Tag Archives: memorizing poems

Links: ‘Start-start God achieve-make sky-earth’ and others

1. John McWhorter argues against the idea that what we have words for limits what we experience:

There are many languages in New Guinea and Australia in which there is one word that means eat, drink, and smoke. Are we to designate these people as less attuned to gustatory pleasures than us? They give little evidence of it, and note how distasteful it feels to even suggest it. Or, Swedish and Danish have no single word for what we call wiping. You can rub, erase, and such, and the word they spontaneously give as a translation means drybut there is no word that means, specifically, what we mean by to wipe. Yet we shall neither tell Scandinavians that they do not wipe nor even imply that the act is less vividly important to them than to the rest of us.

We can signal our awareness of human equality in other ways. All languages are complex. Nary a one of the several thousand known languages does not allow precise and nuanced conversation. Languages vary in just which squiggles of existence they choose to mark with words and endings, but we must resist the notion that this variation creates different “worldviews,” not only to avoid intellectual incoherence, but also to avoid an unintended continuation of the cultural condescension we all seek to leave behind.

Also, this:

For an English speaker, to a large extent, learning Mandarin is a matter of learning how much is unnecessary to still communicate effectively. No articles. No way to express the past tense. It’s quite common not to mark things as plural. The first words of the Bible can be rendered as “Start-start God achieve-make sky-earth.”

 

2. Difficulties of translating Finnegan’s Wake.

3. A compilation of Vonnegut writings for various situations.

4. On memorizing poems.

5. Pennsylvania dialects.

6. About creativity as associative brain activity.

Links: 23 Feb: Doubt, etc.

1. Phillip Lopate makes a point about the value of doubt to essays:

Ever since Michel de Montaigne, the founder of the modern essay, gave as a motto his befuddled “What do I know?” and put forth a vision of humanity as mentally wavering and inconstant, the essay has become a meadow inviting contradiction, paradox, irresolution and self-doubt. The essay’s job is to track consciousness; if you are fully aware of your mind you will find your thoughts doubling back, registering little peeps of ambivalence or disbelief.

According to Theodor Adorno, the iron law of the essay is heresy. What is heresy if not the expression of contrarian doubt about communal pieties or orthodox positions? This is sometimes called “critical thinking,” an ostensible goal of education in a democracy. But since such thinking often rocks the boat, we may find it less than supported in school settings. Typically, the exercise of doubt is something an individual has to cultivate on his or her own, in private, before summoning the courage to air it, say, in an essay.

… [writing teachers should] encourage a more polyphonic, playful approach. That may be why a classic essay technique is to stage an inner debate by thinking against oneself. Doubt is my boon companion, the faithful St. Bernard ever at my side. Whether writing essays or just going about daily life, I am constantly second-guessing myself. My mind is filled with “yes, buts,” “so whats?” and other skeptical rejoinders. I am forever monitoring myself for traces of folly, insensitivity, arrogance, false humility, cruelty, stupidity, immaturity and, guess what, I keep finding examples. Age has not made me wiser, except maybe in retrospect.

2. Scrapbooking through history.

3. On David Sedaris as a Platonic ideal of fabricated nonfiction and how Sloane Crosley and Davy Rothbart fall short of the ideal and how Sheila Heti strikes off on her own and a short quotation from John Jeremiah Sullivan: I liked this definition:

the essay is one of the purest ways for a writer’s mind to record its own motions, which are the basis of prose style.

I agree that there’s something off about making a career by exaggerating oneself as a comic character as Sedaris has done (though I enjoy his writings as entertainments, they’ve not been something I aspired to emulate) and as Crosley has done (though she does more explicitly what Sedaris does obliquely — say terrible things about people who could easily identify themselves in her writing).

3. Unreadable published prose.

4. One person’s story of realizing she wasn’t a novelist.

5. Andrew Sullivan describes

the forces that free market capitalism unleashes are precisely the forces that undermine traditional forms of community and family that once served as a traditional safety net, free from government control.

6. From the AVClub, Oscar nominees in TV cameos.

7. An argument for an actual political debate, and not just dueling speeches.

8. The value of skepticism as a way of approaching reality (and avoiding pure abstraction).

9. Two pieces on the value of memorizing poems: Auden, Holt.