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The Nitpicker’s Nook: November edition

The Nitpicker’s Nook is a monthly collection of language-related articles, interviews, blog posts, and podcasts. If you read or hear something that would make a good addition, email your suggestion to [email protected].

Nitpickers Nook Image by Deven Knill

By Carol Harrison

Need a five-minute break from hacking and chopping and cursing the English language? Open Culture features a short lesson by Yale linguistics professor Claire Bowern on the roots of English. A sweet, simple, and smart TED Talk, cheekily animated by Patrick Smith.

Speaking of roots, The Independent’s Natasha Salmon reports on how the French language is facing a backlash on gender-neutral words.

I’m a big fan of Words to that Effect, “a literary podcast of the intriguing, the curious, and the unexplored” hosted by Conor Reid from Dublin, Ireland. In episode 9, “Imaginary Countries and the Ruritanian Romance,” Conor talks about making up place names. Lovely stuff!

And for those days when you’ve run so low on dilithium crystals that your flux capacitor just goes kablooey, consider listening to “Technobabble” on Imaginary Words. In this episode, scientists and screenwriters team up to get the words right. It’s the droid you’re looking for.

Carol Harrison is editor-in-chief of BoldFace and quality assurance specialist at CPA Canada. When she isn’t focusing on words, she’s focusing her Nikon D3200.

This article was copy edited by Afara Kimkeran.

Editors Canada member Michael Redhill wins the 2017 Scotiabank Giller Prize

FOR IMMEDIATE RELEASE

Toronto, November 21, 2017—The Editors’ Association of Canada (Editors Canada) congratulates member Michael Redhill, winner of the 2017 Scotiabank Giller Prize for Bellevue Square.

Bellevue Square is a darkly comic literary thriller about a woman who fears for her sanity and eventually her life when she learns that her doppelganger has appeared in a local park.

Redhill is an award-winning poet, playwright, short-story writer and novelist, and a member of Editors Toronto. He gave the keynote address at Editors Canada’s 2010 national conference in Montreal, where his clever speech kept the audience laughing (and the interpreters jumping).

Last night, Redhill’s address to the audience in attendance at the gala at the Ritz-Carlton Toronto was an emotional one. He thanked Michael Ondaatje and Linda Spalding who “over 30 years ago…opened their door to me and I’m grateful for the enthusiasm and encouragement they brought to my life.”

He went on to thank his mother. “Our house was full of books because of [her]. Because of her love of reading, I wanted to make her books,” he said.

The $100,000 Scotiabank Giller Prize is the richest literary award for a work of fiction in Canada. The prize has been awarded annually since 1994. It was founded by the late Jack Rabinovitch to honour his wife, the journalist Doris Giller, who died a year earlier. Rabinovitch died this year at the age of 87.

An editor all his life, Redhill is no stranger to the “best supporting actor” role that goes along with this invisible art in publishing. Earlier this year, he posted on Facebook looking for editing work. “The ends, they do not meet,” he wrote.

“The ends are going to meet for a while now,” he joked after winning the prize.

Born in Maryland in 1966, Redhill has lived in Canada for most of his life. His career formally began in the early nineties at Coach House Press. He taught “Editing Poetry” at Ryerson University and is the author of the novels Consolation, longlisted for the Man Booker Prize, and Martin Sloane, a finalist for the Giller Prize. He has written a novel for young adults, four collections of poetry and two plays, including the internationally celebrated Goodness. He also writes a series of crime novels under the name Inger Ash Wolfe. He lives in Toronto.

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About Editors Canada
Editors Canada began in 1979 as the Freelance Editors’ Association of Canada to promote and maintain high standards of editing. In 1994, the word “Freelance” was dropped to reflect the association’s expanding focus to serve both freelance and in-house editors. As Canada’s only national editorial association, it is the hub for 1,300 members and affiliates, both salaried and freelance, who work in the corporate, technical, government, not-for-profit and publishing sectors. The association’s professional development programs and services include professional certification, an annual conference, seminars, webinars, guidelines for fair pay and working conditions, and networking with other associations. Editors Canada has five regional branches: British Columbia; Saskatchewan; Toronto; Ottawa–Gatineau; and Quebec/Atlantic Canada, as well as smaller branches (called twigs) in Calgary, Edmonton, Manitoba, Kitchener-Waterloo-Guelph, Hamilton/Halton, Kingston, Nova Scotia, and Newfoundland and Labrador.

www.editors.ca
Media Contact
Michelle Ou
Senior Communications Manager
Editors Canada
416 975-1379 / 1 866 226-3348
[email protected]

Book Review: Other-Wordly: Words Both Strange and Lovely from around the World  by Yee-Lum Mak 

(Chronicle Books, 2016)

By Jaye Marsh
Other-Wordly: Words Both Strange and Lovely from around the World by Yee-Lum Mak 

Jungian analyst Robert Johnson’s oft-quoted words from his book The Fisher King and the Handless Maiden have stayed with me: “Sanskrit has 96 words for love, ancient Persian has 80, Greek three, and English only one.” Given the English language’s predilection for absorbing new words from many cultures, it still has a paucity of beautiful and concise terms for the eternal and universal concepts of love, pain, and the sublime. In her search for the sublime in language, Yee-Lum Mak created Other-Wordly in which we find “komorebi: the sunlight that filters through the leaves and trees” and “hiraeth: a homesickness for a home which maybe never was”. Mak is from California and currently completing advanced English studies at the University of Edinburgh. Her love of words began when she stumbled across the Portuguese term for “the love that remains” (saudade), which sparked her search for other “strange and lovely” words.

Some words are striking, respectfully highlighting different cultural norms. Others show a sense of humour about the human condition. Two paired Japanese words let us peek at cultural values: “tatemae: what a person pretends to believe” and “honne: what a person truly believes.” A lovely Spanish word describes my favourite activity, “sobremesa: the time spent around the table after dinner talking to the people with whom you shared the meal.” Not wanting to spoil the joy of discovery, I expect most of us in the editorial world can relate to page 13: buying books, hoarding books, books piling up – there are words for that! (more…)

The Nitpicker’s Nook: February edition

The Nitpicker's Nook, Carol Harrison

The Nitpicker’s Nook is a monthly collection of language-related articles, interviews, and blog posts. If you read something that would make a good addition, email your suggestion to [email protected]

By Carol Harrison

Does the current state of world affairs leave you without words? Thankfully Planet Word, the soon-to-be museum of linguistics in Washington, DC, won’t be. And did you know there is also a National Museum of Mathematics in New York? For me, both celebrate languages.

On January 14, Zhou Youguang died at 111 years old. If you’ve learned to read and write Mandarin using Hanyu Pinyin, you have him to thank.

Pardon me while I geek out. I can’t say enough good things about the movie Arrival, directed by Denis Villeneuve. Finally, a science-fiction film that’s about communicating with aliens, not shooting them up! If you’ve watched the trailer, you’ve seen a sample of how the language looks. Wired’s Margaret Rhodes talks to the people who created the alphabet. Oh, and a shout-out to Jessica Coon, an associate professor of linguistics at McGill University and Canada Research Chair in Syntax and Indigenous Languages, who consulted on the film! Now I’m off to find Ted Chiang’s 1998 novella “Story of Your Life” on which all this is based.

Back down to earth, or perhaps flying a few feet above the ground, the BBC’s Andrew Evans finds out how falconry sank its talons into the English language.

Have current events got you riled? Do you plan to join a march? Want your placard to pack extra punch? Let linguist Daniel Midgley help.

Carol Harrison is editor-in-chief of BoldFace and freelance editor and writer at Muse Ink. When she isn’t focusing on words, she’s focusing her Nikon D3200.

This article was copy edited by Ambrose Li.

Is it art? Well, how does it feel?

Illustration: Niklas Elmehed. Copyright: Nobel Media AB 2016

Illustration: Niklas Elmehed. Copyright: Nobel Media AB 2016

By James Harbeck

There has been much discussion of the Nobel Prize in Literature being awarded to Bob Dylan. I have no interest in weighing in on whether his work is Nobel quality—I won’t pretend to understand the judges’ criteria—but I do have some thoughts on the question of whether a songwriter is even eligible to be awarded the prize.

There is no Nobel Prize in music, or in songwriting. So we can’t say that he should be considered for a different category unless you think songwriting is more appropriate to the Peace Prize, or perhaps to Economics. No, if he’s getting a prize, Literature is it. The question is whether songs qualify as literature—whether, to be frank, they’re good enough, or whether they’re “just songs.” There’s something of a privileged-genre attitude, a white-marble image of literature (that is, the truly worthy kind of text) as being cool prose in dry books that silently dissects humanity’s problems, not in the noise of a musical performance.

This has about as much basis as the white-marble image of Greek statuary, which, we now know, was originally painted bright colours. We ought to remember that the novel, as such, has only existed for a few centuries. Narrative texts pretending to any literary merit were expected to be written in verse until early modern times. And why was that? Because the written literature was, originally, the lyrics of songs and chants and declamations to music. The vaunted Greek drama had not one word that was flatly spoken. The psalms of the Bible were for singing. Beowulf was incomplete without a harp to aid the recitation. The fact that we have peeled the spoken from the sung, and ultimately the silently read from the spoken, does not have any bearing on the human insight conveyed in the words. Poetry has been deemed worthy of the Nobel: Pablo Neruda, Seamus Heaney, and Wole Soyinka have all won it, and it is terrible to think that they might have been ineligible if they had, like Leonard Cohen, been driven by economics to set their poetry to music. (more…)