The Ponying the Slovos team were honoured to be able to contribute to the volume, and eagerly grasped the opportunity to compare Burgess’s Nadsat to that which features in Stanley Kubrick’s script (and thereafter, the movie itself.)
Alas, as is so often the case with academic research these days, the purchase price is not so cheap. My suggestion is to ask a friendly academic librarian to consider purchasing it on your behalf. However, I can offer you a flavour of what we discovered, and subsequently wrote about in the volume.
Over at Ponying the Slovos, our ongoing project on invented languages in art and literature, I wrote a series of posts on Anthony Burgess’s other invented languages a couple of years back, of which there are more than a few.
These collected thoughts have now been expanded, revised and published in the peer-reviewed Hungarian journal of English literature, The Anachronist, and (almost all) the journal is free to read or download in the spirit of open access thanks to the publishers at ELTE, Hungary’s foremost university.
In this paper, Burgess is used to demonstrate that the role of invented languages in literature goes far beyond the existing well-explored territories of Science Fiction (SF) or High Fantasy, though they predominate therein, and can also be found in historical novels, and even realist fiction, as Burgess’s variegated novels reveal.
This is Ponying the Slovos’s second publication for 2023, and it’s not even two weeks in. We might need a little lie-down!
Anyhow, feel free to read the article here, and the whole journal, all of which will be of interest to Burgess scholars, may be accessed from this page.
I recently got the chance to appear on the excellent Art of Problem Solving podcast on behalf of Sapienship, talking about how to raise and educate a generation whose jobs may not exist yet, or who may find automation erodes their employment opportunities.
To date, I haven’t spoken much on my personal site here about my work with Sapienship, largely because most of it has yet to reach the public domain. I expect that to change quite a lot in the next few months.
Anyhow, one of the benefits of migrating to an academic-adjacent position, especially one as wide-ranging as mine, is the ability to escape the narrow pigeon-holes of expertise which the artificial boundaries of academic disciplines enforce.
In my career, as noted elsewhere, I’ve had a number of very different roles. As a journalist alone, I gained expertise in a very varied range of topics and subjects including healthcare, politics and international sport. Hence it always seemed somewhat constrictive to me that academia was so insistent that I stay in my narrow lane, even as it nominally espoused interdisciplinary practices.
This is why my current areas of personal research are fundamentally interdisciplinary – in particular Religious Futurisms and Invented Languages. But it also informs why I have always been keen to teach students to be resilient and adaptable. I’ve finally been offered the chance by the Art of Problem-Solving podcast to expound on this pedagogical ethos and I feel especially privileged that in this area, as in many others, I find my personal values echoed and amplified by Sapienship.
I did not have a role model or a teacher to guide me how to become resilient and adaptable to a world in which change seems to be perpetually accelerating. I had to develop those skills myself, on the hoof, as I migrated from the Arts to Journalism to Academia and to the position I now hold.
Hopefully this podcast can help others to shorten that learning process, because the world is not slowing down anytime soon, and resilience and adaptability are going to become the defining traits of success, or possibly even survival, in the decades to come.
It states: If someone sends you an unsolicited email asking you for money in return for promising to assist your academic career, what they’re offering is unlikely to assist your academic career and may actually hinder it.
But what if they don’t ask for money? Well, then things can get interesting. Let’s take today’s mailbag as an example. Out of the blue, unsolicited and with no previous engagement or interaction, I received an email from a woman called Hiteesha Bachoo, who works for an entity called Lambert Academic Publishers, inviting me to submit an academic monograph to her.
Now, sometimes legitimate academic invitations do occur. Mostly they occur to senior academics who are already very prominent in their fields. They get invited to give keynote lectures at conferences, and to contribute chapters to edited collections of essays, because their very name and presence, not to mention the likely quality of their work, adds kudos and prestige to the whole event or publication.
But it’s possible for little people to get invitations too. If you are one of the few people in a very niche specialism or with very particular interdisciplinary expertise, you might get an invite out of the blue to give a talk or publish in a special edition of a journal, or an edited collection.
Usually these kinds of invitations, to mere academic mortals, come from people who already know you and/or your work. But very rarely a legitimate invitation comes entirely out of the blue. I was once invited by the very prestigious Haus der Kulturen der Welt in Berlin to take part in an event on weird fiction, and was delighted to do so. They flew me over, put me up in a nice hotel for a few days and even paid me. So it can happen. Here’s the proof:
Beardy weirdy me in Berlin a few years back. The beard is gone but the weird remains.
Anyhow, let’s get back to Hiteesha’s email. She gets straight to the point immediately (presumably because she’s got a lot of other emails to send, but also perhaps for another curious reason which we’ll get to later).
Dear Jim Clarke,
publish your own book based on your research titled" “The Lingua Franca of the Hedgerow”: Lapine Linguistics and Invented Languages in Watership Down ". New publications contribute to the development of the academic market.
I am Hiteesha Bachoo and represent Lambert Academic Publishing, one of the biggest academic publisher worldwide.
Your book will be published at no cost, with print-on-demand technology and distributed on Amazon, Morebooks, Hachette, Publishers Graphics etc.
Jim Clarke would you accept to receive more information about publishing your own book?
You might have questions or need details about publishing, so let me know how can I be of help.
Sincerely,
So, she’s not looking for money, or at least not yet. My immediate presumption was that some mention of charges would occur down the line. After all, the usual procedure is that authors approach publishers with book proposals. I know because I’ve written two in the past six months, and I’ve done so multiple times in the past. That doesn’t mean it can’t happen that a publisher might approach an author, but it’s certainly not the usual vector.
So, I did my journalistic due diligence. I googled LAP, and then I googled Hiteesha. Let me summarise what I found. Firstly, NOBODY recommends publishing with Lambert. As this discussion on ResearchGate indicates, they spam an AWFUL LOT of academics, and their book production is low cost, low value and generally considered to severely devalue academic work. Their books rarely if ever get cited either.
In fairness to them though, no one seems to have been asked for money on that thread. Despite that, they and their parent company OmniScriptum Publishing were listed on Beall’s famous list of predatory publishers, but as an imprint of a vanity press rather than out-and-out predators. Eventually I found my way to this article from a decade ago, which includes loads of interesting information and background on Lambert, plus links to half a dozen more articles about Lambert.
Basically, universities, research advisors and higher education research councils on at least four continents have been advising students not go anywhere near Lambert, despite their lack of charging. They WILL publish your book, and they will do so for free. They won’t edit it. They won’t proofread it. They will do absolutely bare minimum design work on it. They won’t promote it in anyway. They’ll simply prep the copy structurally for print-on-demand and then pocket any sales that come in.
Additionally, there is some dispute over whether they even claim copyright, but as that often happens in academia, at least at the journal level, it really wouldn’t surprise me. In effect, you’d be better off self-publishing your work on Kindle or Lulu. At least then you might get some money from sales and you’d retain your copyright. But from an academic perspective? Worse than useless for your career. A waste of your research. A devaluing of your reputation.
I did mention that I also googled my correspondent, Hiteesha, and how her email seemed extremely rushed as if she was very busy. Well, she clearly is. I found her on LinkedIn, where she transpires unsurprisingly not to be an academic at all. She holds a BA in Marketing from the University of Mauritius. Additionally, while she does fess up to working for OmniScriptum as a “Freelance Acquisitions Editor”, her day job is as a management support officer with the Mauritian Independent Police Complaints Commission.
Additionally, she’s currently overtly looking for work, in office management or digital marketing, but she’ll even consider data entry work. The poor woman is basically doing this work as a side hustle. She’s almost definitely paid on commission of the sales of the books she recruits. No wonder she wants another job, and no wonder she spent very little time on my email. She’s clearly got a lot more to send, plus an office to manage in Mauritius in the morning.
How do I know she spent very little time on my email? Primarily because the paper mentioned in it, the one on Lapine linguistics in Watership Down, hasn’t appeared in public in any form yet! It hasn’t been published anywhere because it isn’t finished!
Yes, I did say ‘we’. Because this is CO-AUTHORED research which I am conducting with the estimable linguist Hülya Mısır. Who coincidentally did NOT get spammed by Hiteesha, or anyone else at OmniScriptum. Bit sexist of them if you ask me.
Anyhow, what’s the moral of this strange story? I can think of a few. You should always check and double check any unsolicited academic invitations. The shady corners of the academic publishing industry extend quite a distance back in time and are somewhat persistent. Someone’s making money out of this, and it isn’t the researchers or indeed the poor hustlers working on commission. Oh, and office managers in Mauritius should be paid better, so they don’t have to do this in their spare time.
This one takes us close to the end of Burgess’s career, when his work took an autobiographical turn and he was less inclined to linguistic invention (though no less inventive as his last two works published during his life – the reprise of Elizabethan English in A Dead Man in Deptford and the poetic pyrotechnics of Byrne indicate.)
Nevertheless, there’s some old favourite techniques herein, such as feral teen gangs using exotic and intriguing macaronic language forms, and there’s something quite new too – an invented language in an alt-history where Burgess doesn’t even give us so much as a single word (and doesn’t need to.)
Elena Ferrante has probably been the biggest literary fiction phenomenon of the 21st century to date. Translated into multiple languages, prize-winning and universally lauded, Ferrante’s work, especially the Neapolitan quartet of novels, have generated intense curiosity about the notoriously reclusive and pseudonymous author.
Attempts to ‘out’ Ferrante have been made almost from the beginning, but the push in recent years to examine Ferrante’s work stylometrically and algorithmically has apparently closed in on a single suspect. And he’s a man.
The Neapolitan Quartet, in Italian paperback editions.
Lithub has a decent precis of how this came about, which I won’t reprise too much here. Suffice to say that enterprising and persistent scholars used a series of methods to compare the style of Ferrante’s writing throughout her career, and then sought to find close similarities with any other writers, including some, such as the prime suspect Anita Raja, a literary translator.
What these various scholars with their various stylometric methods discovered was curious – Ferrante’s style had a number of different eras or phases, and the changes between them mapped almost exactly onto similar stylistic developments in the work of another Italian author – Domenico Starnone, who happened to also be Raja’s husband.
It now appears that Starnone may have adopted the persona of Ferrante while writing in a female voice for a lesser known publishing house, while retaining his own male name for novels with a more prestigious publisher. Furthermore, Starnone’s fiction, which apparently like Ferrante’s also deals with issues of class and identity while growing up in Campania, is unknown outside of Italy, whereas the Ferrante novels have proven a global success, especially in the ever more female readerships of the Anglophone world.
There are questions of authenticity here, in terms of the validity of men writing from female perspectives, but there is also surely some remit for literary creativity, as well as the extremely lengthy tradition, extended to almost all historical authors in the Western tradition (with the possible exception of Jane Austen), of authors writing from the perspective of characters irrespective of gender.
If we are to deem gender relevant here, perhaps the more intriguing issue is the relative successes of Starnone and Ferrante nationally and internationally, against the backdrop of an ever more female reading public. If Ferrante does transpire to be Starnone, as seems likely now, he would not be the first white male author in recent times who sought to pass himself off as something he was not.
There was, for example, a lot of controversy in particular over the case of Michael Derrick Hudson, a poet who in 2015 won an award for writing one of the best poems in America that year. Having had the same poem rejected over 40 times, he submitted it under a female Chinese name – Yi-Fen Chou, and subsequently it was accepted.
Adopting such personae and noms-de-plume seems a rather high-stakes gamble for white male authors, who are not exactly unprivileged in the international publishing world even if the tide has begun to turn away towards amplifying the voices of a wider and more diverse range of writers. After all, the ramifications of being found out in ‘subterfuge’ of this nature are potentially career-ending.
Nevertheless, the editor who included Hudson’s poem in that anthology, even after discovering the truth, acknowledged that the poem itself retained its quality even when the provenance had shifted. It did not, after all, trade heavily upon Chinese cultural attributes for its strength. Returning to Ferrante, this is a more fraught concern, as the Ferrante novels are written from female perspectives, feature female lives as their central thematic concern, and focus heavily on how female friendships and relationships are constructed and deconstructed.
I offer the following suggestion, therefore: if millions of people have enjoyed Ferrante’s novels, does it matter who wrote them? The figure of Ferrante has been throughout a somewhat shadowy one anyhow. As with notorious recluse Thomas Pynchon, Ferrante has largely let the novels speak for the author.
The more concerning thing arising from this artful piece of academic detective work is the eradication of pseudonymity, which could have significant ramifications online as well as elsewhere. When we did a conference on invented languages for Ponying the Slovos in 2016, we heard a paper by Professor Patrick Juola, a forensic linguist who had developed an algorithmic methodology for identifying authorship in any language. His paper for our conference demonstrated how he could detect whether Tolkien or a fan had written any particular poem in Tolkien’s invented Elvish language.
And here we are a few years on and similar technology has outed Starnone as Elena Ferrante. Perhaps in another year or two, it will be exposing the identities of offensive posters and tweeters online. A lot of people may welcome such a world, a world in which the current tendency towards extreme opinions is fuelled by a sense of security offered by pseudonymity. But it would have other ramifications too, in terms of whistleblowing for one.
It may not matter whether Elena Ferrante is a man or not. But it may well matter a lot that we now live in a world where it is impossible for him to keep that hidden any longer.
What was the language of Europe’s earliest people?
The study of ancient, unrecorded languages is known as paelolinguistics. The attempt to recreate them is as much an art as a science, however, and in that regard, there is no finer artist than Anthony Burgess.
It takes a brave writer to rewrite the Bible, and perhaps a foolhardy one to invent his own macaronic dialect in so doing.
The latest article on Anthony Burgess’s invented languages at Ponying the Slovos examines how he attempted to evoke the linguistic milieu of the time of Christ in both TV and novel forms.
Sincere regards,
