Because language matters

I am currently editing a thing or two and getting in a total stew about language. In this case, what other people have written and whether I dare challenge.

And I think I do dare.

Language matters – what it connotes and the attitudes it betrays; words other and marginalise and encourage others to do the same. I found, when writing The Revelations of Celia Masters (this is my fourth book, currently on submission after a revise and resubmit) that I took apart some of Trump’s words and phrases.  They are not new. My book is about settlers in the Middle Plantation of Virginia during the English Civil War and I came to look at such words as ‘tame’, ‘infest’; ‘crazed’ and ‘animal’. One of the things many have observed and protested about is that language – presidential and administration language – matters and Trump is roundly casual about the way in which it is used, blaring and glaring; full of brutality.

Trump’s proud ‘We tamed a continent’ says a lot, doesn’t it? The verb ‘tamed’. It says something like, they were savages, but I am not: I am civilised. And the pronoun itself, we. The colonisers who did tremendous things and set the natives straight. The we. We are still that we and it’s still encumbent on us to tame them, he would have you believe. It’s so erroneous I don’t even know where to get started. Trump also refers fairly constantly to ‘Western Values’ which has absolutely no meaning at all. It’s a shadow phrase which I doubt he could even articulate.

I spent a lot of time thinking about the important of language choice when I was preparing Celia Masters (as I am now as I edit others’ work); mulling over sources and academic works like David Hackett Fischer’s exemplary Albion’s Seed. I was thinking about how the Cavaliers, coming into asylum under Berkeley (which is the starting point of my book) held freedom in the highest esteem, but that within it was the freedom to oppress others – and I realise I have expressed that in very broad terms, so you’ll have to read the book! (His and mine!) I explored how, through noting contemporary sources, you could see that colonists clearly believed that their settling of America was God’s work and that He had intervened to make it possible. I promise to write more about this later – and you can see that Celia Masters becomes repelled by it because of what she sees, comes to understand about herself and her true past and what she creates…

 

Back to the editing.

I am, for example, struggling with some of the phrases white writers use to describe skin which is NOT white; this has to be handled so very carefully or not handled at all, some might say. What do you think of  ‘honey-coloured’ or ‘cocoa-coloured’? I’d say you delete it if you’re a white writer. Do you baulk at that? I am also…bothered by the phrase ‘traditional cultures’ in that I see it used by anthropologists and sociologists, but I see academics in the same and in other fields taking it apart. Am I on shaky ground? Quite possibly, but I want to have a discussion about it and with different sources. And I personally don’t think anyone should be using the phrase ‘third world’ because that IS diminishing, patronising and othering.  My older boys were mortified to learn that I had challenged its use in their secondary school. I am a person who is sometimes chided for being ‘too PC’ which makes me tremble with a sort of punchy anger. Overreaction?

When I was writing The Revelations of Celia Masters, I had to think very carefully about the language and concepts I handled because my protagonist is a mid 17th-century white girl tangling with cultures and worlds that ate deeply unfamiliar to her. She has seen only Somerset, the Dorset coast and the court of Charles I. I was really worried about how I was going to write about the use of slavery in the colony and also to write about the Algonquin Indians who are in my story and, like the slaves, integral to it. I sought advice from an excellent source and was led, amongst other things, to the article below; I also discussed how I might approach my exploration and found that what I needed to explore was Celia’s whiteness. I turned it on its head. ‘…write you‘ in the words of the article in this link. As you write, reflect on your own privilege and power. There are plenty of jarring narratives about black culture from white voices. Also, I was damned if I were going to reduce folklore to some hokey thing about fairies, when it’s fire and blood and richly syncretic. The article was useful for that, too. Read carefully, discus with various sources, don’t shoot from the hip, be prepared to be totally and utterly wrong (you might enjoy what the late Hans Rosling has to say about this in Factfulness) and remember that words have power.   

What do you think? About any of this?

(Article from Buzzfeed: succint, intelligent and pithy – and I’d love to discuss it further!)

. https://t.co/gvJ06LmBwe

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Depending on dinner

Here is something I wrote for submission to a journal, and which was not subsequently accepted. It’s about horror; in the everyday: at mealtimes, in fact. If you’ve read my first book, Killing Hapless Ally, you will have seen that I was sometimes terrified by food as a child. Because of the spirit in which it was cooked and the hands which served it. Sometimes that food was plain terrifying – as in my paternal grandmother’s pickles in the pantry. She disliked most people, had very big hands and once burned all my father’s books; parents think kids don’t notice or overhear, but they do: I was scared of the big hands and the eyeball pickled eggs because I knew those hands were book burning tools. At home, the most beautiful cakes; but the hands that made them were brutal as well as pretty.

Don’t think I’m frightened of food. I’m not. I cook a great deal and for lots of people; I might eat out. But then sometimes up comes a thought – eros, thanatos, trifle, we’ll call it. And yes, it’s scary.

Have a look at this strange little piece and tell me what you think about its content.

cherry

Depending on Dinner

‘What an awful thing life is, isn’t it? It’s like soup with lots of hairs floating on the surface. You have to eat it nonetheless.’

Gustave Flaubert

Boy-child went out for dinner with Mother; a bonding exercise. Childhoods don’t come around every day, though gluttony does and he thought of that like a disease; like something his family couldn’t help. Shovelling it in; nibbling and tasting. He remembered his parents holding mangoes up to the light, comparing the (what was it?) Dussehri mango with the Sindhri. Are they ripe, just so. Oh darling, let me cut you off a sliver.

Ugh. She fed it to him, that amber worm.

Oh. Perfect.

The boy had been repelled as he heard them snaffling and laughing like reptiles in the undergrowth for bugs. Or city foxes tearing at the bins and triumphant over a carcass.

Imperfect. Disgusting.

Now he read to her. Flaubert. Darling, listen. Large platters of cream, that trembled at the slightest jarring of the table. Oh yes, oh yes. Do you remember our wedding feast, my own Madame Bovary. He heard them making that reptile or city fox noise again, though it sounded this time as though they were on the floor.

So.

His parents were disgusting. They were good people. But they were disgusting. So were his grandparents. All gluttons, Shovelling it in. Salivating and all gross in their delight.

Now here he was, out with Mother on a gustatory bonding exercise. It was said to be a cosy little place. Novel, Thai Tapas they called it. Which meant small portions of Thai food. Novel. But  the boy was not excited to go in. He was scared, too. He’d not tried Thai food and thought tapas sounded Spanish and, he recalled now, all his experience of Spanish food was an omelette heavy with vegetables and a slice of manchego cheese that his turophile grandmother had made him try with olives. Now, the hybrid seemed mysterious, if not just a touch menacing. Menacing began to overtake mysterious and the boy quaked.

But still, brave boy, a glimmer of courage in there, too. Thank you Mother.

But what could there be to lose? Memories, now vaunting, were uncomfortable.

            At Grandmother’s house, as the affineur had swept forward bearing an old wooden board with little bits on it, he’d worried. That was because Grandmother expected him to try and he didn’t always want to; he didn’t want to disappoint her. The olives he’d liked; the cheese tasted of saddle and the hair of beasts in heat. He shuddered at this memory. Now how, he wondered, have they combined such things with Thai food? Thai food, Mother had explained, was sweet and sour and you couldn’t taste the anchovies in the fish sauce, but you did get whacked by a deep savoury flavour. And there was a smack of chillies. It was a flavour which could quickly become addictive. On, she went, as mothers do, about the aniseed taste of Thai basil and the lovely lemony smack you got too. And the boy’s anxiety began, surely and slowly, to increase. With it, a sense that he was becoming a man, or something, big and old too soon. His childhood slipping from him with smacks of rude taste.

Hot beasts in heat.

Crumbly white cheese.

Some sort of omelette.

Things lemony that whacked you and things that could be addictive

Aniseed. Wasn’t that like liquorice?

Another horrid memory. He felt ill, poor boy, but who to tell? His father had been cooking steak, waiting on his mother. He had a book open and read as he fried. The boy could smell the tang of black peppercorns and he knew the blood would be seeping soon onto the plates. Darling. Barthes on steak. Do you remember Mythologies from university? Rare steak is said to be saignant (when it calls the arterial flow from the animal’s throat. Oh yes, I remember. You read it over a steak dinner then. Steak tartare. My first time. I was a tartare virgin and you’d showed me the way. Oh. The clash of the pan had subsided. Yes my love. The germinating states of matter…a magic spell he says. The blood mash and the glair of eggs.

They were on the floor again. Thrashing. Beasts in heat.

He tried to think of bland foods. A boiled egg, Porridge and a banana. Plain toast.

Thai Tapas. The boy was trembling, but he was compelled to plod on.

Mash. Glair. Sweet. Sour. A sauce made of old fish but they’d disguised the fish because you could always taste fish and surely that was not trustworthy? It was a deception. What else was in there that added flavour, but which you couldn’t clearly identify? His other (slightly kinder) grandmother spoke sometimes about her love of offal, which disgusted him. Wobbly things; glands; greasy things. Hearts with the ends of tubes still visible; things you weed through. Stuff that boiled and fried and fugged up your kitchen with animal stench. Was it all chopped up, or milked and puréed and added to the Thai Tapas? Tripe like a wet blanket you could do nothing but die screaming in.

They tried squid.

Little prawn toasts.

Wriggling, once alive things.

I feel ill. There is something seriously wrong with me and no-one will come.

Things like ammonites. No more fossil collecting. Now that is disgusting too.

This restaurant. Very expensive for tiny things no bigger than the smallest paper bag of pocket money sweets you could imbibe for seventy pence, but costing six pounds and more, He felt he had to eat. The squid: texture of shoe. The prawn toast: where it hadn’t crackled in the frying, there was bread mush, looking like his baby sister’s fat toe skins after bath: mushy baby toes. He wanted to cry out. Boiled skin; flayed stuff. Jesus lashed. Mary crying. How? Why? And no-one will come.

Now he remembered the nightimes. Sometimes I am afraid to close my eyes at night for fear of falling. I shall fall and fall and not get up and it must be like dying or not dying and everyone thinking you had but you could not say. If I swallow, I can die. And I will fall. I’ve seen the pipes and the tubes of a human body and they are not well organised and choking could happen to anybody because nobody always knows what to do. A madness, a laughing illness could happen to you, however brave or clever or so well that you defeated a big illness. But he must not show his mother. And what if all this got back to Grandmother? She would be disappointed and trace it back to the wooden board when she had swept in, Maître Fromager, and make me tell her I did not like the manchego cheese.

He thought again of bloody steak, mango slivers, rolling parents. Laughing, oblivious, quoting.. And on and on. And when the pad thai came, again in tapas portions, he ate a mouthful and went rigid, aghast also at the thought he might expectorate six pounds eighty’s worth of noodles. Time was money and money was time, his dad said.

I need to go home.

Why? Don’t be ridiculous. Also people are looking.

I am going to choke.

You’ll be fine.

What if I die?

Of course you won’t die.

Why not? People definitely die of choking or it wouldn’t be on the telly.

Well…

So you can’t say it never happens.

Listen darling you must stop being so odd and understand that food is one of the great pleasures of life. A normal thing. What on earth has made you so uptight? You’re really not like anyone else in the family. I just don’t understand.

And he was also thinking, Take me back, I want to stay a child. Please let me. And, I hate you. You don’t see it, rolling on the floor and frying and slavering and your horrid mango slivers like a yellow corpse slip up to the light. I hate you. You don’t, you cannot understand me and you won’t try.

            More food came.

            And what is in here? In the Spanish-Thai muddle? All the things they might have mixed in or used to flavour it. Spanish omelette and heart and that nasty cheese that’s like beasts in heat and melting straw and rotting things and you said there were anchovies in it and things that tasted of lemon, but you didn’t say they were lemon. I can’t trust any of it.

And the boy ran.

Mother caught him, as mothers do. Admonishing, saying she simply could not see what the problem was. It wasn’t as though he was ill. Sighed and paid the bill, apologising to the manager. Over forty pounds for tiny things and indistinguishables and babies’ bath toes and bits of organ and weird cheese. And the memory of his grandmother looking disappointed in that way she had. He wasn’t like her friend’s grandson who would try anything and like it, too. Dear, dear. Boys today and I blame the mothers and if she had been my daughter I would have taught her how to raise a braver son.

And on and on. Crying into the storm all the journey home. Frightened to sleep for a death crevasse, all littered with manchego and nasty odoriferous hauntings, which opened beneath his feet with each falling to sleep jump. Rigid then until overcome, at four a.m. and too tired, too immutable with fright, to go to school the next day. And still scrambled egg arrived. This will make you strong. Like hell it will, viscous nasty thing made by the hands of beasts in heat.

Keep it quiet. Keep the house battened down. It’s hard to explain, this multi-layered suffering. If you took a food metaphor to deconstruct it—and you may know that planked or slated deconstructed food is all the rage just now—you could envision it like a trifle. On the bottom, there’s the sponge and that’s feeling guilty about being born and being a burden to your mother; the sherry soaked into the sponge is the shame drenched on you by (worst) grandmother because you’re not brave, not a trier, not pleasing or (alongside it) masculine enough like other grandsons. Then you’ve fruit. The fruit, first of all, depends on your poshness. Posh folk add kiwi fruit; the chavs, tinned strawberries—that’s what he’d heard them say about other people’s parents—no matter, though, the metaphor works either way: the pieces of fruit are the odds and ends of bad dreams and chunks of scorn and the lumber of certain failures, past and to come. The custard: cannot get out from the fruit: it’s viscous, like aortic blood in a bloody steak, or the gloop they drain out from the corpses before they flush; it’s death, being trapped. Ah, the cream, now what is that? It’s claustrophobia. You’re in a classroom, with the popular kids, and they’re pelting you on the back of your neck with the contents of their pencil cases and you don’t turn round. You’re told this won’t last forever, but you’re not sure because you were also reassured that choking wouldn’t happen and it did to that man on the telly and you know your mum was bullied in school and she still hates the school run with your primary age brother because of the cool girls she isn’t. So the cream. Gloop. Look, a swamp. It’s going to get you. Or is it quicksand, or the worst sort of snow or pus and infection and it’s seeping into you and you’re boy in bits but no-one knows. And there, in bed at night, or in the classroom being pelted on the back of the neck with fine-liners and protractors and somebody’s foul tooth-marked mouth-guard, that’s all there is.

Trifle kills. So do Thai Tapas. And Grandma, affineur, with her hateful tidbits. And when you fall to sleep, there’s the crevasse. And that’s what loss is. Going mad. Disease. Eventually disease will make you ill. And then there’s stuff you’re clawing at; can’t catch. Abhorrent  taste in your mouth all the while.

The boy sat sat rigid all night, for two nights: didn’t go to school. The doctor was called, but the boy wasn’t an emergency just yet. He gagged on egg and full fat carbonated and little tiny bites and even milky things that Mother was taught to get into him, somehow. And on the third day, overcome again by the tiredness, he slept and slept all day and half the night and when, at last he woke, he sipped with a straw and would never thereafter eat anything. Though he drank and gagged, but drank because he had to. No good toast, or pizza or roast or pasta things. Just fluid, with his straw, under control and bland, so no beasts on heat and that was that. And he wasn’t a child any more, though he looked like one.

His parents weren’t letting up on their own feasts.

Darling, look. Let’s make a salad. Do you remember Dido in The Aeneid? Yes, how could I forget? You were the one who read it to me, lulled me to sleep. She spoke about the lettuce and the long huge-bellied gourd. They were laughing as they crushed the foul garlic in the pestle and mortar, wrenching parsley from the ground and foul red onions. Laughing.

And on. And on. Slurp. Sip. What is wrong with him? Wrong until he was taller man-boy, then old man, being pumped and drained, too late to chew or bite; all gone. Anyway, childhood gone; all swallowed up by the fear-thing. The fear-thing you see out of the corner of your eye. That you try not to see. So you have a bun; a consoling cup of tea; a chat. And you hope it all, life—like this tale, really—is a metaphor for something greater, then discover it isn’t.

Yes, there were cups of tea, he could manage tea, but still he went toes up. Ill, mad, eyes not seeing and no-one came. He wasn’t dry for lack of fluid but his gums were violet and teeth pretty for lack of use; deep gorges around his lips for sucking life through straws.

At the wake, the glacé cherries winked from the top of the trifle, adorning the cream, custard, fruit and sherry-soaked sponge; a late addition for festivity’s sake. It wasn’t a kind wink. For cherries are little ruby fucker-devils; you could suffocate in a sponge; if the gin-poor had had more money, they’d have been expunged by sherry; custard and cream: get your foot wrong, and slurp, like a swamp and you’re under.

That poor boy.

Oh well, we tried, said his even older mother to his even older father. But he was nothing like us, was he? In the end, it was like a disease in our family, so I had to turn away, for my own preservation. Your own sweet preservation, darling. I must say—and I’m quoting Kierkegaard though obviously you’d know that—that it’s a shame how some men’s lusts are dull and sluggish, their passions sleepy. Oh I know, my love. That was him.

Now parcel up the rest of the food. You and I will have a midnight feast.