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John McWhorter - The Power of Babel: A Natural History of Language

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John McWhorter The Power of Babel: A Natural History of Language
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There can be few subjects of such widespread interest and fascination to anyone who reads as the strange ways of languages. In this wonderfully entertaining and fascinating book, John McWhorter introduces us to the natural history of language: from Russonorsk, a creole of Russian and Norwegian once spoken by trading fur trappers to an Australian Aboriginal language which only has three verbs. Witty, brilliant and authoritative, this book is a must for anyone who is interested in language, as sheerly enjoyable as non-fiction gets.

**

From Library Journal

Starting with the well-known model of relationships among languages as a family tree, McWhorter (linguistics, Berkeley) fleshes out and refines this model as he narrates development of language. He explores five main ways that languages change, such as sound change and the transformation of words into pieces of grammar. McWhorter further illuminates and compares concepts of dialect, pidgin, and Creole to demonstrate the changing nature of language. Through the discussion, he replaces the family-tree model of language relations with the more sophisticated images of a bush and a net. Numerous examples support each point, including cartoons illustrating German dialects. Indeed, the sheer weight of all the examples and detailed discussion could discourage an initially curious reader. While McWhorter reaches out to general readers by avoiding jargon and using an informal tone, brevity is needed to reach the maximum audience. Steven Fisher offers a narrative language history in History of Language (Reaktion, 1999), but while Fisher presents a slightly briefer account, it is also far more technical, with an emphasis on evolutionary theory. Not an essential purchase, McWhorters work is recommended only for public libraries with large language collections. Marianne Orme, Des Plaines P.L., IL
Copyright 2001 Reed Business Information, Inc.

From Booklist

This book is not for those uncomfortable with change. McWhorters main goal is to convey to laypeople what linguists know about the inexorable changeability of languages. He compares our popular understanding of language to Monopoly instructions--static and written as though from on high. But whereas Parkers Brothers is not likely to revise the rules of its game, language is as transitory as a cloud formation. From this analogy, aided by parallels with natural evolution, McWhorter shows us how the worlds many dialects arose from a single Ur-tongue. He emphasizes the idea that dialect is all there is. What we call a standard language is in fact a dialect that has been anointed by people in power and by cultural circumstances. All this becomes a tad academic in places, but McWhorters use of analogies, anecdotes, and popular culture keeps the discussion lively. A worthy contribution to our understanding of the defining feature of human life. Philip Herbst
Copyright American Library Association. All rights reserved

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THE POWER OF BABEL
A Natural History of Language
John H. McWhorter
Picture 1
This ebook is copyright material and must not be copied, reproduced, transferred, distributed, leased, licensed or publicly performed or used in any way except as specifically permitted in writing by the publishers, as allowed under the terms and conditions under which it was purchased or as strictly permitted by applicable copyright law. Any unauthorised distribution or use of this text may be a direct infringement of the authors and publishers rights and those responsible may be liable in law accordingly.
Epub ISBN: 9781446472408
Version 1.0
www.randomhouse.co.uk
Published by Arrow Books in 2003
1 3 5 7 9 0 8 6 4 2
Copyright John H. McWhorter 2001
John McWhorter has asserted his right under the Copyright, Designs and Patents Act, 1988 to be identified as the author of this work
The Asterix and Obelix cartoons (see ) are reproduced by permission of Egmont Ehapa Verlag GmbH. All rights reserved
This book is sold subject to the condition that it shall not, by way of trade or otherwise be lent, resold, hired out, or otherwise circulated without the publishers prior consent in any form of binding of cover other than that in which it is published and without a similar condition including this condition being imposed on the subsequent purchaser
First published in the United Kingdom in 2002 by William Heinemann
Arrow Books
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A CIP catalogue record for this book is available from the British Library
ISBN 0 09 943524 1
Contents
Introduction
I FELL IN love for the first time at four years old. Her name was Shirley and we were both in a piano class. She wore burgundy overalls, which I for some reason found immensely charming (I seriously doubt if she actually wore these overalls every day as if she were a Peanuts character, but thats how she is preserved in my memory); she had laughing brown eyes and a high-spirited yet intelligent demeanor. I was intoxicated and, as it happened, we got along quite well.
Im not sure of exactly what kind of trajectory I imagined us to be on, but whatever it was, it was upwarduntil one day after a lesson when we went outside to join our respective parents. Watching her joyously greet her family, I was shocked to hear that as soon as she started talking to them, I couldnt understand what they were saying! This was the first time in my life that I had ever known that there were languages other than English, and it remains the profoundest shock I have ever encountered in my entire life. They were clearly communicating, just as I was with my mother, but I couldnt understand what they were saying!
For me, this was not only shocking but heartbreaking, because I felt that Shirleys newly revealed ability cut her off from me, that she had gone somewhere I couldnt go. What are they doing, Mom? I asked frantically. Theyre speaking another language, Jughead! she answered (Jughead was a pet name). What do you mean? Where did they learn how to do that? I persisted. Mom went over and asked Shirleys relatives politely, Excuse me, what language are you speaking? We are speaking Hebrew, intoned one of them. Mom came back to me and said, Theyre speaking Hebrew. But why dont we speak Hebrew, Mom? She answered, Because were not Jewish. Can we go home now? And so we did.
But on the way home in the car, I was so frustrated that I cried like the child that I waspartly because I felt that this revelation had lost me the girl of my dreams and partly because I was absolutely dazzled by the idea that there were ways of speaking that I could not understand, that there were other ways to talk, that a person could be able to talk in two ways, and that I had been denied that ability by not being, well, Jewish (thats as far as I could understand it at this point).
As it happened, a Hebrew school met in the late afternoons in the building where I went to school, and I became so obsessed with my language deficit that I left a note on the blackboard for the rabbi (as directed by my teacher) asking him how I, too, could learn Hebrew. He left me a flyer with the Hebrew alphabet on it (actually, for some reason, the alphabet as used for Yiddish), which was a princely thing to do considering that he could have just ignored my missive entirely. With this flyer and a cute Hebrew-language childrens picture dictionary that Mom dug up somewhere for me, I learned to sound out Hebrew (I was that kind of a kid), and that was enough for me then; it didnt occur to me that I didnt really know what I was reading or that I couldnt actually put together sentences of my own.
This was the beginning of a lifelong obsession with foreign languages. The next step was realizing that Hebrew wasnt the only language not spoken in our house. In the back of a dictionary we had, there was an appendix with a good five thousand or so words translated into French, Spanish, Italian, German, Swedish, and (for some reason) Yiddish. I decided that it was imperative that Twinkle, Twinkle, Little Star be translated into all six but thought that all you had to do was plug in the words into their English slots. I knew nothing of conjugation or agreement or that grammars differ from language to language. I still have that first book that I wrote, with deathless poetry such as the Spanish rendition: Centellear, Centellear, Pequeo estrella, Cmo yo preguntarse, Qu tu ser.... As I got older I began to teach myself languages in earnest as a hobby (the key to getting decent at it is to talk to yourself in the shower) and was eventually fortunate enough to be able to support myself on my passion by becoming a linguist. To this day, I have the flyer with the Hebrew (actually Yiddish) alphabet (the Alef-Baze) framed and hanging over my desk, as a symbol of what sparked my combination career and avocation. Although I have long since realized that our family was hardly unique in not using Hebrew in the home and that learning a language entails more than mastering a collection of undigested words, after all these years the true roots of my fascination with language remain the same as on that day on a Philadelphia sidewalk when I lost my innocence: that anything I write or say in this language can be said in about six thousand other ways, with completely different words and with grammars so different that they can almost strain the credulity of the outsider.
Yet all of these languages are spoken by members of the same subspecies, Homo sapiens sapiens, to accomplish the same tasks of communication of information, expression of emotion and attitude, commanding and requesting, social libation, calibration of power relations, and poetic expression. This sort of variation within the bounds of a template is analogous to hearing the different uses to which Art Tatum, Coleman Hawkins, or Lionel Hampton could put the chord sequence and basic melody of Body and Soul or to seeing the many faces of the little Stephen Foster song Shortnin Bread, depending on whether it is sung by a classically trained mezzo from the original sheet music, warbled by Ethel Mertz at a small-town concert on I Love Lucy, or swung by the orchestra accompanying a Bugs Bunny cartoon. Ask someone who speaks a language other than English natively how to say I sank into the mud up to my ankles, and figure out what the words actually mean. The variety among the words themselves is wonder enough, but the multitude of sentence patterns in which human beings can express that homely concept are Art Tatum, Vivian Vance, and beyond: Am intrat in noroi pna la glezne (I have entered in mud up to ankles [Romanian]); Ich bin bis zu meinen Kncheln im Schlamm versunken (I am until the ankles in the mud sunk [German]); Ja provalilsja v grjaz po ikolotku (I sank-self in mud at ankle [Russian]); Doro no naka ni askikubi made tsukatte shimatta (mud of within at ankle until soaked put-away [Japanese]); Bikwaakoganaaning ingii-apiichi-gagwaanagwa-jiishkiwese (knob-bone-at I-extending to-mudmoved [Ojibwe, or Chippewa]), and so on.
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