Category Archives: language and linguistics

A more delectable dictionary

Imagine a cookbook that only gave the ingredients for each recipe, with no instructions on how to put them together. Many dictionaries are like that: nothing but bare-bones denotative definitions for the words.

Now imagine a cookbook that included not just the instructions, not just different variants on how you can make the recipe, not even just menu suggestions and beverage matching suggestions, but also other recipes it would go with or remind you of or definitely not go with, and even things the food could or would make you think of – other dishes it would remind you of, other times and places and people.

I would like to have a dictionary that does all that for words.

Of course much of that is individual. Every word is one of Proust’s Madeleines, a key to places you have heard it and seen it and used it before. The way it sounds and how you feel about those sounds will provoke you differently from how it provokes others. But there are several aspects of a word’s extended meaning that users will have in common. Most of them show up in one kind of dictionary or another, but not all, and not all in the same place. Let’s look at how a dictionary that covers a fuller ambit of meaning and effect would handle… let’s say the words dude and fellow.


An important dimension of words is what they say about the speaker, the hearer, the subject, and the relation between them – what effect the speaker is trying to have on the hearer and what he or she is saying about what’s going on between them and any third party spoken of.

dude: Casual, informal. Friendly or mildly contemptuous, depending on overall relationship constructed. As an emphatic vocative, expressing some kind of amazement within a pointedly informal frame. (Read this good article by J.J. Gould for more.)

fellow: Intended to be neutral, but can be more formal, often with a taste of condescension.


Register is a key concept in sociolinguistics: your choice of vocabulary and syntax bespeaks a specific situation – it’s like putting on different clothes for different places and activities: clubbing, visiting family, working at the office, working in a hospital, etc. Words are known by the company they keep. Most dictionaries won’t go beyond saying something is formal, or colloquial, or medical jargon, if they go that far. But there is always more that can be said.

dude: Tends to be laddish, often with a sense of drug, surfer, or frat-boy culture; cowboy speech is also possible. Cannot be used for formal registers, except in archaic senses (meaning dandy or greenhorn).

fellow: Broadly usable, but in youthful and casual contexts may sound old-fashioned or formal. Suitable for friendly or pseudo-friendly versions of more formal speech. As a title (e.g., Fellow of the Royal Society), suitable for the most formal speech.


Many words have well-known travelling companions – common collocations, as linguists say. These are a word’s circle of close friends. There are dictionaries of collocations, often meant for students of English to help them know how to match their ties and socks, so to speak; there are also corpus databases that list words that tend to show up more often with them. Here are some results (mutatis mutandis) taken from

dude: cool, fucking, sorry, funny, awesome, skinny, tall, like, weird, straight, ranch, dude, surfer, shit, fuck, chick, Chicano

fellow: senior, young, old, little, poor, visiting, postdoctoral, fine, nice, honorary, research, craft

Cultural references (including quotations)

Some words have the ability to call forth films or books or historical moments. Berliner can make a person think of Kennedy; cheeseburger can make many people think of endearing kittens with captions; frankly can call up Gone with the Wind. Traditional sources such as Bartlett’s should be complemented with current culture resources such as and the auto-complete in Google searches (which can also be good for collocations). Note that fellow (noun) may arguably call forth references to fellow (adjective).

dude: Jeff Bridges as “the Dude” in The Big Lebowski (quote: “The Dude abides”); Dude, Where’s My Car? (movie); “Dude Looks Like a Lady” (song)

fellow: “Hail fellow, well met” (Jonathan Swift); “Alas, poor Yorick! I knew him, Horatio: a fellow of infinite jest, of most excellent fancy” (Shakespeare); “fellow traveller” (mid-20th-century euphemism for Communist sympathizer); “Write me as one who loves his fellow-men” (Leigh Hunt, “Abou Ben Adhem”); “my fellow Americans” (standard in US political speeches)


Etymology is not inherent in our experience of a word; many people are quite oblivious to where their words come from, even as many – often some of the same – have the mistaken idea that a word’s “true” meaning is determined by its “original” meaning. But if you have an idea of a word’s origins, it will influence how you think of the word. This is true whether your idea is accurate or inaccurate. The words picnic and nitty-gritty are poisoned for many people who have false beliefs about their origins; the same people would never use bulldoze again if they knew where it came from – but most of them don’t. Many dictionaries supply etymological information, so I invite you to look it up on your own! And you will find that sometimes not all that much is known.

Rhymes and other echoes

Words will make us think of other words. Not just synonyms, which thesauruses and some dictionaries handily provide. And not just rhymes, which have their own dictionaries. There are other echoes that may contribute in some measure to the effect of a word – words that the word has some resemblance to in sound or appearance. Some non-rhyme examples:

dude: dud, dead, dad, deed, pube, dada, dildo, doobie, redo, stupid

fellow: fallow, follow, fuller, filler, fell, fail, allow, hello, willow, well, low, flow, cellophane


And then there’s the issue of the aesthetic effects of sound qualities, still a bit controversial, but some effects are well known, such as the association of high front vowels with smaller things.

dude: The main vowel sound is a low, hollow sound (it has the lowest resonances of all the vowel sounds), often associated with dullness and stupidity; the d sounds are not as crisp as t sounds but are on the tip of the tongue, which makes them comparatively light.

fellow: The e is fairly open and bright, while the l is soft and liquid, and the f is the quietest of the fricatives; the final ow is darker and more withdrawn but allows sustain.

Obviously a dictionary that included all of this would be rather thick, and would take a long time to put together. Some of it might benefit to some extent from a wiki-style approach, though one does have to be careful. But any added attention to these aspects of how a word communicated would help us all be more fully conscious and engaged users of the language – and would surely make our words more delectable.

Our changing language: When does wrong become right?

Iva Cheung has done up a nice, cogent, accurate summary of my presentation at the 2014 Editors’ Association of Canada conference. You can read it at

The PowerPoint I used for the presentation can be downloaded from

There’s no way to truly split an infinitive

This article was first published on The Editors’ Weekly

You can’t split an infinitive.

I don’t mean I don’t want you to. I don’t mean it’s not proper to. I mean it’s not possible to. This is for the same reason that I haven’t just broken one off three times, at the ends of the three preceding sentences.

The English infinitive is one word. Not two. The to is not part of it. It’s just the infinitive’s trusty butler, and sometimes the infinitive doesn’t need the butler. When it does need the butler, it doesn’t need it right next to it all the time. And sometimes the butler stands in its place.

It seems rather posh, doesn’t it, for an infinitive to even have a butler? It wasn’t always thus. In Old English — that Germanic language that was taking root as of the AD 600s, brought over by the Angles and Saxons — the standard infinitive was one word, for instance etan (eat).

But there were cases where the infinitive functioned more like a noun and would be inflected like a noun in the dative case, and it would have the appropriate preposition before it, to. Here’s a clip from the Bible:

Ða geseah ðæt wif ðæt ðæt treow wæs god to etenne

“Then the woman saw that the tree was good to eat.” That is, good for eating. Generally the inflected infinitive was used in places where a noun (e.g., gerund) construction was equally usable: begin to work could also be begin workingthe power to kill could also be the power of killingto speak is a sin could also be speaking is a sin.

Obviously those instances have persisted, since my examples are in modern English. Something happened in-between the Old English period and now, though: English lost almost all of its inflectional affixes. The spelling and pronunciation changed some, too. So instead of ic ete, þu etst, he eteð, we etað, ge etað, hie etað, infinitive etan, subjunctive ete and eten, imperative ete and inflected infinitive (to) etenne, we now have I eat, (thou eatest), he eats, we eat, you eat, they eat, infinitiveeat, subjunctive eat, imperative eat and (no longer inflected) to-infinitive (to) eat. All the affixes got eaten and just a little sis left.

One result is that the to-infinitive is now used a bit more widely than it was in Old English, since there are places where it wouldn’t be clear if it were just plain old eat. But the pattern is largely similar: we use to when the infinitive is the focus of purpose or necessity (want to eat, need to eat), completes the sense of a verb or noun (begin to eat, the power to eat), or is the subject or object of a sentence (to eat would be nice). We use the bare infinitive when it follows certain auxiliaries of mood and tense (you must eat), verbs of causing (I’ll make you eat), verbs of perception (I want to see you eat) and a few others in that general vein.

And we can snap off the infinitive and leave it implied; we don’t have to say it if we don’t want to. (Want to what? Say it, of course.) In fact, the to generally tends to stay more readily with what’s before it than with the infinitive it’s serving.

Well, that is how a butler treats guests. He has to watch them to make sure they don’t get lost or steal the silver.

Mind your idioms

Originally published in Active Voice, the national magazine of the Editors’ Association of Canada

English has many quaint and curious phrases, clichés, and idioms, and we quite often see them misconstrued. Ours can be a very unforgiving game. You don’t have free reign to pawn off whatever one-of usages will tie you over, or do just any linguistic slight of hand (or vocal chords). No, you have to tow the line and stick to the straight and narrow, or your straight-laced readers will develop a deep-seeded dislike for you and give you short shift – they will wait with baited breath to see you get your just desserts and be hoisted on your own petard without further adieu, and the value of what you have to say will be a mute point.

Heh heh. Let me put that right:

You don’t have free rein to palm off whatever one-off usages will tide you over, or do just any linguistic sleight of hand (or vocal cords). No, you have to toe the line and stick to the strait and narrow, or your strait-laced readers will develop a deep-seated dislike for you and give you short shrift – they will wait with bated breath to see you get your just deserts and be hoist with your own petard without further ado, and the value of what you have to say will be a moot point.

Of course, that’s all well and good as long as we’re all playing the same game. But when we’re dealing with international audiences, the phrasing we use in hopes of striking a home run with our readers (or even just stealing a base) may seem to them to be not just cricket, and you won’t strike out – you will be dismissed.

We Canadian editors may be a bit smug about our position seemingly straddling the British-American fence. After all, we all know about our/or and re/er and ise/ize, and we may feel that, having mastered aluminium with an i and orientate with the ate and perhaps revise for study, estate agent for real estate agent, and some food terms – rocket (arugula), courgette (zucchini), marrow (summer squash), swede (rutabaga) – we can count on our intuitions with British.

But we run the risk of taking something for an error or typo when it’s really the correct British form. A bit over a decade ago, Orrin Hargraves came out with an excellent guide to British-American differences, Mighty Fine Words and Smashing Expressions; let me share with you some of the benefit of that smart volume: If you want to make a home from home in British English, and make a good job of it, don’t take the attitude of the know-all; know when to leave well alone if you want to cater for your readers and get on with them. Knowing your phrasal idioms can make the world of difference and give you a new lease of life – and if you don’t know them, you can rub your readers up the wrong way, and they might have a go at you and want to get shot of you. It will be more than a storm in a teacup; you will end up down at heel.

Which means, first of all, you will not render the above in a Canadian way: do not change it to home away from home, do a good job, know-it-all, leave well enough alone, cater to, get along with, make a world of difference, a new lease on life, rub your readers the wrong way, give you a tongue-lashing, get rid of you, tempest in a teacup, or down at the heels.

The best idea, of course, is to get a native British speaker – or, as occasion demands, an American speaker to add American idioms and weed out Canadianisms: don’t slip up and start talking about writing the odd test in pencil crayon, for instance (“Ohhhh, you mean taking the occasional test using a colored pencil! What was that other weird stuff you said?”). But at the very least, always look twice before crossing the idiom.

Noun your fabulous

It’s been a couple of weeks since I wrote an article for – I’ve been overdue. But I’d like to think my latest somewhat makes up for the gap. It’s a look at the popular practice in marketing of using an adjective as a noun:

How advertisers trick your brain by turning adjectives into nouns

I actually forgot to mention the anthimeric qualities of doge-speak, another currently popular trend, though not marketing driven. That would have been a good connection to add. Oh well. Such forgetful. Very annoyance. Wow.

I only wanted to explain this

This week is a bit of a double header for me: two articles published in different places at the same time. Yesterday I posted a link to my latest article on; today I’m posting (in its entirely) my latest article on the Editors’ Association of Canada’s national blog, The Editors’ Weekly.

Adverbs are a problematic and much-maligned class of words. Linguists often have trouble explaining exactly why they go where they go. Some sorts of adverbs are baselessly despised (hopefully, people will eventually get over those hangups, but I’m not hopeful). Some people think adverbs should be excised from writing altogether.

I’d like to cover all the misconceptions relating to adverbs, but that would make for very long reading. So today, I’m only going to talk about the placement of one specific adverb.

Those of you who read that and thought, “That’s bad grammar — it should be ‘I’m going to talk only about’ or ‘I’m going to talk about only,’ ” raise your hands.

Hands raised? Keep them there. As long as they’re raised they won’t be causing any trouble.

Oh, there’s no mistake in thinking that careful placement of only has much to recommend it. The mistake is in thinking that putting it in the default position, right before the main verb, is an error unless it’s limiting the main verb specifically.

Let’s look at an example sentence:

I only wanted to bake three cakes.

Without context, all you know is that baking three cakes is the full scope of what I wanted. You don’t know if the thrust of it is “I was not happy about baking the fourth one” or “I didn’t want to have to decorate them” or “I had no desire to bake three pies too.”

But do you know what the supposed only correct interpretation of that is? It’s that I only wanted to bake the cakes — I didn’t actually do it.

Does that seem odd? It should. It’s a made-up rule with no correspondence to reality. As Matt Gordon recently said on Twitter, quoting a student paper he was marking, “If ‘this grammatical distinction has confused writers for centuries,’ maybe it’s those trying to impose the distinction who are confused.”

In truth, the only way you can make that only about wanted is to emphasize wanted, or to phrase it differently. That position is the default position for only regardless of what aspect of the action it is limiting. But the rule-thumpers insist that you must move the only right next to what it limits:

I wanted only to bake three cakes.

I wanted to bake only three cakes.

I wanted to bake three only cakes.

Ah, wait, the last one isn’t even usable. You have to do this:

I wanted to bake only three cakes.

But that blows the “rule” right away. If you can do that, you can do this:

I only wanted to bake three cakes.

You can do likewise for the other restrictions:

I only wanted to bake three cakes.

I only wanted to bake three cakes.

The fact that we can — and do — shift the emphasis like that without moving the only is proof that this is a standard feature of English grammar, and that the word feels natural in the default position and can work there quite well. Anyone who tells you that “I only wanted to bake three cakes” is wrong and must be “I wanted only to bake three cakes” has not correctly analyzed the syntax of the sentence. He or she also has a tin ear, and yet thinks himself or herself a better writer than the many respected authors throughout the history of English who have used only in the “wrong” way.

This is not to say that you can only put only before the main verb — or, if you prefer, it’s not to say that you can put only only before the main verb. Its mobility gives you a very good tool for clarifying the meaning. But the availability of the default position gives you a tool for adjusting the rhythm and the naturalness of the sentence when the meaning is clear anyway. Why limit your toolkit unnecessarily?

Topics, we front them

Featured on The Editors’ Weekly, blog of the Editors’ Association of Canada

English is normally a subject-verb-object kind of language, but there are some interesting exceptions, especially in casual contexts. Consider examples such as the following:

Poodles, we walk them. Labradors, they walk us.

Chickens we have; roads, not so much.

Not one of the clauses above follows standard English sentence order, and yet we understand them. Of the four clauses, the first is object, subject-verb-object (pronoun); the second is subject, subject (pronoun)-verb-object; the third is object-subject-verb; and the fourth is object, adverb – no subject or verb overtly expressed at all. All four are examples of topic fronting, sometimes called left dislocation. (Note that we normally use a comma to set off the topic when it is followed by a complete clause or an elliptical statement, but not usually when the sentence is not syntactically complete without it.)

So why do we depart from our usual syntactic structure? We do it to maintain our preferred information structure. When we communicate information, we usually prefer to introduce a topic and then comment on it with new information. This can be especially useful when we are contrasting two topics. We don’t have to do it; we could rewrite the above sentences as follows:

We walk poodles. Labradors walk us.

We have chickens; we don’t have roads to nearly the same extent.

The first example works well as rewritten, though it loses its folksy feel; it also loses the parallelism of topics, but it highlights the inversion, which has its own effect. The second really, um, fails to cross the road. And even in a structure such as the first, you get poorer results if you can’t make a useful inversion:

Shirts, we mend them. Shorts, we toss them.

We mend shirts. We toss shorts.

You can see it loses some of the contrast effect. In speech you can emphasize the topic structure using intonation; in print that option is not as available.

Now look at the preceding sentence (“In speech…”): it contrasts the adverbial prepositional phrases thematically by moving them from the end to the beginning of their clauses – and no one would object to it. So why does it seem somehow incorrect to do it with nouns?

It’s not because it’s some new error, or a structure borrowed from another language (though some languages do normally introduce topics first, regardless of syntactic role). In fact, as Mark Liberman has discussed on Language Log, left dislocation has existed in English as long as there has been an English for it to exist in.

What has happened is that it has fallen out of use in recent centuries. Like some other formerly standard things, such as double negatives, double superlatives, use of ain’t, pronunciation of –ing as –in, and use of ’em in place of them, it has come to be seen as nonstandard, especially when there is also a pronoun filling the same role – we can sometimes get away with it as poetic when there is no pronoun:

Parsley we put on the plate, sage we leave on the plain, rosemary and thyme we drop in the pot.

The nonstandard air of left dislocation gives a useful means of making your text seem casual or colloquial – as well as keeping a nice clear parallelism. On the other hand, if you need to seem more formally correct, you still have a means of putting it in front acceptably: just turn the parallel nouns into parallel prepositional phrases.

With poodles, we walk them; with Labradors, they walk us.

A little Hellgoing sentence mechanical deconstruction

In Lynn Coady’s Giller-Prize-winning book Hellgoing, one of my editorial colleagues has spotted the following sentence:

She tried not to stare at Marco while he spoke to whomever he was speaking to, but she wasn’t succeeding.

Does that look quite right? Are you not quite sure? It’s the sort of sentence that you might not think much about unless you stop and look at it, but if you do stop and look at it it might start to drive you a little crazy.

So let’s go into this little Hell and take apart this sentence and see how it works.

Core subjects and verbs:

She tried . . . but she wasn’t succeeding.

Tried what?

…tried not to stare…

Not to stare at whom?

…not to stare at Marco…

I’ll abbreviate “She tried not to stare at Marco” as STNSM. It’s syntactically fine, I think we can agree.

Now: when?

STNSM while he spoke…

OK, spoke to whom?

…he spoke to X

where whoever X was, he was speaking to him.

So X was the person he was speaking to. Whoever that was.

Now here is how that plays out in that bit of the sentence. We need a relativizer:

…he spoke to {the person} {[relativizer] he was speaking to him}

What happens is that {the person} is replaced by the whole {[relativizer] he was speaking to him}.

The relativizer is “whoever” or, as the case may be, “whomever”:

…he spoke to {whoever {he was speaking to [him]}}

The “him” at the end moves up and merges with the relativizer, giving it accusative case (i.e., making it the object) (see the bottom of this post for more on this):

…he spoke to {whoever [+him] he was speaking to}

…he spoke to {whomever he was speaking to}

That’s where the confusion happens. The raising and merging into “whomever” is something that can confuse just about anyone until they learn about the underlying movements.

It could have been

…he spoke to the person to whom he was speaking

Then “the person” stays put and it happens this way:

…he spoke to {the person} [relativizer] he was speaking to {him}

The relativizer would become just “whom”, moved up from the end:

…he spoke to {the person} [whom] he was speaking to

But the “to” typically follows it up in this case:

…he spoke to {the person} [to whom] he was speaking

Notice there are two “to”s in both versions.

So let’s look at the whole sentence again and match the parts:

She tried not to stare at Marco while he spoke to whomever he was speaking to, but she wasn’t succeeding.

What are the verbs?

tried … (not) to stare … spoke (to) … was … speaking (to) … wasn’t … succeeding

The conjugated verbs have subjects:

She tried … he spoke … he was … she wasn’t

Let’s add the complements:

She tried not to stare

to stare at Marco

he spoke to whomever

whomever he was speaking to [him]

she wasn’t succeeding

There are also the conjunctions “while” and “but”, and that makes the whole thing.

She tried not to stare at Marco while he spoke to whomever he was speaking to, but she wasn’t succeeding.

So there are actually no surplus words. Each verb “speaking” requires a “to”: “spoke to” and “was speaking to”. Formal English often frowns on stranding the preposition at the end, but it’s always been an available feature of English; indeed, it requires less syntactic movement. Raising the preposition with its complement is a funny thing to do from a syntactic perspective, and linguists call it “pied piping” because it’s as though the object is a pied piper getting the preposition to come dancing along with it.

Most of that is of course rather complex and more than the average person is inclined to want to know. But editors aren’t average persons, so I have put it here for your enjoyment.

Now, here’s the bit more about the “whoever” becoming “whomever”: The reason “whoever” is “whomever” is because it’s merged with the “him”. The entire relative clause is the object, and the case doesn’t penetrate inside it. Here’s proof:

He looked at whoever was speaking to him.

It would not be correct to say “whomever was speaking to him” because the “was” requires a subject, and that is “whoever.”

As it happens, I talk about how case assignment doesn’t automatically percolate into phrases in my latest article on, “‘You and I’ vs. ‘You and me’.”


I like the look of this word, that’s for sure: could be shrugging shoulders, perhaps with an upturned hand in the middle; could be two upside-down cups and one rightside-up, perhaps awaiting a fill or perhaps revealing that the little ball is not where you thought it was and five dollars please, want to try again?

I like the sound, too. It’s about the only word in English that you can really say actually ends in [h] – at least some of the time. It comes in on a breath, pops out that shortest and most neutral of vowels, and then drops off to breath again. It makes me think of “O Superman” by Laurie Anderson, a song full of unanswered questions, misty cultural references, and non sequiturs – and huh (o, do watch it on YouTube:

According to the Oxford English Dictionary, this word huh is “A natural utterance, expressing some suppressed feeling. Also as an expression of interrogation.”

Huh? A natural utterance? What’s that?

Well, according to Mark Dingemanse, Francisco Torreira, and Nick Enfield, huh is a sort of universal word.

That doesn’t mean it’s the exact same in every language. Indeed, the vowels vary over a sort of fan between the mid central [ə], the mid front [e], and the low central [a], and may be nasalized and/or move into a diphthong that ends high front (as in “hi”); there may or may not be an opening consonant, though it’s [h] or a glottal stop if there is one. Read more at “Is ‘Huh?’ a universal word?

It also doesn’t mean it’s innate. Babies don’t make the sound, as Dingemanse, Torreira, and Enfield point out. It’s learned. You need it once you have speech that you may not hear or understand clearly. It’s part of what linguists call a repair strategy: there has been a disruption in the flow of communication due to someone speaking unclearly or saying something difficult to process, and so it quickly requests a reiteration or clarification. And it seems that it’s similar between languages because of convergent evolution: it just happens to be the best kind of sound for that purpose.

Huh. Whaddya know. Mind you, DT&E don’t talk about that other function of huh in English, or whether it is paralleled in other languages: that bit that the OED calls “expressing some suppressed feeling.” Typically it expresses the act of assimilation of unexpected information – an expression of wonder or a shrug or shake of the head. A quick repair of a rip in reality. An equivalent (at least in the English I know on a daily basis) is “Hm!” – which is more convenient if your lips happen to be closed.

That non-questioning (or perhaps rhetorically questioning) huh is actually the one I use more. If I haven’t heard something clearly, I will more likely – as my wife will attest – say “What?” Which is the other common repair strategy. But somehow we still have huh. Huh, it must be useful. Uh-huh.


A colleague today mentioned that her copyediting professor had said the Mazda “Zoom Zoom” slogan was incorrect because zoom implies upward motion, as with a plane or rocket.


I am not happy that someone who is teaching editing would insist on a false restriction such as this. Why do people zoom in on one specialized sense and take it as the whole picture?

Here is why that instructor thought this was a real restriction: in aircraft slang, as of 1917, to quote the Daily Mail (from the OED), “‘Zoom’..describes the action of an aeroplane which, while flying level, is hauled up abruptly and made to climb for a few moments at a dangerously sharp angle.”

So the instructor is right? No, of course not, for two reasons.

First, that is a specialized sense and not the original – the original sense, dating to 1892 at the latest, is, per OED, “To make a continuous low-pitched humming or buzzing sound; to travel or move (as if) with a ‘zooming’ sound; to move at speed, to hurry. Also loosely, to go hastily.”

And second, what matters is not how the word was used in 1917 or 1892; what matters is how the word has come to be used and generally accepted in the most recent decades. Usage determines meaning, and current usage – like much non-specialist usage for the past century – allows zoom to refer to speed more generally, as in the original definition, and certainly to automotive speed.

But oh, oh, oh, some people just have to, have to, have to come up with restrictions on language. They don’t want to see the big picture. In the field of meanings they look and discover an “original” sense or see some “technical” meaning, zoom in on that, and decide that that must be the true sense and all the others are wrong. The etymological fallacy runs rampant. Conversational trump cards. Learn a new rule, feel more superior – or anyway learn a new rule and have new mental furniture to structure your existence. (Many, perhaps most, people actually love rules and restrictions, even if they don’t always adhere to them. As Laurie Anderson sings, “Freedom is a scary thing. Not many people really want it.”)

But isn’t the specialized sense the more accurate sense? They’re specialists, after all!

No, that doesn’t make it more accurate. That makes it more of an exception. Look, in medical speech, indicated means ‘considered the appropriate treatment’ – as in “selective serotonin reuptake inhibitors are indicated in clinical depression,” which means “drugs such as Prozac are considered appropriate treatment for depression.” But in everyday speech, that’s not what we mean by indicated, and you’re not required to be talking of berrytherapy if you say “He indicated the berries on the table.” So with technical terms generally. This includes biological classifications. The botanical class called berries includes bananas, but in ordinary life bananas are not berries.

I’m put in mind of a guy I knew in university who said that Calgary wasn’t a city because it didn’t have a cathedral. He based that on the idea that in medieval times a city was a city if it had a cathedral. He was, of course, wrong for several reasons: Calgary has a cathedral; we are not in medieval times; the medieval definition of a city that he was calling forth was not the original definition nor in any way a reliable definition, and it certainly is not the current definition. In short, he needed to zoom out. And get with the times and the facts, too.

And then there’s the fellow – a former English teacher, yet – who disputed the semiotic use of the word icon to refer to something that signified by resemblance. An icon, he declared, is an Orthodox religious image, and any other use is an abuse! Ah, dear, dear, dear. The word icon comes from Greek for ‘image’, so if you want to talk about commandeering a word for a specialized sense, it would be the Orthodox usage that does so…

Zoom is a perfectly usable (even if currently somewhat commandeered by Mazda) word in relation to speed, especially engine-driven speed, and it has a nice taste to it. We can ask ourselves why “zoom” specifically. There are similar sound words, too, like va-va-voom and the vroom vroom of an engine. The sound a piston engine makes (and, more particularly, made a century ago) seems best matched with a voiced fricative to start with, but the depth of the roar can call forth the high mid-back vowel [u], and the sustain and echo of it can be represented by [m]. Compare zip – much quicker and less substantial. Compare it with other sounds such as “shing” – that would be a sword being unsheathed, not an engine, no? Perhaps “brrrr”? No, that could be an engine, but one that’s just holding steady. You really do get a sense of something moving rapidly past and into the distance with “zoom.” Even the movement of your mouth, with the tongue moving from front to back while the lips purse and then close, reinforces this.

Oh, and why do we “zoom in” and “zoom out”? There’s that rapid motion again. When camera lenses capable of quickly and smoothly changing focal length came in, the effect of the focal length shift from the viewer’s perspective was experienced – as it still is – as being like rapid motion towards or away from the subject. As zooming towards or away from the subject – into or out of the frame. So there’s another one for the rapid motion sense. Oh, and that’s a technical sense, too. It’s also been around for more than 60 years. So there. Now zoom out again.