Go ahead — hit that space bar.
I have some writer friends that I know will recognize an exchange similar to this:
“You should get out if these dreary rooms, Henry. They’re half the reason you’re blocked.”
“Am I blocked? I’d just thought of myself as a slow typist.”
“What do you do, hit the space bar once a day?”
John Updike in “Bech Panics” in Bech a Book (1970)
Just my way of saying, like I said in the comment on the last post, I’m coming back. Just watch this space. Things have happened.
Enjoy your day —
Check out this latest post at Roxi St. Clair. (And then spend some time roaming the site. You’ll be glad you did.)
It demonstrates an excellent understanding of the Haiku Sensibility and how to apply it in English poetry. The only suggestion I would make if I were editing the poem would be to consider the word “at” rather than “to” in the fifth line.
A Scene from Twelfth Night by William Shakespeare: Act V, Scene i (Photo credit: Wikipedia)
The Oxford Dictionaries Web site says the use of the plural third person pronoun as an alternative to the “he or she” construction is actually a throwback to 16th century English and is gaining in popularity and acceptance. But I can’t help it. It sounds ignorant or just plain lazy, especially when editors, whose job is to help writers be precise and effective in their use of the language, are the ones advocating it.
Correctness in the use of language isn’t about blindly following rules. It’s about meaning and clarity. It’s about being understood. Consider this:
If your child wants good grades they need to pay attention in school and study.
Who are they? And exactly how are they going to help my child?
An editor recently told me her company (I could have said their company but chose not to) are moving toward making the use of the plural pronoun part of the house style. When I pointed out that the use of they in the sentence above is open to misinterpretation and gets in the way of effective and efficient communication, her explanation was that the copy editor had pointed out that Shakespeare had used the construction, so it is ok to use it now.
I didn’t really have an answer other than to point out that Shakespeare also used “thou” and “hath,” which didn’t impress the editor very much. But then I got to thinking that citing Shakespeare’s use as a justification for unorthodox constructions could solve some problems a lot of people worry about. Here’s a sampling of Shakespearean constructions you can point to when someone tells you you don’t speak good:
English: banner Shakespeare (Photo credit: Wikipedia)
|If you want to use one part of speech for another (for instance you want to google something) Shakespeare said:
- This day shall gentle his condition. (From Hamlet)
If you want to alter the meaning of an adjective here’s how Shakespeare did it:
- Wherever in your sightless (= invisible) substances. (From Macbeth)
- That is deceivable (= deceptive). (From Twelfth Night)
If you don’t want to bother checking for subject-verb agreement:
- These high wide hills … draws out our miles and makes them wearisome (From Richard II)
If you’re tired of determining whether it’s he or him or it’s who or whom:
- Yes, you may have seen Cassio and she together. (From Othello)
- Pray you, who does the wolf love? (From Coriolanus)
If you’re not sure of how to form the comparative or superlative and it’s just too hard to look it up:
- And his more braver daughter could control thee. (From The Tempest)
- With the most boldest and best hearts of Rome (From Julius Caesar)
If you need to cut insignificant words (such as to or for) to stay within an arbitrary word limit:
- As deep as to the lungs, who does me this? (From Hamlet)
I found these examples — and there’s more to see — at the Shakespeare Resource Center Web site.
Before you check it out, though, why not join the fray below…
Congratulations to Robyn Lee on the acceptance of her fine work for exhibit by PainExhibit.org. Go see her post entitled Pain Shadow (on exhibit) on her Through the Healing Lens blog, But don’t just stop with the one post. Take the time to read her story and then wander through the images and words. It’s time well spent.
I heard Rob Reiner this morning on NPR’s Wait Wait Don’t Tell Me, and he was talking about going to his father when he was a boy and saying “Dad, I want to change my name.”
His dad thought, Oh boy. Here it comes. “Ok,” he said. “What do you want to change it to?”
To which the young Rob said, “Carl.”
If you followed my previous blog, you know I like to share language gems. Often, they’re accidents. Sometimes, though, they’re on purpose. Here’s one I heard on a TV trailer for the movie Five-Year Engagement. A group of mourners were standing around a grave site where they were apparently burying their mother. One man said: “Mother’s last words were ‘I can’t wait ’til Violet’s wedding.'” I couldn’t help myself. I chuckled for the rest of the afternoon. I think I’ll go see the movie.