Category Archives: Etymology

History Undusted: The Great Vowel Shift

My husband and I were having lunch recently, and a package of Swedish crackers was on the table; I pointed to the brand name, Pågen. In English, our pronunciation of these vowels would lead us to say pagan /pæg-in/, whereas the Swedish would rather be more like /po-gen/. I just mentioned that English might have sounded similar to that before the Great Vowel Shift, which he’d never heard of (being Swiss, it’s not likely he would be familiar with this aspect of English etymology), so I promised to write a blog about it; here we go!

The term Great Vowel Shift was coined by the Danish linguist, Otto Jespersen (1860-1943), who specialised in the English language. Though the GVS is considered a single event (because of the changes being viewed as part of a chain reaction, with each vowel sound changing in a predictable way), the actual transition of English pronunciation was gradual, taking place over about 200 years, from ~1400 to ~1600. The shift began in Middle English, which was spoken from 1066 until the late 15th century – that form familiar to Geoffrey Chaucer (though his pronunciation would be unintelligible to us, his words still survive through his famous Canterbury Tales) – into Early Modern English (from the beginning of the Tudor period through to the Stuart Restoration period); Shakespeare would have been familiar with it. From there, English transitioned into Modern English in the mid-to-late 17th Century.

The main changes were that, from Middle to Early Modern English, the long vowels shortened; weef became wife, moos* became mice, beet became bite, and so on. (*The word moose entered English through Native American languages in 1610). I will also mention that in Scottish, a lot of the older vowel pronunciations still exist; house is still huus, full is homophonous with fool, etc.

Here’s a look at just how the English vowels shifted:

Source: SlideShare

If you’ve been paying any sort of attention to English, you’ll know that our spelling is a bit chaotic; the language is full of homonyms, which are divided into either homophones (words that sound the same but have different spellings, e.g. beet and beat; bear and bare; to, too and two), or homographs (two words with differing meanings, same spellings, but not necessarily the same pronunciation: e.g. bank [of river; finance] or agape [with mouth open; love], or entrance [a way inside; to delight]) or tear [ripping; crying]. These -graphs and -phones came into English from regional dialects that were transported as migration and cultural mixing took place, and the GVS added its two pennies to the mix. Just think of the variety we have in the sounds /ea/ (bread, beat, bear, break); /oo/ (look, spool, blood); or /gh/ (through, cough, sight).

Certain factors contributed to the speed of language shift: The Black Death (1346-1353) wiped out up to 50% of Europe’s population. Stop a minute and let that sink in. What if the population of your town were reduced by half? And the next town, and the next. That single event changed the course of history on many levels; surfs could finally demand better wages wherever they ended up settling; if you lived in a town that no longer had the skills of a baker, blacksmith, or any other trade you’d depended on, you’d move to where those services existed – and jobs existed – and that meant places that had been hit the hardest by the plague and thus where everyone else was migrating, such as London. As mass movement followed the epidemic, people brought their dialects and their spellings with them. It began to converge into a new, distinct way of speaking, thinking and spelling. The geopolitical climate of the time also influenced English; England and France have been annoying each other for over a thousand years; whenever England was enamoured by all things French, they tried to emulate their pronunciations. That influence came and went; in one such moment, the pilgrims set sail for America (1620), taking a time capsule of the language with them, while England’s English continued to be influenced by French up until the French Revolution, when it quickly fell out of favour in England, though the changes had already taken place (one example is the American /k/ in schedule, closer to the original Latin, while the English say /sch/ without the /k/, which is closer to the French cedule). This factor of influence also affected differences of speech between the lower class and upper class at that time; the upper class wanted to sound more posh, more fashionable, and above all, not like the lower class.

A major contributing factor to our chaotic spelling is that ca. 1440, the Gutenberg printing technique was introduced, and by the 1470s, William Caxton had imported the invention to England; we have him to thank for Chaucer’s Canterbury Tales being known today, as that was the first book he printed in England. We also have him to thank for the influence of Chancery English (the English used by the secretariat of King Henry VI) in the standardization of the language, as he used it as his own guidelines in printing. The vowels had already begun to shift by that time; enter the written word, a rise in literacy, and you have the jumbled effects of “mid-shift” on English spelling – people began to adapt their pronunciation to the written word, so whichever form the printer used is the one that began to prevail, even though some sounds were still in transition. Like nailing down jelly. You could say that many of our odd spellings are simply a snapshot in time.

It is also important to point out that the GVS didn’t have the same influence everywhere: The main changes occurred around London, but the farther away you move from that epicentre, the less the effects on the local dialects, which still holds true today – though gradual merging has allowed people from, say, Cornwall, to understand people from Yorkshire – which wouldn’t have been the case centuries ago. Even though they can understand each other, their dialects are still distinct. I’ve already mentioned that Scots English (as opposed to Gaelic) still retains many of the longer vowels long since lost in standardized English; being so far from London, they simply ignored them. English may be taught in their schools, but Scots dialects prevail in the home and hearth. Regional dialects in English exist the world over, and though spelling and pronunciation may differ from region to region, and the language continues to be a living, breathing, growing and changing being, it’s still a language that enables the modern world to communicate, whether English is their mother tongue or not.

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Who’s Who in Quotes: Samuel Johnson

Dr Samuel Johnson (1709-1784) was an English poet, playwright, essayist, moralist, literary critic, sermonist, biographer, editor, and lexicographer, and his writings have lasted the test of time. He has been called “the most distinguished man of letters in English history” (The Oxford Dictionary of National Biography). His most notable work is “A Dictionary of the English Language” (1755), though he was a prolific writer in every expression of the craft.

Based on biographies by those who knew him, such as his friend, James Boswell, his mannerisms and behaviours were so well documented that a posthumous diagnosis of Tourette’s Syndrome can be attributed to him. The most famous portrait of Johnson is the one above, painted by Joshua Reynolds, with whom he founded The Literary Club in 1764. The club would meet regularly, and included members from the literary and historical disciplines; membership was by unanimous election only; if a nominee was undesirable, a member could submit a black ball (white and black balls were likely deposited in an urn to keep the vote confidential). The term “to blackball someone” arose in 1770, and it means “to exclude from a club by adverse votes”. It may have originated at this club or simply have been a general practice employed in clubs and societies around this time.

So, without further ado, here are 10 quotes by Dr Johnson:

“I know not, Madam, that you have a right, upon moral principles, to make your readers suffer so much.”

“I never desire to converse with a man who has written more than he has read.”

“It is better to live rich than to die rich.”

“No man will be a sailor who has contrivance enough to get himself into a jail; for being in a ship is being in a jail, with the chance of being drowned. … A man in a jail has more room, better food and commonly better company.” (Boswell’s Life of Johnson)

“The chains of habit are too weak to be felt until they are too strong to be broken.”

“The use of travelling is to regulate imagination by reality, and instead of thinking how things may be, to see them as they are.”

“Great works are performed not by strength, but by perseverance.”

“In order that all men may be taught to speak truth, it is necessary that all likewise should learn to hear it.”

“When a man knows he is to be hanged in a fortnight, it concentrates his mind wonderfully.”

“The superiority of some men is merely local. They are great because their associates are little.”

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Etymology Undusted: Catch-22

The idiom “Catch-22” comes from a book of the same title by American author Joseph Heller (1923-1999). The term originally referred to a military rule whose provisions are mutually frustrating. Heller used Catch-18 instead of Catch-22 when the first chapter of his book was originally published in 1955. He changed it by the time the entire book was published in 1961 because his publisher had already published a book that year with “18” in the title (Leon Uris’ novel, Mila 18). So in 1961, the phrase Catch-22 first appeared. It was first used figuratively in 1971 in Atlantic Monthly magazine. As far as the form goes, it is usually hyphenated and with a capital C, as that is the way Heller originally wrote it.

Since the author’s first usage of the idiom, it has taken on a life of its own: Today, its broader meaning is a paradoxical situation from which an individual cannot escape because of contradictory rules or limitations. It has also been used as a mnemonic for the symptoms of DiGeorge syndrome.

One particular quote from Heller is thought-provokingly insightful: “Everyone in my book accuses everyone else of being crazy. Frankly, I think the whole society is nuts – and the question is: What does a sane man do in an insane society?” In a way, this is perhaps an example of a Catch-22 for the sane person: If they stay in an insane society, they may lose their sanity; but by leaving such a society, they throw away any chance of bringing it back to a state of reason. Social and political polarisation are both poisons that infect society.

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History Undusted – The Tactile Language of the Quipu

Throughout history, languages have come and gone; an estimated 30,000 have existed at some point in time, though currently, there are roughly 6,000 to 7,000 languages in use – and most are threatened with extinction. Think about that. The impact on the loss of cultural history, connection to ways of thinking, ways of communicating, and ways of processing information; senses of humour, and national heritages will be lost.

An example of a language nearly lost, but which is now familiar to most of us by sight, is the logogram language of Egyptian hieroglyphs. The knowledge of how to interpret the symbols had been lost for centuries, until 1799, when a stone was found near Rosetta, along the Nile Delta in Egypt; the stone was a stele with a decree issued in 196 BC; the texts carved into the stone were Ancient Egyptian (“demotic” text), hieroglyphs, and Ancient Greek. Because Greek was a known language, they could use the Rosetta stone to decipher the forgotten languages.

When we think of writing, we may think of various alphabets: Greek, Roman (of which English makes use), Norse Runes, or the logographic or ideographic languages of Asia, such as Chinese or Japanese, or the cuneiform writing of the Ancient Near East. But did you know that there have been languages based on string?

Quipu in the Museo Machu Picchu, Casa Concha, Cusco. Source: Wikipedia

The Inca people, in the region of modern Peru and Chile, used knots on an elaborate system of connected strings or cords for collecting data, keeping records, recording taxes or census records, making calendars, or for military organisation. When the Spanish Conquistadors swept through, they found numerous bundles of strings, but had no idea of their significance; they destroyed many of the quipu*, not realizing that they might have held in their hands a record of an individual’s wealth in animals or crops. [*Quipu is the Spanish spelling used in English; it is also spelled khipu or kipu.] Other cultures have also used similar concepts with knotted strings to record information, unrelated to South America; these include China, Japan, Taiwan New Zealand, Hawaii, and other parts of Polynesia.

As with most textiles, they unfortunately didn’t stand the test of time very well, and only a fraction remains today. The ancient world may have taken the concept of the quipu one step further in creating the more flexible abacus, though the latter was (and is still) used for temporary calculations, while the former was rather for recording information. Whether or not there is a historical link, both are visual tools that can be used for similar functions to a certain extent.

Even with such widespread use of these knotting records, their meaning was nearly lost, until a Harvard student, Manny Madrano, had time on his hands one summer and solved a centuries-old mystery!

For an interesting video on this topic, please click here. I hope you’ve learned something! Keep being curious about our fascinating world!

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Obscurities: Whilom

This word is doubly obscure, at least for me: Whilom (c. 1200), means having once been; former; once upon a time, erewhile, or at times past. It comes from the Old English hwilum, meaning at times, and is related to today’s while. It is doubly obscure for me because it has a similar formation to an equally obscure German word, weiland, meaning formerly, of yore. This German word is related to the modern weil, which is a false friend to the English word; the German word means because. The relation between the two is not a far stretch, as because implies that something happened in times past, once upon a time.

What do you think? Should we bring back whilom? I think, at any rate, we should start using of yore every chance we get!

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History Undusted: Solothurn, Switzerland

The baroque town of Solothurn, though only an hour away from our home, was unfamiliar to us until my husband and I took a day trip this week. It has a beautiful historical centre and is known as the “city of elevens”: It was the 11th canton to join the Swiss Confederation; there are 11 towers in the fortification walls of the city; there are 11 churches and chapels, and 11 historical fountains throughout the city; the stairs leading up to the St. Ursus Cathedral have landings every 11 steps; the cathedral itself has 11 altars and 11 bells; the local brewery, producing an eponymous beer,  is even called Oeufi – which is a Swiss dialectical word for eleven. 11:00 is the most “auspicious” time to set appointments in the town, and there is even a clock, hanging on the wall of a local bank, which is segmented into 11 hours; it has 11 cogs and 11 bells, which are chimed by a metalwork sculpture of a harlequin on the hours of 11:00, 12:00, 17:00 and 18:00. The bells chime to the tune of the city’s unofficial anthem, the Solothurner Lied.

Solothurn’s history dates back to the palaeolithic era, and its Roman era is dated to around AD 15-25; it was first mentioned in AD 219 as vico saloduro, and may have referred to a Celtic settlement, possibly meaning “Salo’s fort/stronghold”. In the Battle of Sempach, July 1386, the Habsburgs attacked Solothurn; it was a decisive Swiss victory, and even more importantly, it helped to solidify the loosely allied Swiss Confederation cantons into a more unified nation and is seen as a turning point in the growing strength of Switzerland as a nation. Today, it is largely bypassed by tourists due to its proximity to Bern, the Swiss capital, so it remains a hidden gem.

Another interesting clock is the clock tower, the “Zeitglockenturm”, a tower built in 1152 and first mentioned as a “clock tower” in 1406. If you look closely, you’ll see typical rain spouts coming off of the corners of the tower’s spire and roof, shaped like dragon’s heads. The 24-hour astronomical clock was built by Lorenz Liechti and Joachim Habrecht in 1545. The sun and moon hands both run counterclockwise; the moon makes one complete rotation every 27 days, while the sun makes one complete rotation every 365 days.

According to the Roter Turm website, there’s a humorous story connected to the upper, 12-hour clock:  By 1753 the hour hand and the bells were no longer in sync; a commission contacted the watchmaker Niklaus Pfluger, reminding him of his gild’s oath, i.e. his responsibility to correct the clock. He suggested to the local government council that they add a minute hand; but minutes were not so important in the 18th century, apparently – they told him to leave it as it had always been. He took matters into his own hands (I guess it was easier to ask for forgiveness than permission…) and in 1756, he added a minute hand. He justified it as the “warning hand of God” – but he made it smaller, less noticeable than the hour hand, so on this clock, the small hand shows the minutes, not the hours.

Because the clock tower was built and added to over time, you’ll see four dates on the full image of the tower: 1411 and 2022 on the highest, 12-hour clock; and 1545 and 1883 on the central tableau; the latter dates usually refer to restorations.

The three figures in the central tableau above the clock are a knight, king, and skeleton (Death), which perform every hour: The knight holds a battleaxe in his right hand, and a sword in his left; every quarter-hour, he turns his head toward Death and strikes his breast, signifying his loyalty to the central figure, the king. On the right stands Death; in its right hand is a hourglass, which is turned on the hour, symbolizing the contradictions of life – good, bad, life, death. In the other hand is an arrow, showing that one could be struck down at any moment. On the hour, its head turns toward the knight.

On the throne between these two figures is the king: In his right hand is a sceptre, which he lifts on the hour. His jaw moves in rhythm with the hour hand, and his beard represents wisdom. However, notice that he’s wearing red and white fool’s garb: If the king does not rule with wisdom and the humour of a fool, his reign will become a tyranny. It tells us that life should have moments of both wisdom and a jester’s humour.

While Death announces the hours, the king swings his sceptre. At the same time, Death nods with each stroke and confirms the relentless passing of the hours. The king with his fool’s garb reminds us of the memento mori. When death or illness reigns, even the power of a wise king can do little (Solothurn was hit by the plague, e.g. in 1348). Though the Freudian era banished death from contact with the living in many Western cultures, death personified as a skeleton is still a symbol seen in many countries around the world. Having death constantly before your eyes encourages you to savour each moment of life.

I hope you’ve enjoyed this brief glimpse into a beautiful city with an ancient history!

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The Hues of Hogwash

Most English-speaking people have heard the term whitewashing: Literally, it means to paint a surface with a diluted white paint to lighten the surface and conceal blemishes. Figuratively, it means to downplay the negative aspects by emphasizing the positive ones of a person, event, or situation.

Greenwashing is a term related to environmental issues: It is the deliberate dissemination of a false or misleading impression of environmentally friendly practices used to conceal or obscure damaging practices.

Blackwashing is the use of public campaigns and advertising funded by the coal industry to draw attention away from environmentally unsustainable practices or to justify exclusion from carbon taxes.

Bluewashing is to tout a business or organization’s commitment to social responsibility while using this perception for public relations and economic gain; to present a humanitarian front while obscuring actual practices.

Redwashing is the practice of a state, organization, political party, politician or company presenting itself as progressive and concerned about social equality and justice, in order to use this perception for public relations or economic gain.

There are other colours of X-washing, but they all stem from greed: In marketing, these tactics are a way to charge customers more, because the higher price leads people to think, in connection with the misleading information or imagery, that the extra money spent is going to a good cause, e.g. schools for the workers’ children or working children, when in fact it’s likely going toward a CEO’s yacht.

On holiday recently, we’d forgotten to bring towels from home into the motorhome, so we went into a houseware store; I thought the towels would be a bit more expensive than another store I usually buy our towels from, but it was a whopping 50.- per towel more! On each towel was a tag; here’s the translation (the company name withheld):

Cotton (name)® Made in green, inspiring confidence. Tested for polluting ingredients and sustainably produced according to (name)® guidelines. The label “made in green” gives you the assurance that this textile product has been made by pollutant-free materials in environmentally friendly factories in protected and socially acceptable work environments.”

Nowhere is it mentioned where this product was made; their testing agency, for accountability, is them. Inspires confidence? On what grounds? Price? Notice that they don’t claim to have passed those tests or what they were testing exactly, nor do they state what their guidelines were supposed to be.

These schemes prey on first-world people’s sense of guilt, or of wanting to pay a bit extra to help those less privileged. Yet their concept of “environmentally friendly factories in protected and socially acceptable work environments” might have nothing to do with your or my concepts – would the company’s execs be willing to work in those factories? I doubt it. This is also an example of bluewashing.

An E-Talk was given to show the marketing tactics in connection with the foods we eat. The disclosures made in the short talk are enough to leave the audience in stunned silence. I challenge you to watch the video (less than 7 minutes long) here. Marketing’s most effective, secret weapon is you. They bank on willful ignorance (the avoidance of making undesirable decisions or taking actions that accurate information might prompt).

All of these wash-tactics boil down to hogwash. So the next time you find yourself looking at the claims of a label, or seeing the sunny kitchen in a perfect home with perfect families on a commercial, take a moment to challenge what you’re reading or seeing, and use your purchasing power wisely. Research; see if the company is on any blacklist by organisations that actually care (WEF, Greenpeace, or any from a long list of NGOs). Search the topic online – there are a lot of informative articles out there with practical tips for making informed decisions. Here’s a website for checking a brand’s ratings: https://directory.goodonyou.eco/. If you find that a company is making bogus claims, stop buying their products; make the effort to blow the whistle on them – social media can be a positive tool in that aspect.

This brings us back to that secret weapon of marketers, our willful ignorance: The tragic factor in all of these tactics is that, like water, humans usually choose the path of least resistance… least effort… least active involvement, least time required; and so willful ignorance prevails. However, since we’re making an average of 35,000 decisions a day anyway, (automatic, habitual, emotional, stress-related, worry-related, or environment-related) let’s neutralise that ignorance one wise, informed choice at a time.

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Obscurities: Doryphore

No one likes a doryphore – a pedantic & annoyingly persistent critic of others; a petty pedant, a person who complains about minor mistakes. The word comes to us through French, and is also the term used for the Colorado beetle – perhaps alluding to the meaning of the word related to “pest” (doing double duty for a bug and for someone who is a pest). Alas, I think doryphore deserves to be brought back – it’s much more sophisticated and subtle than mere pest.

Most languages in the world probably have a term for such people as they are, unfortunately, rife; in Swiss German we would say that someone is “bünzlig” – they’re usually the people who become meter readers and give you a parking ticket as you’re getting into your car 10 seconds too late. We recently paid a parking ticket because we parked for 10 minutes in a business parking, on a Saturday when the business was closed and spots were empty; yes, technically a ticket can be issued; but most authorities use common sense in such situations – but not the doryphore; they were likely waiting, watching for shoppers to do just that. In all the years I’ve been driving and parking in Switzerland, it’s the first time this has happened, but there will always be that one bünzlig person. Pity them. They live in shrinking worlds.

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Fieldnotes

A few months ago, I began something that has added a layer of creativity and organisation to my life which, to be honest, is fairly creative and organised as it is. But this little addition adds a nice colour: Fieldnotes.

The original concept of taking fieldnotes comes from the scientific disciplines: An archaeologist in the field, taking notes on where, what and when something was uncovered; a geologist, botanist, ornithologist, or entomologist taking notes on observations, perhaps drawing an illustration of a specimen or a map of the landscape.

Fieldnotes can include writing, diagrams, drawings, or visual clues within an entry such as arrows or other visual connectors. They differ from a daily journal in that the fieldnotes are concise… rambling or expanding on a thought belongs elsewhere, but not in a “quick-draw” situation (pun intended).

Creative thinkers have jumped on the idea for reasons other than scientific observation: As a writer, fieldnotes help me capture snippets of ideas, dialogue, or an observation when out in public (I love to people-watch), or something I read – sometimes the comments on YouTube videos are a great capsule of humour! I also use fieldnotes to keep track of tasks on a busy day – lists of to-dos, to-writes, and so on. When I have a creative project, I take notes on the steps taken – such as making giant flowers that no one else has ever made; how to scale up a smaller version of a crepe paper flower is not always straightforward, and if I have several to make, it helps to have those detailed notes of the prototype phase for the next time around.

Taking fieldnotes might help get your creative juices flowing. If you’d like to start this practice, here are a few tips:

  1. Use a small notebook – one that can fit into a shirt pocket, man-bag, or purse. I’ve made my own with 70gsm blank paper, which allows me to make the same size and style repeatedly. But if you can’t do that, just use something like a moleskin notebook; these come in various sizes, with or without lined pages. There is also a company with books called Field Notes, though they seem a bit pricey for what you can do on your own…
  2. Use a good pen, or pencil, or coloured pencils if you want to sketch something with colour.
  3. You can either take chronological notes, such as dating each entry, or you can organise your notes into groupings: One page per character, scene or topic, or for a to-do list, or whatever you want to capture on the go.
  4. Use visual cues, such as boxes around certain elements or arrows connecting one thing to another. Use illustrations or draw diagrams; attach images from magazines, printouts, etc.
  5. Highlight tags or keywords; consider numbering each page and keeping an index at the back of the book to help you find things later on.
  6. One book that might help kick-start illustrative note-taking if it’s new to you is The Sketchnote Handbook, by Mike Rohde.
  7. Think about how you’re recording things on the page: Do you always want to write straight, top left to bottom right, or do you want to mix things up and write diagonally, sideways, or even backwards? Yes, sometimes that’s a thing; Leonardo da Vinci wrote privately in a mirrored direction, only writing normally when he wanted others to read his notes; he also developed his own shorthand.
Leonardo da Vinci’s Vitruvian Man, with mirrored writing.

I also have my own shorthand for many things; Sometimes I use what I call pigeon Asian (I use this when I don’t want anyone else to read it); it’s something I learned when living in Hawaii. It looks like Kanji (the logographic writing of Japan), but it’s not – that’s all I’ll explain! I also use logographs, such as the ancient Anglo-Saxon rune of daeg, which includes the concept of day, dawn, intuition or breakthrough; I use this to designate those times when I’m writing: Rather than writing, “Today, I wrote/worked on the manuscript for...” I just write that symbol plus the name of the manuscript and details. I have a whole series of such shorthand symbols that I use daily.

While there are note-taking apps available (and I use one, called “Keep My Notes”, on my phone for things like shopping lists or feedback notes for singing students or bands that I take during performances and review with them later), sometimes it’s helpful to get away from digital screens. Sometimes I’ll write whole scenes away from the computer – I don’t use my fieldnotes for that, though it will probably be used to outline a scene that comes to mind until I get to another notebook. Something about writing long-hand sparks a level of creativity that might not come while working at a computer; hand-eye coordination should never be underestimated in creative endeavours. Once a scene has developed enough away from the screen to be integrated into my current manuscript, it then takes on another reiteration as I type it in, tweaking and changing… it’s what I call a “ripening process” as a wine metaphor for the creative maturing process a scene goes through by this method. It gets my head into a new space figuratively, literally, and literarily!

In an age when we are constantly bombarded with visuals wherever we go, sometimes it’s healthy to go back to good ol’ pen and paper. On those days so busy that I can’t remember what I’ve actually done, it’s helpful to look back at my fieldnotes as I write out my thoughts in my daily journal.

Do you write? Do you ever make lists for shopping, chores, people to contact, or things to do? If so, how have you kept track of such things so far? If it’s a system that works for you, brilliant! But if you find yourself wanting to switch things up or wanting to improve your use of time, would you consider taking fieldnotes? Please comment below!

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In a Name

My husband and I have a quirky sense of humour; we recently had a good laugh coming up with pets’ names in pairs (don’t ask why that topic came up – it’s too hard to reconstruct!): There are pairs of names commonly associated with each other, such as Tom and Jerry, or Cain and Abel; last night, we thought of naming two cats Maelstrom and Doldrum – the irony is that these are nautical terms for ocean conditions and we live in a land-locked country. My husband says that if we ever have a snake, he’ll name it “Abebambelela” (which is a Swiss German phrase meaning “to hang down”)! There are certain words that I find funny, like Asparagus (or the old English version, Sparrowgrass), and I can imagine naming cats something Latinesque, some of which are actually quite beautiful (Aurora, Adamaris, etc.)

Pet names are as creative as the owners, so the sky’s the limit! I once heard of a dog called Dillingham Osborn Gunderson… initials being DOG. Naming a pet Velcro, Big Mac, Groucho or Tweezer seems tame to some purebred titles (such as Bluewater Full Metal Jacket – Jack for everyday wear). When our cat had kittens (the mother, Gandria, and father, Caprino, were named after towns along Lake Lugano), we used musical terms (sticking with Italian): The first came out vocal, so he became Crescendo; the second was slow and calm, thus Piano; and the 3rd is gentle but friendly – Allegra. We kept Allegra, who is curled up between my feet as I write this; the other two were adopted by neighbours – who subsequently moved to give the cats more room!

I will never have a purebred pet; more often than not, the animals are sickly, as traits have been unnaturally bred into them; pugs and Persian cats are prime examples of pets that simply cannot breathe properly, and have respiratory infections or even failure. These health issues are hot topics between breeders and vets or those who care for animals such as the Kitten Lady. Give us a good ol’ farm cat, “Heinz 57-pedigree”, and they’ll do just fine! We have three cats: Allegra (born in 2009), Andromeda Zora (from an animal shelter, born in 2020), and Mira Bella (born in a home nearby, 2021).

Do you have any pets? If so, what are their names, and how did you choose them? Please comment below!

Left to Right: Allegra, Andromeda, Mira

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