From Northrop Frye’s “The Mythos of Autumn: Tragedy” (128):
The moment of discovery or ‘anagnorisis’, which comes at the end of the tragic plot, is not simply the knowledge by the hero of what has happened to him … but the recognition of the determined shape of the life he has created for himself, with an implicit comparison with the uncreated potential life he has forsaken.
The final moment of tragedy Read More »
From Timothy Noah’s “Bush’s Fart-Joke Legacy” (Slate: 2 October 2006):
Legend has it that Edward de Vere, the 17th Earl of Oxford, once farted in the presence of Queen Elizabeth I, whereupon he went into exile for seven years. On his return, the queen reputedly greeted, “My lord, we had quite forgot the fart.”
Somehow I don’t think she had Read More »
“Lolita, light of my life, fire of my loins. My sin, my soul. Lo-lee-ta: tip of the tongue taking a trip of three steps down the palate to tap, at three, on the teeth. Lo. Lee. Ta.”
A great poetic opening to a novel Read More »
From Roger Ebert:
“Because the movie all takes place during one day and Roxy is being chased by a truant officer, it compares itself to “Ferris Bueller’s Day Off.” It might as reasonably compare itself to “The Third Man” because they wade through sewers.”
Best comment I’ve seen on New York Minute, the Olsen twins movie Read More »
From Tom Reiss’s “Imagining the Worst: How a literary genre anticipated the modern world” (The New Yorker [28 November 2005]: 108):
… the first mini-boom in invasion fiction began in the seventeen-eighties, when the French developed the hot-air balloon. Soon, French poems and plays were depicting hot-air-propelled flying armies destined for England, and an American poem from 1784 warned, “At sea let the British their neighbors defy– / The French shall have frigates to traverse the sky. … If the English should venture to sea with their fleet, / A host of balloons in a trice they shall meet.” A German story published in 1810, and set in the twenty-first century, describes human populations living in deep underground shelters, with shops and churches, while balloon warfare between Europeans and invading Asian armies rages in the skies above.
Imagining a future of warring balloons Read More »
From Claudia Roth Pierpont’s “Tough Guy: The mystery of Dashiell Hammett” (The New Yorker [11 February 2002]: 70):
There is one section of “The Maltese Falcon” that could not be filmed, and for many readers it is the most important story Hammett ever told. A dreamlike interruption in events, it is a parable that Spade relates to Brigid about a man called Flitcraft, dutiful husband and father of two, who was nearly hit by a falling beam while walking to lunch one day. Instead of going back to work, Flitcraft disappeared. “He went like that,” Spade says, in what may be Hammett’s most unexpected and beautiful phrase, “like a fist when you open your hand.” His narrow escape had taught this sane and orderly man that life is neither orderly nor sane, that all our human patterns are merely imposed, and he went away in order to fall in step with life. He was not unkind; the love he bore his family “was not of the sort that would make absence painful,” and he left plenty of money behind. He travelled for a while, Spade relates, but he ended up living in a city near the one he’d fled, selling cars and playing golf, with a second wife hardly different from the first. The moral: one can attempt to adjust one’s life to falling beams but will readjust as soon as the shock wears off.
The escape of Mr. Flitcraft Read More »
From Claudia Roth Pierpont’s “Tough Guy: The mystery of Dashiell Hammett” (The New Yorker [11 February 2002]: 70):
In March, 1928, [Hammett] had written to his publisher, Blanche Knopf, about his plans to adapt the “stream-of-consciousness method” to a new detective novel. He was going to enter the detective’s mind, he told her, reveal his impressions and follow his thoughts … But a few days after sending the letter, Hammett received one himself, from the head of the Fox Film Corporation, asking to look at some of his stories. He promptly fired off a second letter to Knopf, informing her of an important change in his artistic plans: he would now be writing only in “objective and filmable forms.” In the finished novel, Spade is viewed from the outside only, … we are granted no access to his mind. “The Maltese Falcon” may have been the first book to be conceived as a movie before it was written.
1st book written to be filmed Read More »
From James B. Stewart’s “The Real Heroes Are Dead” (The New Yorker [11 February 2002]: 58):
… he was simply following the “Eight P’s,” a mnemonic that had been drummed into them in the military: “Proper prior planning and preparation prevents piss-poor performance.”
The military’s 8 P’s Read More »
From Jay McInerney’s “White Man at the Door” (The New Yorker [4 February 2002] 57):
[Matthew Johnson, head of Fat Possum Records, has] got a damaged lung, bad teeth, a couple of hernias, and a back catalogue of death threats. His dentist once held up a toothbrush and asked him if he’d ever seen one, to which Johnson answered, “I use one of those to clean my pistol.”
From Wikipedia’s “Creative destruction” (13 July 2006):
Creative destruction, introduced by the economist Joseph Schumpeter, describes the process of industrial transformation that accompanies radical innovation. In Schumpeter’s vision of capitalism, innovative entry by entrepreneurs was the force that sustained long-term economic growth, even as it destroyed the value of established companies that enjoyed some degree of monopoly power. …
There are numerous types of innovation generating creative destruction in an industry:
New markets or products
New equipment
New sources of labor and raw materials
New methods of organization or management
New methods of inventory management
New methods of transportation
New methods of communication (e.g., the Internet)
New methods of advertising and marketing
New financial instruments
New ways to lobby politicians or new legal strategies
Word of the day: creative destruction Read More »
From Tim Bray’s “On Search: Squirmy Words” (29 June 2003):
First of all, the words that have the most variation in meaning and the most collisions with other words are the common ones. In the Oxford English Dictionary, the three words with the longest entries (i.e. largest number of meanings) are “set,†“run,†and “get.â€Â
3 English words with the most meanings Read More »
From Tim Bray’s “On Search: Squirmy Words” (29 June 2003):
Of course, the way that words twist and turn around is highly language-dependent. English is what’s called an “inflected†language, which is to say words change their form depending on their grammatical role: verb conjugation, singular/plural, and so on. (Interestingly, “inflection†has a common variant spelling: “inflexionâ€Â.) Other languages (for example Turkish and Finnish) are “agglutinativeâ€Â, where words are formed by combining “morphemes.†The third most common category of languages is “analytic†or “isolatingâ€Â, where words do not change and grammatical roles are established by sequences of words. The best-known example is written Chinese.
Language & grammar types: inflected, agglutinative, & analytic Read More »
From Tom Stites’s “Guest Posting: Is Media Performance Democracy’s Critical Issue?” (Center for Citizen Media: Blog: 3 July 2006):
And then there were [Walter] Annenberg’s political shenanigans – he shamelessly used his news columns [in The Philadelphia Inquirer] to embarrass candidates who dared to run against his favorites. One day in 1966 a Democrat named Milton Shapp held a press conference while running for governor and Annenberg’s hand-picked political reporter asked him only one question. The question was, “Mr. Shapp, have you ever been admitted to a mental institution?†“Why no,†Shapp responded, and went away scratching his head about this odd question. The next morning he didn’t need to scratch his head any more. A five-column front page Inquirer headline read, “Shapp Denies Mental Institution Stay.†I’m not making this up. I’ve seen the clipping – a friend used to have a framed copy above his desk. Those were not the good old days.
“Have you ever been admitted to a mental institution?” Read More »
From Harold Pinter’s “Nobel Lecture: Art, Truth & Politics” (Nobel Prize: 7 December 2005):
In 1958 I wrote the following:
‘There are no hard distinctions between what is real and what is unreal, nor between what is true and what is false. A thing is not necessarily either true or false; it can be both true and false.’
I believe that these assertions still make sense and do still apply to the exploration of reality through art. So as a writer I stand by them but as a citizen I cannot. As a citizen I must ask: What is true? What is false? …
So language in art remains a highly ambiguous transaction, a quicksand, a trampoline, a frozen pool which might give way under you, the author, at any time. …
Political language, as used by politicians, does not venture into any of this territory since the majority of politicians, on the evidence available to us, are interested not in truth but in power and in the maintenance of that power. To maintain that power it is essential that people remain in ignorance, that they live in ignorance of the truth, even the truth of their own lives. What surrounds us therefore is a vast tapestry of lies, upon which we feed.
The differences between language in art & politics Read More »
From Steve Paulson’s “The disbeliever” (Salon: 7 July 2006):
But it does raise the question, what do you mean by spiritual? And what do you mean by mystical?
By spiritual and mystical — I use them interchangeably — I mean any effort to understand and explore happiness and well-being itself through deliberate uses of attention. Specifically, to break the spell of discursive thought. We wake up each morning, and we’re chased out of bed by our thoughts, and then we think, think, think, think all day long. And very few of us spend any significant amount of time breaking that train of thought. Meditation is one technique by which to do that. The sense that you are an ego, busy thinking, disappears. And its disappearance is quite a relief.
Well, it’s interesting to hear this description of mysticism because I don’t think that’s how most people would see it. I mean, most people would play up the more irrational side. Yes, you’re losing yourself, but you’re plunged into some larger sea of oneness, of perhaps transcendent presence. Obviously, you’re staying away from that whole supernatural way of thinking.
Well, it’s very Buddhist of me to do that. The Buddhists tend to talk in terms of what it’s not. They talk about it being no self, they talk in terms of emptiness. But the theistic traditions talk in terms of what the experience is like. There, you get descriptions of fullness and rapture and love and oneness.
Transcendence, described by the East & West Read More »
From Paul Graham’s “The Submarine” (April 2005):
Why do the media keep running stories saying suits are back? Because PR firms tell them to. One of the most surprising things I discovered during my brief business career was the existence of the PR industry, lurking like a huge, quiet submarine beneath the news. Of the stories you read in traditional media that aren’t about politics, crimes, or disasters, more than half probably come from PR firms.
I know because I spent years hunting such “press hits.” Our startup spent its entire marketing budget on PR: at a time when we were assembling our own computers to save money, we were paying a PR firm $16,000 a month. And they were worth it. PR is the news equivalent of search engine optimization; instead of buying ads, which readers ignore, you get yourself inserted directly into the stories. …
If anyone is dishonest, it’s the reporters. The main reason PR firms exist is that reporters are lazy. Or, to put it more nicely, overworked. Really they ought to be out there digging up stories for themselves. But it’s so tempting to sit in their offices and let PR firms bring the stories to them. After all, they know good PR firms won’t lie to them.
A good flatterer doesn’t lie, but tells his victim selective truths (what a nice color your eyes are). Good PR firms use the same strategy: they give reporters stories that are true, but whose truth favors their clients. …
Where the work of PR firms really does get deliberately misleading is in the generation of “buzz.” They usually feed the same story to several different publications at once. And when readers see similar stories in multiple places, they think there is some important trend afoot. Which is exactly what they’re supposed to think. …
Remember the exercises in critical reading you did in school, where you had to look at a piece of writing and step back and ask whether the author was telling the whole truth? If you really want to be a critical reader, it turns out you have to step back one step further, and ask not just whether the author is telling the truth, but why he’s writing about this subject at all.
Online, the answer tends to be a lot simpler. Most people who publish online write what they write for the simple reason that they want to. You can’t see the fingerprints of PR firms all over the articles, as you can in so many print publications — which is one of the reasons, though they may not consciously realize it, that readers trust bloggers more than Business Week. …
I didn’t realize, till there was an alternative, just how artificial most of the writing in the mainstream media was. I’m not saying I used to believe what I read in Time and Newsweek. Since high school, at least, I’ve thought of magazines like that more as guides to what ordinary people were being told to think than as sources of information.
From Wikipedia’s “Pirahã language“:
The Pirahã language is a language spoken by the Pirahã – an indigenous people of Amazonas, Brazil, who live along the Maici river, a tributary of the Amazon.
Pirahã is believed to be the only surviving member of the Mura language family, all other members having become extinct in the last few centuries. It is therefore a language isolate, without any known connection to other languages. Despite having only ~150 speakers as of 2004, in eight villages along the Maici, it is not itself in immediate danger of extinction, as language use is vigorous and the Pirahã community is monolingual. …
Unusual features of Pirahã include:
- One of the smallest phoneme inventories of any known language [13]…, and a correspondingly high degree of allophonic variation, including two very rare sounds …
- The pronunciation of several phonemes depends on the speaker’s sex.
- An extremely limited clause structure.
- No grammatical numerals, not even “one” or “two”; the closest the language comes to numerals are general quantity words like [“a few”, “some”, and “many”].
- No abstract color words other than terms for light and dark.
- Few specific kin terms; one word covers both “father” and “mother” [and they appear not to keep track of relationships any more distant than biological siblings.]
- The entire set of personal pronouns appears to have been borrowed from Nheengatu, the Tupi-based lingua franca. Although there is no documentation of a prior stage of Pirahã, the close resemblance of the Pirahã pronouns to those of Nheengatu makes any other hypothesis improbable.
- Pirahã can be whistled, hummed, or encoded in music.
The occurrence of so many unusual linguistic features in a single language is remarkable.
The Piraha language of Brazil Read More »
From Cait Murphy’s “Secrets of greatness: How I work” (Fortune: 16 March 2006):
Carlos Ghosn, CEO of Renault (France) and Nissan (Japan):
Stress builds up when you know there is a problem but you do not clearly see it, and you do not have a solution.
A definition of stress Read More »