Aug 29

Nissa has blogged about it, so the cat is out of the bag…

Yes, Ralph Midgley is translating Ventürs jiela Lälid in Stunalän, which Evertype will publish in due course.

The grammar of Volapük is agglutinative. The word ventür [venˈtyr] ‘adventure’ has an -s plural, which is familiar enough. The compound stunalän [stʊnaˈlɛn] is derived from stun ‘wonder, amazement, astonishment’ (evidently based on ‘astonish’ plus a genitive ending -a plus län ‘land, country’ (based on ‘land’). The phrase jiela Lälid [ʃieˈla lɛˈlid] is a genitive, composed of the article el ‘the’ used with names to which is attached the prefix ji- [ʃi]~[ʒi] ‘she’ and the genitive suffix -a.

Why Lälid, you ask? Because Volapük uses initial vowels to represent tenses:

  • o- indicates the future
  • ä- indicates the imperfect
  • e- indicates the perfect
  • u- indicates the future perfect
  • i- indicates the pluperfect
  • ö- indicates the future in the past
  • ü- indicates the future in the past perfect
  • a- indicates the present tense, but this is only used in certain circumstances, such a when an adverb has a temporal sense. Compare: delo ‘by day’, adelo ‘today’, odelo ‘tomorrow’, ädelo ‘yesterday’

Since Alice is—well—not imperfect, *Älis could cause confusion. (There is no verb *lisön, as it happens, but even so.) But Volapük handles this with a prefix l-, as in Lislän ‘Iceland’. But there are also rules in Volapük that discourage the use of -s at the ends of words, since that is the plural marker. Alice derives from Germanic Adalheidis, however, so there’s some justification for using a -d instead. Thus, Lälid, genitive Lälida, accusative Lälidi, dative Lälide. (Note that when preceded by the inflected article the noun does not inflect; jiela Lälid and Lälida mean the same thing.)

Ralph notes that “lälid [is] made up of preposition meaning ‘to be near to’, and the noun lid which means ‘a song’. A person near to a song is almost always happy, and with certain infrequent exceptions, I think this describes Alice very well.”

Aug 22

Evertype is pleased to announce the publication of a new edition of John Rae’s New Adventures of Alice, a sequel to Lewis Carroll’s Alice’s Adventures in Wonderland and Through the Looking-Glass.

New Adventures of Alice
From the introduction:

John Rae (1882–1963) was born in Jersey City, New Jersey, and was educated at Pratt Institute High School in Brooklyn. In 1900 he attended the Art Students League of New York where he studied under illustrator and artist Howard Pyle. Of the better-known children’s books Rae wrote and illustrated are New Adventures of Alice, Grasshopper Green and The Meadow Mice, and Granny Goose. More than fifty books, and many magazines of the day, sported Rae’s illustrations. From 1935 to 1940, he taught Painting and Design at Rollins College in Winter Park, Florida. From the 1930s to the 1950s, Rae engaged in portraiture work, and notably painted the portraits of Carl Sandburg and Albert Einstein. Rae was a member of the Artists Guild, the Artists League of America, and the Society of American Illustrators, and was listed in Who’s Who in America from 1926 to 1958.

Rae’s book fulfils his own wish that Carroll had written another book about Wonderland. In it Alice visits a number of Mother Goose characters, as well as a remarkable artist, a poet, and a printer—characters certainly familiar to John Rae himself.

SECRETS
Come close to me, that I to you a secret may impart;
A secret more important, too, than how to toss a tart.
I’ll whisper in your purple ear, like this, a word or two.
Come nearer, lest they overhear;
They seek the Wurbaloo!

Aug 22

Evertype is pleased to announce the publication of a new edition of Saki’s The Westminster Alice, a political parody of Lewis Carroll’s Alice’s Adventures in Wonderland and Through the Looking-Glass.

The Westminster Alice
From the introduction:

Saki was the pen-name of Hector Hugh Munro (1870– 1916). He was an author and playwright best known for his subtle and witty short stories. He wrote for periodicals such as the Westminster Gazette, the Daily Express, the Bystander, the Morning Post, and the Outlook.

Francis Carruthers Gould (1844–1925) was a political cartoonist and caricaturist who contributed to the Pall Mall Gazette until he joined the Westminster Gazette when it was founded. He later became an assistant editor for that publication. In addition to illustrating Saki’s Westminster Alice in a series of publications from 1900 to 1902, Gould also illustrated Charles Geake’s parody John Bull’s Adventures in the Fiscal Wonderland, published in 1904.

The Westminster Alice vignettes were collected together and published in Westminster Popular No. 18 in 1902. Twenty-five years later, John Alfred Spender (1862–1942), who had edited the Westminster Gazette from 1896 until 1922, published them again with a foreword and a set of footnotes. These are re-published here, to help guide the reader into understanding and appreciating the context of Saki’s parodies.

In his 1927 edition, Spender re-arranged the vignettes in chronological order—that is, in the order in which they had been published in the Westminster Gazette. Here, I have reverted to the order in which Saki had published them in 1902, as it seems to me that he may have arranged them thus for reasons of narrative or—well, to be honest, I don’t know, but I’d rather not second-guess him. The dates of publication are given for those readers interested in the chronology, however.

I am grateful to the University of Bristol Library, Special Collections, for permission to reproduce Francis Carruthers Gould’s “His own Inventions”, originally published in 1922, as an appendix to this edition.

I am likewise grateful to Hugh Cahill, Assistant Librarian at the Foyle Special Collections Library in King’s College London for his permission to reprint, as an afterword, his 2008 review of The Westminster Alice, which first appeared on the web in a slightly different form as as one of continuing series of pieces based on notable items from the collections of the Foyle Special Collections Library.

Alice certainly was; the Knight was riding rather uncomfortably on a sober-paced horse that was prevented from moving any faster by an elaborate housing of red-tape trappings. “Of course, I see the reason for that,” thought Alice. “If it were to move any quicker the Knight would come off.” But there were a number of obsolete weapons and appliances hanging about the saddle that didn’t seem of the least practical use.

“You see, I had read a book,” the Knight went on in a dreamy far-away tone, “written by someone to prove that warfare under modern conditions was impossible. You may imagine how disturbing that was to a man of my profession. Many men would have thrown up the whole thing and gone home. But I grappled with the situation. You will never guess what I did.”

Alice pondered. “You went to war, of course—”

“Yes; but not under modern conditions.”

Aug 14


I am pleased to announce the release of Rupakara, a font that supports the new INDIAN RUPEE SIGN, as well as the letters used to transliterate Indic scripts into Latin script. I was inspired to make this font available by Unni Koroth of Foradian Technologies, who wrote to describe my work to help encode the character.

The article about the INDIAN RUPEE SIGN on the Hindi edition of the Wikipedia spells my name माइकल ऍवरन Māikal Ĕvaran (though this would be read Māikala Ĕvarana in Sanskrit). Later someone corrected this to ऍवरसन Ĕvarasan and finally to एवर्सन Evarsan.

Unni Koroth blogged a notice about the UTC decision and also blogged an interview with me about Rupakara.

I’ve just learned that tomorrow, 15 August, is India’s Independence day. I am happy to dedicate Rupakara as a gift to India on this auspicious day day.

Follow-up, 22 August: Some folks at the Management Scholars Academy of India have blogged about using Rupakara.

Aug 08

Evertype is pleased to announce the publication of a new edition of the translation by Selyf Roberts of Alice’s Adventures in Wonderland in Welsh. It had previously been out of print for 25 years.


From the introduction:

Llysenw yw Lewis Carroll: Charles Lutwidge Dodgson oedd enw iawn yr awdur a oedd yn ddarlithydd mewn Mathemateg yng Ngholeg Eglwys Crist, Rhydychen. Cychwynnodd Dodgson y stori ar 4 Gorffennaf 1862, pan aeth ar daith mewn cwch rhwyfo ar afon Tafwys yn Rhydychen gyda’r Parchedig Robinson Duckworth, Alice Liddell (deng mlwydd oed), merch Deon Coleg Eglwys Crist, a chyda’i dwy chwaer, Lorina (tair blwydd ar ddeg oed), ac Edith (wyth mlwydd oed). Fel sy’n amlwg o’r gerdd ar ddechrau’r llyfr, gofynnodd y tair merch i Dodgson adrodd stori, ac o’i anfodd i gychwyn dechreuodd adrodd fersiwn cyntaf y stori iddynt. Ceir llawer o gyfeiriadau hanner cuddiedig i’r pump ohonynt drwy gydol testun y llyfr ei hun a gyhoeddwyd o’r diwedd yn 1865.

Cynhyrchodd Selyf Roberts drosiad Cymraeg talfyredig a ffurfiol braidd yn 1953. Yn 1982, bron i ddeng mlynedd ar hugain yn ddiweddarach, teimlai’r angen i’w ddisodli â throsiad llawn o’r newydd mewn arddull ystwythach. Ar graffiad newydd yw hwn o gyfieithiad Roberts o 1982, wedi’i gysodi o’r newydd ac yn cynnwys lluniau John Tenniel. Wrth baratoi’r argraffiad hwn, gwnaethpwyd mân newidiadau i’r orgraff a’r gystrawen i gydymffurfio ag arferion cyfoes.

Lewis Carroll is a pen-name: Charles Lutwidge Dodgson was the author’s real name and he was lecturer in Mathematics in Christ Church, Oxford. Dodgson began the story on 4 July 1862, when he took a journey in a rowing boat on the river Thames in Oxford together with the Reverend Robinson Duckworth, with Alice Liddell (ten years of age) the daughter of the Dean of Christ Church, and with her two sisters, Lorina (thirteen years of age), and Edith (eight years of age). As is clear from the poem at the begin ning of the book, the three girls asked Dodgson for a story and reluctantly at first he began to tell the first version of the .story to them. There are many half-hidden references are made to the five of them throughout the text of the book itself, which was published finally in 1865

Selyf Roberts produced an abridged and rather formal translation in 1953 which nearly thirty years later in 1982 he felt needed to be replaced by a full-length fresh translation in a somewhat more natural style. This is a new edition of Selyf Roberts’ 1982 Welsh translation, freshly typeset and con taining John Tenniel’s illustrations. In preparing this edition, minor alterations have been made to the spelling and syntax to conform with current Welsh practice.

Jul 23

The International Phonetic Alphabet is based on the Latin alphabet A-Z, with a lot of extensions. There are extensions like “Latin script a” ɑ, like “Latin epsilon” ɛ, like “Latin gamma” ɣ, like “Latin eng” ŋ, like “Latin phi” ɸ, and so on. Notice the following:

  • Latin ɛ is fairly similar to Greek ε, though its capital is Ɛ and the Greek’s is Ε.
  • Latin ɣ is rather different to to Greek γ being symmetrical with a loop; its capital is Ɣ and the Greek’s is Γ.
  • Latin ɸ is distinctly different from Greek φ, having strong serifs in its ascender and descender; it has no capital and the Greek’s capital is Φ.

And this is fine. These Latin letters were “disunified” from Greek a long time ago, and the UCS contains all of them as uniquely encoded characters. Three letters, however, were not disunified, and are problematic.

  • U+03B2 ( β ) GREEK SMALL LETTER BETA
  • U+03B8 ( θ ) GREEK SMALL LETTER THETA
  • U+03C7 ( χ ) GREEK SMALL LETTER CHI

Now the first and third of these do have non-Greek shapes, just as Latin phi does. Here’s an example from Daniel Jones’ Outline of English Phonetics (1932)—click on the image to see it larger if you like:
Latin beta from Jones 1932

Now, the serifs on that beta’s descender are very atypical indeed in Greek typography. Moreover, the fact that the letter is unified with Greek can cause some troubles in sorting multilingual data, since oin a typical English or German or French sort (for instance) the Latin alphabet sorts first, then the Greek alphabet, then the Cyrillic, and then others. In practice this means that β does not sort after b (where one might expect it), but after z.

The IPA chi can also differ from the typical Greek chi. In the 1949 Handbook of the IPA, the serifs on the letter are on the top-right to bottom-left branch of the x; the other branch is curved.
Latin beta from Jones 1932
A point to remember is that the intent of the IPA chi was originally not that it was unified with Greek chi, but rather that it was different:

The non-roman letters of the International Phonetic Alphabet have been designed as far as possible to harmonise well with the roman letters. The Association does not recognise makeshift letters; it recognises only letters which have been carefully cut so as to be in harmony with the other letters, For instance, the Greek letters included in the International Phonetic Alphabet are cut in roman adaptations.

Let’s compare capital and small Latin Xx, Greek Χχ, and that IPA chi. Now it’s possible that because Greek fonts have been in use for a good while that some people might prefer a greekish glyph to a latinish glyph. Nevertheless, take note of the weight of that older IPA chi, and compare it to the “stretched x” shape.
Exes and chis
But in fact there’s another reason to encode a Latin chi. Lepsius made use of it in his transcription of Chukchi, and there its capital is entirely different from the capital used in Greek. Now, there is precedent for just this kind of thing being a reason to disunify: Cyrillic Ԛ and ԛ (used in Kurdish) were disunified from Latin Q and q because the capital Cyrillic one sometimes looks like an oversized small one.
Latin beta from Jones 1932
So, what it looks like is that we have the following—Latin x, Greek chi, and Latin chi (both greekish and latinish glyphs are shown):
Exes and chis
Let’s assume that LATIN LETTER CHI and LATIN LETTER BETA get encoded (leaving aside the question of THETA for now). Now the big question for the IPA is, what should be done when they are? The current recommendation is “use GREEK LETTER CHI”, but of course there’s no alternative. When there is… well, I for one would prefer a Latin letter that sorts between x and y, rather than a Greek letter that sorts between φ and ψ.

There is certainly data out there using the Greek letters β and χ and θ. Of course, there is also data out there using non-Unicode fonts, or SAMPA, or other things. In my opinion, the right thing to do is bite the bullet, get Latin beta, chi, and theta encoded, and get the recommediations promulgated through fonts and keyboard drivers. But I do not know what the view of the International Phonetic Association might be.

Here is an example of some functionality related to this. I created a number of folders named “a_la”, where the “_” is replaced by various letters.

Sorting folders
It’s easy to see that in the Mac OS, Latin letters sort before Greek. Thorn þ sorts correctly after z. Eth ð after d. IPA ɡ after g, followed by IPA gamma ɣ. Small capital ɪ and Latin iota ɩ follow i, as expected. Then, after þ, we see that the Greek alphabet appears in its correct order. But I am sure that I want IPA beta to sort after b, not after þ, and likewise IPA chi after x. I am torn between wanting IPA theta to sort after t or after þ, but probably the former. Anyway, I want a disunification of these three IPA letters from Greek.

Jul 23

Evertype is pleased to announce the publication of a new edition of John Kendrick Bangs’ Alice in Blunderland: An Iridescent Dream, an economic parody of Lewis Carroll’s Alice’s Adventures in Wonderland and Through the Looking-Glass.

Alice in Blunderland: An Iridescent Dream
From the introduction:

John Kendrick Bangs (1862–1922) was born in Yonkers, New York, and is known for his work as an author, editor, and satirist. In 1884 he became an Associate Editor of Life, later working at Harper’s Magazine, Harper’s Bazaar, and Harper’s Young People, in the position of “Editor of the Depart­ments of Humor” for all three from 1889 to 1900. Later he worked as editor of Munsey’s Magazine, of Harper’s Literature, and of the New Metropolitan magazine, and in 1904 he was appointed editor of Puck, perhaps the foremost American humour magazine of its day.

Bangs made two contributions to the Carrollian world. In 1902 with Charles Macauley he wrote what Caroline Sigler calls “an Alice-like fantasy”, Emblemland, a in which a young American boy named Rollo visits a strange country peopled with symbols and icons. Macauley’s line drawings are charming and some of the verse in the book is reminiscent of Carroll’s.

In Alice in Blunderland: An Iridescent Dream, Bangs makes light of a range of economic issues familiar to his 1907 readers—all of which are topical and all-too familiar to today’s reader as well. High taxes, corporate greed, bribery, institutional corruption, and govern­mental incompetence are among the themes of this book.

As an Alice imitation per se, Bangs’ Alice in Blunderland is not, perhaps, one of the most successful in recreat­ing the atmo­sphere of Wonder­land. In some regards it relies more on absurdity than it does on nonsense, and some of the humour is indeed rather American. A sequel like A New Alice in the Old Wonder­land by Anna Matlack Richards has considerably more weight as a novel, but to some degree this reflects Richards’ interest in responding to, and subverting, Carroll’s original story. Bangs’ intention—and in this he succeeds—is to make his reader smile wryly rather than laugh out loud, for his satire is very much on target.

“Yes,” said the Hatter. “The March Hare and the White Knight and I. We’ve started a city to do it with. We’ve sprinkled our streets with Rough on Copperations until there isn’t one left in the place. Everything in town belongs to the People—streetcars, gutters, pavements, theatres, electric light, cabs, manicures, dogs, cats, canary birds, hotels, barber shops, candy stores, hats, umbrellas, bakeries, cakeries, steakeries, shops—you ca’n’t think of a thing that the city don’t own. No more private ownership of anything from a toothbrush to a yacht, and the result is we are all happy.”

“It sounds fine,” said Alice. “Though I think I should rather own my own toothbrush.”

“You naturally would, under the old system,” assented the Hatter. “Under a system of private ownership, owning your own teeth, you’d prefer to own your own toothbrush, but our Council has just passed a law making teeth public property. You see we found that some people had teeth and other people hadn’t, which is hardly a fair condition under a Republican form of Government. It gave one class of citizens a distinct advantage over other people and the Declaration of Independ ence demands absolute equality for all. One man owning his own teeth could eat all the hickory nuts he wanted just because he had teeth to crack ’em with, while another man not having teeth had either to swallow ’em whole, which ruined his digestion, or go without, which wasn’t fair.”

“I see,” said Alice.

Jul 09

Evertype is pleased to announce the publication of a new edition of the 1869 translation by Henri Bué of Alice’s Adventures in Wonderland in French.


From the introduction:

Lewis Carroll est un nom de plume : le vrai nom de cet auteur était Charles Lutwidge Dodgson ; il était professeur de mathématiques à Christ Church à Oxford. Dodgson inventa l’histoire d’Alice le 4 juillet 1862, lors d’une promenade en barque sur la Tamise, à Oxford, en compagnie du Révérend Robinson Duckworth, d’Alice Liddell, la fille du Doyen de Christ Church (qui avait alors dix ans), et de ses deux sœurs, Lorina (qui avait treize ans) et Edith (qui avait huit ans). Ainsi que l’explicite le poème au début du livre, les trois fillettes demandèrent à Dodgson une histoire et c’est d’abord à contrecœur qu’il commença à leur raconter la première version de l’histoire. On peut retrouver de nombreuses références à demi cachées à eux cinq dans le texte du livre même.

Cette édition présente la première traduction en français de 1869 pour le lecteur moderne. La traduction d’Henri Bué fut la deuxième traduction d’Alice dans une autre langue. Bué demanda l’avis de Lewis Carroll pour cette traduction, que l’on qualifia de « traduction autorisée ».

Lewis Carroll is a pen-name: Charles Lutwidge Dodgson was the author’s real name and he was lecturer in Mathematics in Christ Church, Oxford. Dodgson began the story on 4 July 1862, when he took a journey in a rowing boat on the river Thames in Oxford together with the Reverend Robinson Duckworth, with Alice Liddell (ten years of age) the daughter of the Dean of Christ Church, and with her two sisters, Lorina (thirteen years of age), and Edith (eight years of age). As is clear from the poem at the begin ning of the book, the three girls asked Dodgson for a story and reluctantly at first he began to tell the first version of the story to them. Many half-hidden references are made to the five of them throughout the text of the book itself, which was published finally in 1865.

This edition presents the first translation into French of 1869 for the modern reader. The translation by Henri Bué was the second translation of Alice into any language. Bué consulted with Lewis Carroll on the translation, which was described as “authorized”.

Jun 22

Evertype is pleased to announce the publication of a new edition of the translation by Brian Stowell of Alice’s Adventures in Wonderland in Manx.


From the introduction:

Ta Lewis Carroll ny ennym-penney: she Charles Lutwidge Dodgson va ennym kiart yn ughtar as v’eh ny leaghteyr maddaght ayns Keeill Chreest, Oxford. Hug Dodgson toshiaght da’n skeeal y chiarroo laa Jerrey Souree 1862, tra hie eh er turrys ayns baatey-ymmyrt er yn awin Thames ayns Oxford marish yn Arrymagh Robinson Duckworth, marish Alice Liddell (jeih bleeaney dy eash), inneen Dean Cheeill Chreest, as marish e daa huyr, Lorina (tree bleeaney jeig dy eash), as Edith (hoght bleeaney dy eash. Myr s’baghtal veih’n daan ec toshiaght y lioar, hirr ny tree inneenyn skeeal er Dodgson as dy neuarryltagh hoshiaght ghow eh toshiaght dy insh y chied lhiaggan jeh’n skeeal daue. Shimmey imraaghyn lieh-follit ta jeant my nyn gione fud teks y lioar hene, va currit magh er jerrey ayns 1865.

Shoh y trass chur magh jeh çhyndaays Brian Stowell gys Gailck. Haink y chied chur magh rish ayns 1990; y nah fer ayns 2006 fo’n ennym Ealish ayns Çheer ny Yindyssyn, lesh jallooyn liorish Eric Kineald. Ta’n cur magh shoh soiaghey’n teks sy chummey cheddin as my lioaryn Alice elley—y cummey lioaragh as bree currit da ec Annotated Alice Martin Gardiner—as t’eh gymmydey ny jallooyn ardghooagh liorish y Reejerey John Tenniel. Ta kiare jeu shoh jeant er aght er lheh da’n çhyndaays Gailckagh: ta’n lipaid er boteil Alice gra “IU MEE”, as ta’n lipaid er edd yn Eddeyder gra “Syn ’Assan shoh 10/6”.

Lewis Carroll is a pen-name: Charles Lutwidge Dodgson was the author’s real name and he was lecturer in Mathematics in Christ Church, Oxford. Dodgson began the story on 4 July 1862, when he took a journey in a rowing boat on the river Thames in Oxford together with the Reverend Robinson Duckworth, with Alice Liddell (ten years of age) the daughter of the Dean of Christ Church, and with her two sisters, Lorina (thirteen years of age), and Edith (eight years of age). As is clear from the poem at the beginning of the book, the three girls asked Dodgson for a story and reluctantly at first he began to tell the first version of the story to them. There are many half-hidden references made to the five of them throughout the text of the book itself, which was published finally in 1865.

This is the third edition of Brian Stowell’s translation into Manx. The first appeared in 1990; the second in 2006 under the title Ealish ayns Çheer ny Yindyssyn, with illustrations by Eric Kineald. The present edition sets the text in the same style as my other Alice books—the book design inspired by Martin Gardiner’s Annotated Alice—and uses the famous illustrations by Sir John Tenniel. Four of these have been localized for the Manx translation: the label on Alice’s bottle says “IU MEE”, and the tag on the Hatter’s hat says “Syn ’Assan shoh 10/6”.

Jun 12

Evertype is pleased to announce the publication of a new edition of Charles Geake and Francis Carruthers Gould’s John Bull’s Adventures in the Fiscal Wonderland, an economic parody of Lewis Carroll’s Alice’s Adventures in Wonderland and Through the Looking-Glass.

John Bull’s Adventures in the Fiscal Wonderland
From the introduction:

John Bull is the personification of Great Britain (or at least of England). He was first created in 1712 by John Arbuthnot, and eventually became a common sight in British editorial cartoons of the 19th and early 20th centuries. John is a sort of British Everyman, endowed with common sense and good intentions, who likes a pint of beer. In his trip to the Fiscal Wonderland, John’s frustrations with the bewildering nonsensicality of economic politics are made apparent by the author and illustrator.

Charles Geake (1867–1919) was, from 1892 to 1918, the head of the Liberal Publication Department, which had been established in 1887 by the National Liberal Federation (a union of all English and Welsh (but not Scottish) Liberal Associations), and the Liberal Central Association (an organization which had been founded in 1874 to facilitate Liberal Party communication throughout United Kingdom).

Francis Carruthers Gould (1844–1925) was a political cartoon ist and caricaturist who contributed to the Pall Mall Gazette until he joined the Westminster Gazette when it was founded. He later became an assistant editor for that publication. Before he illustrated John Bull’s Adventures in the Fiscal Wonderland in 1904, Gould had already done the illustrations for Saki’s Westminster Alice in a series of publications from 1900 to 1902.

More than a century on, it is not always easy to identify the people caricatured by Gould. Still more arduous would be to attempt to explain the jokes and allusions by made by Geake—that would be material for an academic thesis. Nevertheless I can supply a few biographical summaries and photos to assist the reader to put the cartoon parodies into context and guide the reader who wishes to pursue an interest in any of these characters, or in the particulars of Tariff Reform, Free Trade, the Free Food League, etc.

I hope I have identified the players correctly: I am really no expert in early twentieth-century British politics. Not that I, or you, need to be to enjoy this book. The story’s parody of Lewis Carroll’s Wonderland books is still relevant and amusing even today. Today’s bankers and politicians seem not to have learned much from history. Regrettable as that is, at least Charles Geake and Francis Carruthers Gould can still make us laugh about it!

This time it was the White Knight, whom John recognized as having met before on the parade ground when he was driven off the field by the mutinous loaves. He came up to John’s side, exactly as the Red Knight had done, and tumbled off too, exactly in the same way. Then he got on his horse again, and the two Knights sat and glared at each other without speaking, John growing more and more bewildered all the time as to what they wanted him for and what they would do to him when they had got him.

“He’s mine—you know,” the Red Knight said at last.

“He was until I came and rescued him!” the White Knight replied.

“Well, we must fight for him, then,” said the Red Knight, as he took up his helmet (which hung from his saddle and looked to be a very odd kind) and put it on.

“You will observe the Rules of Arithmetic, of course?” the Red Knight added, as he put on his helmet.

“It all depends,” said the White Knight; and they began banging away at each other with so much noise that John got behind a tree so as to escape all chance of getting hit.

“These Rules seem to be very odd,” said John to himself, as he looked on at the fight. “One Rule seems to be that if one Knight makes a motion the other makes an exactly contrary one: if one becomes motionless, the other does so too. And when either makes a good point, his horse stamps the ground as if he were cheering at a political meeting.”

Apr 08

Evertype is pleased to announce the publication of a new edition of Caroline Lewis’ Lost in Blunderland , a political parody of Lewis Carroll’s Alice’s Adventures in Wonderland and Through the Looking-Glass.

Lost in BlunderlandFrom the introduction:

Clara in Blunderland was written in 1902 and details the adventures of Arthur Balfour while being groomed to become Prime Minister—the Clara of Lost in Blunderland, published in 1903, is Balfour once he got the job. The two novels deal with British frustration and anger about the Boer War and with Britain’s political leadership at the time.

Caroline Lewis is a pen-name, that of the team of Edward Harold Begbie (1871–1929), J. Stafford Ransome (born 1860), and M. H. Temple. Much of Begbie’s work was as a journalist, though he also wrote non-fiction, biographies, and some twenty-five novels, ranging from children’s stories to explorations of per sonal psychology and spirituality. He wrote some of his best-known investigative and satirical work under the pen-name “A Gentleman with a Duster”.

J. Stafford Ransome, the illustrator of both Blunderland books, also worked as a journalist. Moreover he wrote on such wide-ranging subjects as labour relations, engineering in South Africa, and woodworking machinery. In 1902 M. H. Temple collaborated again with Begbie and Ransome in The Coronation Nonsense Book (in the style of Edward Lear). In 1894 he contributed satirical political verse to The Hawarden Horace by Charles L. Graves.

Caroline Lewis’ jokes and allusions are too rich and densely woven into this book to explain them all—more a theme for an academic thesis than for a foreword like this, and I am no expert in any case. But I can supply a few biographical summaries (to 1903) and photos to assist the reader to put the cartoon parodies into context, and guide the reader who wishes to pursue an interest in any of these characters, or in the particulars of Balfour’s early premiership.

But you don’t need to be an expert in early twentieth-century British politics to enjoy either book—the story’s parody of Lewis Carroll’s Wonderland books is still fresh and funny even more than a century later. Politics and politicians haven’t changed much, it seems, in a century. That may be regrettable—but at least Caroline Lewis can still make us laugh about it!

“Now, the proper way,” the Goat continued, to reduce yourself with these tabloids is to swallow them with your eyes shut as tight as possible, and then to go immediately to the country. That’ll reduce you quickly enough.”

Clara, like her Aunt Sarum, was always fond of quack remedies, so she did as she was told and swallowed the tabloids.

They were very nasty, and tasted like a mixture of Board Schools, County Councils, and Curates; but she, got them down at last.

Then a most curious thing happened. No sooner had she swallowed the drugs than everything seemed to go round and round, and she found herself swimming about in a great pool of water. The Goat and the shop and everything else had disappeared, and she realized at once that she was quite at sea.

Apr 03

Evertype is pleased to announce the publication of a new edition of Caroline Lewis’ Clara in Blunderland , a political parody of Lewis Carroll’s Alice’s Adventures in Wonderland and Through the Looking-Glass.

Clara in BlunderlandFrom the introduction:

Caroline Lewis is a pen-name, that of the team of Edward Harold Begbie (1871–1929), J. Stafford Ransome (born 1860), and M. H. Temple, who wrote both Clara in Blunderland and a sequel, Lost in Blunderland. These two novels deal with British frustration and anger about the Boer War and with Britain’s political leadership at the time. Much of Begbie’s work was as a journalist, though he also wrote non-fiction, biographies, and some twenty-five novels, ranging from children’s stories to explorations of per sonal psychology and spirituality. In 1917, he publicly agreed with the pacifists in their opposition to the war and defended the right conscientious objectors not to fight in it. Later he wrote some of his best-known investigative and satirical work under the pen-name “A Gentleman with a Duster”.

J. Stafford Ransome, the illustrator of both Blunderland books, also worked as a journalist. Moreover he wrote on such wide-ranging subjects as labour relations, engineering in South Africa, and woodworking machinery.

In 1902 M. H. Temple collaborated again with Begbie and Ransome in The Coronation Nonsense Book (in the style of Edward Lear). Previously in 1894 he contributed satirical political verse to The Hawarden Horace by Charles L. Graves.

I should make it clear that I am not a student of early twentieth-century British politics—but I’m not publishing this book because of its value to the study of that time and place. I’m publishing it because it’s a splendid parody, amusing both for what it parodies as for its reflection of Carroll’s original.

It is by no means my intention to annotate this edition, but I can—with the help of a review in the British Empire League’s periodical United Australia (“One people one destiny”)*—give some guidance to the reader. In the section “Literary Note and Books of the Month”, Evelyn Dickinson, writes from London:

Clara in Blunderland, by Caroline Lewis, (Heinemann, 6s.).
A small volume of capital fooling. Caroline Lewis has kept as closely as possible to the lines of Lewis Carroll, and “S. R.” has wrought as much as possible like Sir John Tenniel, so that familiar echoes and resemblances pursue us all the while we read. “Clara” is Mr Balfour; “Blunderland” is the politics of the moment, wherein play the Red Queen (Mr Chamberlain); the Duchess (Lord Salisbury), who is also referred to by Clara as “Aunt Sarum”; Crumpty-Bumpty (Mr Campbell-Bannerman); the Walrus (Sir William Harcourt); the Dalmeny Cat (Lord Rosebery); and various other prominent statesmen. Many a true word is spoken here in jest.

Biographical summaries (to 1902) and photos will certainly help the reader to put the cartoon parodies into context, and guide the reader who wishes to pursue an interest in any of these characters, or in the ramifications of the Second Boer War in general.

In the end, in 2010, Clara in Blunderland has to stand on its own in a way that it didn’t in 1902. In my opinion it survives the passage of a century surprisingly well. Politics and politicians haven’t changed much, it seems, in a century. That may be regrettable—but at least Caroline Lewis can still make us laugh about it!

“No room! No room!” cried the March Hare, with a strong Irish brogue.

“There’s plenty of room!” said Clara. “Why, there are more tea-cups than people, ever so many. Besides, I didn’t know it was your table.”

This made the March Hare laugh a great deal. “It isn’t a table at all,” he said. “It’s a platform. It’s not all mine. The part above board belongs to him—” pointing to the Hatter with his spoon “—and all the rest to me. The Dormouse thinks he has a share in it too, but he hasn’t. That’s only our fun, you know.”

“Your views want broadening,” said the Hatter, suddenly. He had been looking at Clara for some time with great curiosity.

Apr 03

Today I was looking at some pretty old documents and was not sure what they’d been created in or how to open them. I fired up Classic and tried opening them in ClarisWorks, MacWritePro, and MacWrite II. No luck. I wondered about the filetype… so I opened ResEdit (it’s been a long time since I did that). Back in the Old Days, you see, Mac documents had a Creator Type and a File Type. I found that the File Type and Creator Type were PWWC and OBOB. I googled PWWC and found nothing. But OBOB looked familiar… I opened ClarisWorks and created a new document, then opened that with ResEdit. It turns out that a ClarisWorks word-processing document for instance, has a File Type CWWP, and the Creator Type is BOBO. and so, somehow, these documents had gone Through the Looking-Glass. Changing them back worked a dream. I thought I’d blog it in case anyone else ever needed to google for PWWC and OBOB.

I am of course updating the document to Pages ’09.

Mar 25

Evertype is pleased to announce the publication of the 1869 translation by Antonie Zimmermann of Alice’s Adventures in Wonderland in German.


From the introduction:

Lewis Carroll ist ein Pseudonym. Charles Lutwidge Dodgson war der eigentliche Name des Autors; er war Dozent für Mathematik am Christ Church College in Oxford. Dodgson begann die Geschichte am 4. Juli 1862 bei einer Ruderpartie auf der Themse in Oxford, zusammen mit Pfarrer Robinson Duckworth, mit Alice Liddell (zehn Jahre) – der Tochter des Dekans der Christ Church –, und mit ihren beiden Schwestern Lorina (dreizehn Jahre) und Edith (acht Jahre). Wie man dem Gedicht am Anfang des Buches entnehmen kann, baten die drei Mädchen Dodgson um eine Geschichte und, zunächst widerwillig, begann er, ihnen die erste Version dieser Geschichte zu erzählen. Es gibt im Text des Buches, das schließlich im Jahre 1865 veröffentlicht wurde, viele versteckte Bezüge zu den fünf Personen.

Diese Ausgabe präsentiert die erste deutsche Übersetzung von 1869 für den heutigen Leser. Diese Übersetzung von Antonie Zimmermann war die erste Alice-Übersetzung in eine andere Sprache überhaupt. Sie wurde ursprünglich in Fraktursatz und in der für das neunzehnte Jahrhundert typischen Rechtschreibung veröffentlicht. Für die vor liegende Ausgabe wurde die Orthographie behutsam und nach den Regeln der bewährten deutschen Rechtschreibung modernisiert.

Lewis Carroll is a pen-name: Charles Lutwidge Dodgson was the author’s real name and he was lecturer in Mathematics in Christ Church, Oxford. Dodgson began the story on 4 July 1862, when he took a journey in a rowing boat on the river Thames in Oxford together with the Reverend Robinson Duckworth, with Alice Liddell (ten years of age) the daughter of the Dean of Christ Church, and with her two sisters, Lorina (thirteen years of age), and Edith (eight years of age). As is clear from the poem at the begin ning of the book, the three girls asked Dodgson for a story and reluctantly at first he began to tell the first version of the story to them. There are many half-hidden references are made to the five of them throughout the text of the book itself, which was published finally in 1865.

This edition presents the first translation into German of 1869 for the modern reader. The translation by Antonie Zimmermann was, in fact, the first translation of Alice into any language. It was originally published in a Fraktur typeface, and was written in a spelling typical of the nineteenth century. In preparing this edition, the spelling has been modernized with care and according to the rules of proven German orthography.

Mar 15

Evertype is pleased to announce the publication of a new edition of Alice’s Adventures in Wonderland retold in words of one syllable by Lewis Carroll, abridged and retold by Mrs J. C. Gorham.

From the back cover:

In the early twentieth century, great books were often “retold in words of one syllable” so that the language would be easier for beginning readers. In this adaptation, Mrs J. C. Gorham “cheats” only a little, hyphenating some longer words that couldn’t be avoided—but the text remains a lively and enjoyable retelling of Lewis Carroll’s classic tale. Recommended for young readers and for adult literacy classes.

From the introduction:

Mrs J. C. Gorham, alas, is known to us only by her married name—and this means, by the usual practice of the time, that her husband was named J. C. Nevertheless, Mrs Gorham is notable for having written three books in “Burt’s Series of One Syllable Books”, Gulliver’s Travels (1896) and Black Beauty (1905) being her other two, with some eleven other books in this “series of Classics, selected specially for young people’s reading, and told in simple language for youngest readers”.

M. Sarah Smedman, in an article about Gulliver’s Travels as a children’s book, makes reference to Mrs Gorham’s adaptation:

Interesting if only because it evinces the challenge posed by a clever game, the book has a liveliness of style derived from varied sentence patterns and apt diction. Gorham cheats only a little when she divides the months of the year into hyphenated words.

Having read the Gulliver’s Travels retelling, I can say that it is a fine example of monosyllabic writing—Smedman makes no overstatement. Although Mrs Gorham “cheats” rather a bit more than this in her 1905 retelling of Alice—her style is still both vigorous and enjoyable. It is for this reason that Mrs Gorham’s “Alice imitation” (to use Carolyn Sigler’s term) deserves to be put back into print.

Quite unlike this is the rather dreadful 1908 version pub­lished by Saalfield, which, although claiming to be “in words of one syllable” is in fact no more than a hyphenated edition of Carroll’s text, which inexplicably omits two chapters entirely: “Pig and Pepper” and “The Lobster-Quadrille”.

Another version, genuinely monosyllabic, was published by Routledge & Sons sometime between 1900 and 1909. (The approximate date can be guessed from the publisher’s device on the title page.) Unfor­tu­nately, nowhere does the book inform us who did the retelling.

Retelling in words of one syllable is indeed a “clever game” and I dare say it isn’t easy to do—not convincingly, anyway. Mrs Gorham achieved it: her retelling in simple language for younger and early readers is still worth reading today.

“Do you like your size now?” asked the Cat-er-pil-lar.
“Well, I’m not quite so large as I would like to be,” said Al-ice; “three inch-es is such a wretch-ed height to be.”
“It is a good height, in-deed!” said the Cat-er-pil-lar, and reared it-self up straight as it spoke (it was just three inch-es high).
“But I’m not used to it!” plead-ed poor Al-ice. And she thought, “I wish the things would-n’t be so ea-sy to get mad!”
“You’ll get used to it in time,” the Cat-er-pil-lar said, and put the pipe to its mouth.
Al-ice wait-ed till it should choose to speak. At last it took the pipe from its mouth, yawned once or twice, then got down from its perch and crawled off in the grass. As it went it said, “One side will make you tall, and one side will make you small.”
“One side of what?” thought Al-ice to her-self.
“Of the mush-room,” said the Cat-er-pil-lar, just as if it had heard her speak; soon it was out of sight.

Mar 13

More cosmetic changes! The front and back covers of my editions of Through the Looking-Glass are being updated (that’ll be English and Irish)

The new ones are the two to the top; the old ones are below.

Mar 10

Evertype is pleased to announce the publication of an omnibus edition of Caradar’s short stories, Whedhlow Kernowek: Stories in Cornish.

From the back cover:

Heb dowt vÿth yth o Caradar (A. S. D. Smith, 1883–1950) an gwella scrifor a Gernowek a dhedhyow avarr an dasserghyans. Y fÿdh kefys i’n lyver-ma try rew a whedhlow dhyworth y bluven ev hag a veu gwelys rag an kensa prÿs lies bledhen alebma. An kensa bagas a whedhlow yw kemerys in mes a’y gùntellyans Nebes Whedhlow Ber (1948); yma an secùnd rew a whedhlow kemerys dhyworth y lyver Whethlow an Seyth Den Fur a Rom (1948), ha’n tressa bagas a whedhlow a veu gwelys in dadn an tîtel “Forth an Broder Odryk” in Kemysk Kernewek: A Cornish Miscellany (1964). Yma kefys i’n lyver-ma kefrÿs gerva usy moy ès 1,400 ger ha hanow styrys inhy.

Without any doubt Caradar (A. S. D. Smith, 1883–1950) was the best writer of Cornish of the early revival. Three groups of stories from his pen will be found in this book that were all published many years ago. The first group come from his collection Nebes Whethlow Ber (1948); the second group of stories are to be found in his Whethlow an Seyth Den Fur a Rom (1948), and the third series appeared with the title “Forth an Broder Odryk” in Kemysk Kernewek: A Cornish Miscellany (1964). The book also contains a vocabulary in which more than 1,400 words and names are glossed.

Mar 08

Evertype is pleased to announce the publication of a new edition of Lewis Carroll’s The Nursery “Alice” . The book is not a facsimile, but a has been re-set in the style of Evertype’s other Alice books, and containing John Tenniel’s illustrations in full colour, taken from an original first edition copy of the book.

The Nursery AliceFrom the introduction:

Lewis Carroll published Alice’s Adventures in Wonderland in 1865 and Through the Looking-Glass and What Alice Found There in 1872. In the entry in his diary for 15 February 1881 he records: “I wrote to Macmillan to suggest a new idea: a ‘Nursery Edition’ of Alice with pictures printed in.” On 20th February 1889, some eight years later, after much preparation and negotiation with both publisher and illustrator, the text was at last ready. The illustrator was John Tenniel, who coloured twenty of his original illustrations in “Alice’s Adventures in Wonderland” for this “Nursery Edition”. The front and back cover (reprinted here as the frontispiece and on page xiv) were designed by Carroll’s friend Emily Gertrude Thomson.

The story itself is intended for pre-school children “aged from Nought to Five”. Running to just under 7,000 words, it is considerably shorter than both Alice’s Adventures under Ground (15,500 words) and Alice’s Adventures in Wonder­land (27,500 words). Much of the narrative consists of the author’s addressing the young listener, explaining the story by reference to the illustrations. The effect is rather charming, particularly where Carroll pokes fun at features in Tenniel’s illustrations. These were quite skilfully and attractively coloured. Interestingly, Tenniel coloured Alice’s dress yellow with a blue trim and white apron, whereas nowadays most artists colour the dress in blue and white only. (In Nick Willing’s 1999 film Alice in Wonderland, Tina Majorino’s Alice wore a yellow dress.)

In order to produce this volume, the original edition was scanned; the paper, being more than 120 years old, has darkened somewhat. The images below have not been doctored, however, except that the border surrounding the illustrations has been removed.

Here, as in my other editions of Alice books, I have kept to the book design inspired by Martin Gardiner’s Annotated Alice. Since Carrollians are often interested in such details, I will note a few editorial changes which I have made to the text. I have normalized the text for consistency with Carroll’s preferred spellings “ca’n’t” and “wo’n’t”. I have preferred the more modern “wagon” to “waggon” and “stayed” to “staid”. I have added the phrase “on page 8” and changed “this leaf” to “page 40” to guide the reader to two illustrations. In places, Carroll’s punctua­tion has been altered to conform to modern practice.

This edition also contains Carroll’s introductory poem “A Nursery Darling”, his 1890 Preface, and, as appendices, his “Easter Greetings” and “Christmas Greet­ings” to children. These were also published in the 1868 printed edition of Alice’s Adventures under Ground.

Once upon a time, there was a little girl called Alice: and she had a very curious dream.
Would you like to hear what it was that she dreamed about?

Mar 04

OK, it’s cosmetic, but the front and back covers of my editions of Alice’s Adventures in Wonderland are being updated (that’ll be Cornish, English, Esperanto, and Irish)

The new ones are the two to the top; the old ones are below.

Jan 30

Evertype is pleased to announce the publication of a new edition of Henry Jenner’s Handbook of the Cornish Language.

From the preface:
This new edition of Jenner’s classic Handbook of the Cornish Language appears more than a century after the book’s first publication. Now that the Cornish Revival has weathered many storms, it is well worth making Jenner’s ground-breaking work available again, copies of the 1904 edition having become rare and expensive.

A useful way to have another look at Jenner’s place in the Revival is to compare the contents of the 1904 Handbook with the three articles Jenner published between 1873 and 1877, near the begin­ning of his researches into Cornish. These articles are reproduced below as appendices to the main text. The orthographic system which Jenner used in 1904 was the culmination of many years of work, but it is important to notice that Jenner was aware three decades earlier of Alexander Melville Bell’s 1865 “Visible Speech”, and of Alexander John Ellis’ 1867 “Palæotype” and 1871 “Glossic”. Jenner’s familiarity with these pre­cursors of the International Phonetic Alphabet (IPA) is significant. It shows him to have had real phonetic training. It places his work in the context of modern linguistics.

And linguist is certainly the word which one must apply to Jenner.  His achievement was truly remarkable. Synthesizing the texts, the description in Edward Lhuyd’s 1707 Archaeologia Britannica, Edwin Norris’ 1859 Sketch of Cornish Grammar, Robert Williams’ 1865 Lexicon Cornu-Britannicum, and Frederick Jago’s 1882 English-Cornish Dictionary, Jenner sorted it all out: he devised a system which was practical enough to use to begin to revive the language. He uses an orthography that supports Late Cornish while still retaining a connection to the orthographic forms of the Middle Cornish scribal tradition. Jenner’s Cornish looks Cornish. I wager that the scribes of Glasney could have read it, and that Jordan and Tregear and the author of Bewnans Ke would likewise have found it to be familiar. And his spelling partakes of tota Cornicitas: it can write Middle and Late Cornish without linguistic compromise.

Jenner’s orthography provides a good, clear relationship between sound and spelling without diverging drastically from that of the traditional texts. He used diacritical marks for precision where necessary. His phonology is for the most part sound; he recognized the earlier phonemes /y/ and /ø/ by the way they had unrounded to /i/ and /e/ in Late Cornish. He endeavoured to describe the reduction of unstressed syllables to schwa using the symbols ŏ and ŭ. His section on grammar is wide-ranging and largely reliable. Jenner appears to regard the differences between Middle Cornish and Late Cornish as being more apparent than real; his work is generally free of the unwarranted purism of some later Revivalists. Of particular interest is his belief that it was undesirable to try to reconstruct a “foreign” accent based on “scientific affectation”. He recognized that the contact between Cornish and English must have led to similarities in phonology, and held that the sound and intonation of the English spoken in Cornwall should have a proper and positive influence on the pronunciation of Revived Cornish.

This re-edition is not a mere facsimile. I have added phonetic transcriptions in the IPA, to assist the modern reader in under­standing exactly which sounds Jenner was recommending. (Two characters used here, [ᵻ] and [ᵿ], are not used in the IPA proper; the Oxford English Dictionary uses them for reduced [ɪ] (schwi) and reduced [ʊ] (schwu). See Note 31 on page 52.) Jenner’s Cornish spellings have been kept as he wrote them, except where a typographical error or omission had rendered his intention obscure. Breton spellings, however, have been updated to modern orthography.

The book being newly typeset has benefited from some changes for the modern reader. Chapter headings and subsections within chapters have been numbered as sections for ease of citation. It will be seen that some of the numbers are rather long, but in fact they do reflect the complex net of nested, numbered, and lettered para­graphs with which Jenner structured his work. Biblical references use European digits rather than Roman, and standard references (“Matthew 2:1–20” rather than “St Matthew ii. 1–20”). Hypo­thetical forms are prefixed with an *asterisk as is now standard practice. Editorial comments of my own are given in {curly brackets}.

From time to time one encounters negative assessments by modern readers who have criticized Jenner for some of his social comments. It is true: today’s reader will find some of Jenner’s remarks to be what we now consider to be politically incorrect, indeed rather embarrassing. It must be remembered that the book was published at a time when such ideas were commonplace. This does not make them accurate or admirable; it is a reason, not an excuse. The most extreme of such comments have been moved to footnotes—where they can be safely ignored by the reader whose interests are merely linguistic.

I would like to give my thanks to Mary Beazley for encouraging me so wholeheartedly to re-publish the work of her Uncle Harry. I am most grateful to my colleagues Eddie Climo, Owen Cook, Thomas Leigh, Christian Semmens, Craig Weatherhill, and Nicholas Williams for their proof­reading, and for many useful comments on Jenner’s text and on my editorial additions. The responsibility for any lurking typographical or interpretative errors remains mine.

Jan 28

Evertype is pleased to announce the publication of Jon Hanna’s trenchant look into the sociology of modern witchcraft, What thou wilt: Traditional and Innovative trends in Post-Gardnerian Witchcraft.

From the back cover:

The publication from 1954 of Gerald Gardner’s non-fiction works on witchcraft has led to the current public existence of two different trends of religious and magical belief and practice, both which identify themselves as Wicca. One form places a strong emphasis upon the transmission of traditional practices and a form of initiatory lineage similar to that practised by Gardner himself. The other covers a wider range of views on each of these aspects, but with the most common position being a strong distance between the traditional practices—giving a greater importance to innovation—and a complete or near-complete abandon ment of the concept of initiatory lineage.

Both trends often see themselves and each other as being within a wider religio-magical stream of Post-Gardnerian Pagan Witchcraft of which the innovative form is a larger part, though in different ways. The traditional view of the innovative form typically labels that form Eclectic even in cases where the practitioners would understand Eclectic differently, and considers it to be something outside of what it terms Wicca. The innovative form generally labels all Post-Gardnerian Pagan Witchcraft, or beyond, as Wicca, and as such recognizes all traditional practitioners as Wiccan but does not generally make more signi fi cant distinctions between the various schools.

The traditional stream considers the differences between the two streams as significant to the point of typicality while the innovative stream considers the differences as much less important. This book examines the differences and offers insights into both.

Jan 27

Evertype is pleased to announce the publication of a bilingual novel, written in English by Alan M. Kent and faced with a Cornish translation by Nicholas Williams: The Cult of Relics: Devocyon an Greryow.

From the back cover:

The Cult of Relics is a new novel by Alan M. Kent (author of Proper Job, Charlie Curnow! and Electric Pastyland), presented in a bilingual format, with a Cornish-language translation, Devocyon dhe Greryow, by Nicholas Williams. The story is set in Western Britain in the mid-1990s just after the Gulf War, and tells of three extraordinary people: of the New-Age Traveller Jude Fox, of the American photojournalist Eddie Hopkins, and of the Cornish-born archaeologist Robert Bolitho. The three characters discover a set of connections between them, stretching back to the early seventeenth century. Kent’s intriguing story weaves together their disparate lives with that of the mysterious “Stranger”, whose preservation of a curious holy relic becomes a focus for their collective need for communion and hope.

The Cult of Relics yw novel nowyth dhyworth Alan M. Kent (auctour a Proper Job, Charlie Curnow! hag a Electric Pastyland), hag yma va dyllys gans trailyans Kernowek Nicholas Williams, Devoycyon dhe Greryow. An whedhel-ma a gebmer le i’n West a Vreten Veur in cres an bledhydnyow mil, naw cans, peswar ugans ha deg, termyn cot warlergh Bresel an Morbleg. Yth eson ny ow metya ino gans try ferson, meur a les: Jûd Fox, Viajyores a’n Oos Nowyth; Eddie Hopkins, an fôtojornalyst Amerycan; ha’n hendhyscansyth dhia Gernow, Robert Bolitho. Ymowns y aga thry ow dyscudha bos kescolm intredhans dhyworth bledhydnyow avarr an seytegves cansvledhen. I’n whedhel hudol-ma yma Kent ow qwia warbarth bêwnans kenyver onen anodhans gans an “Stranjer” kevrînek. Crer sans ha stranj re beu gwethys ganso ev, ha’n dra-na yw an crespoynt a’n othem a’n jeves kettep onen a gowethyans ha govenek.

Jan 21

The Hunting of the Snark, Lewis Carroll’s magnificent 1890 nonsense poem, is now available from Evertype.

From the Foreword:

The Hunting of the Snark was first published in 1876, eleven years after Alice’s Adventures in Wonderland and four years after Through the Looking-Glass. It is a master piece of nonsense and is connected to Through the Looking-Glass by its use of vocabulary from the poem “Jabberwocky”.

The Hunting of the Snark is a strangely dark poem, and some critics believe that its themes—insanity and death—are rather too adult in nature for children’s literature. We know, nonetheless, that Lewis Carroll intended the poem to be enjoyed by children: he dedicated the book in acrostic verse to his young friend Gertrude Chataway, and signed some 80 presentation copies to other young readers. Many of those inscriptions were in the form of an acrostic based upon the name of the child to whom the book was presented.

Part of the pleasure of reading this book is in the inevitable musing about what it means. Its author, often asked to explain his work, invariably replies that he does not know. In his splendid book The Annotated Hunting of the Snark, Martin Gardner cites several such replies by Carroll:

  • For all such questions I have but one answer: “I don’t know!”
  • Of course you know what a Snark is? If you do, please tell me: for I haven’t an idea what it is like.
  • “Why don’t you explain the Snark?” … Let me answer it now—“because I ca’n’t.” Are you able to explain things which you don’t yourself understand?
  • As to the meaning of the Snark? I’m very much afraid I didn’t mean anything but nonsense!
  • I was walking on a hillside, alone, one bright summer day, when suddenly there came into my head one line of verse—one solitary line—“For the Snark was a Boojum, you see.” I knew not what it meant, then: I know not what it means, now; but I wrote it down: and, sometime afterwards, the rest of the stanza occurred to me, that being its last line: and so by degrees, at odd moments during the next year or two, the rest of the poem pieced itself together, that being its last stanza.

Well… the author has told us more than thrice. So it must be true. It is therefore open to readers of the poem to decide the question for themselves…

Dec 16

A New Alice in the Old Wonderland, Anna Matlack Richards’ 1895 novel in sequel to Lewis Carroll’s Alice’s Adventures in Wonderland and Through the Looking-Glass, is now available from Evertype.

From the back cover:

First published in 1895 in Philadelphia, thirty years after the initial publication of Alice’s Adventures in Wonderland, Anna Matlack Richards’ A New Alice in the Old Wonderland is a splendid and worthy successor to Lewis Carroll’s original tales. Instead of Alice Liddell, it is Alice Lee who makes her way to Wonderland…

Richly illustrated in the style of John Tenniel by the author’s daughter, this book will delight any reader thirsting for a new adventure in Carroll’s wondrous world.

“I’m delighted to learn that A New Alice is in print again… I’ve read dozens of ‘Alice imitations’ in the course of my work, but Richards’ remains my favorite.” —Carolyn Sigler

From the Foreword:

Anna Matlack Richards (1835–1900) was a poet, playwright, and author, a Pennsylvania Quaker whose reputation as a poet had been established by the time she was twenty. At twenty-one, she married William Trost Richards, and both he and their daughter, Anna Richards Brewster, were American artists of some renown. Richards was fifty-five when she published her children’s fantasy, A New Alice in the Old Wonderland. Although an imitation of Lewis Carroll’s Alice books, it is also subtly critical of them, and its gentle satire is reflected in the sensitive illustrations in the style of Tenniel drawn by Anna Brewster. Carolyn Sigler has written on this aspect of A New Alice, which she considers outstanding among Alice imitations.

The judgement of critics, of course, does not affect the story. It is a pleasant task to edit a century-old book for re-publication and a new generation of readers. Here, as in my other editions of Alice books, I have kept to the book design inspired by Martin Gardiner’s Annotated Alice. I have edited certain features in Anna Richards’ text of 1895, in order to bring it closer to modern tastes in format and language. I have normalized “Your Majesty” to “your Majesty” and followed Carroll’s example in similar cases. I have preferred the more modern “eh?” to “hey?”, “recipe” to “receipt”, “curtsey” to “courtesy”, and “Jew’s harp” to “jewsharp”. I have regularized the capitalization of nouns in “Der leedle Johann Schmaus”. Where Richards follows Websterian spelling, I have altered to Oxford orthography. In places, Anna Richards’ 19th-century punctuation has been altered to conform to modern practice.

I have also edited out two notable features of the author’s dialect: Humpty Dumpty’s “should ’a’ been” for “should have been” and “hadn’t ’a’ had” for “hadn’t had” (neither warranted by Through the Looking-Glass); and the third-person present singular use of “don’t” for “doesn’t” through out. These dialect features are distinctively American (my mother’s mother, born in Eastern Pennsylvania in 1915, also used “don’t” for “doesn’t”) and seemed out of place in Lewis Carroll’s very English Wonderland. On the other hand, I have retained Richards’ use of Irish dialect by the workers (p. 102) and by the King of Clubs (p. 138); Irish immigrant dialect would have been well-known to Richards, though is unclear whether Richards’ use of Irish English is intended to convey positive or negative connotations, or if it’s just there for flavour.

Finally, since people are sure to ask… I felt that Carroll’s preference in writing “ca’n’t”, “sha’n’t”, and “wo’n’t” would be good for the conceit.

Michael Everson
Westport, 22 November 2009

Dec 10

Nautilus, a new novel in sequel to Jules Verne’s Twenty Thousand Leagues under the Seas and The Mysterious Island, by Craig Weatherhill, is now available from Evertype.

From the back cover:

1883
On a doomed volcanic island in the southern Pacific, a group of American castaways commit the body of an enigmatic genius to the deep, along with the secrets of an extraordinary life…
2014
the Deep Watch environmental ship Aurora mysteriously sinks with all hands in remote Antarctic waters and a subsequent oceanic sequence of strange sightings, antique gold bars and damaged ships blazes a trail around the world. Separate investigations by journalist Barrington Hobbes and Naval Intelligence officer Donall Lindsay lead both towards extreme danger on land and sea, a worldwide ecological conspiracy… … and an avenging legend!

Dec 08

Alice’s Adventures under Ground by Lewis Carroll now available from Evertype. The book has been newly-typeset and contains the original illustrations by Lewis Caroll.

From the introduction:

Lewis Carroll, the pen-name of Charles Lutwidge Dodgson, was tutor in Mathematics in Christ Church, Oxford. He took a trip on 4 July 1862 in a rowing boat on the Thames in Oxford with the Reverend Robinson Duckworth, Alice Liddell, the daughter of the Dean of Christ Church (she was ten years old), and with her two sisters, Lorina (thirteen), and Edith (eight). The three sisters asked Dodgson to tell them a story, and, reluctantly at first, he related the earliest version of this tale to them.

In 1865 the story in its finished form was published as Alice’s Adventures in Wonderland. Two years before that, however, on 26 November 1864, Dodgson gave Alice the handwritten manuscript of Alice’s Adventures under Ground, illustrated by Dodgson himself. At Christmas 1886 a facsimile edition of the manuscript was published. Several further facsimile editions have since appeared, and in them all, Dodgson’s careful handwriting can be seen.
This edition sets the text in type, thus making it easier to read than in facsimile. It is certainly well worth reading, although it is shorter than the final form of the story—Alice’s Adventures under Ground is just over 15,500 words in length, whereas Alice’s Adventures in Wonderland is nearly twice as long, containing about 27,500 words. Here, as in my other editions of Alice books, I have kept to the book design inspired by Martin Gardiner’s Annotated Alice. Since this is a typeset edition, capital letters are used regularly at the beginning of quoted speech even though they are often omitted in the manu script; some other punctuation has been normalized. Many of these changes are also found in Alice’s Adventures in Wonderland.

This edition also contains Carroll’s introductory essay “Who will Riddle me the How and the Why?” and, as appendices, his “Easter Greetings” and “Christmas Greet ings” to children. These were also published in the 1868 printed edition.

In the original manuscript, a photograph of Alice Liddell had been pasted in at the end of the story. It was discovered recently that beneath this photograph was a portrait of Alice, drawn by Lewis Carroll himself. Both photograph and hand-drawn picture are reproduced here opposite each other on pages 63 and 64.

“It must be a very pretty dance,” said Alice timidly.
“Would you like to see a little of it?” said the Mock Turtle.
“Very much indeed,” said Alice.
“Come, let’s try the first figure!” said the Mock Turtle to the Gryphon, “We can do it without lobsters, you know. Which shall sing?”
“Oh! You sing!” said the Gryphon, “I’ve forgotten the words.” So they began solemnly dancing round and round Alice, every now and then treading on her toes when they came too close, and waving their fore-paws to mark the time, while the Mock Turtle sang, slowly and sadly…

Nov 01

Wonderland Revisited and the Games Alice Played There by Keith Sheppard now available from Evertype. The book has been illustrated by Cynthia Brownell.

From the back cover:

“Excuse me,” said Alice to a small white Mouse in red shorts. “What precisely is a custard race?”

Did Alice’s Adventures in Wonderland and Through the Looking-Glass leave you yearning for more? Join Alice on her new journey and meet the extraordinary inhabitants of Wonderland, both familiar and new.

If your bed turned into a boat and you found yourself “drifting off” in an entirely unexpected manner how would you find your way home? The Jack of Diamonds says it’s Alice’s own fault for being fast asleep—had she slept more slowly she wouldn’t be so far from home.

The Red Queen, the Mah-jong Dragons, even the Red King’s Gamekeeper, all seem helpful enough at first—but things never quite turn out the way Alice hopes!

Brimming with wordplay, nonsense verse, and a cast of eccentric characters each with their own peculiar logic, this adventure is faithful to the style of the originals, picking up the pen where Lewis Carroll put it down. Be swept away on a torrent of humour and madness. Alice is back!

Nov 01

Tá an leabhar Sciorrfhocail: Scéalta agus úrscéal le Panu Petteri Höglund le fáil ó Evertype anois. Otso Höglund, deartháir an údair, a mhaisigh an leabhar.

From the back cover:

Trí ghearrscéal agus úrscéal amháin le scríbhneoir Fionlannach a d’fhoghlaim a chuid Gaeilge ó scéalaithe agus ó scríbhneoirí móra na Gaeltachta sular tháinig sé go hÉirinn den chéad uair. Seo iad na scéalta Gaeilge a chum sé ina fhear óg dó, agus iad ar fáil faoi chlúdach leabhair anois. Scéalta iad faoi dhaoine uaigneacha a chaitheann slabhraí an uaignis díobh agus iad ag tóraíocht an ghrá.

“Ainmhian na Máistreása Óige”: Cailín cráifeach í Pia nár thuig bealaí an ghrá riamh. Ach anois, chuaigh an grá féin i luíochán roimpi.

“Craiceann”: Tháinig mac léinn óg ar cuairt chuig a thuismitheoirí le súil a chaitheamh ar na seanbhólaí. Céard a chasfar air cois an locha i gcroí na coille, meas tú? Céard eile ach an grá féin!

“Béarlóir Deireanach an Domhain”: Chuaigh an Ghaeilge ar fud an domhain. Níl ach Gaeilge Uladh ag na Meiriceánaigh, agus fágadh an Béarla in áit na leathphingine i Sasana féin. Cén cineál saoil atá ag an mBéarlóir deireanach ar an saol seo?

Tachtaimis an Grá Sin: Fear óg cúthail é Somhairle nach bhfuil de chairde aige ach ógánach uaigneach eile agus nach bhfuil de chaitheamh aimsire aige ach a bheith ag amharc ar na físghránnáin. Ach lá amháin, castar cailín air nach bhfacthas a leithéid riamh roimhe sin i Narkkaus, baile beag in Oirthear na Fionlainne.

Nov 01

Evertype is pleased to announce the publication of a Cornish version, translated by Nicholas Williams, of a book by Craig Weatherhill, Jowal Lethesow: Whedhel a’n West a GernowThe Lyonesse Stone.

From the back cover:

Termyn pòr hir alebma pow Lethesow inter Pedn an Wlas ha Syllan a wrug sedhy rag nefra in dadn an todnow. Ny dhienkys marnas Arlùth Trevelyan. Lies bledhen awosa yma whedhel coth an pow kellys ow tewheles dhe dropla Peny ha Jowan, whor ha broder, neb yw skydnys dhyworth Arlùth Trevelyan y honen. Destnys yns dhe gollenwel profecy coth, hag y degys aberth in gwlascor gudh a’n West a Gernow. Ena y a vÿdh maglednys i’n whilas auncyent rag power hag anvarwoleth. “Wàr an tu aral a’n park, dhyrag an magoryow overdevys, a sevy seyth marhak; linen gasadow a skeusow cosel. Tewl o aga mergh, tewl aga mentylly hir, ha down o an cùgollow ow keles aga fysmant.” Yma Arlùth Pengersek ow cresy y hyll ev spedya dre weres an drognerthow-ma. Saw kynth usy an whedhlow coth ow tasvewa, yma Peny ha Jowan Trevelyan a’ga sav intredho ev ha… Jowal Lethesow.

Long ago, the land of Lyonesse between Land’s End and the Isles of Scilly sank forever beneath the waves. Only the Lord Trevelyan escaped to tell the tale. Countless years later the legend of the Lost Land returns to haunt his descendants, who find themselves transported to the hidden realms of West Cornwall. Bound to fulfil an ancient prophecy, Penny and John Trevelyan are caught up in a centuries-old quest for power and immortality: “On the far side of the field, in front of the old, overgrown ruin, stood seven horsemen: a sinister line of motionless shadows. Dark were the horses on which they sat, dark their flowing robes and deep the cowls which hid their faces.” With the help of these evil forces, the Lord Pengersek believes he will win. But while ancient legends spring to life, it is Penny and John Trevelyan who stand between him and… The Lyonesse Stone.

Oct 25

Evertype is pleased to announce the publication of an edition of Through the Looking-Glass and What Alice Found There.


From the introduction:

Alice’s Adventures in Wonderland is a tale of summer which Lewis Carroll (Charles Lutwidge Dodgson) published for the first time in July 1865. Many of the characters in the book belong to a pack of cards. This story is a winter’s tale, which Carroll first published in December 1871. Much of this second story is based on the game of chess.

The heroine of the two books is Alice Liddell, daughter of the Dean of Christ Church, Oxford, where Dodgson taught mathematics. Although Alice Liddell was born in 1852, twenty years later then Dodgson, she is kept in the two books as a little girl of seven years of age, the age she was when she Dodgson met her for the first time. It is clear from the pieces of poetry at the beginning and the end of this book that Carroll was very fond of Alice Liddell. One must remember, however, that Alice’s parents and Carroll fell out in 1864 and that he saw her very rarely after that date.

Oct 07

Evertype is pleased to announce the publication of a translation by Nicholas Williams of Through the Looking-Glass and What Alice Found There in Irish.


From the back cover:

Scéal samhraidh atá in Alice’s Adventures in Wonderland a d’fhoilsigh Lewis Carroll (Charles Lutwidge Dodgson) den chéad uair i mí Iúil 1865. D’fhoilsigh Nicholas Williams leagan Gaeilge de sin sa bhliain 2003 faoin teideal Eachtraí Eilíse i dTír na nIontas. Is le paca cártaí a bhaineann roinnt mhaith de charachtair agus d’eachtraí an leabhair. Scéal geimhridh is ea an scéal seo Lastall den Scáthán agus a bhFuair Eilís Ann Roimpi agus is aistriúchán Gaeilge é ar Through the Looking-Glass and What Alice Found There a d’fhoilsigh Carroll den chéad uair i mí na Nollag 1871. Ar chluiche fichille a bunaíodh formhór dá bhfuil sa dara scéal seo.

Is í banlaoch an dá leabhar Alice Liddell, iníon le Déan Christ Church, Oxford, áit a raibh Dodgson ina oide matamaitice. Cé gur sa bhliain 1852 a rugadh Alice Liddell, fiche bliain níos déanaí ná Dodgson, samhlaítear sa dá leabhar í mar chailín beag seacht mbliana d’aois, an aois a bhí aici nuair a casadh Dodgson den chéad uair uirthi. Is léir ó na píosaí filíochta ag tús agus ag deireadh an leabhair seo go raibh an-chion ag Carroll ar Alice Liddell. Ní mór cuimhneamh, áfach, gur éirigh idir tuismitheoirí Alice agus Carroll sa bhliain 1864 agus nach bhfaca sé ach go fíorannamh i ndiaidh an dáta sin í.

Alice’s Adventures in Wonderland is a tale of summer which Lewis Carroll (Charles Lutwidge Dodgson) published for the first time in July 1865. Nicholas Williams published an Irish version of it in 2003 under the title Eachtraí Eilíse i dTír na nIontas. Many of the characters in the book belong to a pack of cards. This story, Lastall den Scáthán agus a bhFuair Eilís Ann Roimpi, is a winter’s tale, an is a translation of Through the Looking-Glass and What Alice Found There which Carroll first published in December 1871. Much of this second story is based on the game of chess.

The heroine of the two books is Alice Liddell, daughter of the Dean of Christ Church, Oxford, where Dodgson taught mathematics. Although Alice Liddell was born in 1852, twenty years later then Dodgson, she is kept in the two books as a little girl of seven years of age, the age she was when she Dodgson met her for the first time. It is clear from the pieces of poetry at the beginning and the end of this book that Carroll was very fond of Alice Liddell. One must remember, however, that Alice’s parents and Carroll fell out in 1864 and that he saw her very rarely after that date.

Jul 11

I am delighted to announce the publication of F. P. Walter’s translation of Vingt mille lieues sous les mers: Twenty Thousand Leagues under the Seas: An Underwater Tour of the World .

The book, available now in hardcover, was typeset by me using two Fournier fonts which were designed during Verne’s lifetime, and the book sports the original 1871 illustrations by Alphonse-Marie de Neuville agus Édouard Riou. The two maps have been (rather painstakingly) re-set in English.

From the back cover:

Jules Verne (1828–1905) was born in the Breton river town of Nantes, and had a lifelong passion for the sea. First as a Paris stockbroker, later as a celebrated author and yachtsman, he went on frequent voyages—to Britain, America, the Mediterranean. But the specific stimulus for this novel was an 1865 fan letter from a fellow writer, Madame George Sand. She praised Verne ’s two early novels Five Weeks in a Balloon (1863) and Journey to the Centre of the Earth (1864), then added: “Soon I hope you’ll take us into the ocean depths, your characters travelling in diving equipment perfected by your science and your imagination.” Thus inspired, Verne created one of literature’s great rebels, a freedom fighter who plunged beneath the waves to wage a unique form of guerilla warfare.

This translation is a faithful yet communicative rendering of the original French texts published in Paris by J. Hetzel et Cie.—the hardcover first edition issued in the autumn of 1871, collated with the softcover editions of the First and Second Parts issued separately in the autumn of 1869 and the summer of 1870. Although prior English versions have often been heavily abridged, this new translation is complete to the smallest substantive detail.

The translator, F. P. Walter, is a long-standing member of the North American Jules Verne Society. He currently lives in Albuquerque, New Mexico.

Jun 07

Evertype is pleased to announce the publication of a new cookbook by Patricia A. Moore with Jill Charlotte Stanford, with illustrations by Susan Koch.

From the back cover:

Goats have been a major source of food since time immemorial. Ancient cave paintings show the hunting of goats. They are also one of the oldest domesticated animals on earth. Goat meat can be stewed, curried, baked, grilled, barbecued, minced, canned, or made into sausage.

Goat milk and the cheese made from it has remained popular throughout history and still is consumed on a more extensive basis worldwide than cow’s milk.

In addition to food, goats provided early man with skins to make into clothing, with hair to spin into yarn and weave into cloth, and were then—as they are now—a symbol of wealth. To own many goats meant you were well-off and would never face starvation.

This book contains recipes from all over the world. They are easy, many of them quick to prepare, and all are absolutely delicious.

About the Authors
Patricia A. Moore spent 25 years in horticulture, running a land­scape maintenance business in the San Francisco Bay area before moving to Central Oregon in 1988. She raises Boer goats, serves on the State Board of the Oregon Meat Goat Producers and is involved with her local chapter of the OMGP. Cooking is Patricia’s passion. This book contains many wonderful recipes from her own kitchen, as well as recipes from other goat gourmets.

Jill Charlotte Stanford has been a writer, editor, and author since 1978. She is the author of Lamb Country Cooking (Culinary Arts 1994), The Cowgirl’s Cookbook (Globe Pequot 2008), and Going It Alone (Evertype 2008). As a Restaurant Reviewer as well as a Lamb Cook-Off Judge, she has a highly developed sense of good food. Jill lives and writes in Sisters, Oregon, with her faithful Australian Shepherd Elsa.

About the Illustrator
Susan Koch studied life drawing and watercolor at the American Academy of Art in Chicago, Illinois. Over the past thirty-five years her paintings have won many awards, including “Best of Show” and “People’s Choice” several years running in the Watercolor Society of Oregon annual shows.

Jun 07

Evertype is pleased to announce the publication of a Cornish edition of Harriette Taylor Treadwell and Margaret Free’s Primer, translated by Eddie Foirbeis Climo.

From the back cover:

Yma an kensa lyver redya-ma têwlys rag an descor avar, be va flogh bò den leundevys. Nyns eus lies ger dyvers i’n lyver, nebes moy ès 200 warbarth. Y fÿdh kefys ino naw whedhel classyk: An Yar Vian Rudh, An Maw a Vara Jynjyber, An Venyn Goth ha’n Porhel, An Maw ha’n Avar, An Grampethen, Ÿdhnyk Lÿdhnyk, An Try Bogh Bewek, Trednar Bian, ha Kensa Gwias an Gefnysen Vian.

This first reader is aimed at early learners of Cornish, whether children or adults. It has a relatively small vocabulary of just over 200 words, and presents nine classic stories: The Little Red Hen, The Gingerbread Boy, The Old Woman and the Pig, The Boy and the Goat, The Pancake, Chicken Licken, The Three Billy Goats Gruff, Little Tuppens, and Little Spider’s First Web.

Apr 26

Harriette Taylor Treadwell and Margaret Free’s Primer, first published in 1910, is intended for early readers, and for those who teach them.


It has a relatively small vocabulary of just over 200 words, and presents nine classic stories: The Little Red Hen, The Gingerbread Boy, The Old Woman and the Pig, The Boy and the Goat, The Pancake, Chicken Little, The Three Billy Goats Gruff, Little Tuppens, and Little Spider’s First Web.

Apr 07

As the Christian Easter approaches, Evertype is pleased to announce the publication of the second edition of Lyver Pejadow rag Kenyver Jorna: Cornish Daily Prayer by the Rev. Andy Phillips.

From the back cover:

Yma lies huny i’n tor’-ma owth assaya desky Kernowek, hag ow whelas fordhow rag ûsya an tavas i’ga bêwnans pùb dëdh oll. Onen a’n fordhow-na yw an ûsadow coth a bejadow kenyver jorna. Yma dew dowl gans an lyver-ma—gul gweres dhe dus ow tesky Kernowek ha’ga dry nessa dhe Dhuw kefrÿs. Yma Pejadow Myttyn ha Pejadow Gordhuwher i’n lyver-ma ow sewya an ordyr tradycyonal, hag y feu formys a bejadow coth dhia an Eglos Keltek gorrys aberveth pan o hedna possybyl. Udn salm yn udnek re beu appoyntys rag pùb dëdh a’n seythen, may fe taclow sempel— rag gwell yw an pejadow mars yw sempel. Yma Collectys dhe ûsya dre vledhen an Eglos i’n lyver inwedh, ha rol a dhegolyow nebes sens Keltek.

There are a great many people now seeking to learn Cornish, and all are looking for ways to use it in their daily lives. One is through the age-old practice of daily prayer. This book has been compiled with two aims—to help you to learn Cornish, and to bring you closer to God in the process. Morning and Evening Prayer in this book follow a traditional format, and ancient prayers from the Celtic Church have been included whenever possible. A fixed psalm for Morning and Evening Prayer is used each day to make things simple, because that’s how prayer should be. Collects have been included for use during the Church year, as well as a list of Celtic saints’ days.

Mar 22

Evertype is pleased to announce the publication of a translation by Kaspar Hocking of Around the World in Eighty Days in Cornish.

This book is written in the orthography called Kernowek Standard, and contains the many of the illustrations of Alphonse-Marie de Neuville and Léon Bennett, which first appeared in the original French edition.

The translator, Kaspar Hocking, was born in January 1913 in London, where his father worked in the Admiralty, after leaving Falmouth for work at the beginning of the twentieth century. Kaspar studied biology at Imperial College in London and worked for 30 years as an entomologist in East Africa (Tanganyika, Uganda, and Kenya), retiring in Polwheveral in 1969. He has taken in interst in the Cornish language since 1989, when his daughter, Vanessa Beeman, persuaded him to classes with her to learn the language. Both Kaspar and Vanessa were made Bards of the Cornish Gorseth in 1993, with Vanessa eventually becoming Deputy Grand Bard in 2003 and Grand Bard in 2006. Kaspar has also been involved with the Cornwall Wildlife Trust both as Chairman of the Council, then President. He was also Chairman of Agan Tavas from 1996 to 1998.

Feb 20

Evertype is pleased to announce the publication of a translation by Elfric Leofwine Kearney of Alice’s Adventures in Wonderland in Esperanto.

This translation into Esperanto by Elfric Leofwine Kearney was first published in 1910. This new edition contains the famous illustrations of Sir John Tenniel, which first appeared in the original English edition.

Feb 20

Evertype is pleased to announce the publication of a translation by Nicholas Williams of Alice’s Adventures in Wonderland in Cornish.

This book is written in the orthography called Kernowek Standard. It is very close to the orthography of the Single Written Form (Traditional Graphs), except that some small errors in the Single Written Form have been amended in this spelling, and diacritical marks are also used to show the differences between homonyms or to indicate vowels which are pronounced in different ways. Anyone who can read the Single Written Form will be able to read this version without any difficulty. This new book contains the famous illustrations of Sir John Tenniel, which first appeared in the original English edition.

Jan 14

Evertype is pleased to announce the publication of an edition by Mark Shoulson of The Torah: Jewish and Samaritan versions compared.

This splendid volume compares the Hebrew text of the Torah with the Samaritan text. The book is in Hebrew (of course), with an appendix at the end giving the Babel story in the original Samaritan script with transliteration and transcription.

Jan 14

My 1997 proposal to encode Klingon in the UCS still gets attention these days. I found a mention from 2006, for instance. A bit more impenetrable is a post from 2001 in Lojban mentioning me and Klingon together. I can’t even begin to wonder what I’m doing on somebody’s twitter though.

But it was certainly interesting to see a hardware manufacturer test the market by manufacturing a genuine Klingon keyboard!

I wonder if they are including keyboard layout software that accesses the PUA code positions.

As for Klingon in Latin, I really wish they would have a spelling reform. In particular the use of q for [qʰ] and Q for [q͡χ] is problematic, given a serious potential for trouble in text searching, or the possibility of data loss if a casing operation occurs.

The Klingon alphabet is:

a b ch D e gh H I j l m n ng o p q Q r S t tlh u v w y ’

It seems to me that the following would be preferable:

a b c d e g h i j l m n ŋ o p q ꝗ r s t ł u v w y ’
A B C D E G H I J L M N Ŋ O P Q Ꝗ R S T Ł U V W Y ’

Here eng ŋ and q with stroke through descender ꝗ and l with stroke ł are used, and the orthography is free to use capital and small letters as normal.

bortaS bIr jablu’DI’reH QaQqu’ nay’. qaStaHvIS wa’ ram loS SaD Hugh SIjlaH qetbogh loD.

Bortas bir jablu’di’reh ꝗaꝗqu’ nay’. Qastahvis wa’ ram los sad hug sijlah qetbog lod.

Translation: ‘Revenge is a dish best served cold. Four thousand throats can be cut in one night by a running man.’

Dec 15

Samuel Klein discovered my font Everson Mono recently and likes it very much! Indeed he likes its lower-case g, which some people have been less enthusiastic about….

Nov 12

I’ve been interested in Gaelic typewriters for a long time, and as many of you know, have made digital versions available.

An article in the Belfast Telegraph as well as this follow-up are interesting. I wonder if Mr McIlwaine managed to get one for Mr Hanks.

You can see a part of Hanks’ typewriter collection in this endorsement for Barack Obama made round about May 2008.

Nov 06

How splendid is it that President-Elect Obama’s team has already created change.gov. Looks as though the “new” technology is going to be a part of things to come.

Alas, creating the page so quickly didn’t preclude an amusing error. I decided to subscribe to the site to see what they’d be sending out. I put in my e-mail address, but no zip code as we have no postcodes in Ireland. That causes an error, and a page comes up asking you to put in some more data. (On that page you can change the country of residence for instance.)

The error involves placeholder text which is still visible… I’m sure it will be gone soon, but here’s a screen shot:

Lorem ipsum.

One friend to whom I pointed this out wondered if the page had been attacked. But no: it’s just place-holder text.

Nov 06

On a quick trip to Vienna to work on encoding the Teuthonista phonetic alphabet as well as Old Hungarian, I went to bed at about 01:00 on the night of the U.S. Election. At 06:30 I woke and pretty much rushed to the TV to turn on BBC World News.

And lo! But the election had been called for Barack Obama!

I’m pretty much a bellwether myself, but the President-Elect’s leadership really does inspire.

Indeed, for the first time, I understand what all the fuss about Kennedy was about.

Aug 15

This eBay seller enjoys leaving humorous or semi-humorous quips in his feedback for others.

Note his use of Unicode spoofing in his feedback for the item dated 30-Jun-08:

ʞɔɐqpǝǝɟ uʍop ǝpısdn
• +++++++ɐ ¡uoıʇɔɐsuɐɹʇ ʇɐǝɹƃ
¡ʇuǝɯʎɐd ʇsɐɟ ǝɥʇ ɹoɟ noʎ ʞuɐɥʇ ‘ppɐ oʇ pǝʇuɐʍ osןɐ ı

Impressive, eh?

In follow-up: David Faden offers a web converter for turning your text, based on Philip Newton‘s question: ¿ʇı̣ əsnqɐ ʇ,uɐɔ noʎ ɟı̣ əpoɔı̣un sı̣ pooɓ ʇɐɥʍ

May 09

Musha
Alas, my cat of 16 years has passed on. It really was time for Musha. I knew it, and I believe Musha knew it, and the vet was very good about it. He pointed out that Musha’s thyroid gland had got very large, something I had also noticed while petting him. He had many of the signs of the final hours of Chronic Renal Failure: no urination, severe oral ulcers, inability to walk, fairly dull eyes, and hiding.

We might have tried massive antibiotics to try to heal his mouth ulcers (which were pretty acute) and an IV drip, but there’d be no guarantee of success even in the short term and eventually we would be back again for more of the same. My partner and I pet him as he went to sleep after the first injection, and then as he passed on after the second.

So at 18:00 on Wednesday 7 May, we helped him on his way. We were home by 18:30 and I stopped the clock, to symbolize that time had stopped for Musha. Then on Thursday 8 May at about the same time we brought him down to our friend and neighbour Rosey’s garden. On his grave Rosey planted blue forget-me-nots and some other white flowers. Later on we will plant a tree there. At 18:35 on Thursday I started the clock again.

Musha was just over 16, his birthday being 4 May 1992. I miss him very much, and though I have no regrets about our choice, I find the early grieving to be relentless.

Apr 10

I filled out my Oregon absentee ballot today for the Democratic Primary. I voted for Obama, because I like him more than Clinton, though I would be happy to vote for either in November. (Why do I like him more? Because he belongs to my own generation, not to the previous one. It’s time.)

Personally I hope the Super Delegates draft Gore for President and Obama for VP. Then we could have 16 years of Democrats in the White House.

But then I read a lot of science fiction.

Dec 24

We had a very good crop of sloes this year so I am laying down a number of bottles. I’m trying different proportions to see what I like. Laid down so far:

1/2 litre gin
250g sloes
200g sugar

1/2 litre gin
250g sloes
150g sugar

1/2 litre gin
250g sloes
100g sugar

1/2 litre gin
300g sloes
150g sugar

Method: Sugar is weighed and funnelled into the 75ml swing-top capped botle. Frozen berries are weighed out in a bowl, zapped 40 seconds in the microwave, and each is sliced with a scissors before putting into the bottle. Then gin (Cork Dry Gin in this case, which was cheap enough per litre in the 1.5 litre size used upside-down in pubs). I’ve labelled each bottle with the recipe and date of bottling.

Dec 03

While it would be nice if fortune went more hand-in-hand with fame, fame sometimes brings one a nice surprise. I often get inquiries from people looking into languages and writing systems, and sometimes those queries are really very interesting. Last night, I received a very nice request from a charming person from West Virginia whose initials are V.E.L., who was born in 1927ː

Good evening to you, sir. This may sound very stupid to you but I’m willing to take that chance to ask you a question; I’m 80 years old and, as a young kid, I remember my Mother telling me and my siblings that she could count to 20 in Cherokee. We, of course, memorized that stuff and still have most of it stored in the old noggin. It went like this; teen, tain, tether, fether, fimps, matha, latha, catha, doublo, beaudix, teendix, taindix, tetherdix, fetherdix, bumpus, teenbump, tainbump, tetherbump, fetherbump, jenkus. (1 to 20)

It turns out that the numbers one to ten in Cherokee really don’t have anything to do with the list which V.E.L. gave.

1 sa’wu
2 ta’li’
3 tsoː’i’
4 nvgi’
5 hiːsgi’
6 su’dali’
7 galoquoː’gi’
8 tsuneːla’
9 so’neːla’
10 sgo’hi’

So it’s not Cherokee.

Is there any possibility that there was any merit at all in this, or was she simply kidding with us? I have been under the impression that dix was possibly French for 10 and that, coupled with teen for 11, makes a little bit of sense to me. The spelling is just my idea of how the words sounded and I am not a linguist at all. If you can find time to respond, it will greatly appreciated.

I think there’s a good chance it’s Welsh. At least some of it is. It’s five and the shift after fifteen that clinch it for me.

W.Va. IPA Welsh IPA
1 teen tiːn un iːn
2 tain tɑɪn dau dɑɪ
3 tether ˈtɛðər tri triː
4 fether ˈfɛðər pedwar ˈpɛdwɑr
5 fimps fɪmps pemp pɛmp
6 matha ˈmɑθə chwech xwɛx
7 latha ˈlɑθə saith sɑɪθ
8 catha ˈkɑθə wyth wɪθ
9 doublo ˈduːblo naw nɑʊ
10 beaudix ˈboːdɪks deg deg
11 teendix ˈtiːndɪks un ar ddeg iːn ɑr ðeg
12 taindix ˈtɑɪndɪks deuddeg deɪðeg
13 tetherdix ˈtɛðərdɪks tri ar ddeg triː ɑr ðeg
14 fetherdix ˈfɛðərdɪks pedwar ar ddeg ˈpɛdwɑr ɑr ðeg
15 bumpus ˈbʌmpəs pymtheg ˈpɪmθeg
16 teenbump ˈtiːnbʌmp un ar bymtheg iːn ɑr ˈbɪmθeg
17 tainbump ˈtɑɪnbʌmp dau ar bymtheg dɑɪ ɑr ˈbɪmθeg
18 tetherbump ˈtɛðərbʌmp deunaw ˈdeɪnɑʊ
19 fetherbump ˈfɛðərbʌmp pedwar ar bymtheg ˈpɛdwɑr ɑr ˈbɪmθeg
20 jenkus ˈdʒɛŋkəs ugain ˈigɑɪn
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