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Tag: lexicography

Published May 13, 2011

Something for the Weekend

Canadian book designer Bill Douglas annotates one of his favourite covers for the newly launched Toronto weekly The Grid.

Tools of the Trade — Jonathon Green, author of the three volume Green’s Dictionary of Slang and the somewhat more compact and affordable Chambers Slang Dictionary, on the life of a lexicographer:

What I do is to sit alone in a room with a screen in front of me, a book more than likely to my left, held open by the weight of a discarded piece of chain, and within reach walls full of more books which are not just books but also tools and at the same time both extensions of and bastions for my existence. Some of them I have even made myself. With this screen and books and book-shaped tools I chase down words. And by placing these words in alphabetical order and by naming and defining and providing a word-based background for their existence and more words that illustrate examples of their use I create yet another book which is designated more than any other type to be a tool in its turn.

A Nostalgic Baseline — Harvard English Professor Leah Price, author of The Anthology and the Rise of the Novel and the forthcoming Unpacking My Library: Writers and Their Books, on books as objects:

“In thinking about new media, we measure what we do now against a nostalgic baseline. We compare the way we really do use digital media to the way we imagine we once used printed media, so that we take the reading of printed books to stand for all sorts of values we think we used to have, like sustained attention, linear thinking, noninstrumental appreciation,” Price said. “But if you just count how many pages came off of the printing press at any moment, never in any historical period have books, let alone literary works, been the majority of printed production.”

What Are You? — A wonderful essay by Alexander Chee, author of the novel Edinburgh, on comics, identity and American culture at The Morning News:

At the supermarket when people asked my white mom, “Whose little boy is this?” sometimes I would defiantly insist I was hers, sometimes say nothing, but I’d glare each time as if I had eyebeams that could vaporize them… No one else was like me, except my sister and brother… In the bathroom I sometimes imagined myself as I would have been with either a white face or an Asian one, looking into the hazel part of my eye and seeing the green extend across all the way, or watch it shrink back, covered by brown. The freckles would blanch away or extend until they met and my face turned darker.

It would have been easier to be a mutant, I decided. I sometimes told myself I was one, that it was the only explanation for the reason so many people asked me “What are you?”

The Ludovico Treatment — Steve Rose on Stanley Kubrick’s film adaptation of A Clockwork Orange, released 40 years ago, for The Guardian:

Beyond the UK, the movie has never been out of currency, particularly in the US, and particularly among the young. Its sci-fi stylings have aged remarkably well, and its almost abstract portrayal of out-of-control youth and paternalistic society have made it something of a teenage rite of passage, the movie equivalent of The Catcher in the Rye. Remarkably, it has been a style guide for pretty much every subsequent musical genre… On the big screen, meanwhile, every time you see a gang walking along in slow-motion, a speeded-up party scene, a slow pan out from a closeup of a face, a torture scene set to cheerful music, the chances are it was plundered from Kubrick’s original.

There Are Enough Chairs — A short interview with designer Dieter Rams in the New York Times:

Most of the things are done already — you can’t make it better. Look at chairs: there are enough chairs. There are bad chairs, some good ones, mostly bad ones. But there are, even with a chair, possibilities to make it more comfortable or, from the economic point, you can make it cheaper, save some material or you can try new materials.

And finally…

Because it’s Friday, and because I can, The Velvet Underground Oh! Sweet Nuthin’:

You can thank me later.

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Published October 6, 2010

Midweek Miscellany

The Man With the Getaway Face — Cartoonist Darwyn Cooke talks The LA Times’ Hero Complex blog about his latest Richard Stark (AKA Donald Westlake) adaptation, The Outfit, released this month:

With the first book, I was really trying to get Don Westlake’s worldview across to people. The story had already been told several times in films… and what-have-you, but it had never been told down the line, so it was really important for me to do that. With “The Outfit,”  I was able to sort of step back and say, ‘OK, the plan is we’re doing four books here; are there ways I can make this one stronger in terms of how it relates to the three other books?’ We don’t have, say, 20 books to get our readers acquainted with this entire world, so are there things that I can do here to help in that regard? So I changed a few things. And to be honest, I fixed a couple  of tiny problems with the story that I think Donald would have giggled about if I had brought them up. ‘Oh, geez, good point…‘

And on the subject of Richard Stark, David Drummond recently posted the final 3 covers (there are 18 in total) for the University of Chicago Press’ Parker reissues  (mentioned previously here):

Where the Wind Blows — Stephen Page, CEO of Faber & Faber, outlines the challenges facing existing book publishers at The Guardian:

Publishers perform roles that writers need. The question now is whether writers will continue to turn to existing publishers to perform these tasks, and whether they believe they offer value. Some authors will bypass publishers (some always have) but among most authors and agents I deal with, there is no appetite to do so, because publishers continue to perform essential roles for writers in both the physical and digital worlds (editorial, marketing, distribution, and so on). However, urgent questions are rising about how a successful 21st-century publisher ought to look and function, and whether existing publishers can adapt quickly enough…

A Hipster Never Teaches  a Square Anything — Over at Good, Lexicographer Mark Peters looks at the origins of the word “hipster” and why, these days, nobody admits to being one:

“Hipster” first popped up in 1940, and The Historical Dictionary of American Slang’s first use includes the statement that “A hipster never teaches a square anything.” The OED’s early examples include semi-definitions such as “know-it-all” (1941) and “man who’s in the know, grasps everything, is alert” (1946). Those descriptions sound groovy, but in the HDAS’s definition of “hipster,” we can find the seed that grew into today’s widespread hipster-phobia: “A person who is or attempts to be hip, esp. a fan of swing or bebop music.” It’s that attempting—especially in clumsy, transparent ways—that make the hipster horrible.

And finally…

What Batman Taught Me About Being a Good Dad — The headline tells you just about all you need to know about Adam Rogers post for The Atlantic (what dad doesn’t secretly believes that Batman is full of very important life lessons?), but hey…

I am trying to build a good human being here, someone who will make the world better for his presence. Because I don’t know any other way to do it, that means I’m building a little geek… I want him to think that these stories have weight, that they mean something; they are our myths. I give my son comics and cartoons and episodes of Thunderbirds because I want him to understand right and wrong, and why it’s important to fight the dark side of the Force. The mantras spoken in this corner of pop culture are immature, but they have power: With great power comes great responsibility. Truth, justice, and the American Way. The weed of crime bears bitter fruit. No evil shall escape my sight.

secretly
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