The Johnsonian word-hoard includes phrases that have caused offense, including referring to "piccaninnies" in the Commonwealth, which he later apologized for.
|
|
The Johnsonian word-hoard includes phrases that have caused offence, including referring to "piccaninnies" in the Commonwealth, which he later apologised for.
|
|
"I intend to rally my memory and write in these pages you provide a small word-hoard of my own," Cockcroft wrote.
|
|
So here we have something rather cosmic: Into the hands of witty Alexander Masters, ardent celebrant of the hidden and the rejected, falls this diary dump, this exiled word-hoard, this abandoned trove of interiority.
|
|
But although the book is worth reading for its stunning word hoard alone, or the curiously whorled and colorfully feathered sentences in which that verbal swag has been deposited, it is more than just a stylistic exercise.
|
|
9, No. 3 (Autumn, 2005), pp. 86-106 Wintered into Wisdom: Michael McLaverty, Seamus Heaney, and the Northern Word-Hoard. University of St. Thomas Center for Irish Studies.
|
|
The Soft Machine is a 1961 novel by American author William S. Burroughs. It was originally composed using the cut-up technique partly from manuscripts belonging to The Word Hoard. It is the first part of The Nova Trilogy.
|
|
A lexicon, word-hoard, wordbook, or word-stock is the vocabulary of a person, language, or branch of knowledge (such as nautical or medical). In linguistics, a lexicon is a language's inventory of lexemes. The word lexicon derives from the Greek (), neuter of () meaning 'of or for words'.λεξικός in Henry George Liddell, Robert Scott, A Greek–English Lexicon (Perseus Digital Library).
|
|
"Wintered into Wisdom: Michael McLaverty, Seamus Heaney, and the Northern Word-Hoard". University of St. Thomas (Center for Irish Studies) In the introduction to McLaverty's Collected Works, Heaney summarised the poet's contribution and influence: "His voice was modestly pitched, he never sought the limelight, yet for all that, his place in our literature is secure."McLaverty, Michael (2002) Collected Short Stories, Blackstaff Press Ltd, p. xiii, .
|
|
The novel formed the basis of three essays in the debut issue of The Word Hoard, academic journal of the Department of English and Writing Studies at Western University. Cox co-wrote the screenplay for the Bruce LaBruce film Gerontophilia which premiered at the Venice Film Festival and the Toronto International Film Festival. The author’s third and fourth novels, Basement of Wolves and Mouthquake, were also published by Arsenal Pulp Press.
|
|
Burroughs' major works can be divided into four different periods. The dates refer to the time of writing, not publication, which in some cases was not until decades later: ;Early work (early 1950s): Junkie, Queer and The Yage Letters are relatively straightforward linear narratives, written in and about Burroughs' time in Mexico City and South America. ;The cut-up period (mid-1950s to mid-1960s): Although published before Burroughs discovered the cut-up technique, Naked Lunch is a fragmentary collection of "routines" from The Word Hoard – manuscripts written in Tangier, Paris, London, as well as of other texts written in South America such as "The Composite City", blending into the cut-up and fold-in fiction also partly drawn from The Word Hoard: The Soft Machine, Nova Express, The Ticket That Exploded, also referred to as "The Nova Trilogy" or "The Cut-Up Trilogy", self-described by Burroughs as an attempt to create "a mythology for the space age". Interzone also derives from the mid-1950s.
|
|
The trilogy of experimental novels is composed of The Soft Machine (1961, revised 1966 and 1968), The Ticket That Exploded (1962, revised 1967) and Nova Express (1964). Like Naked Lunch, The Soft Machine derived in part from The Word Hoard, a number of manuscripts Burroughs wrote mainly in Tangier, between 1954 and 1958. All three novels use the cut-up technique that Burroughs invented in cooperation with painter and poet Brion Gysin and computer programmer Ian Sommerville. Commenting on the trilogy in an interview, Burroughs said that he was "attempting to create a new mythology for the space age".
|
|
This marked a new phase of his writing career, with his selected poems, Scales Dog (2007), putting older poems back into circulation and reaching a new audience. August Kleinzahler contributed the following to the book jacket: '[Hutchison] has the ferocity, indignation and bite of the old flytings, even the mad word-hoard of the Admirable Urquhart of Cromarty; a Scots Martial, but with the unabashed tenderness and exactitude of John Clare describing water lilies or Gerhard in his Herbal, on the subject of the Wild Chervil. A mentor, a bristling master, and a total original.'Salt Publishing, Scales Dog synopsis His final years were particularly productive and successful.
|
|
The Word Hoard, the collection of manuscripts that produced Naked Lunch, also produced parts of the later works The Soft Machine (1961), The Ticket That Exploded (1962), and Nova Express (1964). These novels feature extensive use of the cut-up technique that influenced all of Burroughs' subsequent fiction to a degree. During Burroughs' friendship and artistic collaborations with Brion Gysin and Ian Sommerville, the technique was combined with images, Gysin's paintings, and sound, via Somerville's tape recorders. Burroughs was so dedicated to the cut-up method that he often defended his use of the technique before editors and publishers, most notably Dick Seaver at Grove Press in the 1960s and Holt, Rinehart & Winston in the 1980s.
|
|