“At what precise moment had Peru fucked itself up?”
Mario Vargas Llosa, Conversation in the Cathedral ch. 1 (1969)
Excerpted from: Schapiro, Fred, ed. The Yale Book of Quotations. New Haven: Yale University Press, 2006.
“At what precise moment had Peru fucked itself up?”
Mario Vargas Llosa, Conversation in the Cathedral ch. 1 (1969)
Excerpted from: Schapiro, Fred, ed. The Yale Book of Quotations. New Haven: Yale University Press, 2006.
Here is a Cultural Literacy worksheet on Miguel de Cervantes. This is a half-page worksheet with a reading of two short sentences and two comprehension questions. A nice little symmetry that includes mention of Don Quixote.
If you find typos in this document, I would appreciate a notification. And, as always, if you find this material useful in your practice, I would be grateful to hear what you think of it. I seek your peer review.
This week’s Text is a worksheet on the use of the verbs imply and infer. This is a full-page worksheet with a reading of three longish compound sentences, and ten modified cloze exercises. The text derives from Paul Brians’ fine book Common Errors in English Usage–to which he allows cost-free access at his Washington State University website.
I myself was uncertain about the use of these two words until I saw the 1988 remake of the estimable 1959 film noir D.O.A. Dennis Quaid plays Professor Dexter Cornell (Edmond O’Brien played this character as Frank Bigelow in the original). At one point in the film, Professor Cornell is dealing with a preternaturally cheap hoodlum named Bernard. Bernard says to Cornell, “I don’t think I like what you’re inferring Mr. Cornell.” Cornell sneers at Bernard, “Implying. When I say it, that’s implying. How you take it, that’s inferring.” Bernard replies, “I see. Infer this.” Then true to form for a knuckle-dragger like Bernard, he punches Cornell in the mouth.
Lawrence Block, in his novel Small Town (page 301 in the William Morrow hardcover edition), which I believe was his last, Block has the august New York Times commit a similar error, using infer where imply is required. True to its form, the Times prints a correction the next day.
Why am I on about this, as they say in Great Britain? Because these are two important conceptual words which describe an extremely common, if elliptical, form of communication. In fact, if you want to teach literature at all, these are two words students must understand well, and therefore be able to use well–and, for heaven’s sake, accurately. One more time: so much of human communication occurs by implication and inference (to trot out the nouns) that it seems to me unlikely to overstate the importance of understanding these words and the concepts in communication they represent.
If you find typos in these documents, I would appreciate a notification. And, as always, if you find this material useful in your practice, I would be grateful to hear what you think of it. I seek your peer review.
“Judging by this memoir, it would seem the Hemingway estate is prepared to dribble out some very small beer indeed in the name of the master. This book was apparently completed in Cuba in 1960 and, for all the good it is likely to do Hemingway’s reputation, it could very well have stayed there—permanently.”
Geoffrey Wagner, Commonweal
Excerpted from: Barnard, Andre, and Bill Henderson, eds. Pushcart’s Complete Rotten Reviews and Rejections. Wainscott, NY: Pushcart Press, 1998.
“Miss Ferber, who was fond of wearing tailored suits, showed up at the Round Table one afternoon sporting a new suit similar to the one Noel Coward was wearing. ‘You look almost like a man,’ Coward said as he greeted her.
‘So,’ Miss Ferber replied, ‘do you.’”
Excerpted from: Drennan, Robert E., ed. The Algonquin Wits. New York: Kensington, 1985.
“Mrs. Parker once said of a Katherine Hepburn performance: ‘She ran the gamut of emotions from A to B.’”
Excerpted from: Drennan, Robert E., ed. The Algonquin Wits. New York: Kensington, 1985.
“Ever conscious of his weight problem, Woollcott installed a steam cabinet at his ‘Wit’s End’ home on the East River. The cabinet had a large window in front, through which an outsider could see anyone sitting inside. One afternoon Peggy Pulitzer, while a guest at Woollcott’s, wandered by the cabinet and beheld Aleck’s stark-naked form. Later she advised him, ‘You should cover that window with an organdy curtain.’ Woollcott corrected the lady’s phrasing, however” ‘Curtain de organ.’”
Excerpted from: Drennan, Robert E., ed. The Algonquin Wits. New York: Kensington, 1985.
OK, here is a reading on Guy Fawkes along with its accompanying vocabulary-building and comprehension worksheet. Chances are good, especially in the high school population, that students have heard of Fawkes through the graphic novel V for Vendetta by Alan Moore and David Lloyd, the book’s filmed version, or the ubiquitous Guy Fawkes masks that show up at various protest rallies.
In any case, Guy Fawkes remains of sufficient importance–if only as a bogeyman–in British history that the Brits observe Guy Fawkes Night to commemorate the Gunpowder Plot in which Fawkes was intimately involved.
If you find typos in these documents, I would appreciate a notification. And, as always, if you find this material useful in your practice, I would be grateful to hear what you think of it. I seek your peer review.
“All writing is garbage. People who come out of nowhere to try to put into words any part of what goes on in their minds are pigs.”
Excerpted from: Winokur, Jon, ed. The Big Curmudgeon. New York: Black Dog & Leventhal, 2007.
“Douglas Sirk originally Hans Detlef Sierck: (1900-1987) German-U.S. film director. He was artistic director of several theaters in Bremen (1923-29) and Leipzig (1929-36) and made several films before fleeing Germany in 1937. He arrived in Hollywood in 1939 and received minor directing assignments until he joined Universal Pictures in 1950. There he directed comedy, western, and war movies but was best known for such popular melodramas as Magnificent Obsession (1954), There’s Always Tomorrow (1956), Written on the Wind (1956), and The Tarnished Angels (1957). After directing his greatest success, Imitation of Life (1959), he retired to Germany.”
Excerpted from: Stevens, Mark A., Ed. Merriam-Webster’s Collegiate Encyclopedia. Springfield, Massachusetts: Merriam-Webster, 2000.
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