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Messages - Joe Carillo

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4726
Use and Misuse / Re: "Alright" question
« on: May 01, 2009, 04:12:19 PM »
I stick to “all right” and avoid using “alright,” but it’s really just a matter of personal choice. For instance, when I edit manuscripts that consistently use “alright,” I now let it be without comment. I had noticed over the years that I’d just unnecessarily roil the feathers of writers whenever I insisted on replacing their “alright” with my “all right.” Still, your friend may have a point in dissuading you from using “alright,” for it’s a usage that has remained contentious over the years.

My online Merriam Webster’s 11th Collegiate Dictionary has this to say about the matter: “Since the early 20th century some critics have insisted ‘alright is wrong,’ but it has its defenders and its users. It is less frequent than all right but remains in common use especially in journalistic and business publications. It is quite common in fictional dialogue, and is used occasionally in other writing.”

4727
On the 50th anniversary last April 24, 2009 of the publication of The Elements of Style by Strunk and White, The New York Times ran a commemorative forum featuring five critiques of the book by as many present-day English grammar luminaries, namely:

•   “A Disservice to All” by Geoffrey K. Pullum, professor of linguistics at the University of Edinburgh, who, as I posted in this forum last April 13, had previously debunked the book in the April 17, 2009 issue of The Chronicle Review;
•   “We’ve Moved On” by Patricia T. O’Conner, author of the bestselling grammar book Woe is I;
•   “I’m Moving On” by Stephen Dodson, an editor and blogger at languagehat.com;
•   “A Matter of Style” by Ben Yagoda, author of The Sound on the Page: Style and Voice in Writing and When You Catch an Adjective, Kill It and professor of English at the University of Delaware; and
•   “Rules are Meant to be Broken” by Mignon Fogarty, creator of the “Grammar Girl” podcast and author of Grammar Girl’s Quick and Dirty Tips for Better Writing.

Here’s a link to that forum, “Happy Birthday, Strunk and White!”
 
The audacity and sometimes outright ferocity of these bashers of The Elements of Style have tempted me to resuscitate my own and much earlier take on the iconic book. I wrote it for my column, “English Plain and Simple,” in The Manila Times sometime in 2002, and it now forms part of my first English-usage book, English Plain and Simple: No-Nonsense Ways to Learn Today’s Global Language.

Here’s my 2002 piece on Strunk and White:

A Matter of Style

It is most unfortunate that the most popular and enduring book on English grammar, Strunk and White’s The Elements of Style, is a classic misnomer. Of course, there is no doubt that generations of would-be writers have greatly benefited from its wisdom since its publication in 1918, making it one of the 100 best-selling nonfiction books of all time. But this book is not a book primarily on writing style, but simply a basic English grammar manual, a list of words and expressions commonly misused, and a stylebook for the visual look of the printed word. Only much later—in 1957—did its latter-day co-author, E. B. White, add to the book an excellent 20-page chapter on style as an afterthought. Perhaps, then, the book should have been more appropriately entitled The Elements of Grammar.

Strunk and White certainly will help English learners craft correct and coherent sentences, and for that I commend the book heartily to everyone. I learned a lot myself from the slim, venerable volume, which validated in Spartan ways the grammars I learned in trickles since I was a little boy entranced by the strange forms and textures of English. But the book really does not purposively aspire to teach writing as an art form; for that we have to look for enlightenment elsewhere. I therefore find it sad that like me in the beginning, many of those who learn the book’s elementary precepts and nothing else could entertain the notion that they had adequately prepared themselves to become English-language writers. I think this probably explains why many people who swear by Strunk and White and get themselves published really have very little to offer beyond the basic ability to collect information and write grammatically correct but largely puerile sentences.

The truth of the matter is that writing style presupposes proficiency in English grammar, form, and structure; without this, style cannot exist at all. Style is much more complex than stringing words into sentences and cobbling sentences to form paragraphs. Its true elements are word choice, sentence form and structure, tone, and attitude. More learned people call these elements the aesthetics, poetics, and logics of writing, but it is incredible how their supposedly rigorous application in academe often produces some of the most sterile, insipid, and anaesthetic writing on this planet. In any case, it is through these elements that writers can convey information about a subject and their feelings and attitudes about it. Through them, writers can establish a fruitful, silent dialogue with the reader. Style is, in fact, simply the final outcome of these elements, the projection of the writer himself in words and the true measure of his confidence, imagination, and creativity.

Of the elements of style, word choice is undoubtedly the most powerful. A wide vocabulary can greatly add to this power, of course, but it is a myth that this wideness alone will make anyone a good writer. There are today over 200,000 basic English words, and it has been estimated that William Shakespeare in his time had used only around 30,000, yet almost 600 years later these words still speak to us compellingly about the human condition. This is clear proof that more important than vocabulary is the writer’s purposive use of words not for their own sake, but to elicit predetermined responses from the reader. A writer thus cannot achieve felicity of style unless he knows the precise meaning and tonalities of words, their connotations, and the emotional tags that usually go with them.

Next among the elements is sentence form and structure. It is how the writer manages his words and sentences to convey his thoughts and feelings to the reader. This is actually the creative part of writing, a process that calls into play both the imagination and personality of the writer, and it would be a mistake to think of creativity as the domain solely of literary writing. It is needed even in the most simple memos, personal correspondence, and newspaper feature articles. And it must be kept in mind that although the most successful writers use plain and simple English, there is actually no standard for simplicity or complexity in writing. What matters most is the sensibility, variety, and cohesiveness that a writer puts into his written work.

Tone and attitude, the two other elements, always work together. They constitute the voice of the writer in conveying his thoughts and feelings to the reader, in much the same way that speakers use inflection, volume, or gestures to make their point to their listeners. Unfortunately, this is the most neglected of the elements of style, resulting in too much unfocused, imprecise, and misdirected writing most everywhere we look.

A common mistake is that people try too hard to write stylishly, aiming for style for style’s sake, which is actually a ridiculous thing. Writing should come across simply and naturally as a genuine expression of the writer’s mind. Those who achieve greatness in their writing are, in fact, those who are inspired by their subject, and whose inspiration shines in the very words that quietly flow out of them in magical communion with the unseen reader.

From English Plain and Simple: No-Nonsense Ways to Learn Today’s Global Language © 2004 by Jose A. Carillo. Copyright 2008 by The Manila Times Publishing Corp. All rights reserved.

4728
Your Thoughts Exactly / Re: I Confess...
« on: April 30, 2009, 08:46:29 AM »
Thanks for the post and the compliment, Sheryl! I do hope that more people would learn to love reading and to achieve your command of the English language.

4729
Advice and Dissent / Debunking Strunk and White
« on: April 13, 2009, 11:44:32 AM »
This page features notable advocacies in English grammar and usage as well as dissenting voices or controversies about the language. Various viewpoints will be presented here to enable users and learners of English to have a deeper understanding and appreciation of its finer points and its changing or still unsettled aspects.

For starters, I am presenting a very recent voice of dissent—and a very strong one at that!—against some of the grammar prescriptions of The Elements of Style by William Strunk Jr. and E. B. White. As many of us know, this slim, venerable volume has been the grammar bible of thousands of English users and learners since its publication in 1918, making it one of the 100 best-selling nonfiction books of all time.

The dissenting voice is that of Geoffrey K. Pullum, head of linguistics and English language at the University of Edinburgh and co-author (with Rodney Huddleston) of The Cambridge Grammar of the English Language (Cambridge University Press, 2002). In an article entitled “50 Years of Stupid Grammar Advice” in the April 17, 2009 issue of The Chronicle Review, Prof. Pullum debunks The Elements of Style on the occasion of the 50th anniversary of its publication last April 16, 2009.

The Elements of Style, Prof. Pullum says, “does not deserve the enormous esteem in which it is held by American college graduates. Its advice ranges from limp platitudes to inconsistent nonsense. Its enormous influence has not improved American students’ grasp of English grammar; it has significantly degraded it.”

For the full text of Prof. Pullum’s article, click this link to “50 Years of Stupid Grammar Advice.”

I am also providing this link to the full text with illustrations of Strunk and White’s The Elements of Style, and this link to the full text of The Elements of Style as originally written by Strunk in 1918.

I hope you’d find this clash of views about English grammar and usage both enlightening and entertaining!

Joe Carillo

4730
Notable Works by Our Very Own / “Summer Solstice” by Nick Joaquin
« on: April 04, 2009, 11:03:00 PM »
The classic short story by the late Philippine National Artist for Literature, set in the 1850s, portrays the collision between raw instincts and refined culture. Its main character, Doña Lupeng, initially rejects ancient beliefs, but under the spell of the moon, she gets possessed by the spirit of the Tadtarin cult.

The story begins:


The Moretas were spending St. John's Day with the children's grandfather, whose feast day it was. Doña Lupeng awoke feeling faint with the heat, a sound of screaming in her ears. In the dining room the three boys already attired in their holiday suits, were at breakfast, and came crowding around her, talking all at once.

"How long you have slept, Mama!"

"We thought you were never getting up!"

"Do we leave at once, huh? Are we going now?"

"Hush, hush I implore you! Now look: your father has a headache, and so have I. So be quiet this instant—or no one goes to Grandfather."

Though it was only seven by the clock the house was already a furnace, the windows dilating with the harsh light and the air already burning with the immense, intense fever of noon…

Click here to read the full story of "Summer Solstice"


4731
Going Deeper Into Language / Some Gems of the English Language
« on: March 29, 2009, 08:35:46 AM »
For those who wish to do a deeper study of the English language as well as enjoy some of its classic studies and exemplary contemporary applications, Jose Carillo’s English Forum is presenting below a selection of major outstanding works that are linkable on the web in their complete form.

CONTEMPORARY:

Arts & Letters Daily
http://www.aldaily.com/
A lively, wide-ranging compendium of notable English-language articles, book reviews, and essays and opinion from major magazines and newspapers all over the world—updated five times a week.

45 Essential Resources for Student Writers
http://education-portal.com/articles/45_Essential_Resources_for_Student_Writers.html
Students are expected to do well in writing, among many other skills. This site lists 45 resources that students can use to write essays, complete research, organize ideas, and improve their writing.

The Business Writer’s Free Library
A wide-ranging, comprehensive resource on the most important writing tasks in organizations, with an estimated 650 topics spanning over 5,000 links on the web.
http://www.managementhelp.org/commskls/cmm_writ.htm

CLASSICS:

The King’s English by H. W. Fowler
http://www.bartleby.com/116/

The American Language: An Inquiry into the Development of English in the United States by H.L. Mencken
http://www.bartleby.com/185/

“Politics and the English Language” by George Orwell
http://www.resort.com/~prime8/Orwell/patee.html

The Cambridge History of English and American Literature
http://www.bartleby.com/211/index.html

The Golden Bough: A Study in Magic and Religion by Sir James George Frazer
http://www.bartleby.com/196/

Perseus Project
A collection of materials from the Renaissance, including the works of William Shakespeare, Christopher Marlowe, and Sir Francis Bacon.
http://www.perseus.tufts.edu/hopper/collection.jsp?collection=Perseus:collection:Renaissance

Harvard Classics, Vol. 27
English essays from Sir Philip Sidney to Macaulay
http://www.bartleby.com/27/

Modern Essays
33 epitomal English and American personal essays chosen by novelist Christopher Morley
http://www.bartleby.com/237/

“Story Classics: The Best from the Masters of the Genre”
Great short stories from Miguel Cervantes all the way to John Updike
http://members.lycos.co.uk/shortstories/

Verse
The Bartleby.com collection of thousands of English-language poems by hundreds of authors
http://www.bartleby.com/verse/

The History of the Decline and Fall of the Roman Empire by Edward Gibbon
http://www.ccel.org/g/gibbon/decline/home.html

Moby-Dick, or The Whale, by Herman Melville 
From the Electronic Text Center, University of Virginia Library
http://etext.virginia.edu/toc/modeng/public/Mel2Mob.html

Click any of the links now and enjoy these gems of the English language!

Joe Carillo

4732
Essays by Joe Carillo / A Father's Letter to His Son's Teacher
« on: March 28, 2009, 02:03:38 PM »
During the enrolment period for the current school year, while buying textbooks for my sixth-grader son at the library of his school, I saw a wall poster whose message touched me deeply not only for its timeless wisdom but also for its felicitous English. Here, I thought, was something I wish I could have written myself and sent to the teachers of my daughter and two sons when they were still in grade school. What a difference it might have made on the content and quality of their teachers’ instruction!

 

The poster was entitled “Abraham Lincoln’s Letter to His Son’s Teacher” and carried the familiar photograph of the American president who led his nation during its devastating Civil War from 1861-1865. The letter that graced the poster was as follows:

   “He will have to learn, I know,
   that all men are not just.
   But teach him also that
   for every scoundrel there is a hero;
   that for every selfish politician,
   there is a dedicated leader...
   Teach him for every enemy there is a friend.
 
   “Steer him away from envy, if you can,
   teach him the secret of quiet laughter.

   “Let him learn early that the bullies
   are the easiest to lick...
   Teach him, if you can,
   the wonder of books...
   But also give him quiet time
   to ponder the eternal mystery
   of birds in the sky,
   bees in the sun,
   and the flowers on a green hillside.

   “In the school teach him
   it is far honourable to fail than to cheat...
   Teach him to have faith in his own ideas,
   even if everyone tells him they are wrong...
   Teach him to be gentle with gentle people,
   and tough with the tough.

   “Try to give my son the strength
   not to follow the crowd
   when everyone is getting on the bandwagon...
   Teach him to listen to all men...
   but teach him also to filter
   all he hears on a screen of truth,
   and take only the good
   that comes through.

   “Teach him if you can,
   how to laugh when he is sad...
   Teach him there is no shame in tears,
   Teach him to scoff at cynics
   and to beware of too much sweetness...
   Teach him to sell his brawn
   and brain to the highest bidders,
   but never to put a price-tag
   in his heart and soul.

   “Teach him to close his ears
   to a howling mob
   and to stand and fight
   if he thinks he's right.
   Treat him gently,
   but do not cuddle him,
   because only the test
   of fire makes fine steel.

   “Let him have the courage
   to be impatient...
   let him have the patience to be brave.
   Teach him always
   to have sublime faith in himself,
   because then he will have
   sublime faith in mankind.

   “This is a big order,
   but see what you can do...
   He is such a fine fellow, my son!”

Impressed as I was by the letter, I found it strange that something so well said and memorable could have escaped my attention all this time. Could it be part of some long lost Americana that surfaced only recently? It was also odd that the letter’s English sounded too contemporary for something written in the 1860s. I am not entirely a stranger to Lincoln’s prose style because many decades ago, as a high school student, I had to painstakingly memorize his famous “Gettysburg Address” for class recitation. I was therefore sure that the letter’s language patterns were significantly different from those of the address, so I decided to check the letter’s authenticity by sending e-mail to people knowledgeable about the American president and his writings.

Roger Norton, a retired American history teacher who maintains a very comprehensive web site on Lincoln, gave me this assessment: “I have been asked about this letter before, particularly from folks in India where the letter seems to have the widest circulation. There is no source for it. It is bogus. I have over 280 Abraham Lincoln books, including The Collected Works of Abraham Lincoln, and this letter is in none of them. It’s a thoughtful letter but it wasn’t really Lincoln who wrote it.”

James Gindlesperger, author of two American Civil War books, Fire on the Water and Escape from Libby Prison, made this appraisal: “Sorry to be the bearer of bad news, but it looks like this is one of those things falsely attributed to Lincoln. Most historians agree that this letter was never written by Lincoln. The style of writing is not Lincoln’s and there is no record anywhere that indicates that he could have written this. Its real author is unknown.”

Cindy VanHorn, registrar of the Lincoln Museum in Fort Wayne, Indiana, gave a similar appraisal: “Thank you for verifying this before publishing it. Abraham Lincoln did NOT write or speak these words. These phrases are not 19th century phrasing and definitely not Lincoln’s language patterns.”

The letter being decidedly spurious, how come that it had been memorialized into an educational poster? How come that it ended up on display unchallenged in the library of my son’s school and perhaps in many other places around the world?

As far as I can gather, the letter’s first recorded appearance was in the web site of the National Council for Teachers Education in New Delhi, India. This was reported by Thomas E. Scwartz in a bylined article, “Lincoln Never Said That,” for the Winter 2001 issue of For the People, the newsletter of the Abraham Lincoln Association. That web site no longer carries the letter, but its appearance there must have conferred legitimacy to it in education circles, for two years later, on January 22, 2003, The Tribune of India reported that a university vice-chancellor in the Punjab region, in a circular to teachers and students, had quoted extensively from the letter to justify a controversial amendment of a language usage rule. Among the quotes he invoked in Lincoln’s name: “Teach him to have faith in his own ideas even if everyone tells him they are wrong. Try to give my son the strength not to follow the crowd.”

So what do we do with this untenable state of affairs?

I think we have to decisively put an end to the spurious authorship attribution. I suggest that all copies of the poster be removed from educational or public display. Its very sensible advice need not be consigned to total oblivion, however, so the publishers of the piece can perhaps reissue it simply as “An Anonymous Father’s Letter to His Son’s Teacher.” After all, its timeless words of wisdom about educating children could very well stand on their own without guile or Lincoln. (July 3 and 10, 2006)

From the weekly column “English Plain and Simple” by Jose A. Carillo in The Manila Times, July 3 and 10, 2006 issue © 2006 by The Manila Times. All rights reserved.

4733
Getting to Know English / Simply to Get the Ball Rolling
« on: March 25, 2009, 10:40:03 PM »
To get the ball rolling for this forum, let me share with you my answers to six questions posed to me by readers of “English Plain and Simple,” my weekly column that comes out Saturdays in both the print and online editions of The Manila Times.

Question #1: Do you say “Best wishes!” to an ailing person?

Ms. Donna S. wrote from India:

I would like to know: At the end of the letter, when you want to wish a person to get well soon, is it appropriate to say “Best wishes”? Or would that imply something else?

My reply to Donna:

No, I don’t think it’s appropriate to say “Best wishes!” at the tail end of a get-well letter. That reminds me of an anecdote told to me by one of my staff. She recalled that during the wake of her late father, one of the family’s female acquaintances gently hugged her and whispered, “Happy condolences!” The remark was so shockingly inappropriate that my staff says she simply didn’t know how to react.

The much better way to end a get-well letter, I think, is to simply say “Do get well soon!” and close.  (December 3, 2004)

             IMAGE CREDIT: JOINCAKE.COM
Never, never, never say “Best Wishes!” to an ailing person!


Question #2: Is “not unless” a redundant phrase?

Mr. Joseph P.S. wrote:

I wanted to ask if the phrase “not unless” is redundant. Isn’t the correct form only the single word “unless,” or are they both correct? My instructor told me about this, but I read a couple of books where “not unless” is used. I find this very confusing. (February 22, 2003)

My reply to Joseph:

The usage of “not unless” is acceptable and not necessarily redundant, as in the following question-and-answer sequence: “Can I use copyrighted material for my book?” “Not unless you have permission from the author or publisher.” In the answer, the phrase “not unless you have permission” is the positive equivalent of the double-negative “not if you don’t have permission.” In other words, “not unless” is functioning here as a negated preposition that means “not if you don’t,” yielding for the question-and-answer sequence this equivalent meaning: “Can I use copyrighted material for my book?” “Yes, but you need to have permission from the author or publisher.” (March 5, 2009)

Question #3:Is the phrase “most often than not” correct usage?

Dr. Tony B., M.D., wrote:

I have heard some toastmasters, meaning those who are members of Toastmasters International (some are even English teachers), saying, “...most often than not...” I cringe when I hear that, aware that it should be “more often than not.” “Most often” should and could stand on its own. Could you enlighten me on this?

My reply to Dr. Tony:

You’re absolutely right! The phrase “most often than not” is bad grammar. The correct usage is “most often” and, as you say, it can very well stand on its own without the comparative “than not.” When “most” is used with an adjective or adverb to form the superlative, as in the case of “most often,” it makes no semantic or logical sense to diminish the superlative aspect through further modification. Only with comparatives below the superlative, as in the case of “more often,” can further modification be made to indicate greater or lower degree (as in “more often than not,” “more often than expected,” and “more often than usual”).

You can tell your fellow Toastmasters and colleagues that this is why the phrase “more often than not” is semantically and logically correct, while “most often than not” is excruciatingly bad grammar and usage. (February 5, 2009)

Question #4: Which is correct, “on behalf”? or “in behalf”? “With regards to” or “in regards to”?

Ms. Anita T. wrote from Canada:

Will you please clarify the use of “on behalf” and “in behalf” in these sentences? “On behalf of my family, I extend my best wishes to you all.” “In behalf of my family, I extend my best wishes to you all.” I’d say “On behalf of my [whatever].” Isn’t that right?

Another thing: Between “with regards to” and “in regards to,” which one is right?”  

My reply to Anita:

“On behalf” and “in behalf” are both correct usage, and today they tend to be used interchangeably, particularly in American English. But The American Heritage Book of English Usage cites this traditional rule: use “on behalf of” to mean “as agent of, on the part of,” and use “in behalf” to mean “for the benefit of.” Examples: “Robert accepted the ‘Best Performer’ trophy on behalf of his sister Angela, who was on a European singing tour.” “The Class of ’92 held a benefit concert in behalf of the flood victims.” The two phrases are actually very close in meaning. In my case, I prefer “on behalf of” and will not worry about my choice at all.

As to “with regards to” and “in regards to,” both are unacceptable usage.  In fact, the Columbia Guide to Standard American English considers “with regards to” Nonstandard English. However, an idiomatic use close to that phrase—but definitely not the same phrase—is standard in complimentary closes to letters: “With my best regards...” “With my regards to your family...” Otherwise, ban “with regards to” completely from your writing and conversations.

The better connective expressions to draw a listener’s attention to something are “regarding” and “with regard to.” They are synonymous with “in relation to” and “with respect to,” both of which sound less stiff and more relaxed. There are, of course, two other acceptable variations of the “regard” phrases: “as regards,” and “in regard to.” The use of “as regards,” however, results in stiff business English, as in this sentence: “As regards your proposal to hire another typist, I regret to say that it was disapproved.” Using “in regard to” is even stiffer, more officious, almost standoffish—as if the speaker were looking down on you from a high pedestal: “In regard to your proposal to hire another typist, I regret to say that it was disapproved.” It is much better to say this: “Regarding your proposal to hire another typist, I regret to say that it was disapproved.” Or this: “With regard to your proposal to hire another typist, I regret to say that it was disapproved.” (March 7, 2003)

Question #5: When do you use “would” and when do you use “will”?

Mr. Napoleon C. wrote:

I’m not so sure which of these two sentences is grammatically right: “I hope that you would get well soon!” “I hope you will get well soon!”

Please tell me.

My reply to Nap:

The first one is the grammatically correct sentence: “I hope that you would get well soon!” Relative noun clauses that follow verbs like “hope,” “wish,” “expect,” and “dream” normally require the modal “would” for the verb rather than the future tense form “will.” This is to indicate that the action is just a wished-for thing and is not sure to happen or take place.

For the verbs “wish,” “expect,” and “dream,” therefore, we should similarly use the modal “would”: “I wish that you would get well soon!” “I expect that you would get well soon!” “I dream that you would get well soon!”

In contrast, when certainty is expressed that an action will occur, the future tense “will + verb” should be used: “I am sure that you will get well soon!” “I am positive that you will get well soon!” “I am certain that you will get well soon!”

The sentence “I hope you will get well soon!” is actually an elliptical form of the sentence “I hope that you will get well soon!” In this form of elliptical sentences, the conjunction “that” is dropped for brevity and ease of articulation. Nevertheless, the dropping of the conjunction “that” in such constructions doesn’t mean that the modal character of the expected action is changed to outright certainty. Thus, the elliptical sentence still requires the modal “would” to indicate that uncertainty: “I hope you would get well soon!”

Similarly, for the verbs “wish,” “expect,” and “dream,” we should use the modal “would” if we choose to make the sentences elliptical: “I wish you would get well soon!” “I expect you would get well soon!” “I dream you would get well soon!” (June 7, 2008)

4734
Badly Written, Badly Spoken / Beach Resort Poster
« on: March 23, 2009, 04:01:35 PM »

The photo of the beach resort poster above was sent by Joselito B. sometime ago to Rocky Avila, a reader of my Manila Times English-usage column, with the following note:

“They say that the Philippines is the third largest English-speaking country in the world and there are two different kinds of English speaking Pinoys: The Good Englishizer and the Bad Englishizer. Oooooppppsss!  Is that a wrong mistake? Sorry. Enjoy reading just the same. Have a good day.”

Rocky then forwarded the material to me along with several other bad-English photos.

Any thoughts about it?

4735
Essays by Joe Carillo / Looking More Closely at Our Dictionaries
« on: March 23, 2009, 02:55:13 PM »
Several years ago, when I was still managing an English-language service, I chided one of my English-language tutors for insisting on using her 1980-vintage Webster’s Desk Dictionary as reference. The day before that, I had the 11th edition of The Merriam-Webster’s Collegiate Dictionary in compact disc loaded on the computers in our office, and had asked my staff to delete from their hard drives all old dictionaries, particularly the British-English ones—the venerable Oxford English Dictionary included. I had also asked my staff to put away all of their print copies of the British-English Longman Dictionary of English Language and Culture and the Collins Cobuild English Dictionary, both of which had long ago been bought inadvertently for our use.


These acts may sound like that of an Anglo-hater gone mad, but I assure you that there was rhyme and reason to them: I wanted to thoroughly bring the small company’s English usage to the American English standard. I was therefore a bit miffed that one of my staff should cavalierly resist the standardization effort, claiming that she was more comfortable using her fading but trusted Webster’s. So, not entirely in jest, I gave her an ultimatum: keep that dictionary out of sight, or I would throw it into the dustbin myself.

My reason for banning British-English dictionaries and outdated American-English dictionaries from our office was dictated not by a sudden anti-British feeling or spite for things old, but by a very pragmatic consideration: the business depended greatly on the consistency of our English grammar, form, and semantics with American English as the standard. We could ill afford even the slightest variation in the spellings, meanings, and usage of the language, in our understanding of its idioms, and in its punctuations, prepositions, and conjunctions.

It had become clear to me that our mixed used of British-English and American-English dictionaries was responsible for not a few of our gaffes—some innocuous, some serious—like spelling the word “center” as “centre,” “check” as “cheque,” and “aluminum” as “aluminium”; thinking of corn” as “grain” instead of “maize”; using the wrong prepositions in sentences like “We live in a quiet street in the city and stay in a farm cottage at weekends” (that’s how the British say and write it, while Americans put it this way: “We live on a quiet street in the city and stay in a farm cottage on weekends”); and worse yet, using the wrong quotation marks and putting commas at the wrong places in quoted material.

A few months back, in particular, when a new editor of ours made a final copyreading pass on a long manuscript, she methodically replaced all of the double quotes with single quotes and took out all of the commas inside them and put them outside the quotes, British-style, like this: ‘This was the title of Paul Zindel’s book, “The Effect of Gamma Rays on Man-in-the-Moon Marigolds”, and I thought it rather queer.’ Before that, the sentence used American-English punctuation, like this: “This was the title of Paul Zindel’s book, ‘The Effect of Gamma Rays on Man-in-the-Moon Marigolds,’ and I thought it rather queer.” We were already way past our deadline, so we had to undo her well-meaning but ruinous work in white-hot haste.

Using a dictionary in the wrong English standard could, in fact, not only wreak havoc on our English but trigger needless controversies as well. Once, when a Filipino-Canadian reader of my English-usage column in The Manila Times used the word “miniscule” in a letter that I quoted in that column, the newspaper’s editor in chief told me in good-humored ridicule that I was foisting the wrong spellings of English words on readers. “‘Miniscule’,” he said, “should be spelled ‘minuscule’—with a ‘u’ and not an ‘i’.” When I stood my ground, he opened the Oxford English Dictionary for me and for all of the other editors who were present to see. To my dismay, it confirmed “minuscule” as the official spelling, making only a passing reference to “miniscule” as a variant.

Checking the online Cambridge Advanced Learner’s Dictionary later, I discovered that it was even harsher on “miniscule”: “a common spelling of ‘minuscule’ that is not correct.” To my relief, though, the American Heritage Dictionary of the English Language accepts the variant without comment, and I also took comfort in my electronic Merriam-Webster’s assurance that while “miniscule” continues to be widely regarded as an error, it now commonly occurs in published writing.

Most of the English dictionaries we had on hand, of course, whether using the American or British English standard, were products of great scholarship, but in that former language business of mine, there was a screaming need for only one English standard and only one English-language authority. We simply had to be scrupulously consistent and current in our English, and it just so happened that in the Philippines and in many parts of Asia, the standard for English is American English. We really had no choice then but to begin to live up to that standard by getting a good, up-to-date American English dictionary—and that, I am happy to say, was precisely what I had done.

From Give Your English the Winning Edge © 2009 by Jose A. Carillo. All rights reserved

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Essays by Joe Carillo / Quick Quiz on Wayward Modifiers
« on: March 23, 2009, 02:36:34 PM »
QUICK! Take this one-minute grammar quiz to see how English-savvy you are.

What do the following four sentences have in common?

(1) From a newspaper feature article: “Tropical countries like the Philippines with lush rainforests are home to many plant and animal life.”

(2) From a business column: “Governor Arnold Schwarzenegger does not allow the sale of the world-famous cola in California high schools to fight obesity.”

(3) From a product news release: “Sol Cellular proudly announces the latest addition to its growing family—Ana Belleza, its newest prepaid endorser.” [The name of the company and that of its endorser have been changed.]

(4) From a newspaper advertorial: “Breast cancer is the illness that women fear most because it is the most visible embodiment of a woman’s sexuality.”

Answer: Each of the sentences has a modifier running loose, making it say something other than what it really means to say. Remember now that wayward modifiers are those misplaced words or phrases that ruin our best-laid ideas just when we thought we had already gotten everything right.

To begin with, the sentence in Item 1 is afflicted with a squinter—the phrase “with lush forests.” That phrase just can’t seem to make up its mind which words to modify! It makes us think that it means to modify “the Philippines,” but on closer examination, we find that it should be logically modifying “tropical countries” instead.
The correct meaning comes through when that modifying phrase is placed where it should be: “Tropical countries with lush rainforests like the Philippines are home to many plant and animal life.”     

In Item 2, the sentence fails semantically because the infinitive phrase “to fight obesity” has strayed too far from where it should logically be. It has wrongly latched on to the tail end of the sentence, making it appear that Gov. Schwarzenegger is opposed to the idea of fighting obesity through a ban of cola sales in California high schools. The fact is that the governor himself is the advocate of the cola ban to fight obesity.

The governor’s position becomes clear when we yank the stray modifier into its proper place: “To fight obesity, Governor Arnold Schwarzenegger does not allow the sale of the world-famous cola in California high schools.”

The problem of the sentence in Item 3 is more subtle but much more semantically subversive. Being so footloose with its modifiers, the sentence inadvertently trumpets an inconsequential thing at the expense of the product being promoted. So Ana Belleza is the company’s “newest prepaid endorser.” But what’s the big deal about it? Does it really matter to us whether she’s paid before or after she endorses the product? We have here a curious case of the product itself having been marginalized into a misplaced modifier. 

Now here’s a rewrite that puts everything in its proper place: “Sol Cellular proudly announces the latest addition to its growing family—Ana Belleza, the newest endorser of its prepaid cellular phone card.”

Finally, in sentence 4, we have a serious two-horned semantic problem. Its subordinate phrase, “because it is the most visible embodiment of a woman’s sexuality,” not only uses the pronoun “it” with a wrong antecedent—“breast cancer”—but also wrongly modifies the main clause, “Breast cancer is the illness that women fear most.”

We can make the intended idea come through clearly by fixing the pronoun problem and positioning the subordinate phrase up front where it can do its modifying job best: “Because the breast is the most visible embodiment of a woman’s sexuality, breast cancer is the illness that women fear most.”

So what’s the important grammar lesson that we learned today? It is that we should always make doubly sure that wayward modifiers don’t muddle what we want to say, and the best way to do that is to place modifiers beside or nearest to the words they modify.

From Give Your English the Winning Edge © 2009 by Jose A. Carillo. All rights reserved.

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