During the Black Hawk War, Abe Lincoln was leading 20 men through a field when he saw they’d need to pass through a narrow gate.
“I could not, for the life of me, remember the proper word of command for getting my company endwise, so that it could pass through the gate,” he later recalled.
“So, as we came near, I shouted, ‘Halt! this company is dismissed for two minutes, when it will fall in again on the other side of the gate.'”
In 1996, in order to demonstrate the undiscerning trendiness of postmodernism, NYU physicist Alan Sokal submitted an article “liberally salted with nonsense” to the academic journal Social Text:
As Althusser rightly commented, ‘Lacan finally gives Freud’s thinking the scientific concepts that it requires.’ More recently, Lacan’s topologie du sujet has been applied fruitfully to cinema criticism and to the psychoanalysis of AIDS. In mathematical terms, Lacan is here pointing out that the first homology group of the sphere is trivial, while those of the other surfaces are profound; and this homology is linked with the connectedness or disconnectedness of the surface after one or more cuts.
It was published even though Sokal refused to make any changes.
In 2005, MIT student Jeremy Stribling submitted a paper of computer-generated gibberish to the technology conference WMSCI:
One must understand our network configuration to grasp the genesis of our results. We ran a deployment on the NSA’s planetary-scale overlay network to disprove the mutually largescale behavior of exhaustive archetypes. First, we halved the effective optical drive space of our mobile telephones to better understand the median latency of our desktop machines. This step flies in the face of conventional wisdom, but is instrumental to our results.
It was accepted when none of three reviewers rejected it.
French twins Igor and Grichka Bogdanov insist that their papers on the Big Bang are genuine contributions to physical cosmology, but mathematician John Baez calls them “a mishmash of superficially plausible sentences containing the right buzzwords in approximately the right order.” That battle is still raging.
In a trance in 1926, medium Geraldine Cummins wrote out messages transmitted to her by a disembodied spirit who had died 1900 years earlier. Architect Frederick Bligh Bond transcribed, punctuated, and arranged the messages. When Bond published these in a newspaper, Cummins sued him. This raises an interesting legal question: Who holds the copyright?
In an extempore judgment, Justice J. Eve wrote that, although all parties agreed that “the true originator of all that is found in these documents is some being no longer inhabiting this world,” the medium’s “active cooperation” had helped to translate them into modern language. This might make her a joint author with the disembodied spirit, but “recognizing as I do that I have no jurisdiction extending to the sphere in which he moves,” he found that “authorship rests with this lady.”
Bond had claimed that the writing had no living author, that, in Eve’s words, “the authorship and copyright rest with some one already domiciled on the other side of the inevitable river.” But “That is a matter I must leave for solution by others more competent to decide it than I am. I can only look upon the matter as a terrestrial one, of the earth earthy, and I propose to deal with it on that footing. In my opinion the plaintiff has made out her case, and the copyright rests with her.”
Jean-François Sudre had a unique thought in 1817: If people of different cultures can appreciate the same music, why not develop music itself into an international language?
The result, which he called Solresol, enlists the seven familiar notes of the solfeggio scale (do, re, mi …) as phonemes in a vocabulary of 2,600 roots. Related words share initial syllables; for example, doremi means “day,” dorefa “week,” doreso “month,” and doredo the concept of time itself. Pleasingly, opposites are indicated simply by reversing a word — fala is “good,” and lafa is “bad.”
Sudre developed this in various media: In addition to a syllable, each note was also assigned a number and a color, so that words could be expressed by knocks, blinking lights, signal flags, or bell strikes as well as music.
“Imagine for a moment a universal language, translatable to colour, melody, writing, touch, hand signals, and endless strings of numbers,” writes author Paul Collins. “Imagine now that this language was taught from birth to be second nature to every speaker, no matter what their primary language. The world would become saturated with hidden meanings. Music would be transformed, with every instrument in the orchestra engaged in simultaneous dialogue. … [T]he beginning of Beethoven’s Fifth seems to talk about ‘Wednesday’ … Needless to say, obsessive fans who already hear secret messages in music would not do their mental stability any favors by learning Solresol.”
Sudre was hailed as a genius in his lifetime, and he collected awards at world exhibitions in Paris and London, but he died before his first grammar was published. An international society promoted the language until about World War I, but in the end it lost adherents to Esperanto, which was considered easier to learn.
Excerpts from the style sheet of the Kansas City Star, where Ernest Hemingway worked as a reporter in 1917:
“Those were the best rules I ever learned for the business of writing,” Hemingway told a reporter in 1940. “I’ve never forgotten them. No man with any talent, who feels and writes truly about the thing he is trying to say, can fail to write well if he abides with them.”
Though not having a single written word upon it, this envelope reached me from London without delay. The address reads: Miss Polly Colyer (Collier)-Fergusson (Fir-goose-sun), Ightham Mote, Ivy Hatch, Sevenoaks, Kent. Ightham Mote is indicated by a small sketch of the house itself, which is well known in the county. — Miss Colyer-Fergusson
— Strand, September 1908
A correspondent, name unknown, has sent us the curiously-addressed envelope which we reproduce here. The strange words, we are informed by the Post Office authorities, represent the sounds as made by the key of the modern Morse instrument. ‘Idely iddy’ stand for ‘dots’ and ‘umpty’ for a dash. The envelope reached us as easily as if it had been addressed in the orthodox way.
— Strand, January 1907
Groucho Marx hated Harry Cohn, a producer for Columbia.
At one showing, when the words “Columbia Pictures Presents” appeared on the screen, he turned to Chico and said, “Drags, doesn’t it?”
English historian Robert Blake called Henry James Pye “the worst poet laureate in English history with the possible exception of Alfred Austin.” That’s low praise indeed: Austin’s Randolph: A Tale of Polish Grief purportedly sold 17 copies; he is remembered for the stirringly titled “Go Away, Death” and for a breast fixation in which poetic mammaries open doors and plough the brine.
Elevated probably as a political favor, Pye was roundly criticized for his birthday odes, which were set to music by the court composer. “It is said that the words were often drowned by the instruments,” noted William Forbes Gray. “Certainly, it was a consummation to be devoutly wished”:
God of our fathers rise,
And through the thund’ring skies
Thy vengeance urge
In awful justice red,
By thy dread arrows sped,
But guard our Monarch’s head,
God save great George.
To the loud trumpet’s throat
To the shrill clarion’s note,
Now jocund sing.
From every open foe,
From every traitor’s blow,
Virtue defend his brow,
God guard our King!
Pye once said he would “rather be thought a good Englishman than the best poet or the greatest scholar that ever wrote.” In The Joy of Bad Verse, Nicholas Parsons observes that Pye’s epic Alfred was then “a credit to his sense of patriotism.”
In 1921, chemists at Arthur D. Little Inc. reduced 100 pounds of sows’ ears to glue, converted it to gelatin, forced it into fine strands, and wove these into a purse “of the sort which ladies of great estate carried in medieval days — their gold coin in one end and their silver coin in the other.”
“We made this silk purse from a sow’s ear because we wanted to, because it might serve as an example to clients who come to us with their ambitions or their troubles, and also as a contribution to philosophy,” they reported. “Things that everybody thinks he knows only because he has learned the words that say it, are poisons to progress.”
In 1897, con artist Soapy Smith opened a telegraph office in Skagway, Alaska. For five dollars, new arrivals in the Klondike Gold Rush could send 10 words to loved ones anywhere in the world, informing them of their safe arrival and imminent riches.
No one noticed that the cable was simply nailed to the back of the building, and that its other end disappeared in the waters of Skagway Bay.
Telegraph lines did not reach Skagway until 1901.
