AN "ECONOMIST" BOOK OF THE YEAR "The Secret Life of Words "is a wide-ranging account of the transplanted, stolen, bastardized words we've come to know as the English languag. It's a history of English as a whole, and of the thousands of individual words, from more than 350 foreign tongues, that trickled in gradually over hundreds of years of trade, colonization, and diplomacy. Henry Hitchings narrates the story from the Norman Conquest to the present day, chronicling the English language as a living archive of human experience. A SAMPLE OF THE THOUSANDS OF STORIES BEHIND THE WORDS: - Alcatraz Island was named by a Spanish explorer who arrived in 1775 to find the island covered with pelicans, or "alcatraces." And "alcatraces"? The word goes back to the Arabic "al-qadus," which was a bucket used in irrigation that resembled the bucket beaks of pelicans. - What does a walnut have to do with walls? The word comes from the Old English walhnutu, meaning foreign nut. They were originally grown in Italy and imported, and the northern Europeans named them to distinguish them from the native hazelnut. - A crayfish is not a fish. The name comes from the old French word "crevice," through the Old German "crebiz "and the modern French "ecrevisse." The "fish" part is just the result of a mishearing.""The Secret Life of Words "is a wide-ranging chronicle of how words witness history, reflect social change, and remind us of our past. Henry Hitchings was born in 1974. He is the author of "Defining the World "and has contributed to many newspapers and magazines. An "Economist" Best Book of the Year Words are essential to our everyday lives. An average person spends his or her day enveloped in conversations, e-mails, phone calls, text messages, directions, headlines, and more. But how often do we stop to think about the origins of the words we use? Have you ever thought about which words in English have been borrowed from Arabic, Dutch, or Portuguese? Try "admiral," "landscape," and "marmalade," just for starters. "The Secret Life of Words" is a wide-ranging account not only of the history of English language and vocabulary, but also of how words witness history, reflect social change, and remind us of our past. Henry Hitchings delves into the insatiable, ever-changing English language and reveals how and why it has absorbed words from more than 350 other languages--many originating from the most unlikely of places, such as "shampoo" from Hindi and "kiosk "from Turkish. From the Norman Conquest to the present day, Hitchings narrates the story of English as a living archive of our human experience. He uncovers the secrets behind everyday words and explores the surprising origins of our most commonplace expressions. "The Secret Life of Words" is a rich, lively celebration of the language and vocabulary that we too often take for granted. "This historical tour of the English lexicon considers words as etymological 'fossils of past dreams and traumas, ' revealing the preoccupations of the ages that produced them. The nineteenth century's 'cult of fine feelings' gave currency to 'sensibility' and 'physiognomy'; 'popery' and 'libertine' sprang from the religious skepticism of the sixteen-hundreds. Many such relics began as imports: centuries of Anglophone empire-building have occasioned borrowings from some three hundred and fifty languages, including Arabic ('sash') and Sanskrit ('pundit'). The chapters are loosely focused on different themes, but trade is a constant thread: 'tycoon' comes from taikun, a Japanese honorific picked up on Commodore Matthew Perry's eighteen-fifties mission to open the ports of Japan. Hitchings offers a rich array of anecdotes and extracts."--"The New Yorker " "Many will know that the word 'muscle' comes from the Latin for 'mouse' (rippling under the skin, so to speak). But what about 'chagrin', derived from the Turkish for roughened leather, or scaly sharkskin. Or 'lens' which comes from the Latin 'lentil' or 'window' meaning 'eye of wind' in old Norse? Looked at closely, the language comes apart in images, like those strange paintings by Giuseppe Arcimboldo where heads are made of fruit and vegetables. Not that Henry Hitchings's book is about verbal surrealism. That is an extra pleasure in a book which is really about the way the English language has roamed the world helping itself liberally to words, absorbing them, forgetting where they came from, and moving on with an ever-growing load of exotics, crossbreeds and subtly shaded near-synonyms. It is also about migrations within the language's own borders, about upward and downward mobility, about words losing their roots, turning up in new surroundings, or lying in wait, like 'duvet' which was mentioned by Samuel Johnson, for their moment . . . At every stage, the book is about people and ideas on the move, about invasion, refugees, immigrants, traders, colonists and explorers. This is a huge subject and one that is almost bound to provoke question-marks and explosions in the margins--soon forgotten in the book's sheer sweep and scale . . . The author's zest and grasp are wonderful. He makes you want to check out everything . . . Whatever is hybrid, fluid and unpoliced about English delights him."--"The Economist ""There's not a word in English that isn't furled-up history, resonating to some degree withits notorious unfairness and spin. Indeed, to peer into words is to discover dioramas of vanished worlds with model people busily framing meaning to suit their own purposes. I have never read a book that so perfectly reveals those hidden worlds as Henry Hitching's "The Secret Life of Words: How English Became English." The book follows the 'pedigree and career' of the English language through history, exposing its debt to invasions, to threats from abroad, and to an island people's dealings with the world beyond its shores. In doing this, Hitchings lays bare the general spirit of acquis
亨利.希金斯(Henry Hitchings)
語言和文化歷史評論家,生於1974年,畢業於牛津與倫敦大學。著有《約翰遜的字典》、《真的不用讀完一本書》。他也是《衛報》《金融時報》《新政治家》等報章雜誌的撰稿人。
林俊宏
師範大學翻譯研究所碩士。喜好電影、音樂、閱讀、閒晃。譯有《剪刀、石頭、布》、《群的智慧》等書。現就讀於師大譯研所博士班。
圣诞节的时候在铜锣湾的诚品发现这本书,只是摆放的位置在英语学习的那一大类。的确,这本书里面有各式英文词汇,如果你在准备托福、GRE的考试,我认为这本书再好不过了——给你讲英文词汇的起源与历史,远比红宝书什么的来的带劲。 然而,这并不是一本单单在讲...
评分圣诞节的时候在铜锣湾的诚品发现这本书,只是摆放的位置在英语学习的那一大类。的确,这本书里面有各式英文词汇,如果你在准备托福、GRE的考试,我认为这本书再好不过了——给你讲英文词汇的起源与历史,远比红宝书什么的来的带劲。 然而,这并不是一本单单在讲...
评分圣诞节的时候在铜锣湾的诚品发现这本书,只是摆放的位置在英语学习的那一大类。的确,这本书里面有各式英文词汇,如果你在准备托福、GRE的考试,我认为这本书再好不过了——给你讲英文词汇的起源与历史,远比红宝书什么的来的带劲。 然而,这并不是一本单单在讲...
评分圣诞节的时候在铜锣湾的诚品发现这本书,只是摆放的位置在英语学习的那一大类。的确,这本书里面有各式英文词汇,如果你在准备托福、GRE的考试,我认为这本书再好不过了——给你讲英文词汇的起源与历史,远比红宝书什么的来的带劲。 然而,这并不是一本单单在讲...
评分圣诞节的时候在铜锣湾的诚品发现这本书,只是摆放的位置在英语学习的那一大类。的确,这本书里面有各式英文词汇,如果你在准备托福、GRE的考试,我认为这本书再好不过了——给你讲英文词汇的起源与历史,远比红宝书什么的来的带劲。 然而,这并不是一本单单在讲...
这本书的叙事节奏简直是一场精妙的舞蹈,作者对时间流逝的把握达到了令人称奇的地步。它不是那种平铺直叙、急于将所有线索收束的传统小说,而是更像一幅层层晕染的水墨画,让你不得不放慢呼吸,去品味每一个笔触下的潜台词。开篇的场景设定,那种弥漫着潮湿气味的老图书馆,立刻就将我拽入了一种既熟悉又疏离的氛围中。人物的塑造极其立体,特别是那个沉默寡言的图书管理员,他的每一个细微动作——比如整理书签的那个特定的角度,或者在翻阅古籍时指尖的颤动——都暗示着一段被深埋的往事。我尤其欣赏作者在处理“记忆”这个主题时的手法。它不是简单地通过回忆闪回完成,而是通过一些意想不到的触媒,比如某本残破书页上残留的墨迹,或是房间里突然飘散出的某种陈旧的香料味,将过去与现在无缝地缝合起来,让人感觉时间本身已经失去意义。这种对细节的极致打磨,让阅读体验变成了一种沉浸式的考古挖掘,你总觉得下一页会挖出更惊人的秘密,但作者又极其克制,总是在最引人入胜的地方轻轻放下,留给读者无尽的遐想空间。
评分这本书的语言风格,简直是为那些偏爱古典文学韵味和精确表达的读者量身定做的盛宴。它摒弃了当下流行的小伎俩和浮夸的修饰,转而采用了一种近乎巴洛克式的、结构复杂但逻辑严谨的句式。我常常需要回读几遍某些长句,不是因为晦涩难懂,而是因为其中的每一个从句、每一个插入语,都像乐团中不可或缺的声部,共同构建了一个丰满而宏大的意境。作者在描绘自然景物和室内陈设时,所选用的词汇精确得令人赞叹,例如,他描述阳光穿过百叶窗投下的光影时,用到的不是“明亮”或“斑驳”,而是“被切割成矩形的、带有灰尘颗粒的惰性光束”,这种对感官细节的捕捉,使得整个故事的背景仿佛触手可及。更绝的是,作者似乎深谙文字背后的历史重量,他偶尔会巧妙地嵌入一些生僻却恰如其分的古老词汇,这不仅丰富了文本的层次,更让读者隐隐感到,自己正在阅读的,不仅仅是一个故事,而是一件经过时间淬炼的、有生命的艺术品。这种对文字本身的敬畏,是当代文学中越来越少见的宝贵品质。
评分坦白说,初读这本书,我有点被它的“慢热”所困扰。它不像快餐小说那样能在前五十章内就给你一个爆炸性的冲突点,它更像一个耐心的匠人,花了大篇幅来铺陈人物的内在世界和他们所处的环境,显得有些散漫甚至冗长。然而,一旦你接受了它的节奏,并允许自己真正沉入其中,你会发现,所有的铺垫都是为了最终那个“冰山理论”的完美体现。那些看似无关紧要的日常生活片段,那些反复出现的梦境碎片,其实都是精准投射在水面下的巨大冰山。最大的震撼来自于对“道德模糊地带”的探讨。书中没有绝对的英雄或恶棍,每个人物都在自身生存的逻辑下做出艰难的选择。我读到后半段时,几乎是带着一种窒息感在阅读,因为我开始质疑自己,如果置身于那样极端的困境中,我是否也能保持住那份看似摇摇欲坠的体面?这种促使读者进行深刻自我反思的文学作品,才是真正有力量的,它不是提供答案,而是提供一面足够清晰的镜子。
评分如果非要给这本书下一个标签,我会称之为“对静默的力量的赞歌”。它深刻地探讨了那些未被言说之物——那些被压抑的爱、未曾宣之于口的愧疚,以及那些只能在寂静中滋长的坚韧。书中的一些场景,描绘了人物长时间的独处,比如在暴风雨中的海边冥想,或者深夜里独自整理信件堆,这些段落看似平淡,实则蕴含着巨大的情感能量。作者巧妙地利用了环境的“空旷”来反衬人物内心的“充盈”。它不仅仅是一部关于特定事件的小说,它更像是一本关于如何与自我相处的哲学随笔,只是披着小说的外衣。读完合上书本,我没有那种“故事结束了”的失落感,反而有一种被涤净后的清明感。我感觉自己仿佛进行了一次深度的精神漫步,那些沉淀下来的情绪和思考,会像种子一样,在日常生活的土壤里,慢慢生根发芽,影响未来的每一个决定。这是一本需要反复阅读,并且每次都能带来新发现的佳作。
评分这本书在结构上的创新之处,在于它对“叙事声音”的灵活切换和解构。我们一开始以为自己听到的只是第一人称的私密独白,但随着情节的深入,作者会突然引入一些看似是旁注、注释、或是边缘人物随手记录的片段,它们以完全不同的字体风格和语气出现,挑战着读者对“什么是真实”的既有认知。这使得整本书读起来像是一个多方汇集的档案,充满了信息不对称的张力。我特别喜欢作者处理冲突的方式——它很少诉诸于外在的戏剧性场面,而是将所有的高潮都内化到了角色的心理博弈之中。例如,两代人之间的隔阂,不是通过激烈的争吵来展现,而是通过他们各自在谈话中选择避开的那个共同话题,通过空气中凝固的沉默来体现,其张力比任何一次呐喊都要强烈百倍。这种高级的叙事技巧,让读者必须像一个侦探一样,去拼凑那些被故意遗漏的环节,从而获得一种参与构建故事的独特成就感。
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