide, and supplanted them as overlords of the Central Plains.

If the Shang were goth jocks, the Zhou were prep nerds. In grave goods, food-serving vessels replaced wine vessels. Mass human sacrifice disappeared, while bureaucracy expanded. The Shang lacked the state power to administer their surrounding subject peoples so much as intimidate them into line; the Zhou, galvanized by a rebellion not long after the conquest, put serious thought into consolidating their control. While the king remained in the west to rule over the original Zhou lands, he sent relatives and allies east into the conquered territories to establish colonies at strategically important locations, anchoring Zhou rule in a sprawling network of hereditary regional lords bound together by blood, marriage, custom, and ancestor worship of the Heaven-blessed founding Zhou kings.

For generations, the system worked, ensuring military successes at the borders and stability in the interior. The first reigns of the dynasty became a golden age in the cultural imagination for thousands of years. But by the dynasty’s second century, barbarian incursions were putting the state on the defensive, and surviving records hint at waning control over the regional lords and power struggles at court. 771 BC marked a breaking point, when barbarians allied with disgruntled nobles to overrun the royal domain and kill King You of Zhou.

Legend has it that the king was bewitched by his new consort, a melancholy beauty born from a virgin impregnated by the touch of a black salamander. Desperate to make her laugh, the king pranked his lords by lighting the beacon fires intended to summon them in case of invasion. When she delighted at the sight, he kept playing the same trick until the lords got sick of him and stopped coming, which doomed him when the barbarians actually invaded.

But the historical reality seems to be the usual sordid political struggle around a new consort — and heir — threatening the power of the old one. The original queen’s powerful father allied with barbarians to root out the upstart, only to get maybe more than he bargained for. Sure, he put his grandkid on the throne in the end, but the royal house had been devastated. It would never regain the ancestral lands it had lost to the barbarians, the direct holdings that filled its treasury and provided for its armies. The king retreated east into the Central Plains, playing ground of lords that were now more powerful than him. While the royal line remained symbolically important, as holder of the Mandate of Heaven from which all the states derived their legitimacy, the loss of central authority in every other sense would unleash centuries of intensifying interstate warfare and upheaval.

This is the world of the Spring and Autumn Annals, and the Zuozhuan.

The Spring

“Spring and Autumn Annals” is a bit of a redundant translation, since “spring and autumn” was just an old way of saying “year”, and thus, “annals”. And technically, there were multiple Spring and Autumn Annals — every state kept, in addition to court and administrative documents, its own laconic record of each year’s wars, diplomacy, natural phenomena, major rites, and notable deaths. But the state of Lu’s is special, because Confucius was from Lu. He’s said to have personally edited and compiled the extant version of its 242-year-long Spring and Autumn, loading each character with weighty yet subtle moral deliberation. This ensured it a place in the Confucian canon, and its survival where every other state’s annals have been lost to time. The era that it covers is named the Spring and Autumn period after the text, not the other way around.

Taken on its own, though, the Annals is little more than a list of dry facts. For example, the first year reads:

    The first year, spring, the royal first month.

    In the third month, our lord and Zhu Yifu swore a covenant at Mie.

    In summer, in the fifth month, the Liege of Zheng overcame Duan at Yan.

    In autumn, in the seventh month, the Heaven-appointed king sent his steward Xuan to us to present the funeral equipment for Lord Hui and Zhong Zi.

    In the ninth month, we swore a covenant with a Song leader at Su.

    In winter, in the twelfth month, the Zhai Liege came.

    Gongzi Yishi died.

Who is Zhu Yifu? Who’s Duan? What’s all this about “overcoming”? Where does the moral deliberation come in? This canon badly needs meta, and the most notable of the ancient commentaries written for the Spring and Autumn Annals is the Zuozhuan. Ten times as long as the text it’s for, the Zuozhuan is the flesh on the Annals‘ bare bones, one of the foundational works of ancient Chinese literature and history-writing in its own right.

While tradition attributes the text’s authorship to Zuo Qiuming, a contemporary of Confucius, most modern historians date its compilation to the century after. In its extant form, it’s presented interleaved with the Annals, so that after the Annals’ account of each year, with entries such as …

    In summer, in the sixth month, on the yiyou day (26), Gongzi Guisheng of Zheng assassinated his ruler, Yi.

… you have the Zuozhuan’s account of the year, mostly composed of elaborations upon the above entries, such as:

    The leaders of Chu presented a large turtle to Lord Ling of Zheng. Gongzi Song and Gongzi Guisheng were about to have an audience with the lord. Gongzi Song’s index finger moved involuntarily. He showed it to Gongzi Guisheng and said, “On other days when my finger did this, I always without fail got to taste something extraordinary.” As they entered, the cook was about to take the turtle apart. They looked at each other and smiled. The lord asked why, and Gongzi Guisheng told him. When the lord had the high officers partake of the turtle, he called Gongzi Song forward but did not give him any. Furious, Gongzi Song dipped his finger into the cauldron, tasted the turtle, and left. The lord was so enraged that he wanted to kill Gongzi Song. Gongzi Song plotted with Gongzi Guisheng to act first. Gongzi Guisheng said, “Even with an aging domestic animal, one is reluctant to kill it. How much more so then with the ruler?” Gongzi Song turned things around and slandered Gongzi Guisheng. Gongzi Guisheng became fearful and complied with him. In the summer, they assassinated Lord Ling.

    The text says, “Gongzi Guisheng of Zheng assassinated his ruler, Yi”: this is because he fell short in weighing the odds. The noble man said, “To be benevolent without martial valor is to achieve nothing.” In all cases when a ruler is assassinated, naming the ruler [with his personal name rather than his title] means that he violated the way of rulership; naming the subject means that the blame lies with him.

There’s a few too many mythological creatures and just-so stories for the Zuozhuan to be taken entirely at face value, but it’s clear that its creator(s) had access to diverse now-lost records for the era portrayed. For example, some of the events show a two-month dating discrepancy — one of the states used a different calendar, and most likely the creator(s) overlooked the difference when borrowing from sources from that state. While the overall level of historical rigor versus 4th century BC authorial invention remains under heated debate, the Zuozhuan is undeniably the most comprehensive written source on its era that we have.

And importantly, it’s enjoyable.

You can think of the Zuozhuan as the Gene Wolfe of ancient historical works. It’s not an easy read, especially in translation, where names that are visibly distinct in the original (e.g. 季, 急, 姬, etc.) all get unhelpfully collapsed into one transliteration (Ji). The work drops you into a whirl of nouns and events, some of them one-off asides, others part of long-running narrative threads that might only surface again decades of entries later. While a casual readthrough still offers plenty of rewards, putting together all the subtext, references, and connections between entries is an endeavor that’s occupied readers for millennia. Your unreliable narrator remains enigmatic on most of the events he presents, leaving interpretation as an exercise for the reader; when he does speak, either directly or in the voice of the “noble man”, he can raise more questions than he answers. For one, the rule about the naming of an assassinated ruler largely holds in the Annals, but seems to have some notable exceptions.

But if you’re willing to plunge in, the work offers an experience unlike anything else.

August 24, 2023

There Will Be ⚡️Pain⚡️(A Book Update)

Filed under: Books, Business, Humour, Media — Tags: , — Nicholas @ 02:00

Jill Bearup
Published 15 May 2023

I’m just saying, One Crisis at a Time is our motto as well as our title. Have a Fantasy Heroine book update for your delectation and delight.

#fantasyheroine #onecrisisatatime

August 9, 2023

QotD: The “Merry Pranksters”

Filed under: Books, History, Liberty, Quotations, USA — Tags: , , , , — Nicholas @ 01:00

Ken Kesey, graduating college in Oregon with several wrestling championships and a creative writing degree, made a classic mistake: he moved to the San Francisco Bay Area to find himself. He rented a house in Palo Alto (this was the 1950s, when normal people could have houses in Palo Alto) and settled down to write the Great American Novel.

To make ends meet, he got a job as an orderly at the local psych hospital. He also ran across some nice people called “MKULTRA” who offered him extra money to test chemicals for them. As time went by, he found himself more and more disillusioned with the hospital job, finding his employers clueless and abusive. But the MKULTRA job was going great! In particular, one of the chemicals, “LSD”, really helped get his creative juices flowing. He leveraged all of this into his Great American Novel, One Flew Over The Cuckoo’s Nest, and became rich and famous overnight.

He got his hands on some extra LSD and started distributing it among his social scene – a mix of writers, Stanford graduate students, and aimless upper-class twenty-somethings. They all agreed: something interesting was going on here. Word spread. 1960 San Francisco was already heavily enriched for creative people who would go on to shape intellectual history; Kesey’s friend group attracted the creme of this creme. Allan Ginsberg, Hunter S. Thompson, and Wavy Gravy passed through; so did Neil Cassady (“Dean Moriarty”) Jack Keroauc’s muse from On The Road. Kesey hired a local kid and his garage band to play music at his acid parties; thus began the career of Jerry Garcia and the Grateful Dead.

Sometime in the early 1960s, too slow to notice right away, they transitioned from “social circle” to “cult”. Kesey bought a compound in the redwood forests of the Santa Cruz Mountains, an hour’s drive from SF. Beatniks, proto-hippies, and other seekers – especially really attractive women – found their way there and didn’t leave. Kesey and his band, now calling themselves “the Merry Pranksters”, accepted all comers. They passed the days making psychedelic art (realistically: spraypainting redwood trees Day-Glo yellow), and the nights taking LSD in massive group therapy sessions that melted away psychic trauma and the chains of society and revealed the true selves buried beneath (realistically: sitting around in a circle while people said how they felt about each other).

What were Kesey’s teachings? Wrong question – what are anyone’s teachings? What were Jesus’ teachings? If you really want, you can look in the Bible and find some of them, but they’re not important. Any religion’s teachings, enumerated bloodlessly, sound like a laundry list of how many gods there are and what prayers to say. The Merry Pranksters were about Kesey, just like the Apostles were about Jesus. Something about him attracted them, drew them in, passed into them like electricity. When he spoke, you might or might not remember his words, but you remembered that it was important, that Something had passed from him to you, that your life had meaning now. Would you expect a group of several dozen drug-addled intellectuals in a compound in a redwood forest to have some kind of divisions or uncertainty? They didn’t. Whenever something threatened to come up, Kesey would say — the exact right thing — and then everyone would realize they had been wrong to cause trouble.

Scott Alexander, “Book Review: The Electric Kool-Aid Acid Test”, Slate Star Codex, 2019-07-23.

June 5, 2023

QotD: The four types of college papers for English Majors – 4. The Old Switcheroo

Filed under: Education, Humour, Quotations — Tags: , — Nicholas @ 01:00

Only superstars write the Old Switcheroo. But if you pull this off, the sky is the limit. You might end up as a Senator or in the Cabinet, or have a prominent byline in a newspaper of record.

That’s because the Old Switcheroo turns everything into its opposite. If you master this technique, you can prove anything, no matter how implausible. Water isn’t wet. War is Peace. We have always been at war with Eastasia. You name it.

Everybody thinks that Shakespeare’s King Lear is a tragedy, but for the Old Switcheroo, you prove that it’s actually a comedy. Everybody thinks that Mozart is a great composer, but you prove that he stole everything he wrote from Salieri’s butler. Frankenstein wasn’t a monster, but a respected scientist. Etc. etc.

Up is down. Black is white. Fire is ice.

Make no mistake, the Old Switcheroo is A+ work, and no fooling. Even more, it’s a surefire path to career success. There’s just one tiny problem: The people who master the Old Switcheroo are batshit crazy and have a psychological profile dangerously close to that of a serial killer. They might end up in the White House, but you wouldn’t trust them to house-sit your chia pet.

Ted Gioia, “The 4 Types of College papers for English Majors”, The Honest Broker, 2023-02-27.

June 4, 2023

QotD: The four types of college papers for English Majors – 3. The DIM

Filed under: Education, Humour, Quotations — Tags: , — Nicholas @ 01:00

We are now trying to impress the professor and get an A. So we can’t just write about what’s happening at the surface level — we must identify the Deep Inner Meaning (DIM) that others don’t see.

Those bozos think that Moby Dick is a novel about a great white whale. But we know there’s a Deep Inner Meaning to the book — that whale is actually a stand-in for the author’s annoying mother-in-law. Or maybe it’s a surrogate for the President of the United States. Or a displaced sex object.

Let your imagination run free. It really doesn’t matter which you choose. It just can’t be anything obvious. And then you need to talk a good game, and not pay too much attention to facts and plausibility.

And who said you don’t learn useful job skills as an English major?

If you spread the B.S. thick enough, and never let on that you even sniff the stench, you have better than even odds of getting a top grade. It helps, by the way, if you show up in class dressed in something unseemly and having omitted several steps in your morning grooming routine — which are seen as signs of incipient genius in the School of Humanities.

Ted Gioia, “The 4 Types of College papers for English Majors”, The Honest Broker, 2023-02-27.

June 3, 2023

QotD: The four types of college papers for English Majors – 2. The TWIT (They Were Idiots Then)

Filed under: Education, Humour, Quotations — Tags: , , — Nicholas @ 01:00

Back in the old days, everybody was a fool — They Were Idiots Then (TWIT).

We know that unfailingly, for the simple reason that they didn’t think like us. They were stupid and stodgy and superstitious and held all sorts of irritating views.

And it’s true. You can take absolutely any book from a hundred years ago, and find infractions on almost every page. The past is a different country, where everybody is a knucklehead.

Here’s how to write a TWIT: You take a yellow marker and highlight every time somebody in the book makes a blunder, according to our current rules of decorum this week. Trust me, you won’t even have to read the whole book. Within a chapter or two, your book will have more yellow highlights than Nicki Minaj’s hairdo.

Now you’re ready to roll.

You write up the infractions like it’s a district attorney’s indictment. But here’s the key — you must give it some fancy name. You can’t just call a twit a twit in your TWIT paper; you have to refer to your harangue as a critique or an exegesis or a deconstruction, starting with the title — which should be something like “A Critique of Phallogocentrism in Henry James’s Turn of the Screw“.

Once you get the hang of this, it’s as easy as shooting fish in a barrel. There’s just one problem — everyone else in the class is also writing TWIT papers. It’s the most popular thing on campus since the invention of the senior admin job. So you only get a B on these. Or maybe B+ if you throw in a few French words (for example, inserting différance whenever you’d normally say difference).

Ted Gioia, “The 4 Types of College papers for English Majors”, The Honest Broker, 2023-02-27.

June 2, 2023

QotD: The four types of college papers for English Majors – 1. The Reliable C&C

Filed under: Education, Humour, Quotations — Tags: , — Nicholas @ 01:00

This is the “compare and contrast” paper, and is about as simple as they come. You take two things that aren’t exactly like each other. It’s just like Sesame Street, but with books.

Then you list 5 ways they are similar and 5 ways they are different. Voilá — you’ve written a college paper!

    Ernest Hemingway and Jane Austen are both writers who share the same language: English. But Hemingway is an American who liked bullfighting and drinking martinis. Jane Austen is English and never fought a bull. She probably drank tea, because the martini wasn’t invented until 1863, some 47 years after her death …

You can write this stuff in your sleep, provided you dream about Wikipedia entries. But be forewarned: the reliable C&C probably only gets you a reliable C grade.

Ted Gioia, “The 4 Types of College papers for English Majors”, The Honest Broker, 2023-02-27.

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