I have long realized that I will never understand the British class system, with its social and educational corollaries, any more than I will understand cricket, and this was driven home to me by Daisy Hildyard’s story “Revision” (archived) in last week’s New Yorker. My problems begin with the very title, which comes up in the story when Petra barges in on the protagonist, Gabriel, who is too distracted to pay close attention to her self-absorbed chatter:

His eyes went to his laptop screen.

Petra followed his gaze. “How is your revision going?”

“Fine,” he said. “Great.”

There was a long silence that didn’t seem to bother her. She drank deeply, then sighed comfortably, like a tired pet, and settled her back against the wall.

“Actually, it’s a disaster,” he said. “I know I’m close to doing well, but I have this one paper on medieval literature that I just don’t get. I can’t get a first if I don’t do well in that paper.”

I had a feeling that the word was used differently across the pond, and the OED (entry revised 2010) told me the following:

I.3. Education. The action or process of going over a subject or work already learnt or done with the aim of reinforcing it, typically in preparation for an examination; an instance of this.
Not in North American use: cf. review n. I.8.

So it’s “studying for exams,” but with extra pressure? I know things are very different at Oxford than at American educational institutions, but despite having read Anthony Powell and watched every episode of Inspector Morse and Endeavour, I only have a hazy idea of how it works.

However, that’s not what drove me to post. Here’s the passage that requires explication:
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A Facebook post from Nick Nicholas baffled me by mentioning “a ham and cheese jaffle”; Wiktionary told me that a jaffle is “(Australia, South Africa) A type of toasted sandwich that is sealed around the edge (in one piece, and not separated in the centre), it has a filling, for example an egg.” Their etymology is “From a trademark for a utensil that creates jaffles”; the OED (which added the word in 2007) says “Of unknown origin.” (First citation: 1950 “A ‘Jaffle’ is actually a sealed, toasted sandwich,” Hardware Journal May 50.) You can see one — Nick’s own, in fact — at his subsequent post. I also enjoyed his cultural/linguistic observation “I am smirking because I’ve just had a service interaction in Greece, and being culturally Anglo, it is always a relief for me to be addressed here in the formal plural, by cab drivers and serving staff. It’s not like Greeks are eager to be formal in addressing you, so I take my politeness plural where I can.”

Not really Hattic material, but Fara Dabhoiwala’s “A Man of Parts and Learning” (LRB, Vol. 46 No. 22 · 21 November 2024; archived) is so good I have to recommend it. What a story!

I sing and celebrate Sebastian Biot’s site HyperEssays:

HyperEssays is a project to create a modern and accessible online edition of the Essays of Michel de Montaigne.

HyperEssays.net hosts four editions of the Essays:

1. A 1598 edition, in middle French, edited by Marie de Gournay. This is a slightly revised version of Gournay’s original edition published in 1595.
2. A complete and searchable edition of John Florio’s 1603 translation of the Essays, in early modern English.
3. A 1685 translation by Charles Cotton, also in early modern English. Only some chapters of this edition have been copyedited and posted.
4. A complete and searchable modern edition of the Essays based on W. Carew Hazlitt’s 1877 update of Charles Cotton’s translation. I am slowly replacing the Cotton/Hazlitt translation with a contemporary one and adding new notes.

My goals with HyperEssays are to provide context and tools for first-time readers of the Essays and to design a lasting resource for all interested in Montaigne’s work.

To that end, I copyedit, update, and annotate the original text and its translations. I tag them for indexing and searching, and format them them for easy reading on smartphones, desktop computers, and tablets. In addition, I prepare and provide free chapter PDFs for offline reading.
[…]

Work on HyperEssays started on January 17, 2020 and likely won’t be completed for many years.

This is what the internet is for, and it makes me want to read more Montaigne. (I was too lazy to copy the links for the various editions, but once you click through, there they’ll be.) Via gwint’s MeFi post.

The NY Times has a quiz (archived) headed “A varied assortment of words entered (or re-entered) the lexicon this year. How well do you know them?” I somehow got 5 out of the 10; I assure you it was pure dumb luck, since I was ignorant of almost all the terms and usages.

And a merry Christmas and happy Hanukkah to you all! (Incidentally, the mail recently brought me a copy of Jon Fosse’s Septology, which was highly recommended to me in this thread; there was no indication of who had sent it, so if it was one of you, I’m deeply grateful and very eager to read it.)

Addendum. See now this lively essay by Mallory Valis, “a 16-year-old from Toronto, Ontario, with a penchant for literature and photovoltaics.” It starts:

Bro, this intro is high-key gonna slap. Just let me cook.

Oh wait, I should be more formal.

Uhh. . . . Henceforth I commence my righteous thesis. Yeah.

In the eyes of older generations, Gen-Z slang besmirches the Sacred English Language™ with its base, loose, and astonishingly convoluted wordplay. By now, you’ve heard it before. Words sprouting like weeds in conversations with friends or wriggling through Instagram comment sections: rizz, fit check, girlboss, slay, simp. . . the list spirals downwards into a pit of sacrilege.

A good bit from the middle:
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The great linguist William Labov, who practically invented sociolinguistics, has died at 97; Ximena Conde’s Philadelphia Inquirer obit (archived) is excellent:

Dr. Labov approached language as something that by its nature was variable, not governed by an ideal set of rules of grammar. His work changed whose dialects linguists saw worthy of study and dove into the socioeconomic politics of language. The way he saw it, dialects touched everything, from how you’re viewed to how you learn. “He really believed that every single person on the planet is worth talking to and has something to learn from,” said Gillian Sankoff, his wife and fellow sociolinguist at the University of Pennsylvania. The pair married in 1993.

Dr. Labov was born in Passaic, N.J., on Dec. 4, 1927, and raised in Rutherford, N.J. He majored in English and philosophy at Harvard University but also dabbled in chemistry, which he would use working as an industrial chemist before returning to school to study linguistics. He studied and worked at Columbia University before landing in 1971 at the University of Pennsylvania, where he would conduct some of his most lasting work.

Dr. Labov’s influence and innovations in linguistics can be broken into two categories: the technical and conceptual. On the technical side, Dr. Labov relied less on intuition than his predecessors, taking a clinical and statistical approach by recording his subjects and analyzing them on a computer before the technology became ubiquitous. He also transformed how linguists viewed language changes, researching these shifts in real time — like when he found the “Southern-inflected sound” of Philadelphia was slowly turning into a more “Northern” accent.

Bigger still was the choice to study speech patterns and changes in communities that would have been ignored. Dr. Labov took an interest in how Puerto Ricans in New York City talked and what he distinguished as African American English. Dr. Labov believed “everyday vernacular” was worthy of organizing and he didn’t dismiss dialects that might appear to carry errors because they don’t follow mainstream rules, former student and linguist Josef Fruehwald said. “People aren’t chaotic as they’re speaking,” said Fruehwald. “There’s structure to the pattern of variation they’re using.” […]

“Linguists are smart,” was Dr. Labov’s mantra when it came to more esoteric topics, said Fruehwald and others. Dr. Labov didn’t try to poke holes in papers he thought were “wrong”; instead he looked for something worthwhile to take away from them. Sneller, one of Dr. Labov’s last sociolinguistic students at Penn, said he often kicked off reading group discussions with a “what have we learned?” This approach was just one part of Dr. Labov’s never-ending quest for knowledge. Linguists who knew him said he was not one to be stuck in his ways methodologically or technologically, a trap some academics can fall into.

I love that line about not trying to poke holes in papers but looking for something worthwhile to take away from them; that’s how I try to approach what I read. Labov’s name, surprisingly, is pronounced [ləbˈoʊv] (lə-BOVE — see this LH post); there are more links at Mark Liberman’s Log post, as well as an account of the “Bunny Paper” which I urge you to read. He was quite a guy.

Jamais deux sans trois: here’s another post about translation, featuring Joan Acocella’s New Yorker review (archived) of Wayne A. Rebhorn’s new translation of the Decameron. After discussing the Black Death that serves as its backdrop, she summarizes the book itself and then its author’s life:

Boccaccio was not a noble; he was one of the nuova gente, the mercantile middle class, whose steady rise since the twelfth century the nobles feared and deplored. Boccaccio’s father, Boccaccino di Chellino, was a merchant, and he expected Giovanni to join the trade. Giovanni was born illegitimate, but Boccaccino acknowledged him. When the boy was thirteen, Boccaccino moved from Florence to Naples to work for an important counting house, and he took his son with him, to learn the business: receive clients, oversee inventory, and the like. Boccaccio did not enjoy this work, and so his indulgent father paid for him to go to university, to study canon law. Boccaccio didn’t like that, either, but during this time he read widely. (The Decameron is, unostentatiously, a very learned book.) He also began to write: romances in verse and prose, mostly. With those literary credits, plus his father’s contacts, he gained entry to Naples’s Angevin court, whose refinements seeped into his work. He later said that he had never wanted to be anything but a poet. In Naples, he became one, of the late-medieval stripe. These were the happiest years of his life.

When he was in his late twenties, they came to an end. […]

Then she moves on to analysis, which is more interesting:

The dominant notes of the Decameron are this realism and cheer and disorderliness, but, whatever you say about the book, something else arises to contradict you. Though Boccaccio insists on Renaissance earthiness, he makes room for elegant medievalisms. The young people often join hands and do the carola, a circle dance born of the Middle Ages. They also, now and then, between tales, deliver long, ornate speeches, full of medieval rhetorical flourishes. You may weary of these refinements and long to get back to the nice, rude tales, but the tension between the two modes is fundamental to the Decameron.

But of course what made me want to post it was the stuff about language:
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Another post about an interesting translator: Michael S. Rosenwald at the NY Times reports that “Shuntaro Tanikawa, Popular Poet and Translator of ‘Peanuts,’ Dies at 92” (archived).

Shuntaro Tanikawa, Japan’s most popular poet for more than half a century, whose stark and whimsical poems, blending humor with melancholy, made him a kind of Everyman philosopher ideally suited to translating the “Peanuts” comic strip and Mother Goose rhymes into Japanese, died on Nov. 13 in Tokyo. He was 92. His death, at a hospital, was confirmed by his daughter, Shino Tanikawa, who did not specify a cause.

A perennial front-runner for the Nobel Prize in Literature, Mr. Tanikawa was revered in Japan, not just in literary circles but also among casual readers. It was not uncommon to see commuters reading his books on the subway. He published more than 60 collections of poetry, beginning in 1952, when he was 21, with “Alone in Two Billion Light Years” — a book that heralded a bold new voice who shunned haiku and other traditional Japanese forms of verse. […]

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Amir Ahmadi Arian writes for the Yale Review about another of those amazing people whose stories I have to share with the multitudes; he starts off with an Iranian series called Women’s Secret Network that briefly shows a translator named Zabihollah Mansouri:

He appears suddenly, talks about something he calls his “philosophy of expansionism” in translation, has an awkward interaction with another character, and then vanishes, never to be seen again. The screenwriters didn’t bother to provide an introduction for him because they knew it wasn’t necessary. Most people in Iran, even those who rarely crack open a book, know who Mansouri is, though he died almost forty years ago.

That’s what I call a hook. He goes on to tell about how he first encountered Mansouri as a child growing up in Ahvaz:

No one in my family or our neighborhood was into books, and there was no internet then. So when I looked at the shelves in the library, I had no idea what any of the books were about and knew nothing of the writers who had written them. I had no sense of good or bad literature, good or bad writing, accurate or inaccurate translation. In this total absence of guidance from the outside world, I took a quantitative approach to measuring the significance of writers: the more frequently a name appeared on the shelves, the more important the author must be. One day, I set out to survey the entire library. The result was undeniable: the most important literary figure in Iran was a translator by the name of Zabihollah Mansouri. Our little library carried far more of his titles than any other writer’s.

Having thus grabbed our attention, he gives a brief history of the “great translation movement in Iran” and says “Translators soon became a pillar of Iranian culture and have remained so ever since. And in his day, no translator was more important, or more prolific, than Mansouri.”
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I’ve long been fascinated by the process of old-fashioned printing (see this 2004 post), and when I used to work in a printing and design shop I liked nothing better than listening to grizzled old printers reminisce. So it is with nostalgic pleasure that I present Peter Campbell’s posthumous LRB essay (it was left unpublished at the time of his death in 2011; he designed the LRB and wrote more than three hundred pieces for it), which begins:

It was noisy​ in Harry H. Tombs Ltd, the New Zealand print shop where I served a small part of an apprenticeship that would have made me a compositor. I worked upstairs in the composing room where the rhythm was set by the Linotype machines: the tap of the keyboard, the rustle of the matrices sliding from the magazine into their place in the line, followed, when the line was full, by a heavy thump as the spaces were wedged home. There were clanks and bangs as the line of matrices was offered up to the mould and the molten type-metal that glistened in the crucible behind was injected. The hot, bright line of newly cast type joined others in the tray with a metallic slither. Meanwhile, we hand-compositors stood at our frames and quietly clicked type into our composing sticks for the odd heading or display line, or dissed it, dropping used type back into the case with a louder click. We assembled the metal lines of type (called slugs) and titles and any other elements of the printed page, and grouped them together with other pages for printing, creating what was known as a forme. From time to time there would be a thump as one of us heaved a forme (four, eight or sixteen pages of type weigh a lot) up onto the stone – the metal table on which they were put together. The pages of the forme were wedged into a metal frame, the chase, where they were held firm by quoins (wedges). A hoist creaked as the finished formes were lowered to the ground-floor press room. That had its own sounds. The hiss of air as suckers picked up a sheet from the stack at one end of the big flatbed press and passed it on to be grasped by the cylinder. The sound of engaged gears as the sheet was rolled against the inked type on the moving bed of the press and then released to be carried onwards and added to the pile of printed sheets at the other end of the press. What had been Linotype slugs, type and illustrations upstairs were now pages of the New Zealand Commercial Grower or a scientific paper on the best way to collect ram semen. Each of the three presses had its own voice. It was an inky world dominated by machines that had been milled and drilled from heavy castings, which needed grease and oil to keep them healthy, and a machine minder who, like a good childminder, had an ear tuned to unexpected sounds as well as an eye tuned to imperfections in inking.

I have spent most of my life following up what I began then. I still work with print and play with words, but the sound of typesetting is now the tapping of a writer at a word processor, and I move pages about on my computer screen not on a stone. The formes we sent down to the press room are now files sent over the wire to a printer. Typesetting, once handwork, is now screenwork, a branch of computer graphics, and the presses that output printed sheets are governed electronically. […] Print itself is losing its primacy; newspapers, book and magazine publishers are looking for ways to defend their properties with web-based versions and extensions. Ebooks have begun to sell better than hardbacks.

It isn’t surprising either that letterpress printing – the essentials of which changed little over the first five hundred years – is dead as an industrial process, or almost dead in this country anyway. Someone who came to printing in the 1950s wanting to make books like the ones he or she had read and admired knows that little remains of the constraints, the rectangular grid imposed by type and chase, the limited number of typefaces and sizes of type, which set limits (including an architecture as orthogonal as the warp and weft of woven fabric) on the look of typeset pages. Hot metal typesetting sped thing up: instead of having to arrange existing metal type by hand, the compositor took prepared lines of text from the casting machine, which created new type as quickly as you could tap out the letters on the keyboard. But printing remained an entirely physical business.

After discussing the history of type (“Many practitioners and historians, including Harry Carter, whose 1968 Lyell Lectures, A View of Early Typography, are still the best account of the early history of type design, have known how to cut a punch”) and the preservation of the past of letterpress printing, he continues:
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Kitty Empire’s “MJ Lenderman review – a shooting star from the American south” begins:

A pedal steel guitar is weeping in one corner of the stage, comforted by a keyboard countermelody coming from the opposite end. Centre stage is up-and-coming guitarist of the moment MJ Lenderman, a study in slackerish nonc muels freewheels by his side, flinging lots of hair around.

I cannot for the life of me figure out what is intended by “nonc muels,” or what it might be a typo for. Mind you, it’s the Grauniad, so anything’s possible; I welcome all suggestions. (Thanks, Trevor!)