The artist Cowabunga

16 Aug

If you’re not sure if you’re reading a broadsheet or a tabloid, check the corrections column. If you see a correction like this, you’re reading a broadsheet:

We confused the endings of two Bresson films in the article above when we said that the donkey hero of Au Hasard Balthazar died to the accompaniment of Monteverdi. The soundtrack to Mouchette’s suicide in the film of that name is Monteverdi, while Balthazar dies to the accompaniment of a Schubert piano sonata. This error has been corrected.

This is mother lode for a broadsheet readers’ editor: French directors, baroque composers, fine distinctions.  It can’t always be that way: too often, this level of expertise is lost in the quotidian struggle to correct homophones and pacify libelled entrepreneurs. But when there’s the slightest glimpse of home ground – a classical reference twinkling in the morass – that unique combination of erudition and patience comes to the fore:

In a feature about the return of the TV series Robot Wars, we said the first season “featured … robots with names such as Killertron and Recylopse”. The correct spelling of the latter is Recyclopse, being a play on the facts that the robot was made almost entirely of recycled material and featured one large eye, like the Greek mythical giant Cyclops

And you need patience, because some people’s grasp of 15th century art just makes you roll your eyes:

A film review on Friday about “Teenage Mutant Ninja Turtles: Out of the Shadows” referred incorrectly to the turtles’ names. Three turtles are named for Renaissance artists whose major works included paintings, not four. (Donatello was a sculptor.)

The size and the horror

2 Aug

We held out for a long time, but it looks like even our resolve is weakening. Witness this exchange on the subs’ email list last week:

From the reader’s editor:

Hi
Can someone please tweak this: [appends link to article]
Style guide:
enormity
It might sound a bit like “enormous”, but enormity refers to something monstrous or wicked, such as a massacre, and is not just another word for “big”
 From a sub-editor:
I’ll have a look at this
From another sub-editor:

this is an odd one as our default dictionary Collins actually says it can be used informally to mean “vastness of size or extent

And then, from the website production editor, this:
I think it’s one of those words whose changed meaning is now used widely enough to possibly warrant a style guide tweak.
Have copied in the house style team for their view.
Best
OK, so we haven’t changed anything yet. OK, so we’re just taking views at the moment. But still, compare this willingness to be descriptivist with what we were saying about enormity two years ago, when an article was summarily corrected to remove any suggestion of bias during the Scottish independence campaign:
A front-page analysis of the Scottish independence referendum said: “With only 10 days to go, the rest of Britain finally awoke yesterday to the enormity of what is happening in Scotland.” The style guide states that enormity “refers to something monstrous or wicked, not big”. The writer was, in fact, referring to the scale and importance of the vote (“Nothing else now matters in British politics”, 8 September, page 1).

I thought then, and I think now, that the word is currently best avoided in either sense. It can’t be relied upon to deliver its old meaning, but nor, as witnessed above, have the prejudicial implications of that meaning been completely extinguished. It is well and truly “skunked“, as Bryan Garner would say.

But nonetheless, the direction of travel is obvious: the “immensity” meaning is starting to appear in major dictionaries, and, in the case of Merriam-Webster, as a formal definition of equal status with the others. More than one senior and discriminating Tribune writer is using the word in relation to size without batting an eye, despite what the style guide may say. And although it is unwise to try to prove anything that relies on context with a Google Ngram, compare the usage graph for “enormity of the crime” (i.e. repugnance) with the one for “enormity of the task” (i.e. immensity):

Screen Shot 2016-08-01 at 12.03.16
Screen Shot 2016-08-01 at 12.02.49

Language changes so slowly that we perceive it to be static; we discover with bemusement that “awful” once meant “awe-inspiring” or that “egregious” once meant “eminent”, but we don’t perceive the same shifts to be happening today. Yet they are, and this is a clear example of a word conclusively changing its meaning in front of our eyes. It may still be too early to safely describe a band (as we already have) as “uptempo pop rockers destined for enormity”. But the day is getting closer.

Registered™

19 Jul

My iPhone is biometrically coded, offers encryption that baffles the FBI, and can connect me to global news and networks that defy the reach of political censorship. But it does want me to capitalise ‘Polaroid’:

IMG_3701

Digital freedom means many things, but apparently not the right to appropriate trademarks.

The extent to which registered trademarks enter common language, or “genericisation”, is one of the hard knot of editing issues, along with libel and legal reporting, where editors can really earn their money – high-stakes prescriptivism, so to speak. Lawyers representing dominant companies live in fear of their trademarks becoming nouns or verbs that define an entire market, not just  their clients’ products (see, for example, “googling”, “photoshopping”, “thermos”, “sellotape”, and once, long ago, “aspirin”). Once a word has “entered the language”, the courts are inclined to take that as a fait accompli and deny any further copyright infringement cases; so the lawyers have to act fast and early to prevent genericisation ever happening. They email, write, phone, demand corrections, suggest alternatives (Velcro likes you to say “hook and loop fasteners”). They are language change’s sharpest and best-resourced opponents.

And that’s why the Tribune’s style guide on the issue says the following:

trademarks (TM)
Take care: use a generic alternative unless there is a very good reason not to, eg ballpoint pen, not biro (unless it really is a Biro, in which case it takes a cap B); say photocopy rather than Xerox, etc; you will save our lawyers, and those of Portakabin and various other companies, a lot of time and trouble

The editor’s natural interest in enforcing distinctions chimes well with the lawyers’ determination to have them enforced, even if the legal vigilance gets a little grating at times. Portakabin, notably, used to send round a letter a week before the summer music festival season – long before any transgression had actually taken place – to “remind” editors that their clients did not provide the toilet facilities for Glastonbury, so on no account were festivalgoers to be described as using “Portaloos”. This would reliably cause the kind of grumbling, even among hard-nosed copydesk veterans, that one might almost have described as descriptivist. However, one can see the point: in court cases, one of the determining factors of a word being deemed to have entered the public domain is to what extent it appears in a general sense in media reports.

That said, it’s still not entirely clear what Apple is hoping to achieve with its suggestions on QuickType (as the predictive typing aid in iOS9 is called). As an experiment, I tried out Facebook Messenger with single-word nouns given as trademarks in the Tribune’s style guide.

Whenever it recognised the word (it didn’t in all cases), QuickType invariably suggested an initial cap, with the sole (and slightly baffling) exception of Jacuzzi (trademark of the company founded in 1915 by Giocondo Jacuzzi in Berkeley, California.)

But is that enough? As the style guide suggests, the best practice when trademarked words come up is to change them to a generic alternative – at least, better practice than scattering the copy with ™s and ®s. Is a capital letter, without more, enough to escape accusations of aiding genericisation? Is the fact that your operating system is suggesting a semi-proper noun less likely to annoy the lawyers, or more?

It might be argued that proposing some acknowledgment of copyright is enough to absolve you of blame; certainly better than offering a lowercased suggestion. But the best practice recommended to lawyers is to use the trademark as an adjective not a noun (“Xerox brand copiers”), and QuickType seems happy to suggest nouns. It may be that QuickType is following the dictionary practice of capitalising trademarked nouns when defining them; but dictionaries always quickly make clear that such words are trademarks, and QuickType does not.

In the end, the genericised fate of escalator, kerosene, laundromat and trampoline suggests that the battle – like nearly all battles against language change – may be futile. Certainly, Xerox have fought doughtily against “xeroxing” as a verb and kept their trademark protected: but there are many fewer photocopiers in today’s broadband-connected offices than there used to be, and it may be that the word will die out with the practice. But in the meantime, the letters will keep on arriving. And the lawyers aren’t the amateur grammar grumblers of the letters page: these people peeve for a living.

 

Sketch writing

5 Jul

You can tell when he’s finished by the sound of the hairdryer starting up. A couple of hours before deadline, looking up from his watercolour box and reference boards full of politicians’ faces, the Tribune’s cartoonist will put down his brushes and pick up the office dryer to blow-dry the paint on his cartoon before bringing it over. (No time to wait for it to dry, of course; this is a newspaper). Then, he’ll casually carry it across the office, colours glistening on the cartridge paper, and hand it to the production desk – a fragile, analogue piece of journalism in a digital world.

Before that moment, of course, ideas have been discussed, copy read in preview, and a detailed rough sketch has been presented. That’s when we on the subs’ desk swing in to action, checking captions, lettering, speech balloons and so on. Everything gets edited. No tiny detail escapes us. Especially not on the bewildering and unhappy subject of Britain’s departure from the EU, summed up by an ugly portmanteau word that now echoes, to our shame, around the world.

Here’s this week’s:

Brexitsketch

Yep, that looks fine.

 

Prescriptivnik

21 Jun

For a moment, I wasn’t entirely clear what was being corrected here:

Screen Shot 2016-05-22 at 16.18.46

Was this going to be a discussion about “refusenik”? In fact, it soon becomes clear that it isn’t: the quote is merely provided as context to explain why the non-standard noun “copyrighters” has become confused with “copywriters”. But perhaps we do need to talk about “refusenik”; because current usage is moving it rapidly away from what it used to mean.

“-nik”, (“-ник”), as imported from Russian and added to the end of English words, has become a gloriously compact morpheme for creating agent nouns (as well as a way of adding an implied hint or criticism about the subject’s politics): beatnik, peacenik, no-goodnik. But it’s so compact that it actually leaves the precise relationship between the noun and the agent unclear. A beatnik is someone enraptured by the Beat movement; a peacenik is a proud pacifist. Similarly, a “refusenik” is now someone who chooses to boycott something as a protest. But historically, the word meant something very different.

The original term, “отказник” (“otkaznik”), was applied to minorities in Cold War Russia – often Soviet Jews – who were being denied permission to leave the USSR and emigrate (in the Soviet Jews’ case, to Israel; in the case of other minorities, to join diasporas or seek asylum on religious grounds). The policy, which prompted an international humans rights dispute, came to a head for several years in the late 1960s and early 1970s before bans were lifted for a period. So the original refuseniks were not people who had refused to do something; they were people to whom something had been refused; would-be refugees who were being prevented from travelling to any other country. They were victims of refusal, not proponents of it.

In these post-Soviet days, that usage is rarely heard. Many of the major dictionaries still record it, for example, Oxford, American Heritage and Merriam-Webster –

Screen Shot 2016-06-20 at 13.25.33

Screen Shot 2016-05-22 at 14.30.19

Screen Shot 2016-06-20 at 13.28.16

– but Collins already describes the original, political meaning  as the “former” definition:

Screen Shot 2016-06-20 at 13.26.39

and it’s clear that a word that could once have been a synonym for “detainee” is now well on the way to being a synonym for “dissident”.

Usage has radically changed the word’s meaning and laundered it, willy-nilly, of its political gravity and history. One might feel that this has not been language-change’s finest hour, although the compressed ambivalence of “-nik” as a suffix probably made some confusion inevitable. Now, as is the case with “enormity”, the new meaning of  “refusenik” has overwritten the old to such an extent that it’s no longer safe to assume the original usage will be understood.

But it can still be jarring to see the new meaning employed in text. And of course, one doesn’t have to use it; one can probably be a refusenik – I mean a dissident – about that for a while longer.

Crud distinctions

7 Jun

So this is what you don’t do. In the light of last time’s discussion about when you might, in the most uncomfortable of circumstances, be tempted to clean up a quote, here’s a clear example of the vast majority of cases when you wouldn’t and shouldn’t.

Screen Shot 2016-06-06 at 11.16.51

I could listen to showrunners talk all day, and this splendid roundtable with five of television’s most in-demand producers is a good example of the flair with which the LA Times covers its hometown industry – even in the face of competition from Variety, the film mags and any number of specialist websites. But in the transcription of the interviews beneath the video, that most genteel of vulgar terms, “crud”, has appeared next to the name of Fargo creator Noah Hawley.

Did he really say “crud”? Does anyone ever say that? Well, because we have the video at the top of the page, we can check. And, as you might have suspected, Hawley doesn’t say “crud” (at about the 31.45 mark on the tape); of course, he says “crap”. The word has been censored in print. It’s a classic example, presumably, of the misplaced sense of editorial propriety that Bill Walsh describes in Lapsing Into A Comma:

It’s pretty likely that somewhere someone is watching on CNN as somebody says, “I ain’t saying nothing to you [bleep]er [bleep]ers,” while reading a printed account of the same statement that says, “I respectfully decline to comment, my good man.”

The rest of the roundtable is transcribed punctiliously. And I don’t have a problem with occasional square-bracketed clarifications when they’re inserted into long-form quotes in which interviewees can clearly be heard speaking in their own voice. But it does seem odd, when happily publishing a video of someone saying “crap” on your own website, that you would bother to expurgate the word in the text beneath.

Not that swearing doesn’t present a tricky problem for editors; it does, especially in quotes. The rule here at the Tribune is that obscenities should be printed in full and uncensored within direct quotes, but may not appear anywhere else in the paper. The Associated Press disagrees, and recommends to “replace letters of an offensive word with a hyphen” when there is no compelling need to reproduce the term in full. But it too advises against censorship:

In reporting profanity that normally would use the words “damn” or “god”, lowercase “god” and use the following forms: damn, damn it, goddamn it. Do not, however, change the offending words to euphemisms. Do not, for example, change “damn it” to “darn it”.

All of which doesn’t help much in dealing with the knotty problem that started this whole discussion off a fortnight ago: outfielder Carlos Gomez’s anger at the all-too-accurate transcription of his words as they appeared in the Houston Chronicle.

When a player gives you this as a quote:

For the last year and this year, I not really do much for this team. The fans be angry. They be disappointed.

What’s the correct way to proceed?

  1. Run the quote verbatim, as the Chronicle did? That’s the impeccable journalistic thing to do – except that the player might feel slighted about his halting English, as Gomez now does, other non-native anglophones may detect a whiff of native-speaker condescension, and a difficult debate about social disadvantage could develop over what was meant to be a simple baseball story.
  2. “Clean up” the quote? Definitely not: the amount of work needed to turn it into standard English goes far beyond what even the most lax judge would consider acceptable. Huge amounts of it would have to be changed: “Last year and this year, I haven’t really done much for this team. The fans are angry. They are disappointed”.
  3. Take some the words out of direct speech? You could do – except, again, because every single phrase is in non-standard English, you would have to report the whole thing indirectly, leading to the peculiar situation of a player “speaking to the fans” without giving a single actual quote.
  4. Just not run the story at all? That wouldn’t satisfy anyone – not the reporter who brought the story in, the readers who like to hear from their beloved Astros, or the player who wanted to get a message through to the bleachers. (And how would you explain it to Gomez? “Sorry, Carlos, but we really can’t run this until your English improves”?)

After two weeks of thinking about it, I’m still not sure what I would do.

 

Ya gotta be championship

24 May

You never alter a direct quote: that’s the strict editing rule. Reported speech can be tweaked, but if it’s inside quotation marks, you don’t touch it. Except that one newspaper followed that rule to the letter – and got into trouble for it from the interviewee himself.

In marked contrast to the usual accusations made by athletes against journalists, Carlos Gomez of the Houston Astros has complained to the Houston Chronicle, not that he was misquoted, but that he was quoted too accurately. JA Adande of sports website The Undefeated takes up the story:

If you think quoting people accurately can’t be controversial then you haven’t read about Brian T. Smith of the Houston Chronicle relaying the English words of Dominican-born Houston Astros outfielder Carlos Gomez verbatim:

Gomez: “For the last year and this year, I not really do much for this team. The fans be angry. They be disappointed.”

Critics, including Gomez himself, accused Smith of ridiculing Gomez by highlighting the native Spanish speaker’s grammatical inaccuracies. The editor of the Chronicle apologized.

Since when should journalists apologize for being accurate?

You can understand Adande’s surprise. But in fact, the answer to his last question is actually contained in his previous paragraph: “Critics, including Gomez himself, accused Smith of ridicule”. This isn’t just officious peevers intervening over the head of the player being quoted: this is the player himself, feeling exposed in a foreign country over his inability to speak a foreign language. That’s when it’s at least worth thinking about what consequences “accuracy” has for the people we write about.

Adande is firmly of the opinion that forcing quotes into standard English is never the answer. He writes:

The Smith-Gomez flap brought up a debate about the old journalistic tradition of “cleaning up” quotes — that is, making slight fixes to align grammar and pronunciation with standard English.

This is a tradition that needs to go.

For one, it’s patronizing, with the implication that anything that deviates from the norm is inherently inferior and must be corrected. Black English, for example, isn’t a referendum on intelligence — it’s a reflection of centuries of segregation, just as American English is a linguistic representation of our country’s split from Britain. Passing judgment based on speech can often say more about the listener than the speaker.

He also cites the example of the Brazilian basketball player Leandro Barbosa of last year’s title-winning Golden State Warriors. At the end of an on-court interview after a win, Barbosa exclaimed, by way of conclusion, “We gonna be championship!”. The phrase, broken English or not, immediately took off on social media, became a rallying cry for the fans and the team, and is now firmly associated with the Warriors’ run to victory.

Adande’s interesting piece provoked another one, this time by Sports Illustrated columnist Richard Deitsch. Taking Adande’s bold thesis (“Do we consider Yoda any less wise because of his mixed-up syntax?”), he asked several fellow sports reporters how they dealt with the issues of culture, language and dialect when handling interviews.

Several of them share Adande’s uncompromising standpoint on accuracy: Yahoo’s Greg Wyshynski, who writes about ice hockey, says of the NHL’s many Russian stars:

They said what they said in the manner in which they said it, and that was their intention. Just like I wouldn’t want someone changing some Jersey-fied malapropism in my quotes because it’s not correct, I wouldn’t want to do the same to Evgeni Malkin.

However, several others disagree and feel an obligation to protect their interviewees. Speaking of some of the Hispanic baseball players he covers, Frank Isola of the New York Daily News says:

“They might say ‘that team have two good player.’ Isn’t it only right to make it plural?”

And Ken Rosenthal of Fox Sports, while conceding that some colourful or expressive quotes are better left untouched, makes this distinction:

“It’s different with a person who struggles to explain himself or herself, or for whom English is a second language.”

And that, I think, is a key point. Professional sportspeople, these days, are not simply allowed to perform on the field: they are expected to perform off the field as well by giving interviews to the media. In professional leagues, such public appearances are usually mandatory, at the expense of a fine for non-compliance. This means that everyone – confident anglophone and withdrawn Russian-speaker alike – has to try to answer questions whether they are articulate in English or not.

That’s why it’s hard to agree in every case with Wyshynski’s position that players “said what they said in the manner in which they said it, and that was their intention”. Sometimes an interviewee may have made a conscious choice about using non-standard English; sometimes they may be talking in their natural voice. But, in many cases, they may not speak the language well enough to distinguish one register of English from another, and what they end up saying may be far from what they intended to convey.

Isola’s example, “player”/”players”, is also well-chosen. Many Spanish speakers of English have a tendency to devoice the final consonants of words, so rigidly transcribing what sounds like a singular in the name of “accuracy” can actually come across as an uncomfortable attempt to imitate someone’s accent.

So what to do? Well, one key distinction a reporter can make is to distinguish between those people who are speaking non-standard English deliberately and those who are speaking non-standard English by accident. Of course it would be crass, and sometimes racist, to completely rewrite a dialect-speaker’s quote into standard form. But you need to be able to distinguish between an extrovert centre-forward from Newcastle holding forth in his native Geordie, and a shy Montenegrin goalkeeper stumbling through a compulsory interview in a language he would rather not be speaking at all.

Adande is also bullish about the way non-standard quotes are being received in a world where “reasonable people can make allowances for those who use English as a second language”. But it’s not entirely clear that the picture is as rosy as that. Adande’s position is that Barbosa’s quote became a rallying cry despite not being in standard English: proof of how all English speakers can make themselves understood without the need for Strunk & White. But there’s also an uncomfortable sense that Barbosa’s quote became famous because he was not speaking in standard English: because native anglophones thought it was cute – ESL speakers say the funniest things! – and passed it around for the enjoyment of others more fluent in the language.

It can, admittedly, be difficult to tell which side of the line a case falls. Here’s a Vine of Barbosa’s famous quote: you can hear that he’s far from a defensive interviewee,* and is certainly confident enough with the media to offer an epigram at the end of a question. But equally, it’s not clear that he intended to cause the delighted amusement he apparently provokes.

It must be hard for players to know how to respond when something like this happens. Imagine you were a goalkeeper in the Bundesliga and mangled what you hoped would be an inspirational quote in your faltering German. Then imagine that this quote inspired such joy among the fans that it got painted on banners all over the stadium and chanted whenever you made a save. Would you feel proud that something you said, by accident, had caught on? Or would you feel embarrassed at how poor your language skills were? Certainly Barbosa has made the former choice: he embraced his quote and is now promising “We Gonna Be Championship Part II” for 2016 on Twitter. Gomez – who was hoping for some protection from the writer or copydesk and didn’t get it – not so much.

The risk of being seen to patronise interviewees by cleaning up their quotes is at least partly balanced by the risk of being seen to have ridiculed them by leaving them untouched. Barbosa’s quote went out live on TV and became a phenomenon straightaway, but print journalists have time to think before they make a player a star because of a picturesque malapropism.

So you have to make a judgment about the speaker’s intent. Are you riding roughshod over an athlete’s right to choose his register, or are you taking advantage of a man who is only speaking English because the league ordered him to? If a running back delivers a confident tirade in African-American English about race relations in the NFL, then of course you shouldn’t change a word of it. Run it verbatim. But if the kicker’s just forgotten the word for “stadium” in his third language, you might want to give him a break.

(hat-tip to @TheSlot for posting the links to both articles)

* You can see the full interview here.

 

 

Follow

Get every new post delivered to your Inbox.

Join 291 other followers