Cast Away

Here’s a paragraph from Robinson Crusoe. It contains a remarkable error — can you spot it?

A little after noon, I found the sea very calm, and the tide ebbed so far out, that I could come within a quarter of a mile of the ship; and here I found a fresh renewing of my grief: for I saw evidently, that if we had kept on board, we had been all safe–that is to say, we had all got safe on shore, and I had not been so miserable as to be left entirely destitute of all comfort and company, as I now was. This forced tears from my eyes again; but as there was little relief in that, I resolved, if possible, to get to the ship–so I pulled off my clothes, for the weather was hot to extremity, and took the water. But when I came to the ship, my difficulty was still greater to know how to get on board; for, as she lay aground and high out of the water, there was nothing within my reach to lay hold of. I swam round her twice, and the second time I spied a small piece of rope, which I wondered I did not see at first, hang down by the fore-chains, so low as that with great difficulty I got hold of it, and, by the help of that rope, got up into the forecastle of the ship. Here I found that the ship was bulged, and had a great deal of water in her hold, but that she lay so on the side of a bank of hard sand, or rather earth, and her stern lay lifted up upon the bank, and her head low almost to the water: by this means all her quarter was free, and all that was in that part was dry; for you may be sure my first work was to search and to see what was spoiled, and what was free, and first I found that all the ship’s provisions were dry and untouched by the water: and being very well disposed to eat, I went to the bread-room and filled my pockets with biscuit, and ate it as I went about other things, for I had no time to lose. I also found some rum in the great cabin, of which I took a large dram, and which I had indeed need enough of to spirit me for what was before me. Now I wanted nothing but a boat, to furnish myself with many things which I foresaw would be very necessary to me.

(He does explain later that “I found the tide begin to flow, though very calm; and I had the mortification to see my coat, shirt, and waistcoat, which I had left on the shore, upon the sand, swim away. As for my breeches, which were only linen, and open-kneed, I swam on board in them and my stockings.”)

Oops

Samuel Johnson’s 1755 dictionary defines garret as “a room on the highest floor of the house.”

It defines cockloft as “the room over the garret.”

“The Sweet Singer of Michigan”

Julia Moore’s poetry was so bad that it gained a national following even among her contemporaries in the 1870s. One reviewer wrote, “Shakespeare, could he read it, would be glad that he was dead”:

They once did live at Edgerton,
They once did live at Muskegon,
From there they went to Chicago,
Which proved their fatal overthrow.

It was William House’s family,
As fine a family as you see—
His family was eleven in all,
I do not think it was very small.

She stopped writing when she saw that her fans were laughing, not weeping — and, immortally, she closed her career with these lines:

And now kind friends, what I have wrote
I hope you will pass o’er,
And not criticise as some have done
Hitherto herebefore.

Anonymous

Who wrote The Treasure of the Sierra Madre? Strangely, no one knows. The novel is credited to B. Traven, but exactly who that is has been a matter of speculation for more than 80 years.

Most of Traven’s output was published between 1926 and 1939, composed in German sprinkled with Americanisms and frequently concerning leftist politics and Mexican history.

The writer himself never came forward, and he left only intriguing clues to his identity: In the 1920s apparently he was associated with Munich anarchist Erich Mühsam, and later a Mexican journalist discovered a bank account in Traven’s name in Acapulco. When John Huston filmed The Treasure of the Sierra Madre in 1947, a man claiming to be Traven’s agent visited the set and appeared to take an unusual interest in the proceedings, but he disappeared afterward.

Apparently that’s how he wanted it: It now appears that the writer took on at least four distinct identities during his lifetime. One of these men wrote, “I shall always and at all times prefer to be pissed on by dogs than reveal who I am.”

Unimpressed

http://commons.wikimedia.org/wiki/Image:Taming_of_the_Shrew.jpg

Samuel Pepys’ opinions of Shakespeare’s plays, from his diary:

  • A Midsummer Night’s Dream: “I had never seen [it] before, nor shall ever again, for it is the most insipid, ridiculous play that ever I saw in my life.”
  • The Taming of the Shrew: “It hath some very good pieces in it, but generally is but a mean play.”
  • Romeo and Juliet: “It is a play of itself the worst that ever I heard.”
  • The Merry Wives of Windsor: “The humours of the country gentleman and the French doctor very well done, but the rest but very poorly, and Sir J. Falstaffe as bad as any.”
  • Henry IV, Part 1: “It did not please me.”
  • The Two Noble Kinsmen: “No excellent piece.”
  • Twelfth Night: “One of the weakest plays that ever I saw on the stage.”

“August 20th, 1666. To Deptford by water, reading Othello, Moor of Venice, which I ever heretofore esteemed a mighty good play; but … it seems a mean thing.”

Duck Soup

T.S. Eliot was a fan of Groucho Marx. The two maintained a correspondence through the early 1960s, when Groucho accepted a long-offered dinner with the poet.

Eliot wrote: “The picture of you in the newspapers saying that, amongst other reasons, you have come to London to see me has greatly enhanced my credit in the neighborhood, and particularly with the greengrocer across the street. Obviously I am now someone of importance.”

Oh

Dylan Thomas’ 1954 play Under Milk Wood is set in the town of Llareggub.

Is that a real Welsh village? Or is it a stand-in for Laugharne, where Thomas lived in the 1930s?

Neither — read it backward.

Strange Eyes

G.K. Chesterton used the term moor eeffocish to describe the queerness sometimes glimpsed in familiar things. He borrowed the phrase from Charles Dickens, who as an unhappy child would sometimes sit in a coffee shop in St. Martin’s Lane:

In the door there was an oval glass plate with ‘COFFEE ROOM’ painted on it, addressed towards the street. If I ever find myself in a very different kind of coffee-room now, but where there is such an inscription on glass, and read it backwards on the wrong side, MOOR EEFFOC (as I often used to do then in a dismal reverie), a shock goes through my blood.

J.R.R. Tolkien later wrote: “The word Mooreeffoc may cause you to realise that England is an utterly alien land, lost either in some remote past age glimpsed by history, or in some strange dim future reached only by a time-machine; to see the amazing oddity and interest of its inhabitants and their customs and feeding-habits.”