What is JacketFlap

  • JacketFlap connects you to the work of more than 200,000 authors, illustrators, publishers and other creators of books for Children and Young Adults. The site is updated daily with information about every book, author, illustrator, and publisher in the children's / young adult book industry. Members include published authors and illustrators, librarians, agents, editors, publicists, booksellers, publishers and fans.
    Join now (it's free).

Sort Blog Posts

Sort Posts by:

  • in
    from   

Suggest a Blog

Enter a Blog's Feed URL below and click Submit:

Most Commented Posts

In the past 7 days

Recent Comments

Recently Viewed

JacketFlap Sponsors

Spread the word about books.
Put this Widget on your blog!
  • Powered by JacketFlap.com

Are you a book Publisher?
Learn about Widgets now!

Advertise on JacketFlap

MyJacketFlap Blogs

  • Login or Register for free to create your own customized page of blog posts from your favorite blogs. You can also add blogs by clicking the "Add to MyJacketFlap" links next to the blog name in each post.

Blog Posts by Tag

In the past 7 days

Blog Posts by Date

Click days in this calendar to see posts by day or month
new posts in all blogs
Viewing: Blog Posts Tagged with: bass, Most Recent at Top [Help]
Results 1 - 3 of 3
1. Do you ‘cuss’ your stars when you go ‘bust’?

By Anatoly Liberman


Here, for a change, I will present two words (cuss and bust) whose origin is known quite well, but their development will allow us to delve into the many and profound mysteries of r. Both Dickens and Thackeray knew (that is, allowed their characters to use) the verb cuss, and no one had has ever had any doubts that cuss means “curse.” Bust is an Americanism, now probably understood everywhere in the English-speaking world. The change of curse and burst to cuss and bust seems trivial only at first sight.

The sound designated in spelling by the letter r differs widely from language to language. Even British r is unlike American r, while German, French, and Scots r have nothing in common with Engl. r and one another. All kinds of changes occur in vowels and consonants adjacent to r. Those who know Swedish or Norwegian are aware of the peculiar pronunciation of the groups spelled rt, rd, rn, and rs. In some Germanic languages, postvocalic r tends to disappear altogether. In British English, it seems to have merged with preceding vowels some time later than the beginning of the seventeenth century, because most dialects of American English have preserved postvocalic r; in their speech, father and farther, pause (paws) and pours are not homophones.

In principle, nothing of any interest happened to Engl. r before s. But when we comb through the entire vocabulary, we occasionally run into puzzling exceptions. Thus, a common word for the waterfall is foss, an alteration of force. This force, unrelated to force “strength, might” (of French descent), is a borrowing from Scandinavian. Old Norse had fors, but in Old Scandinavian the spelling foss already turned up in the Middle Ages, and this is why I mentioned the treatment of rs (among other r-groups) in Swedish and Norwegian. Today in both of them rs sounds like a kind of sh to the ear of an English-speaker. Therefore, one could have expected Engl. fosh rather than foss. Forsch did occur in Middle Low (= northern) German, but the extant English form is only foss.

A similar case is the fish name bass. (I am very happy to return to the fish bowl.) All its cognates have r in the middle: Dutch baars, German Barsch, and so forth. The word is allied to bristle. Apparently, r was lost before s in Old Engl. bærs (æ had the value of a in Modern Engl. ban) but not without a trace, for the previous vowel was lengthened and developed into a diphthong, as in bane and its likes. In the name of the game prisoner’s base (a kind of tag with two teams, as probably everybody knows), base may go back to bars. If so, bass, the bristly fish, and base, the game in which participants find themselves behind “bars,” had a similar history. But the fish name is spelled bass instead of base, and this is one of the strangest spellings even in English (imagine lass and mass pronounced as lace and mace).

A bust of a ruler whose empire went bust.

To be sure, we have another bass “low voice,” also pronounced as base, but at least there is an explanation of that oddity. Italian basso was (quite correctly) identified with base “of low quality” and pronounced like that adjective, with the written image of the noun remaining intact. But why bass, the fish name? I could not find any discussion of this minor problem and will venture a conjecture. We have seen that in fors r was lost, and yet the preceding vowel did not undergo lengthening. Perhaps, once bærs shed r, it existed in two forms, with a short vowel (as happened in foss, from fors) and with a long one. The outcome of the compromise was to pronounce the word according to one form and to spell it according to the other. That is why English spelling is such fun. (Compare heifer: the written image reflects its development in the dialects in which the diphthong has been preserved, but the Standard form sounds heffer.)

Another fish name is dace, from Old French dars. Among the fifteenth-century English spellings we find darce and darse. It may not be due to chance that the loss of r before s occurs in words belonging, among others, to fishermen’s vocabulary and children’s lingo. Analogous cases are known from hunters’ usage. The phonetic change in question looks like a feature of unbuttoned and professional speech, for who would control the sounds of the “lower orders” and of the hunters’ jargon? The Standard treated it as vulgar. But fighting the street is a lost cause, though language does not develop from point A to B, C, and all the way to Z. It rather resembles an erratic pendulum; the norm of today may be rejected tomorrow, so that the conservative variant may prevail.

This is what happened in the history of the word first. In the pronunciation of many eighteenth-century speakers (in England), first was indistinguishable from fust- in fustian. Fust for first is not uncommon in today’s American English, but it is “substandard.” Also in the eighteenth century, nurse, purse, and thirsty occurred even in the language of the educated as nus, pus, and thustee. Shakespeare once has goss for “gorse,” and the idiom as rough as a goss has been recorded in the modern Warwickshire dialect. The devil is always worsted, but the fabric worsted is “wusted.” The place name Worstead is only for the locals to pronounce correctly. Those who are not afraid to be lost in this jungle may compare Worcester (UK), Worchester in Georgia and Massachusetts, and Wooster, Ohio. Rejoice that you are not reading a 1721 ad: “Thust things fust.”

This is then what happened to cuss and bust. Cuss, from curse, never left the low (base?) register, though everybody understands cussed and cussedness without a dictionary. Bust fared better (or worse, depending on the point of view). First (fust), its descent from burst isn’t always clear to the uninitiated, so that it became a word in its own right, rather than a shadow cast by burst. Second, although mildly slangy in the phrase go bust, it won a decisive victory in its derivative buster. (Do many people still remember that Theodore Roosevelt was called Trust Buster?) The word’s popularity was reinforced by Buster Brown, the character and the shoes. The “street” scored an important point — so much so that blockbuster is no longer slang. It may perhaps be called colloquial, but it has no synonym of equal value. A blockbuster is a blockbuster.

Perhaps someone is interested in the origin of bust, as in sculpture or in the ads for those women who suspect that their bust is inferior to that of Mrs. Merdle of Little Dorrit fame. It is a borrowing of Italian busto, a word, I am happy to report, of highly debatable etymology.

Anatoly Liberman is the author of Word Origins…And How We Know Them as well as An Analytic Dictionary of English Etymology: An Introduction. His column on word origins, The Oxford Etymologist, appears here, each Wednesday. Send your etymology question to him care of [email protected]; he’ll do his best to avoid responding with “origin unknown.”

Subscribe to Anatoly Liberman’s weekly etymology posts via email or RSS.
Subscribe to the OUPblog via email or RSS.
View more about this book on the

Image credit: 17th century marble bust, from Florence, Italy, of Vespasian, (9-79), first roman emperor of the flavian dynasty, on display at Château de Vaux le Vicomte, France. Photo by Jebulon, 2010. Creative Commons CC0 1.0 Universal Public Domain Dedication. Source: Wikimedia Commons.

0 Comments on Do you ‘cuss’ your stars when you go ‘bust’? as of 9/5/2012 9:51:00 AM
Add a Comment
2. "Peter Torrelli, Falling Apart" by Rebecca Makkai

I've been reading through this year's Best American Short Stories, edited by Geraldine Brooks, little by little, almost randomly, not quickly, and mostly as a reward to myself when I get other work done. I got it as an ebook, because that's a nicely convenient way to read it. What ultimately attracted me to it was that this year's table of contents is more interesting to me than any in the last few years. (Finally, a BASS that isn't a Best American Rich White People!) My favorite story so far is Rebecca Makkai's "Peter Torrelli, Falling Apart", originally published in Tin House. For me this story alone is easily worth what I paid for the book.

Before saying a few things about "Peter Torrelli...", though, I want to recommend Geraldine Brooks's introduction to you. BASS is in many ways the old guard of the old guard when it comes to self-consciously literary fiction, and the regime seems to be enforced by the publishers and series editors, as the more adventurous guest editors of the past (whether John Gardner, Michael Chabon, or Stephen King) have politely hinted in their introductions, and as the tables of contents have amply demonstrated. BASS is rarely a book you go to to find out what's new and interesting in the realm of short fiction; it's a book you read because there is a generally consistent level of accomplishment and pleasure. (True, also, of the annual Pushcart Prize volumes.) It's a rare BASS story that makes me feel like reading it was a waste of time; it's also a rare BASS story that overwhelmingly awes, thrills, inspires, or challenges me. (In that sense, "Peter Torrelli, Falling Apart" is a rare BASS story; I'd happily employ all four words to describe it. Also, and perhaps most importantly: enchants.)

What's interesting about Brooks's introduction, though, is that while she seems to be a fairly traditional reader, she is also clearly more open-minded in her approach than quite a few past guest editors. Her introduction's first pages are similar to the openings of past introductions, and then she offers specific observations about many of the stories included in the book; the really interesting bit comes at the end, beginning when she writes about George Saunders's "Escape from Spiderhead" (originally in The New Yorker), calling it "that rare example of full-bore speculative fiction to make it through the literary magazines’ anti-sci-fi force field," and says that "Coming across this story elicited the same joyful surprise I once felt when offered a glass of wine after a dry week in Riyadh." This leads her to say, "I would like to raise a small, vigorously waving hand in favor of releasing more such stories out of the genre ghetto and into the literary mainstream."

(Please, fankids, don't jump on that sentence and start accusing Brooks of somehow wanting to steal your beloved genre and suggesting that she should read at least 50 years of back issues of Analog or F&SF. No. Just: no.)

This leads Brooks to offer six, as she calls them, "carps of the day". They are:

   1. Enuf adultery eds. Too many stories about

0 Comments on "Peter Torrelli, Falling Apart" by Rebecca Makkai as of 1/1/1900
Add a Comment
3. crystal palace children's book festival

Just a peek, since I have way too many photos and video clips to go through tonight, but here's my best photo from today's amazing Crystal Palace Children's Book Festival. This is Garen Ewing (creator of The Rainbow Orchid) reading the festival's own Monster Book. Doesn't Garen look great with antlers?



I think the highlight of the festival for me this year was the event by writer Guy Bass at a marvelous indie bookshop called Bookseller Crow. He recently went on tour with illustrator David Roberts, which made me WELL envious!) Guy's an amazing performer and had me in stitches. I'll save most of it for later, but here's a reading he did to close the event, a poem called The Tale of Rodney Head-falls-off.

YouTube link

Add a Comment