mascarpone

Plants have their mutations, and so do words. In word country, one that crops up from time to time is metathesis (that’s pronounced with the accent on the “ta,” by the way): sounds are transposed. This has affected some of our best-known words. Without it, you might aks for the thrid time what that birht brid is, rather than ask for the third time what that bright bird is, since our modern versions of ask, third, bright, and bird all got their forms by metathesis of the [r] and vowel sounds or, in ask, of the [k] and [s].

But you have to be careful. While metathesis is not normally harmful, you should watch out if you make yourself comfortable in some foliage to eat an hors d’oeuvre with mascarpone. You will not be harmed by being “comfterble” rather than “comfortable” – indeed, the former is a more comfortable sound. You may or may not be foiled by “foilage.” As long as you are careful with your “or durv” and it does not veer too close to ordure you will probably survive.

But if metathesis affects your soft Italian cream cheese, you will find yourself face-to-face with a gangster from the red planet: Mars Capone. Do not try to turn it into a candy bar with a capon; you are too late. The scar may be gone, but the consequences of its turning into rsca are simply too risky. A green man with a machine gun, making a bloodbath from the red planet – your only hope would be to send him to Alcatraz for syntax evasion.

Yes, better to keep it away from that cheese. As long as it’s mascarpone, it may sound like it wants to scarper, or like it’s wearing a mask, or you may hear a hint of a corn pone (for a NASCAR driver perhaps?) or get a clear taste of carp (you may even see one), but you are at no risk of its being crap or, well, that machine-gun man. You will in fact have a nice soft spreadable outcome of a liaison between cream and a curdling agent (such as citric acid). It can be part of a nice little “pick-me-up” – Italian tiramisù.

Never mind that the word’s origin is uncertain and subject to some speculation. Just don’t let that [r] shift from the unstressed syllable (such a nuisance to put that extra effort into what would otherwise be a simple schwa) onto the lengthened opening [a], no matter how natural it may seem. It could be your life we’re talking about here, you know.

She’s like all that you know

I think it’s time to feature another poem from my book Songs of Love and Grammar, saucy verse about romantic and morphosyntactic difficulties. This one revels in the rich depth and frank economy of lexis of a certain adolescent idiom. I have done you the favour of reading it in a video. You’re welcome.

Here’s the text:

She’s like all that you know

by James Harbeck

I know this girl, and she’s all that –
she’s like, you know, she’s got it all,
and she’s all “Guys are all like that,
but you’re, like, not like that at all.”

So I’m like, you know, “What’s all that?
So did you dis me? Do you like me?”
And she’s “You know it’s not, like, that.
You know I know you don’t dislike me.”

So I’m “Like that’s just all I know!
I know you know I know, you know?
So no, it’s not a dis, I know.”
And she’s “I know. I’m just, you know.”

But no, you know, it’s not like that.
That’s just, like, all. It’s just, you know?
Cuz that’s just her and I’m not that.
I like her, like you know, you know?

But now, you know, it’s all “That’s all,”
but, like, no, that’s not all at all,
cuz she’s a girl who has it all,
and, like, I’m just like that, is all.

hyperforeignism

Elisa Lively had invited a “well-known world traveller” named Harley Weldon to our monthly Words, Wines, and Whatever tasting event at the Order of Logogustation’s headquarters, Domus Logogustationis. “He’ll regale you with stories,” she promised.

And she was right. He had a story for everything. He held forth in his spot at our table. (Jess, I, and Maury held first, second, and third, respectively; Elisa held fifth.)

“I remember,” he said, with a practiced misty, thoughtful look, to his glass of Bordeaux, “drinking a claret much like this in Beijing. The restaurant had matched it with a dish that, to my surprise, contained prodigious quantities of habanero peppers. I almost thought it was an empanada.”

I held up four fingers under the table in sight of Jess and Maury. Jess smirked. We had been keeping score, you see.

Oh, yes, you can’t see on paper what we were keeping score of. His actual pronunciation was “a cla-ray much like this in bay-zhing,” “prodigious quantities of ha-ba-nye-ro peppers,” and “em-pan-ya-da.” That’s four goofs:

1. Claret is properly pronounced like the last two syllables of “declare it”; it’s an English word based on the French word clairet, which means something else.

2. The closest you’ll get with English phonotactics to the Chinese pronunciation of Beijing is “bey-jing,” with an English-style “j” and not a “zh” as in beige.

3. Habanero is not habañero. It is an adjective formed on Havana – in Spanish, v and b have a certain interchangeability – and there is no palatalization of the n. Also, the h is not pronounced in Spanish – though it has come to be pronounced in the English version.

4. Empanada is likewise not empañada. The latter word actually means “fogged up”. Sort of like his pronunciation.

Our hyperactive foreign traveller, in other words, was proving to be a high-performance source of hyperforeignisms: overcorrecting for difference from English – matching a word to a conjectural “foreign” pronunciation pattern not appropriate to it. The word hyperforeignism is a simple English confection of the Greek-derived hyper and the Latin-derived ism with the word foreign, which came from Latin foris “outside” by way of French forain, plus a hypercorrecting addition of a g to match words such as reign and sign.

“That was quite a coup de grâce to our tête-à-tête,” he said, as “coo de graw” and “teh a teh”; Elisa listened, rapt, while Maury, Jess, and I tried not to choke on our beverages. Drop the end of coup de grâce and it sounds like coup de gras, meaning “stroke of fat”. Amazing how often one hears people dropping all consonants at the ends of French words, even when there’s an e after them. As if to prove the point, he added, “I could have killed for some Vichyssoise.” Yes, he said it as “vishy-swa.”

“I’m no stranger to strong flavours, of course,” he went on. “One time dining with a Punjabi chap near the Taj Mahal I had some Earl Grey with a stunning excess of bergamot. I felt like a cross between Kahlil Gibran and Genghis Khan.” A flurry of fingers up under the table: one for “poon-jobby” rather than “pun-jobby” (the u is to approximate a more central vowel, like English “uh,” in the older British way of transliterating by English spelling habits rather than by consistent phonemics); one for “tazh” rather than “taj” (again like Beijing: there’s this idea many people have that j couldn’t possibly be like our English “j” sound in any other language); one for dropping the “t” on the end of bergamot (it’s not a French word – French for it is bergamotte – and it’s not from the Italian city of Bergamo); and one each for hard “g” in Gibran and Genghis (nearly everyone gets those wrong these days; those names were given English spellings back when “j” before e or i was spelled with a g by habit in English versions. You could protest that by now the usage has changed and it’s no longer wrong in English, just as we say, for instance, Paris like an English word; but if you want to get it true to the original – and the intent of the English spelling, which ironically is what’s misleading us – you would do better with the “j”).

“But I’d still take that over the time I had tea with some Russian mafiya men in a dacha near St. Petersburg.” Two fingers: he said “ma-fee-ya” – actually mafiya is just an English transliteration of the Russian transliteration of the Italian word mafia, which is pronounced in Russian as in Italian with the stress on the first syllable – and “dakha” rather than with the ch like English “ch”. Again: the idea that ch couldn’t possibly be said like English ch in any other language.

That was like a scene from Brueghel.” I flipped up another finger and tried not to roll my eyes: “broigl.” (Brueghel, sometimes spelled Breughel or Bruegel, is a Dutch name, and the ue or eu is like French eu – and the g or gh is, in Dutch, like a voiced “kh,” but you don’t need to do that in English, which no longer has that sound.)

“A festival of machismo,” he added. Another finger: he had made the ch in machismo into a “k.”

“Quite the opposite of that time in Reykjavik, when I was listening to Berlioz with some Japanese-Icelandic friends – did you know they existed? Not even immigrants; nissei or sansei.” Man, this guy was a treat, and he was now overapplying the German pronunciation of ei (like English “eye”): “rye-kya-vik” rather than “rey”; “niss-eye” and “san-sigh” instead of “nee-say” and “san-say”. Also he dropped the z on Berlioz.

Harley finished his glass of Bordeaux and reached for some of the sausage and cured meat on the table. He looked up and around the room, trying to spot something.

“Do you need help locating anything?” Maury asked.

Harley pointed at a table halfway across the room. “I’ll be right back. I just want to get some Riesling to go with the prosciutto and chorizo.” He stepped away quickly enough that he probably didn’t notice when Jess, Maury, and I all burst into giggles and held up three fingers each: one for “rise-ling” instead of “reez-ling,” one for “pros-choo-toe” instead of “pro-shoo-toe” (in Italian, the “t” is double, like in English coattail, but in English we generally don’t manage that), and one for “core-eed-zo” instead of “cho-ree-so”.

“If he had just managed the ‘ch’ in the right meat, that would have been a start,” Jess said, and tossed back the last of her claret. “But I do hope he brings the bottle. I need some.”

Elisa looked a little confused. “So… what do you all think of Harley Weldon?”

“Oh, his travelogues are most diverting,” Maury said. “He’s learned all sorts of interesting things around the world.”

“Surprisingly enough,” I said, “not including much of anything about other languages.”

“But he used all sorts of non-English words!” Elisa said.

“True, true,” I said. “But I wouldn’t say his pronunciation is wel-done.”

Jess nodded and giggled some more. “Harley.” Or was that “Hardly”?

pygostyle

Today is just another day in Canada (the Great White North, where, incidentally, we do not have “black Friday” and don’t let anyone tell you otherwise, dammit), but in the US of A it’s possibly the greatest manifestation of herd behaviour in a country that, for all its talk of individualism, has a heck of a lot of groupthink and herd behaviour. I mean, in Canada, we have Thanksgiving in October and it’s a long weekend where you probably go have dinner with your family, probably turkey. But in the US, there’s so much more to it. It’s on a Thursday, and on the day before, half of everyone has to go somewhere they are not. It’s the busiest travel day of the year. Wherever you are, you must go to not-there, at the same time as everyone else and taking the same means of transportation. On the day itself, everyone eats turkey, it has to be turkey, if it’s not turkey you pretend you’re eating turkey or you talk about how you’re not eating turkey, in fact many people call Thanksgiving “turkey day” rather than “Thanksgiving” (like the way Canadians call Victoria Day “May two-four”), and you stuff your face with all sorts of starches and other sides, especially cranberry sauce (if you don’t like cranberry sauce, I’ll have yours – seriously, mail it to me). You pig out, family style – oh, and to really go in style, you have to have pie. Lots of it. And then everyone watches football or something like that and/or snoozes, goes and smokes a stogie, argues about money or politics, and all those other things people do at family gatherings. Meanwhile, you could set up ten pins in the main street of town and have a game of bowling without being disturbed. And then the day after… oh, the horror. Let us not speak of the frenzied mass worship of the dark gods of commercialism, the bacchic fury, the torn garments and rent flesh and tramplings, when WALMART becomes ELPMART backwards. No, let us back up to that turkey for a moment.

Let us back up to the back end of that turkey, in fact. To the opening into which the stuffing was stuffed. There is a little nose of mostly fat there. It’s rather juicy, but a guilty pleasure for those who eat it and really a bit much for many. The same thing may be found on a chicken. So… what do you call that thing?

If you have a name for it, you probably call it the Pope’s nose, bishop’s nose, parson’s nose, or sultan’s nose. But it’s not a nose – it’s where the tail feathers were attached. But it’s not the tail. Turkeys and chickens don’t have tails. (That snake-like thing you may have found in the body cavity where the guts once were is of course the neck. Or what’s left of it.)

Well, someone knows what it’s called. For one, a commenter going by the alias roac on the article “Answers to Every Possible Thanksgiving Health Question” by James Hamblin on theatlantic.com does. What’s the word? Pygostyle.

Not bad: a word with two wishbones y and y (which, by the way, are roughly equivalent to your collarbone). Sort of looks a bit like “pig-out style,” doesn’t it? But don’t be misled by the resemblance to pygmy. The pronunciation is actually like “pie go style.”

The pyg is related to the pyg in callipygian (“nice butt”) and steatopygian (“fat butt”), though in this case the g is not “softened” since there’s a back vowel after it. It comes from Greek πυγή pugé “rump”. The style is not the style as in “You’ve got style” or stylus; those come from a Latin word stilus for a pen, from a root referring to a sharp point. This style comes from Greek στῦλος stulos “pillar”. So pygostyle is a Greek-derived way of making rump-pillar. Although, frankly, its object, in the context of a feast, is more of a rump filler. I’m not saying it’s your ticket from callipygian to steatopygian, but too much of it could certainly affect your style. But you’re not going to get too much pygostyle, anyway, so you’re safe. For which you may give thanks.

Thanks to Doug Linzey for suggesting today’s word.

grits

Naturally, after talking about chitlins and grits yesterday, I wanted to have grits today.

Fortunately, this was possible. I have some Quaker Instant Grits, and I made some for breakfast.

grits

Does it look like cream of wheat? It’s not all that different, really, except that it’s made with corn and so has a different taste and a bit of a more granular consistency.

And what is the difference between grits and polenta? Less than you might think. Mainly, grits are made with hominy, which is skinned and bleached corn – though apparently sometimes they’re made with just normal corn meal. Oh, and you eat grits mainly in the US, and mainly in the southern states, and so you typically have them (or it) with other good southern food. (I do love me some southern cooking. You shouldn’t eat it all the time – fat and starch are maybe a little predominant – but one of my favourite cookbooks is White Trash Cooking by Ernest Mickler, basically a collection of recipes from his family and friends for good ugly flavourful food.)

This also has some phonological implications for grits. If you have a Canadian accent, or any of quite a lot of other Anglophone accents, you of course say it [grɪts], with the [ɪ] variously high or low depending on where you’re from (some places you’re likely to get something close to [grɛts], likely in concert with a certain amount of creaky phonation, a.k.a. vocal fry). But that’s not how /grɪts/ is realized in many a southern US accent. “Short” vowels are often diphthongized in the southern US, and /grɪts/ can be realized as [griɛts] or [griəts] – a manifestation of the same phonological process of splitting a vowel into two parts with contrast between them that led to the Great Vowel Shift, wherein all our long vowels became diphthongs in the couple of centuries before Shakespeare.

A warning, though: if you do not speak with a southern US accent, you will likely sound stupid saying grits in the southern way in the middle of a sentence that is otherwise in a non-southern accent. It’s like saying “Nollins” instead of “Neworlins” or “Norlins,” or “Cans” instead of “Cairns” (Australia), when you normally pronounce /r/. People who sound like they’re saying “Nollins” or “Cans” are saying the /r/; they’re just saying it as a lengthening of the preceding vowel. You, in your accent, should say the /r/ the way you normally say it. Otherwise you’re shifting for just one word into someone else’s phonotactics, switching phonological realization patterns for one word. It’s desperately incongruous.

But back to the southern connection. I bet a lot of people just know of grits as “something southern people eat” without knowing exactly what they are, let alone ever having had them. Millions of people will surely think first of Flo (played by Polly Holliday, from Alabama) in the TV show Alice – a southerner working as a waitress in Mel’s Diner in Arizona. Her catchphrase was “Kiss my grits!” (Hear her say it near the end of this clip.)

So naturally you’re likely to fancy yourself feeling mighty southern if you eat some grits. It seems almost like the haggis of the south in regard to the regional pride attached to it (except that people generally don’t think of grits as disgusting, as many – not including me – do of haggis). It’s a signature bit of southern cuisine in spite of the fact that it’s not breaded or fried or barbecued or covered in some sort of sauce. Well, it’s made of corn. Shut up and eat. I suspect that it has a certain grab-and-stay power just because of the grabby sound of the word ([gr] onset) and the other tastes grit has – notably pluck and courage, but also stubble and dirt: an emphasis of honest poor-folks origins.

Grit as in “dirt” and grits as in “ground corn” are, by the way, from different Old English roots, but they are likely related further back and have also mutually influenced over the course of English history. On the other hand, groats is considered a variant of grits – one that tends to refer specifically to oats (or as otherwise specified, for instance buckwheat groats), which grits seems originally to have referred to as well – or wheat.

But, you know, as Wilson Fowlie pointed out to me today on my note on chitterlings, there’s probably someone somewhere who will insist on saying groats when talking about grits. After all, grits is what normal people call them – people who don’t have a whole lot of education and don’t speak “formal” English. So therefore if there’s a version of the word that’s more associated with England and less associated with those southern people, it must be the more correct or better version, right?

Just like I’m sure there are restaurants that do the most precious imaginable variations on grits, too. You know, “Crawfish Grit Croquettes with creole mustard foam and green onion ‘dust’” or “Herb crusted Maple leaf duck breast Smoked and sliced over Creamy herb infused grits and finished with Wild berry confit salad.” (Note the arbitrary capitalization.) Now, I like novelty in foods, and fusion, and so on, and I eat for flavour, not ethnology (“authentic” is a deeply self-deceptive concept in intercultural food explorations), but precious fads can sometimes make me grit my teeth a little. Some of those chefs can kiss my grits… actually, they can leave them alone, thanks.

chitterlings

Ah, newspeople. Who was it that said that news was like sausages – you don’t want to see how it’s made? Oh, wait, that was laws. But they are like sausages in that they want to get to the guts of the issue, but they have to do it presentably – and in a way that they think is palatable to their audience. And they are like people of the law in that they are often very concerned with appearing impartial and correct.

Indeed, you can see some of the most egregious hypercorrections in newspapers. And broadcast news, the same place that brought us “harris-ment” for harassment and “urine-us” for Uranus, is about the only place you may hear an [r] after the [b] in February or – o hypercorrection indeed – hear the hump day of the week pronounced [wɛd nɛs deɪ] rather than [wɪnz deɪ] (even the Oxford English Dictionary does not include that three-syllable spelling pronunciation).

Or hear tell of chitterlings. As I recall hearing on the news when there was a recall related to some chitterlings in Alberta once.

Before going any further on what chitterlings are and what they’re usually called (things you may or may not know), let’s stop and enjoy the look and feel of this word. It has the crisp skip of the voiceless affricate and stop in the first part, and then it softens to liquids and a nasal and a voiced fricative. It seems to skitter, chatter, perhaps even glitter; the lings may make you think of earthlings, and you may wonder if chitterlings are denizens of Chattanooga, say. Or could they be little critters, monkeys perhaps?

Naw, they’re pigs’ guts. Or guts of other animals, but usually pigs’ guts.

“Um,” you may be thinking. “Why would they recall pigs’ guts? And what do they do, take the pigs back to the factories for gut replacements?” No, these guts have been taken from the pigs already and the pigs are not going to need them again. These guts are for cooking (at length, as usual with digestive organs) and eating. (They were recalled due to contamination. With what, I can’t recall. Pig poop?)

And the more common word for them is chitlings, or chitlins. Which is of course just a rubbed-down version of the original, sort of like vittles for victuals. It is, naturally, newer (1800s rather than 1400s for the first known use in print), and is associated with the Southern US in particular.

Did you know that was what chitlins are? If you didn’t, now you do. My guess is you’ve probably heard of “chitlins and grits” or something like that. So, uh… do you know what grits are? Have you had them? (I certainly have, and I quite like them.) I’ll tell you this: I can’t see how a newsreader could possibly hypercorrect the word grits.

But if we’re going to go the whole way with chitterlings, following the formally correct and extremely WASPy model, why not have some more guts and go with a spelling from way back when – I like this one from 1440 (thanks, OED): chytyrlynge. That really looks more like fried porcine intestine. Note that it’s singular, though… like guts (and grits), chitterlings has come to be a plural (also conjugatable as a singular).

And where does it come from? Well, words are like sausages. I don’t mean that you don’t want to know how they’re made. I mean sometimes you just don’t know what the heck went into making them and you’re probably never going to find out. So just enjoy the flavour.

distill

I sing with the Toronto Mendelssohn Choir, and we started rehearsing tonight for our Christmas carol concert. One of the pieces we’ll be singing is The Huron Carol, in Robert B. Anderson’s arrangement.

As soon as we started singing it I was in the still calm of a Christmas Eve somewhere in my past, any one of many I’ve lived, outside in the crisp Alberta air with snow lightly here and there, house lights, Christmas lights, the beautiful calm and the sense of quiet anticipation – not of getting presents; the commercial side of Christmas is increasingly repellent to me – anticipation of, well, comfort and joy and new beginnings. And, honestly, I just love beautiful nights filled with silence and music. As we sang, frissons ran over my skin – not chills, not from the frosty air; we were, after all, singing inside where it was light and warm; simply the nerve endings and the little hairs up and down standing up to look up at the starry sky.

Christmas Eves aren’t like that anymore. And never have been. I know perfectly well that every one of those Christmas Eves felt like a normal enough evening at the time, pleasant but not really matching the strength of memory. Well of course. One might as well say that speech is not like singing, does not produce the same frissons. But in both cases it is, I think, not a question of something being added that wasn’t there. It is a case of distillation.

You know what distillation is. It’s what we use to produce purer water, purer alcohol or more intense liquor… Not to add what is not there, but to keep what we most especially want and remove most of the rest. How? Let it evaporate, turn it to steam, let the most volatile, the most savorous, the lightest, the most desirable parts slip up and away from the weighty watery hold of gravity; and once it has flown, has known the freedom of swirling in its little hot empyrean, has slipped the surly bonds of earth, let it come against the glass that will keep it from escaping, the wall it could see through but never surpass; and let it cool into tears, weeping for its lost chance, dripping down again into a pool – but a pool only of those spirits that escaped, a pool so much purer than what had been before. In this metamorphosis, the flying part is the chrysalis, while the shimmering butterfly returns to gravity.

Does that seem overwrought? Do you know what distill comes from? Latin distillare or destillare, “drip or trickle down”; the Oxford English Dictionary gives the first meaning of distill (in English from the 1400s) as intransitive, “To trickle down or fall in minute drops, as rain, tears; to issue forth in drops or in a fine moisture; to exude.” From which we ultimately came to our sense referring to the purification process that makes use of distillation in the first sense. But rain falls because it has condensed around dust; tears are salty as they roll down your face; but the distillate that drips at the end of the purifying process has left such things behind and has only condensed because it could not be free.

And so our memories, the experiences of our minds, the most volatile elements, capable – like alcohol – of carrying flavours so much more strongly, are distilled. Even as we experience these things, that spirit of emotion is there, a subtle current weaving through or just a dilute mood barely noticeable, tasted at best perhaps as a faint yearning. It comes through in the still of memory, spirit condensed on the glass of the window through which we view the world.

It is so with music too. Our speech tones carry some emotion, but it is scruffy, everyday emotion, like a once-beautiful antique chair hiding under a dust cloth in a rumpus room, or a hint of whisky in a glass of ginger ale. Perhaps it comes from a pure source and is watered down; perhaps it comes like alcohol from fruit juice, not there from the beginning but a product of what is there. But words want to distill; the tones of our speech want to fly loose and make their page the stained glass window of song, condensing on it in tears. You doubt? Meet the speech-to-song illusion: a spoken phrase played back enough times begins to sound like music.

And what will we remember or sing of this word distill? What spirits does it carry? You see every letter but the coiled and fluid s reaching up away like steam. You see in its alternate form, distil, a partly turned pistil – the female, receiving part of a flower, which gestates the new flower seeds. You see till, which is a temporal or pecuniary expectation – “We will sell till we fill our till” – with negating dis before it, rendering it free of future time and money. You see still, calm, peaceful, hushed like the [st] in the heart of this word. These are the parts I will take with me and savour quietly much later from the crystal flask of memory; the rest I can leave behind.

gallimaufry, salmagundi

What have we got to eat tonight?

It’s gallimaufry or salmagundi, I’m not sure which. Maybe both.

You made it. How can you not know?

It’s a tosspot hotch-potch, a hodgepodge like hopscotch with a splash of balderdash, a farrago of foraging. Fish, flesh, flashes in the pan, catch as catch can. Potluck from a potlach. Edibles all agee, etymology unknown. As incongruous as a semolina filigree.

We can go through it and see what there is and decide what to call it.

There’s a gallon of small fry, silver and swirling, and some salmon gumbo, pink and green like a youth at the railing of a heaving ship. There’s gall and gum and a lamb sandwich and a sloppy Joe and maybe a muffuletta, all mingling like yesterday’s lunch in your gut; there’s a slop of slumgullion garbled with subgum and a muddled mug of mulligatawny, middling inelegant and glumly tawny. There’s a gamelan with a gun, banging through revolving scales. There are fumes from a fumarole and undies from a gun moll named Selma. A mafia gallant slammed some alms down in it: “For your family.” Swirling within I see dualism nag and a Gaul firmly in d’ slum again, a sad mauling à la filmy rug, as kooky as a coati mundi in the belfry… If I pick bits out like fishbones, I get a, a, i, u to go with the g, l, m; on the one side I am left with l fry and on the other with s nd. They are like hidden messages, partially obnubilated.

Sip it or gulp it. It tastes of two trochees, like Latin lines: confutatis maledictis, tuba merum spargens sonum, o Fortuna velut luna, testit David cum Sibylla. A bumping, gulping rhythm. It has an [æl] in the first syllable, a [m] in the second, a [g] somewhere in it, an [i] at the end. It sounds like a big jug of whatever-it-is being poured out, galumphing into overloaded bowls, glugging down a drain burping like mud pots.

You won’t get anywhere by comparing the original recipes. A gallimaufry is just a merry gorging of ragout or hash, any crazy stew; salmagundi has many different specific recipes, and they seldom resemble each other in any particular detail, although one might think of a mixture of meat, anchovies, eggs, capers, perhaps olives, oil, lemon juice… or not. Look them up in different sources and get different recipes. They seem to be culinary pranks, a sort of “aristocrats” joke of the kitchen.

Very well. It’s what there is to eat. A verbal smorgasbord for galloping gourmets: astonishing gastronomy, a Solomon Grundy, a gallery mouthful. Give it a name.

Fillmagasundry. Let’s just call it that.

plunger

You are a plunger if you plunge – if you lunge into the water, or fall like a plumb line: fill your lungs and dive in, and sink like lead. The direction is down, the image liquid; you may plunge into work or conversation or adventure, but it is like splashing into a lake, or a big bowl – perhaps of punch. The sound of a body entering deep liquid at speed: “plunge” (first, of course, you jump – and “jump” is like a sort of reversal of “plunge”, sonically: the voiced affricate ge or j, the central vowel and nasal un or um, the voiceless bilabial stop p… a difference is that there is a liquid l in plunge). And you do not make a plunge; you take the plunge – always one, and definite, and taken.

Usually, of course, the you that is a plunger is not a person. There are a few things that are called plungers, and they generally operate with a piston action – as in a coffee press, or a switch that one operates by pushing down on. Anything can plunge, but a plunger is conceptualized as having a piston-like shape: a larger head, circular but flattened or cup-like, and a long handle, extending back like a motion line in a cartoon. You could shoot it like an arrow. A suction-cup arrow.

A suction cup is, of course, what we think of most on the end of a plunger. Your toilet is clogged and you need an unplugger to purge it. You take the plunger and plunge into the work: plunge it into the disgusting water, lunge forward and pull backwards repeatedly; it intakes and expels like a lung (or something rather less worth naming). Push down u pull up n and repeat until the lump loosens and gurgles and chugs down, expunged. It may take some work. If the plunger is not of good quality, the rubber may lose flexibility in the cold water and simply break after a time, the rod punching its way through the cup. I had to go buy a new one today. How annoying.

Plunger, like so much of our vocabulary, has been brought back in a knapsack from a trip to France, pressed into service like a souvenir French press; the French word is plongeur, and the French for the verb plunge is plonger. The trail follows a curving route downward to Latin and plumbum, “lead” (Pb), as in a plumb bob or other leaded line cast and suspended. (I will avoid commentaries on lead bellies and plum bums.) In fishing terms, if you plunge, you drop in like a sinker.

And you can drop a plunger in a sink, too; they’re not just for toilets. Any clog in a pipe may be susceptible to forcing by compressing the water column with an abrupt pumping action. Oh, yes: plungers may look like suction cups, but they often suck at suction, so to speak; they are much more effective in the pushing part, typically. Which is suitable: when we think of plunging, we just think of the entry. Can you even tell me an equivalent word for exiting the body of water?

fry

The streams of word country are sizzling with fry. Freyja has worked her magic, that goddess of love, beauty, and fertility, and will be back for her portfolios of war and death later. Now Frigg has bestowed motherhood on the waters (no naughty jokes about Frigging, please). The inchoate caviar has dehisced into a whitewater of whitebait. The Old Norse seed fræ has become first those eggs and now the young fish, the myriad glittering flutterings swarming the riffles and rills: the fry, stirring.

Oh, how they coruscate in the sun filtered through the water. You can see the flip of the fins in the f and the flick of the tail in the y; you can feel in your mouth the urge to fly, the recoil and wide hurl and return to the original liquid and glide, [fraɪ]. Yes: it is your tongue, the fry. Your native tongue, ever swimming in the stream of your mouth, ever longing to fly free, ever spawning.

And diving deep, deep sometimes. That vocal slouch, the low final growl, “creaky phonation,” vocal fry, something more common than we notice but lately often associated with young women, sounding like a rehearsal for senescence, the recollection of Freyja.

But words and tongues last variously long. Some fry early in the sun. Some get burned out, try and try until they’re fried. Some are elected for electrocution and fry: the char in the chair of elocution. Some are a flash in the pan, fish flesh in the pan, our native tongue battered and twinned with its forever frenemy: French fries too. The Old Norse word meets its Latin doppelganger, scion of frigere, and fry fry. Is it even Steven?

It’s even Stephen – Stephen Fry. The British wit of eternally youthful mind loves to let the fry free on the river of his tongue. When he expatiates on language – a celebration of the spangling brook of lexis and syntax and a condemnation of those who would dam it and damn its fly fishers – the stream of his consciousness enjoins and enfranchises us all to become what I would call streamkeepers of the language, protecting against those who would poison the discourse, fostering its fecundity, mothering its multiplicity.

Fry is free. Literally: the family name Fry is related to its German homophone frei, “free”. Fry is free, and the fry are free, and as they are free to leap to a fry height we are free to sauté in the fry pan, to catch and taste and enjoy our Freiheit, our freedom. It is love, beauty, and fertility; it is seed, caviar, and it is the million young; it is the ways of ending and cooking and the side dishes; it is firm definition finding itself friable and soon frittered; it is the war of words and the death of tongues. As you shiver in the river you sit with Shiva. But all is fervid and free in the cycle of change, this incessant gallimaufry.