Quotulatiousness

September 13, 2024

Fiction should have heroes, not merely the morally ambivalent “heroes” modern writers prefer

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

Tom Knighton is nostalgic for some of the books and movies of his youth, which often had an actual hero you could root for:

Somewhere along the way, fiction started changing.

In my childhood, the nihilism that seems to be so common today wasn’t really a thing. We had grand adventures with heroes who might not have been perfect but were still heroes.

Today, we have a lot of fiction where no one is really the good guy. Rings of Power has been trying to humanize the orcs, making all the good races of Middle Earth darker than they were. Game of Thrones saw just about every truly heroic character killed while so many of the despicable characters lasted until the end.

And that’s a problem. Why?

Well, let’s start with this bit from C.S. Lewis:

Now, I grew up in the era of Rambo and John McClain. I had tough-guy heroes and I also had those that were just regular folks thrust into bad situations.

But there were always good guys and there were always dark forces at work.

The world is more muddied than that, sure, but entertainment doesn’t have to reflect reality perfectly. I mean if that were true, how did Lord of the Rings do so well? Elves and orcs and uruk-hai aren’t exactly real, now are they? Neither are hobbits, Jedi, terminators, or any of a million other fictional creations.

Yet what existed in all of those stories were good guys fighting to put down the evil that arose.

As Lewis argues, it taught my generation and those before and right after mine that cruel enemies can be defeated.

Today, though, we see all too many stories where the enemies prevail, where good fails to triumph over evil, and evil is allowed to remain.

For a while, there was a certain amount of shock value to that. This was when this was the exception rather than a normal thing you would see. It was that moment at the end when you realize the good guy lost despite their best efforts, that revealed at the end that the hero who sacrificed himself to kill the bad guy failed to actually kill him.

August 29, 2024

QotD: The Price of Speed

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

Recently, over lunch, Mrs. Muros regaled me with tales of authors who treat their readers to several new novels a year. As she waxed rhapsodic on the subject of the people who put the “p” in “prolific”, I scribbled notes on a credit card receipt. “Why is it”, I wrote, “that these ink-strained Atalantas can fill several pages with reasonably readable prose in the time it takes me to assemble a simple Substack post?”

The answer, I mused, might have something to do with sex. All of the authors mentioned by My Yankee Sweetheart, after all, were fully paid-up members of the distaff half of humanity. Could it be that my words fail to flow like summertime honey because my brain has been pickled in androgens? Or, to be somewhat less of a bio-Calvinist, could it be that my refusal to engage in the formal study of literature — a policy which owed much to my belief that the subject was “for girls” — left me bereft of some of the most useful tools of the writer’s trade?

Later that day, as I ransacked back issues of obscure journals in the hope of finding an uncooperative fact, a warm yellow bulb of incandescent understanding appeared above my head. ‘Twas not the writing that slowed me down, I realized, but the research. Indeed, were it not for the pesky puzzle piece I was trying to find, my article would have been done and dusted well before The Love of My Life and I sat down to our midday meal.

Before it faded, my wee epiphany bore two sprogs. The elder of these reminded me that, like other forms of mass production, the prodigious productivity of the quill-drivers in question owed much to the avoidance of novelty. That is, they were able to write so much because, in effect, they made repeated use of familiar formulae, tried-and-true tropes, and recurring turns-of-phrase. The younger of my mind-sparks added that, in addition to taking up time that an writer might otherwise spend at the keyboard, the discovery of a new fact will often lead to a quest for fresh forms of expression.

So, to quote the immortal words of David Crowther, you pays your money and you takes your choice. You can write quickly, or you can say something new, but you can’t do both.

Bruce Ivar Gudmundsson, “The Price of Speed”, Extra Muros, 2024-05-21.

August 26, 2024

The craft of the historian, then and now

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

At Extra Muros, Bruce Ivar Gudmundsson contrasts the way historians used to research and write their books with the much more convenient, yet still imperfect methods of modern historians:

Another difference between ancient historians and their modern counterparts.

In days of yore, when visiting an archive required long journeys by sea, or, at the very least, a tiring trek o’er moor and mountain, considerate historians stuffed their works, with extensive excerpts from primary sources.1 Later, when trains, planes, and automobiles made it easier for people to visit the places where original documents could be found, these quotations shrank, eventually to the point where the word “citation”, which had once described the products of scholarly stenography, came to designate the label that enabled readers to locate the one-of-a-kind text in question.

No doubt, this development saved many trees from the woodman’s axe. At the same time, however, it changed the role played by historians. Rather than showcasing selections from the correspondence of old-timey movers and shakers, Clio’s children devoted most of the ink that they spilled to the explanation of texts that, despite the blessings bestowed by coal and petroleum, most readers would not be able to read.

Many a noble soul resisted the temptation to sacrifice verbatim reproduction on the altar of erudite interpretation. Realizing that readers might prefer a faithful facsimile of the real McCoy to a ponderous paraphrase, these saints of the scriptorium prepared primary sources for the press. However, rather rewarding these benefactors of the historically curious with condign praise, the denizens of the faculty lounge often dismissed them as “editors” and, in moments of especial cruelty, “antiquarians”.

In the fullness of time, the convenience provided by recent interpretations led many historians to prefer them to the relics of bygone bureaucracies. After all, reading a fresh-smelling, neatly-bound, clearly-printed, recently-written book asks less of a scholar than the deciphering of unfamiliar turns-of-phrase scribbled on the dusty, mite-bitten contents of cardboard boxes. Moreover, while the reader of a scholarly monograph often enjoys a wide choice of restaurants and coffee shops, and, at the very least, the delights of his own kitchen, the archival archaeologist must often make do with the decidedly institutional offerings of a ground-floor cafeteria.

Ostentatious reliance on recent interpretations also enables a scholar to exhibit his collegiality. “See”, the favorable footnote screams, “someone noticed your work and, marvelous to say, made use of it”. Conversely, failure to cite the work of a peer, let alone a scholar of superior standing, signals a degree of nonchalance bordering on contempt. “I am fully aware”, it says to the author of the unreferenced work, “that you poured your heart and soul, as well as a dozen years of your life, into your study, but I could not be bothered to type out its title, let alone turn a page to discover its date of publication”.

Finally, the making of new monographs out of the pieces of slightly older ones honors the founding fable of the research university, the myth of scholarly progress. The monograph still warm from the press, we presume, offers more in the way of insight and understanding than one that has been sitting on the shelf for decades. (If you wish to drive a dagger into the heart of an older academic, describe one of his earlier works, especially one that once made a splash in the kiddie-pool of his subfield, as “somewhat dated”.)2

Prejudice in favor of up-to-date interpretations creates a paradox. Historians, who exist to bring the past to life, favor interpretations created on the eve of now. The speakers for the dead (hat tip to Orson Scott Card) limit themselves to the thoughts of the living.


    1. For a brief, and delightfully documented, description of the work of the paragon of this approach to the writing of history, Angelo Fabroni (1732-1803), see Anthony Grafton The Footnote: A Curious History (Cambridge: Harvard University Press, 1997) pages 82 and 83.

    2. Ask me how I know!

July 17, 2024

QotD: “Orwellian”

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

All writers enjoying respect and popularity in their lifetimes entertain the hope that their work will outlive them. The true mark of a writer’s enduring influence is the adjectification of his (sorry, but it usually is “his”) name. An especially jolly Christmas scene is said to be “Dickensian”. A cryptically written story is “Hemingwayesque”. A corrupted legal process gives rise to a “Kafkaesque” nightmare for the falsely accused. A ruthless politician takes a “Machiavellian” approach to besting his rival.

But the greatest of these is “Orwellian”. This is a modifier that The New York Times has declared “the most widely used adjective derived from the name of a modern writer … It’s more common than ‘Kafkaesque’, ‘Hemingwayesque’ and ‘Dickensian’ put together. It even noses out the rival political reproach ‘Machiavellian’, which had a 500-year head start.”

Orwell changed the way we think about the world. For most of us, the word Orwellian is synonymous with either totalitarianism itself or the mindset that is eager to employ totalitarian methods — notably the bowdlerization or suppression of speech and freedoms — as a hedge against popular challenge to a politically correct vision of society dictated by a small cadre of elites.

Indeed, it was thanks to Orwell’s books — forbidden, acquired by stealth and owned at peril — that many freedom fighters suffering under repressive regimes, found the inspiration to carry on their struggle. In his memoir, Adiós Havana, for example, Cuban dissident Andrew J. Memoir wrote, “Books such as … George Orwell’s Animal Farm and 1984 became clandestine bestsellers, for they depicted in minute detail the communist methodology of taking over a nation. These […] books did more to open the eyes of the blind, including mine, than any other form of expression.”

Barbara Kay, “The way they teach Orwell in Canada is Orwellian”, The Post Millennial, 2019-11-29.

July 13, 2024

“Canada has disclosure issues”

Filed under: Cancon, Media, Politics — Tags: , , , , — Nicholas @ 05:00

The recent revelations about Nobel Prize winner Alice Munro’s family have certainly roiled the turgid waters of Canada’s tiny literati community, but was the scandal actually all that well hidden beforehand?

Alice Munro accepting the 2006 Edward MacDowell Medal, 13 August 2006.
Screenshot from a video of the event via Wikimedia Commons.

The Toronto Star ran two articles last weekend revealing that Andrea Skinner, third and youngest daughter of Nobel-prize-winning author Alice Munro, was sexually assaulted as a nine-year-old by her stepfather, Gerald Fremlin, Alice’s second husband.

The assaults occurred in the 1970s. Alice learned of them in 1992 when Andrea, then twenty-five, wrote her a letter detailing the abuse. After briefly leaving Fremlin, Alice returned to him. Andrea, feeling her mother had chosen her abuser over her, eventually cut ties with Alice and went to the police. Fremlin was convicted of indecent assault in 2005.

I’m not going to dwell on the abuse. It’s all here, and it’s distressing to read. One can only hope that recognition of what she suffered as a child and the pain she’s carried throughout her life brings some solace to Andrea.

I wish that had been my first reaction to the stories, but I was too long a journalist. My first thought was sordid. Good on the Star for getting the scoop.

My second thought was, how was this not reported earlier? It’s obviously a big story, and it all played out in open court. It’s surprising that it didn’t make headlines.

In yesterday’s Star, the always interesting Stephen Marche put the blame on “a specifically Canadian conspiracy of silence” amounting to “a national pathology”. He recalls that CBC radio star Peter Gzowski’s dirty laundry wasn’t aired until he’d passed; that CBC radio star Jian Ghomeshi’s outrageous behavior was not immediately called out; that author Joseph Boyden and singer Buffy Sainte-Marie both passed as Indigenous for a long time (Boyden does, in fact, have Indigenous blood). “Everybody knew but nobody knew,” Marche writes of each of these cases, adding that the Canadian arts and entertainment community “has been a breeding ground for monsters”.

I think Stephen has a low bar for monstrosity, but I am susceptible to his broader argument. Part of the reason I was happy that the Star got the scoop (and sincere congratulations to editor Deborah Dundas and reporter Betsy Powell on landing it) was that we sometimes first read of our biggest scandals in the international press. Toronto mayor Rob Ford’s crack scandal was revealed by Gawker, Justin Trudeau’s blackface habit by Time. Canada has disclosure issues.

The more I think about those issues, however, the less it seems we’re alone with them. How long did it take Harvey Weinstein’s crimes to make headlines? Bill Cosby’s? The US has had its share of long-running identity hoaxes: Elizabeth Warren, Hilaria Baldwin, Rachel Dolezal, and Jessica Krug. We didn’t learn that Kerouac was a thug and Salinger a creep until after they were gone. And it’s especially hard to sustain Marche’s argument that Canada is an outlier when the White House has been playing Weekend at Bernie’s for the last couple of years.

Certain stories are just slow to break. People keep secrets. Others abet them. Not many journalists frequent courtrooms way out there in Goderich, Ontario, and Fremlin’s name on the docket would not have sent off flares. Most people I’ve spoken to this week couldn’t have named Mr. Alice Munro last week.

There was no conspiracy, or at least not a broad one. I’m confident that any newsroom I was a part of would have run with the Munro story had we caught a whiff of Fremlin’s conviction. It’s not impossible to imagine other newsrooms making different editorial choices, perhaps arguing that Fremlin’s assaults didn’t merit coverage: he was a nobody apart from his association with Alice Munro; the offence was minor in a criminal sense (he served no time); Alice was not a party to the assaults; publishing the story would only serve to smear her by association. But I’ve not seen any evidence that any news outlet had a whiff of this story.

Only a small circle of people knew of Fremlin’s crime, most of them in the Munro family, and they weren’t talking. I contacted a few of the best Canadian literary gossips I know and they had heard nothing until last weekend. It’s not true that “everybody knew”.

Two who did know were Alice’s publisher, Douglas Gibson, and her biographer, Robert Thacker.

June 4, 2024

J.K. Rowling’s most convincing and true-to-life villain in the Harry Potter stories

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

I’m with Jon Miltimore on this — J.K. Rowling’s most disturbing and best-written villain isn’t “He Who Must Not Be Named” or any of the other (frankly cardboard-y) magical villains … it’s Dolores Umbridge, a career bureaucrat who could have been drawn from any western civil service senior management position:

Umbridge, portrayed in the films by English actress Imelda Staunton, isn’t some apparition of the underworld or a creature of the Dark Forest. She’s the Senior Undersecretary to the Minister of Magic, the man who runs the government (the Ministry of Magic) in Rowling’s fictional world.

Umbridge wears pink, preaches about “decorum” in a saccharine voice, smiles constantly, and resembles a sweet but stern grandmother. Her intense, unblinking eyes, however, suggest something malevolent lurks beneath. And boy, does it.

“The gently smiling Dolores Umbridge, with her girlish voice, toadlike face, and clutching, stubby fingers, is the greatest make-believe villain to come along since Hannibal Lecter,” horror author Stephen King wrote in a review of Harry Potter and the Order of the Phoenix, the book in which Umbridge is introduced.

Umbridge’s “Desire to Control, to Punish”

What makes Umbridge so evil that King would compare her to Hannibal Lecter, the man widely considered the greatest villain of all time?

I asked myself this question, and I believe the answer lies in the fact that Dolores Umbridge is so real — and in more ways than one.

First, it’s noteworthy that Rowling based Umbridge on an actual person from her past, a teacher she once had “whom I disliked intensely on sight”.

In a blog post written years ago, Rowling explained that her dislike of the woman was almost irrational (and apparently mutual). Though the woman had a “pronounced taste for twee accessories” — including “a tiny little plastic bow slide” and a fondness for “pale lemon” colors which Rowling said was more “appropriate to a girl of three” — Rowling said “a lack of real warmth or charity” lurked below her sugary exterior.

The description reminded me of another detestable literary villain: Nurse Ratched, the despicable antagonist of Randle Murphy in Ken Kesey’s magnificent 1962 novel One Flew Over the Cuckoo’s Nest.

Kesey’s description of Nurse Ratched conjures to mind a character much like Umbridge.

“Her face is smooth, calculated, and precision-made, like an expensive baby doll, skin like flesh-colored enamel, blend of white and cream and baby-blue eyes, small nose, pink little nostrils — everything working together except the color on her lips and fingernails …”

While there are similarities in the appearances of Dolores Umbridge and Nurse Ratched, their true commonality is what’s underneath their saccharine exteriors.

April 3, 2024

Man of his era, indeed – “we think too much of Thomas Jefferson, because we don’t see his cultural context”

Filed under: History, Military, USA — Tags: , , , , — Nicholas @ 04:00

Chris Bray on the sudden discovery of his dissertation topic in a quite unexpected venue:

Thomas Jefferson, 1800.
Oil portrait by Rembrandt Peale via Wikimedia Commons.

Fifteen years ago, more or less, I stumbled into a topic for a dissertation when I got frustrated and took a walk. I was in Worcester, Massachusetts, working in the archives at the American Antiquarian Society and finding just absolutely nothing at all that answered my question. So I wandered, and passed a decommissioned armory with a sign over the door that said MASSACHUSETTS MILITARY ARCHIVES. They let me poke around, and by the end of the day I was running around with my hair on fire and shouting at everybody that my dissertation was about something else, now.

State militia courts-martial in the opening decades of a new republic recorded every word, in transcripts that could run to hundreds of pages — frequently interspersed with a line that said something like, “Clerk again reminded witnesses to speak slowly.” The dozen officers who made up a militia court weren’t military professionals, but were instead the prominent farmers and craftsmen who were elected to militia office by their townsmen. So transcripts of state military trials were verbatim discussions among something like the most respected farmers of a county, or of this county and the next one over. They were not recorded debates between the great statesmen of the era. And they needed a big room where a dozen men could sit at a long table in front of the parties and the spectators, so state courts-martial tended to convene in taverns.

One more important thing: The formalization of military courts was way in the future, and there wasn’t a professional JAG Corps in the militia to run trials. State courts-martial were a lawyer-free forum. The accuser was expected to “prosecute” his case — to show up and prove the wrongdoing he had claimed to know about. And defendants were expected to personally defend themselves, questioning witnesses and presenting arguments to the court. At the end of testimony, the “prosecutor” and the defendant personally went home to write their own closing statements, and we still have these documents, tied into the back of the trial transcripts with a ribbon. Courts would stop in the evening and resume in the morning, and men accused of military offenses would show up with twenty-page closing statements in their own handwriting, with holes in the page where the pen poked through.

So: a panel of farmers, serving as local militia officers, listening to an argument between farmers who served as local militia officers, in a tavern, and we have a detailed record of every word they said.

They were magnificent. They were clear, thoughtful, fair, and logical. They had no patience at all for dithering or innuendo; they expected a man who accused another man of wrongdoing to get to it, in an ordered and serious way. Witnesses who fudged or evaded ran into a buzzsaw. The officers on the courts would interject with their own questions: Look, captain, did he say it or didn’t he? And then they wanted a serious summary of the evidence, with a consistent argument. Their thinking was structured, and they expected the same of others.

We distinguish between talking and doing, and between talkers and doers. But these men were doers in the hardest sense. Their families starved or thrived because of their work with tools and the skill in their hands. Their food came from their dirt, outside their front door. They mostly weren’t formally educated; they didn’t spend their young lives going to school. They worked, from childhood. And yet they could talk, meaningfully and carefully. They could address a controversy with measured discourse, gathering as a community to assess an institutional failure and organize a logical response. Their talking was another way of doing.

The historian Pauline Maier has written that we think too much of Thomas Jefferson, because we don’t see his cultural context. The Declaration of Independence looks to us like a startling act of political creativity, systematically describing a set of grievances and proposing an ordered response based on a clear philosophy of action. But Jefferson showed up after years of disciplined and thoughtful local proclamations on the crisis, Maier says. He was the national version of a hundred skillful town conventions, standing on the foundation of an ordered society that knew what it believed and what it meant to do about it.

April 2, 2024

Publishing and the AI menace

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

In the latest SHuSH newsletter, Ken Whyte fiddles around a bit with some of the current AI large language models and tries to decide how much he and other publishers should be worried about it:

The literary world, and authors in particular, have been freaking out about artificial intelligence since ChatGPT burst on the scene sixteen months ago. Hands have been wrung and class-action lawsuits filed, none of them off to auspicious starts.

The principal concern, according to the Authors Guild, is that AI technologies have been “built using vast amounts of copyrighted works without the permission of or compensation to authors and creators,” and that they have the potential to “cheaply and easily produce works that compete with — and displace — human-authored books, journalism, and other works”.

Some of my own work was among the tens of thousands of volumes in the Books3 data set used without permission to train the large language models that generate artificial intelligence. I didn’t know whether to be flattered or disturbed. In fact, I’ve not been able to make up my mind about anything AI. I’ve been playing around with ChatGPT, DALL-E, and other models to see how they might be useful to our business. I’ve found them interesting, impressive in some respects, underwhelming in others.

Unable to generate a newsletter out of my indecision, I called up my friend Thad McIlroy — author, publishing consultant, and all-around smart guy — to get his perspective. Thad has been tightly focused on artificial intelligence for the last couple of years. In fact, he’s probably the world’s leading authority on AI as it pertains to book publishing. As expected, he had a lot of interesting things to say. Here are some of the highlights, loosely categorized.

THE TOOLS

I described to Thad my efforts to use AI to edit copy, proofread, typeset, design covers, do research, write promotional copy, marketing briefs, and grant applications, etc. Some of it has been a waste of time. Here’s what I got when I asked DALL-E for a cartoon on the future of book publishing:

In fairness, I didn’t give the machine enough prompts to produce anything decent. Like everything else, you get out of AI what you put into it. Prompts are crucial.

For the most part, I’ve found the tools to be useful, whether for coughing up information or generating ideas or suggesting language, although everything I tried required a good deal of human intervention to bring it up to scratch.

I had hoped, at minimum, that AI would be able to proofread copy. Proofreading is a fairly technical activity, based on rules of grammar, punctuation, spelling, etc. AI is supposed to be good at following rules. Yet it is far from competent as a proofreader. It misses a lot. The more nuanced the copy, the more it struggles.

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.

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