Xasdaxmaseatsshootsandleaves - Couverture souple

Truss Lynne

Couverture souple

ISBN 10 : 0007861931 ISBN 13 : 9780007861934

Editeur : Harper Collins Promotion, 2009

A propos du livre

Extrait :

Introduction – The Seventh Sense

Either this will ring bells for you, or it won’t. A printed banner has appeared on the concourse of a petrol station near to where I live. “Come inside,” it says, “for CD’s, VIDEO’s, DVD’s, and BOOK’s.”

If this satanic sprinkling of redundant apostrophes causes no little gasp of horror or quickening of the pulse, you should probably put down this book at once. By all means congratulate yourself that you are not a pedant or even a stickler; that you are happily equipped to live in a world of plummeting punctuation standards; but just don’t bother to go any further. For any true stickler, you see, the sight of the plural word “Book’s” with an apostrophe in it will trigger a ghastly private emotional process similar to the stages of bereavement, though greatly accelerated. First there is shock. Within seconds, shock gives way to disbelief, disbelief to pain, and pain to anger. Finally (and this is where the analogy breaks down), anger gives way to a righteous urge to perpetrate an act of criminal damage with the aid of a permanent marker.

It’s tough being a stickler for punctuation these days. One almost dare not get up in the mornings. True, one occasionally hears a marvellous punctuation-fan joke about a panda who “eats, shoots and leaves”, but in general the stickler’s exquisite sensibilities are assaulted from all sides, causing feelings of panic and isolation. A sign at a health club will announce, “I’ts party time, on Saturday 24th May we are have a disco/party night for free, it will be a ticket only evening.” Advertisements offer decorative services to “wall’s – ceiling’s – door’s ect”. Meanwhile a newspaper placard announces “FAN’S FURY AT STADIUM INQUIRY”, which sounds quite interesting until you look inside the paper and discover that the story concerns a quite large mob of fans, actually – not just the lone hopping-mad fan so promisingly indicated by the punctuation.

Everywhere one looks, there are signs of ignorance and indifference. What about that film Two Weeks Notice? Guaranteed to give sticklers a very nasty turn, that was – its posters slung along the sides of buses in letters four feet tall, with no apostrophe in sight. I remember, at the start of the Two Weeks Notice publicity campaign in the spring of 2003, emerging cheerfully from Victoria Station (was I whistling?) and stopping dead in my tracks with my fingers in my mouth. Where was the apostrophe? Surely there should be an apostrophe on that bus? If it were “one month’s notice” there would be an apostrophe (I reasoned); yes, and if it were “one week’s notice” there would be an apostrophe. Therefore “two weeks’ notice” requires an apostrophe! Buses that I should have caught (the 73; two 38s) sailed off up Buckingham Palace Road while I communed thus at length with my inner stickler, unable to move or, indeed, regain any sense of perspective.

Part of one’s despair, of course, is that the world cares nothing for the little shocks endured by the sensitive stickler. While we look in horror at a badly punctuated sign, the world carries on around us, blind to our plight. We are like the little boy in The Sixth Sense who can see dead people, except that we can see dead punctuation. Whisper it in petrified little-boy tones: dead punctuation is invisible to everyone else – yet we see it all the time. No one understands us seventh-sense people. They regard us as freaks. When we point out illiterate mistakes we are often aggressively instructed to “get a life” by people who, interestingly, display no evidence of having lives themselves. Naturally we become timid about making our insights known, in such inhospitable conditions. Being burned as a witch is not safely enough off the agenda. A sign has gone up in a local charity-shop window which says, baldly, “Can you spare any old records” (no question mark) and I dither daily outside on the pavement. Should I go in and mention it? It does matter that there’s no question mark on a direct question. It is appalling ignorance. But what will I do if the elderly charity-shop lady gives me the usual disbelieving stare and then tells me to bugger off, get a life and mind my own business?

On the other hand, I’m well aware there is little profit in asking for sympathy for sticklers. We are not the easiest people to feel sorry for. We refuse to patronise any shop with checkouts for “eight items or less” (because it should be “fewer”), and we got very worked up after 9/11 not because of Osama bin-Laden but because people on the radio kept saying “enormity” when they meant “magnitude”, and we really hate that. When we hear the construction “Mr Blair was stood” (instead of “standing”) we suck our teeth with annoyance, and when words such as “phenomena”, “media” or “cherubim” are treated as singular (“The media says it was quite a phenomena looking at those cherubims”), some of us cannot suppress actual screams. Sticklers never read a book without a pencil at hand, to correct the typographical errors. In short, we are unattractive know-all obsessives who get things out of proportion and are in continual peril of being disowned by our exasperated families.

I know precisely when my own damned stickler personality started to get the better of me. In the autumn of 2002, I was making a series of programmes about punctuation for Radio 4 called Cutting a Dash. My producer invited John Richards of the Apostrophe Protection Society to come and talk to us. At that time, I was quite tickled by the idea of an Apostrophe Protection Society, on whose website could be found photographic examples of ungrammatical signs such as “The judges decision is final” and “No dog’s”. We took Mr Richards on a trip down Berwick Street Market to record his reaction to some greengrocers’ punctuation (“Potatoe’s” and so on), and then sat down for a chat about how exactly one goes about protecting a conventional printer’s mark that, through no fault of its own, seems to be terminally flailing in a welter of confusion.

What the APS does is write courteous letters, he said. A typical letter would explain the correct use of the apostrophe, and express the gentle wish that, should the offending “BOB,S PETS” sign (with a comma) be replaced one day, this well-meant guidance might be borne in mind. It was at this point that I felt a profound and unignorable stirring. It was the awakening of my Inner Stickler. “But that’s not enough!” I said. Suddenly I was a-buzz with ideas. What about issuing stickers printed with the words “This apostrophe is not necessary”? What about telling people to shin up ladders at dead of night with an apostrophe-shaped stencil and a tin of paint? Why did the Apostrophe Protection Society not have a militant wing? Could I start one? Where do you get balaclavas?

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Punctuation has been defined many ways. Some grammarians use the analogy of stitching: punctuation as the basting that holds the fabric of language in shape. Another writer tells us that punctuation marks are the traffic signals of language: they tell us to slow down, notice this, take a detour, and stop. I have even seen a rather fanciful reference to the full stop and comma as “the invisible servants in fairy tales – the ones who bring glasses of water and pillows, not storms of weather or love”. But best of all, I think, is the simple advice given by the style book of a national newspaper: that punctuation is “a courtesy designed to help readers to understand a story without stumbling”.

Isn’t the analogy with good manners perfect? Truly good manners are invisible: they ease the way for others, without drawing attention to themselves. It is no accident that the word “punctilious” (“attentive to formality or etiquette”) comes from the same original root word as punctuation. As we shall see, the practice of “pointing” our writing has always been offered in a spirit of helpfulness, to underline meaning and prevent awkward misunderstandings between writer and reader. In 1644 a schoolmaster from Southwark, Richard Hodges, wrote in his The English Primrose that “great care ought to be had in writing, for the due observing of points: for, the neglect thereof will pervert the sense”, and he quoted as an example, “My Son, if sinners intise [entice] thee consent thou, not refraining thy foot from their way.” Imagine the difference to the sense, he says, if you place the comma after the word “not”: “My Son, if sinners intise thee consent thou not, refraining thy foot from their way.” This was the 1644 equivalent of Ronnie Barker in Porridge, reading the sign-off from a fellow lag’s letter from home, “Now I must go and get on my lover”, and then pretending to notice a comma, so hastily changing it to, “Now I must go and get on, my lover.”

To be fair, many people who couldn’t punctuate their way out of a paper bag are still interested in the way punctuation can alter the sense of a string of words. It is the basis of all “I’m sorry, I’ll read that again” jokes. Instead of “What would you with the king?” you can have someone say in Marlowe’s Edward II, “What? Would you? With the king?” The consequences of mispunctuation (and re-punctuation) have appealed to both great and little minds, and in the age of the fancy-that email a popular example is the comparison of two sentences:

A woman, without her man, is nothing. A woman: without her, man is nothing.

Which, I don’t know, really makes you think, doesn’t it? Here is a popular “Dear Jack” letter that works in much the same fundamentally pointless way: Dear Jack,

I want a man who knows what love is all about. You are generous, kind, thoughtful. People who are not like you admit to being useless and inferior. You have ruined me for other men. I yearn for you. I have no feelings whatsoever when we’re apart. I can be forever happy – will you let me be yours?

Jill Dear Jack,

I want a man who knows what love is. All about you are generous, kind, thoughtful people, who are not like you. Admit to being useless and inferior. You have ruined me. For other men I yearn! For you I have no feelings whatsoever. When we’re apart I can be forever happy. Will you let me be?

Yours,

Jill But just to show there is nothing very original about all this, five hundred years before email a similarly tiresome puzzle was going round:

Every Lady in this Land Hath 20 Nails on each Hand; Five & twenty on Hands and Feet; And this is true, without deceit.

(Every lady in this land has twenty nails. On each hand, five; and twenty on hands and feet.)

So all this is quite amusing, but it is noticeable that no one emails the far more interesting example of the fateful mispunctuated telegram that precipitated the Jameson Raid on the Transvaal in 1896 – I suppose that’s a reflection of modern education for you. Do you know of the Jameson Raid, described as a “fiasco”? Marvellous punctuation story. Throw another log on that fire. The Transvaal was a Boer republic at the time, and it was believed that the British and other settlers around Johannesburg (who were denied civil rights) would rise up if Jameson invaded. But unfortunately, when the settlers sent their telegraphic invitation to Jameson, it included a tragic ambiguity:

It is under these circumstances that we feel constrained to call upon you to come to our aid should a disturbance arise here the circumstances are so extreme that we cannot but believe that you and the men under you will not fail to come to the rescue of people who are so situated.

As Eric Partridge points out in his Usage and Abusage, if you place a full stop after the word “aid” in this passage, the message is unequivocal. It says, “Come at once!” If you put it after “here”, however, it says something more like, “We might need you at some later date depending on what happens here, but in the meantime – don’t call us, Jameson, old boy; we’ll call you.” Of course, the message turned up at The Times with a full stop after “aid” (no one knows who put it there) and poor old Jameson just sprang to the saddle, without anybody wanting or expecting him to.

All of which substantiates Partridge’s own metaphor for punctuation, which is that it’s “the line along which the train (composition, style, writing) must travel if it isn’t to run away with its driver”. In other words, punctuation keeps sense on the rails. Of course people will always argue over levels of punctuation, accusing texts of having too much or too little. There is an enjoyable episode in Peter Hall’s Diaries when, in advance of directing Albert Finney in Hamlet, he “fillets” the text of “practically all its punctuation except what is essential to sense” and then finds he has to live with the consequences. On August 21, 1975, he notes, “Shakespeare’s text is always absurdly over-punctuated; generations of scholars have tried to turn him into a good grammarian.” All of which sounds sensible enough, until we find the entry for the first rehearsal on September 22, which he describes as “good” but also admits was “a rough and ready, stumbling reading, with people falling over words or misplaced emphases”.

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What happened to punctuation? Why is it so disregarded when it is self-evidently so useful in preventing enormous mix-ups? A headline in today’s paper says, “DEAD SONS PHOTOS MAY BE RELEASED” – the story relating to dead sons in the plural, but you would never know. The obvious culprit is the recent history of education practice. We can blame the pedagogues. Until 1960, punctuation was routinely taught in British schools. A child sitting a County Schools exam in 1937 would be asked to punctuate the following puzzler: “Charles the First walked and talked half an hour after his head was cut off” (answer: “Charles the First walked and talked. Half an hour after, his head was cut off”). Today, thank goodness, the National Curriculum ensures that when children are eight, they are drilled in the use of the comma, even if their understanding of grammar is at such an early age a bit hazy. For Cutting a Dash we visited a school in Cheshire where quite small children were being taught that you use commas in the following situations:

1 in a list

2 before dialogue

3 to mark out additional information

Which was very impressive. Identifying “additional information” at the age of eight is quite an achievement, and I know for a fact that I couldn’t have done it. But if things are looking faintly more optimistic under the National Curriculum, there remains the awful truth that, for over a quarter of a century, punctuation and English grammar were simply not taught in the majority of schools, with the effect that A-level examiners annually bewailed the condition of examinees’ written English, while nothing was done. Candidates couldn’t even spell the words “grammar” and “sentence”, let alone use them in any well-informed way.

Attending a grammar school myself between 1966 and 1973, I don’t remember being taught punctuation, either. There was a comical moment in the fifth year when our English teacher demanded, “But you have had lessons in grammar?” and we all looked shifty, as if the fault was ours. We had been taught Latin, French and German grammar; but English grammar was something we felt we were expected to infer from our reading – which is doubtless wh...

Présentation de l'éditeur :

The spirited and scholarly #1 New York Times bestseller combines boisterous history with grammar how-to’s to show how important punctuation is in our world—period.

In Eats, Shoots & Leaves, former editor Lynne Truss, gravely concerned about our current grammatical state, boldly defends proper punctuation. She proclaims, in her delightfully urbane, witty, and very English way, that it is time to look at our commas and semicolons and see them as the wonderful and necessary things they are. Using examples from literature, history, neighborhood signage, and her own imagination, Truss shows how meaning is shaped by commas and apostrophes, and the hilarious consequences of punctuation gone awry.

Featuring a foreword by Frank McCourt, and interspersed with a lively history of punctuation from the invention of the question mark in the time of Charlemagne to George Orwell shunning the semicolon, Eats, Shoots & Leaves makes a powerful case for the preservation of proper punctuation.

À propos de cette édition

• Éditeur: Harper Collins Promotion
• Date d'édition: 2009
• ISBN 10: 0007861931
• ISBN 13: 9780007861934
• Reliure: Broché