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In defence of grammar pedantry



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It’s really ok to be a grammar pedant.
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Roslyn Petelin, The University of Queensland

This week, the financial press reported the downfall of a high-profile grammar pedant, Professor Paul Romer, the World Bank’s chief economist, who was hoist(ed) on his own pedantic petard.

He is being replaced as head of the bank’s research arm after he demanded that his colleagues write succinct, clear, direct emails, presentations and reports in the active voice with a low proportion of “and’s”. Romer will remain the bank’s chief economist.

In fact, he had threatened not to publish the bank’s central publication, World Development Report, “if the frequency of ‘and’ exceeded 2.6 per cent”. He had also cancelled a regular publication that he believed had no clear purpose.

Why, you may ask, did the economists who work in the World Bank’s research department take exception to these strictures? Who wouldn’t want the corporate report that was a flagship publication of the bank to be narrow and “penetrate deeply like a knife”? Romer’s 600 colleagues, that’s who. But why?

It seems that, while he was encouraging his staff to avoid their customary convoluted “bankspeak” and consider their readers, he failed to follow his own advice. He was apparently curt, abrasive and combative. The troops refused to fall into line and he was ousted.

Such a shame, Professor Romer, because we need more pruning of the muddy prose that is endemic in so many institutions, particularly banks. We can only imagine how Australia’s four big banks are readying themselves to obfuscate their documents in response to the recent budget measures.

The various shades of pedantry

There are two kinds of people in this world: pedants and everybody else. Pedantry isn’t confined to grammar, of course. Pedantry can be found in architecture, cooking (for example, Julian Barnes’s lovely little book The Pedant in the Kitchen), geometry, music, philosophy, politics and science. Think Sheldon Cooper in The Big Bang Theory, the most popular show on American television.

Romer’s case, however, highlights the key dilemma of grammar pedants: how do you handle your pedantry so that you don’t lose your job? It depends on what kind of pedant you are.

Do you practise your pedantry privately by just “thinking” corrections at other people when they write “bunker” instead of “hunker” down? Or do you practise your pedantry publicly and thereby subject yourself to taunts of “peevish prescriptivist”, “nit-picking, hair-splitting pedant”, or the more arcane and colourful “pettifogging pedant”?

This sort of abuse rained on Bryan Henderson, the American software engineer who had removed 47,000 instances of “comprised of” from Wikipedia by the end of 2015.

BBC journalist Jeremy Paxman was quoted in The Guardian in 2014 as saying:

People who care about grammar are regularly characterised as pedants. I say that those who don’t care about it shouldn’t be surprised if we pay no attention to anything they say — if indeed they are aware of what they’re trying to say.

Pedants anonymous

I am a fervent believer that grammar provides writers with analytical tools to choose and combine words felicitously into English sentences to a set of professional standards that serve utilitarian needs and provide intellectual pleasure.

However, aware from long experience that it’s rare to be thanked for pointing out a solecism that has made me wince, I attempt to shield the newly minted graduates of my grammar course at The University of Queensland from the potential consequences of sharing their knowledge with those less grammatically alert. To this end, I lead a discussion about their stance on grammar in the final class of the semester.

To counter the negative connotations evoked by the term “grammar pedant” and to celebrate their pleasure in language, they invent playful monikers such as “grammartiste”, “grammagician”, “grammardian angel”, “grammar groover”, “grammartuoso” and “grammasseur”.

Anne Curzan, a grammar maven who contributes to the Lingua Franca blog on The Chronicle of Higher Education, favours “grammando”; I prefer the much less warlike “grammond” (modelled on gourmand, “one who has a refined palate for grammar and savours it at its best”).

That “linguifier” Stephen Fry begs us to abandon our pedantry, but he confines his admonition to non-professional contexts and admits: “It’s hard not to wince when someone aspirates the word ‘aitch’ and uses the genteelism of yourself and myself instead of you and me.”

Fry says that “context, convention and circumstance are all”. And this is what Professor Romer forgot. What we need to abandon is not pedantry. After all, its etymological origins are in teaching.

It is peevish, condescending and competitive pedantry that is the culprit. We could take a lesson from the Bristol engineer who has for 13 years used his specially designed long-handled apostrophiser and step-ladder to remove aberrant apostrophes and plant missing ones on buildings in Bristol and managed to remain anonymous.

The wonderful parodist Craig Brown’s solution may be an even better choice:

It’s always pleasant to go carol-singing, or carols-singing, with the Pedants’ Association, formerly the Pedants Association, originally the Pedant’s Association. I first joined ten years ago with the long-term aim of attracting the requisite number of votes in order to change its title to The Association of Pedants, thus rendering the apostrophe redundant.

The ConversationI’ll leave the uses and abuses of “and” aside for another day.

Roslyn Petelin, Associate Professor in Writing, The University of Queensland

This article was originally published on The Conversation. Read the original article.

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To the mattresses: a defence of romance fiction


Elizabeth Reid Boyd, Edith Cowan University

Taking up a sheet of paper, he propped it against the easel. With a stick of charcoal in his hand, he flexed his muscled arm, and began to make strong, bold strokes, glancing back and forth at her all the while. She became transfixed by the way he held her in his sights, put his head down to draw, then came intently back up again, in a single movement, like a breath…

You think you’re watching me, Mr Benedict Cole, when in fact I’m watching you. She smiled inwardly.

~Enticing Benedict Cole: Eliza Redgold

There are not many literary genres as loved and loathed as romance fiction. For all its millions of female readers for hundreds of years, it’s been dismissed as sentimental, sappy and trashy, as well as mad, bad and dangerous to read. Yet romance fiction, written by women, published by women, read by women, and researched by women, remains one of the most popular and powerful genres on the planet.


goodreads

I’m a romantic academic. I teach and research in gender studies. Under my pen name, Eliza Redgold, I also write romance novels, published by Harlequin (Mills and Boon).

Romance novels and I began as childhood sweethearts. I didn’t know they were a form of fairy tales, but they worked magic on me. In my twenties I flirted with romance fiction, but we drifted apart. My desire re-emerged when women’s studies, my adored discipline, fragmented in the academy.

I sought solace and attended my first romance writing conference. To my surprise, the scene was all too familiar: predominantly female participants and presenters, a collaborative leadership model, a supportive atmosphere, and lots of violet.

The rest is herstory. I progressed with my purple prose and discovered that the romance writing landscape had changed – roles and rules were being broken as women were engaged in reshaping the genre, along with a concurrent rise of “love studies” that emerged in the wake of women’s studies.

Romance brought me back to academia, full circle. In retrospect, this sounds unproblematic. In truth, the relationship between the two brought me face to face with my pride, and prejudices.

Trashing the genre and gendering the trash

Her skin rippled as his all-encompassing artist’s gaze lingered over her. “Let me just say the painting will be somewhat – revealing. It will not merely be of your face; what I have in mind will require I make a study of … your form.”

“I see.” Her stomach gave another of those mysterious lurches. “To what extent would my … form … be displayed?”

Because I call myself both a feminist and a romantic doesn’t mean they are two hearts beating as one.

Romance has represented a dilemma. Scholars including Germaine Greer have considered it a form of deception that deliberately prevented women from recognizing their oppressed and subordinate roles in patriarchal society. Tania Modleski dubbed it mass-produced fantasy.

Still, postmodernists such as Diane Elam have emphasized its subversive nature.
Val Derbyshire of Sheffield University recently argued that Mills and Boon romances deserve literary attention as feminist texts. And Anja Hirdman writes that Harlequin

seems nowadays to construct a feminine viewing position once thought not to exist at all. Harlequin narratives produce a mix of femininity, desire and power by simultaneously using the familiar formula and making it unfamiliar, by re-writing its gendered implications and by turning the gaze around.

This is not without personal and political challenges. In a Gender and Society journal article entitled Sneers and Leers, Jennifer Lois and Joanne Gregson describe how outsiders apply stigma to romance writers in two ways “by conveying blatant disapproval through “sneering” and inviting writers to display a highly sexualized self through “leering.”

Writers interpreted outsiders’ sneering as slut-shaming rhetoric and responded discursively to manage the stigma; leering, however, sent a more complicated message that was harder for writers to manage.


Goodreads

I spent the publication day of my first romance novel, in 2013, in a darkened room.

It wasn’t possible to pretend I wrote it by accident, mistake, in irony, or to put it down to research. There are many things a woman can fake, but you can’t fake a Mills and Boon.

But consistency, wrote Emerson, is the hobgoblin of little minds. As I lay on my bed, dichotomies and dualisms crowded in – Bad/Good, Feminism/Femininity, Sexuality/Spirituality, Naughty/Nice – forcing me to confront my own freedoms, limitations, inconsistencies and desires, in the confines of my life and the page.

In an academic context, I made no attempt to hide my double identity, but wondered (a.ka. worried) whether the reaction might be disapproval. My expectations were confounded: most were supportive. “I’ve been reading the wrong genre,” said one female colleague. I also couldn’t predict responses based on gender – while a couple of female colleagues rolled their eyes, some male colleagues proved helpful. In turn, being a romance writer has informed my work as an academic.

Why do I write romance? Today, I can better answer that question. For the pleasure of readers, and my own. To reclaim my body. To explore my emotions. To expand my mind.

Once more unto the breeches: embracing the fight for love

He stood up and pulled her into his fierce embrace. The feel of him, the strength of his powerful arms, would be home to her now. Deep within her, she knew he would hold her like this for the rest of her life, his kiss, sure and loving; never to fade.

In a world where women’s rights are under attack, it may seem that romance novels might be slapped again with a warning label. In a sea of pink pussy hats, does purple prose have a female part?

Freedom is created when we are liberated from oppressive thought. This is the most powerful freedom of all. It allows us to create new ways of thinking, being, knowing, speaking, writing, and belonging, of loving, and new kinds of relationships. Every act of bravery encourages another, whether it’s made standing up, marching, sitting-in, or lying down.

Romance novels in a Filipino supermarket.
Arlen/flickr, CC BY

Romance fiction invites us to constantly recreate a language of love. It is the not yet said, not yet imagined relationship between and among women and men.

How do we create this language? We try something old, something new. We write. We revise. We share our sameness, delight in our difference. We philosophize, we ponder, we laugh, we discuss, we converse, we explore. We honour our bodies; we divine our souls. We stand beside. We turn to each other.

Happy Valentine’s Day.

In solidarity. With love.

The Conversation

Elizabeth Reid Boyd, Senior Lecturer School of Arts and Humanities, Edith Cowan University

This article was originally published on The Conversation. Read the original article.

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In defense of the Book


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Article: Defence of Ebooks


The link below is to an article in praise of the digital book – worth a read.

For more visit:
http://www.nybooks.com/blogs/nyrblog/2012/feb/15/ebooks-cant-burn/

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Article: Defence of Traditional Books


The link below is to an article in praise of the traditional book – worth a read. However, ebooks have arrived and will continue to improve.

For more visit:
http://www.themillions.com/2012/04/confessions-of-a-reluctant-fetishist-keep-books-adulterated.html