Ricked!

Thanks to someone vastly more attuned than I to the nuances of Internet culture, I have learned of the practice known as "Rickrolling." In the 1980s, a British singer named Rick Astley recorded what became a popular tune, one that I'd put in the disco category. Astley has a rather impressive baritone voice, which seems incongruous in relation to his physical appearance: He seems to be of relatively small physical stature, with red hair, not that red hair runs counter to baritone-status; anyway, it's one of those cases in which the person in possession of the voice is a bit of a surprise.

His big hit was "Never Gonna Give You Up," and, music-videos having been in their infancy back then, his video is nerdy and dorky, to use technical terms. Basically it's just Rick singing and doing some basic moves. Not quite explicably, he sometimes appears in a trench coat. Sometimes the alleged scene is a club--but the club is empty, and it's daytime. A female dancer or two materialize, and the bartender becomes a dancer at some point. There is not a "plot" to the video, and I say thank God to that. Who wants a plot in a music video? Indeed, who wants a music video? A few have been interesting, but basically, it's a moronic, corporate genre.

The video is so bad that it's good, and the song blends a great, trained voice with a fairly dumb disco song. All the elements are there, in other words, for camp, and I gather that things campy in this day and age can be turned into Internet pranks of the harmless variety. So people apparently trick their friends into viewing the Astley video on youtube, and allegedly hilarity ensues.

Nerdy and dorky, I am both amused by and sympathetic to Mr. Astley. Chiefly, he seems to have been working the job (my agent got me into this?) and in no way seems to take the video seriously. More nerdy than Rick, I find the lyrics interesting because they exemplify iambic tetrameter. In fact, one could substitute "Tyger, Tyger, burning bright/In the forest of the night," and have a splendidly surreal combination, a fearful symmetry, of Rick Astley and William Blake. "Tyger, tyger BURN-ing bright, in the forest OF THE NIGHT!" Blake is never gonna give up that tyger.

In the lyrics, there's also an interesting bit about the persona of the song offering "total commitment," which other fellows do not offer the beloved, it is argued. Perhaps he's threatening to have his lover committed to an insane asylum, OR he's offering to commit himself voluntarily to such a facility. "I'm never going to give you up, but at the same time, I'll be safely behind bars, getting treatment!" Of course, there's a chance that commitment refers to something else.


For a very good, frivolous time, check out the Astley video, rick-roll yourself, and have a grin or two in these dour times. Join the people who've been ricked!

A link: http://www.youtube.com/watch?v=Yu_moia-oVI

And thanks to Mr. Astley and his most impressive baritone.

The Centers Hold

"Things fall apart," Yeats famously wrote, "the center cannot hold." I always found "things fall apart" to be a refreshingly imprecise bit of phrasing.

Yeats's poem came to mind yesterday as I passed a business-sign for Neovita, which describes itself as a "Foot Comfort Center." I'm not sure what they do in there, but I had visions of all feet being treated like Roman emperors, bathed, massaged, entertained, read to. Maybe there are foot-therapists on duty to whom the feet can talk about their problems--nightmares about blisters, that traumatic hang-nail in childhood, impossible expectations placed on the feet by the parental Body.

"Center" is a great all-purpose moniker. Think-tanks and thinly veiled political shops, which seem to have proliferated in the last 20 years, like the term. The Center for Strategic This and That, the Center for Family Something, etc.

I had a part in establishing two Writing Centers, or Centers for Writing Across the Curriculum. One basic idea behind them is that since writing happens in almost all disciplines, it should be taught in all disciplines and not seen merely as an "English" subject. The first one I worked at was in a temporary building on one edge of campus, so it really wasn't in the center of much. The other one, however, is pretty much centrally located on campus.

I hope Periphery catches on at some point. The Periphery for Strategic Studies, The Periphery for American Family Values. These might be interesting think tanks, featuring people who are on the outside looking in and therefore in possession of valuable perspective. In Yeats's terms, they'd be falcons who couldn't hear the falconer, but maybe they could hear other important stuff, and who says falconers know everything? The falcon does all the work, after all. Just ask the Center, I mean the Periphery, for International Falcon Studies.

What, Conservatives Worry?

When conservatives worry about McCain, then I get even more worried about McCain. Hawk-faced Pat Buchanan, noted isolationist and perfecter of the chop-motion while talking and giving speeches, said [on CNN] President McCain would make Cheney look like Ghandi--not physically, I assume, but by comparison. (Buchanan did not seem to intend the comparison as a compliment; with Buchanan, one feels one has to add that information.) Andrew Sullivan, one of those seemingly very bright people who nonetheless swallowed Bush's bait about WMD's and tried to cough it up long after the hook had been set, has posted quite an interesting anti-McCain video on his blog. Here is the link:

http://andrewsullivan.theatlantic.com/the_daily_dish/2008/08/taking-back-t-5.html

Probably the most compelling speaker on the video is Scott Ritter, one of innumerable people who seemed to know what they were talking about during the "run-up" to the war and who was therefore ignored, dismissed, and attacked by Bush and the Surrogates.

A mere poet, I do wonder what the military and the intelligence agencies think of Bush and what I deduce to be his compulsive recklessness and lifetime of being unaccountable. He has been reckless in going to war, in conducting the war and the occupation, in the unprecedented use of contractors, in the breaking (John Murtha's word) of the army and Marines, in forging documents (see Suskind's book, and apparently Suskind has the audio tapes to back up the findings), and in betraying spies. Mustn't even the professionals regard Bush as reckless and incompetent? I don't know.

A mere poet, I wouldn't mind if Obama and McCain would agree to read Wilfred Owen's "Dulce Et Decorum Est" out loud and then comment briefly on it.

A mere poet, I wonder if Putin and McCain are some kind of international marriage made in Hell.

A mere poet, I do wonder what a mere citizen can do to prevent President Bush, President McCain, perhaps even President Obama, from attacking Iran.

Too Sad, Darling

Too Sad, Darling

(in memory of Esther Wagner)

We go from no
memories and all
experience to combinations
of experiences and memories to
no experiences and all
memories. Life

at first opens up all
around our minds and us. Then
the thing known as Later
abandons the mind to its own
paltry self, its wee storehouse
of snapshots, shreds of dialogue,
and remember that time?

"Too sad, darling," is what
the grand woman said,
with a laugh,
"but fix yourself something
to drink and one for me.
Sit down and we'll talk,
reminisce, just us,
about experience."

Hans Ostrom

Copyright 2008 Hans Ostrom

Bollocks

Owing to a chance interchange at Starbucks, we have found ourselves considering the Britishism, "Bob's your uncle," which has netted us a poem, among other things.

Another Britishism that intrigues me is "bollocks." A bollock is a testicle, so bollocks are multiple testicles, but according the OED online, one may "bollocks" something, as in mess it up; there is a verbal form, in other words. If you're tempted to suggest "that makes no sense," simply consider how often Americans think or say "he sure effed that up." Think about it. When I was in Sweden, a Swede, mystified by the amount and variety of American cursing, said, "You know, we really have no curse words based on sexual activity." He didn't sound as if he regarded this as something lacking in Swedish.

I think every Hugh Grant movie I've ever seen has had "bollocks" in the script. Maybe the situation is similar to Christopher Walken movies, wherein Christopher is allowed to dance--in some fashion. (My favorite Walken quotation: "I'm not sure what the worst movie of all time is, but I'm sure I acted in it.")

Sometimes I think the British simply say "balls" in place of "bollocks." Is that right? Of course, it's impossible to try seriously to trace the "logic" of such cursing. I suppose you could try to make a case for "bullshit" being more "logical" than "bollocks," inasmuch as bullshit is waste material and therefore ostensibly worthless, except as fertilizer, but on the other hand, "bollocks" is more absurd. "What a load of bollocks!"

According the OED online, the etymology of bollocks goes back to a noun referring to a sacrificial knife. Ouch.

The OED also includes a quotation from one of my favorite English poets, Philip Larkin. If you haven't read his poem, "This Be the Verse," you really must.

1940 P. LARKIN Let. 9 Dec. in Sel. Lett. (1992) 4, I suppose my writing is terrible. Sod & bollocks, anyway. Not to mention cunt and fuck.

What I like about this quotation is that it qualifies as scholarly because the OED uses it, and that it seems as if Larkin, in his letter, catches himself cursing and then, like a naughty boy, finds cursing so pleasurable that he curses some more. And like many of us writers, he's unamused by his own writing.

At any rate, Bob is your uncle, the one who says "bollocks," not to mention--well, anyway.

Bob Is Your Uncle, The Sequel

Someone from our nation's heartland read the previous post and produced a fine poem in response to the prompt concerning "Bob's Your Uncle." So in case you want to read the poem (I submit that you should want to read it) and don't want to go through the comments, here it is:

Bob Is Your Uncle

I’m not sure you understand
what I’m trying to tell you.

That man in the armchair,
feet up, snoring softly,
the one you call your dad,

his name is Robert, so we
all call him Bob. It suits him.

Bob has three brothers.
The two you know, the two
who take you hunting and
tease you about your cowlick,
and one you don’t.

The one you don’t know
left town a while ago. Twelve
years and six months, but
who’s counting? Not me.

Anyway, it’s time you know,
time for you to know, whether
you want to know or not.

That man, Bob, is your uncle.
There. You have it.

Submitted by Lars, August 8, 2008 8:52 AM, all rights reserved

Bob's Your Uncle

So I went to my local chapter of Starbucks today. I realize I'm supposed to be unamused by the corporate giant, but I like the people who work at the local chapter, which happens to be a destination point on my urban hikes. At any rate, one of the workers there was expecting me to order my usual espresso macchiato, doppio, an Old School drink, but then I said I wanted a tall green iced tea with one splendid splenda, and then I said, you know, that cup looks like it's short to me, not tall (not complaining, just observing), and she said, "Well, we don't have short cold-beverage cups," and I thought but didn't say that this, then, was a categorical problem, or maybe an aesthetic one: my sense of short does not dovetail with Starbucks', but instead I said, "Well, there you go," and she said, "Bob's your uncle, as my grandmother used to say." And I asked, "Is your grandmother British?" ["Bob's your uncle is, of course, a Britishism], and she said, "She aspired to be." And we laughed.

Isn't that marvelous? "She aspired to be British." I think some Americans still aspire to be British, especially those with vague upper-crust leanings. I've even known a few American academics who try, with horrific results, to adopt some kind of British accent. And of course, T.S. Eliot and Hank James turned themselves "British." Naturally, trying to turn yourself British is a quintessentially American thing to do. In the world of poker, it's known as a "tell."

Anyway, I like those toss-away phrases like "Bob's your uncle." They're not really cliches. They're just sort of generic pieces of language we stick in there from time to time. My father and his cohorts often said, in response to mildly surprising news, "Well, I'll be a sonofabitch." They meant "Bob's your uncle," which is to say, they meant nothing remotely connected with bitches and sons (although I recognize the misogyny lurking in the phrase). They didn't view themselves as vulgar, unless they were around women and children they didn't know. They didn't believe themselves to be sons of bitches anymore than people think Bob is their uncle, unless of course Bob is their uncle, in which case they may not use the expression, even in England.

It might be kind of fun to write some poems that take such expressions literally. What kind of poem might one write with a title, "Bob Is Your Uncle"? Ah, the possibilities.

Sonnet Play-By-PLay

So I write sonnets more or less as aerobic poetic exercises and only rarely expect them to turn out as successful poems, and then from that very limited set, I might try to publish one. I think the main thing with sonnets and other traditional forms is knowing why you're writing them. Also, it's good, I think, to see yourself as participating in a long genre-tradition and exploring the tension between adhering to conventions and disrupting them, perfecting your engagement with a mode and improvising upon the mode.

With the following sonnet, a mere exercise, I decided to provide a play by play, line by line, just to show what sort of difficulty the form puts a poet it.

Sonnet: Hometown Paper

[the title/subject: so this is a fairly conventional Modernist move--take the love-poem form of the sonnet and use it to talk about something unrelated to love and otherwise unlyrical]

And shall it disappear, the local paper--

[The "And" is there to jump-start the iambic with an unstressed syllable, and I've presented myself a problem by asking a question; also, I've chose a two-syllable end-word and what's called a feminine rhyme; I've chosen to go with iambic pentameter, the conventional meter]

The hometown's daily, weekly digested

[More hot water--another two-syllable end word, meaning I have to think of rhymes now for both paper and digested]

Familiar fare of nearby news and safer

[So I went with a half-rhyme with paper--which I think worked out okay, but then I caused more problems by introducing a conceit--the newspaper or news as food--hard to continue, and likely to tempt me into a mixed metaphor]

Palatable small snacks, time-tested,

[I love putting multisyllabic words in an iambic line; it really speeds things up. "Time-tested" is a cliche--so I had to pay the price for "digested"; I'm depending on a pronunciation of palatable that stresses the second syllable]

Reliable desserts of gossip, sports,

[So now I'm stuck in that food-conceit, but at least I'm hanging with the subject]

Cooked up by ones who know the local fears?

[Still wearing out that conceit, making the editors cooks--I do like "local fears," however, and it may let me out of the conceit--we'll see; and I've finally sewed up the question--started in line 1!]

Already, so it seems, rags of all sorts

[Sports/sorts: basic rhyme; a shift of subject--papers going out of business--but by using "rags," I may have attached myself to another conceit]

Have been attached to quilts (one hears)

[So I decided to take "rags" literally; as rags are made into quilts, "rags" (newspapers) are attached to figurative quilts of . . . what?]

That make up media conglomerates,

[Conglomerates are quilts. Hmmm. But what will rhyme with conglomerates?! Oy.]

While others simply went, were buried with

[Still stuck on the rag-conceit, now treating rags more as clothes]

Their owner-editors. Moreover, what's

[So I rhymed "moreover, what's" with "conglomerate"--that's fun; some small newspapers perish when their old editors die]

The fate of reading? Yes, like Faith and Myth,]

[I rhymed Myth with With--amusing; more importantly, I'm experiencing what many sonnet-writers experience--the sudden, panicky realization that the poem's about to end; one gets lost in the meter, rhyming, conceits, and so on. Then: OMG! Only 14 lines, and I've written a dozen already--and I need to end with a couplet--and finish the poem! I mean, it's not cliff-diving, but it does create a virtual adrenaline rush, for nerds]

Our Literacy is ultra-local now--

[Now I leap to a Big Point--linking local papers to larger issues of literacy; the couplet is an opportunity to do this; I've played it safe in terms of rhyming by using "now"--lots of options]

Locked to a screen mere inches from the brow.

[Like the Shakemeister General, except not really, I've gone for a wicked little irony. In the age of the Internet, we feel we're superior to printed local, hickish papers, but then here we are peering at our various little personal screens, which in one sense are more insular, even solipcistic, than the local rag, or so I argue.

So there you have it--a not very good sonnet, but a great aerobic poetic workout, getting some work on rhyme, meter, conceits, getting out of trouble, having fun. And play by play, just like sports! Such a deal. Or, as John Madden would say, "And, boom, he finishes the couplet!" Maybe Madden will make a Sonnet Video Game. Uh, maybe not.

Sandburg Gets Morbid

Carl Sandburg, early 20th century American poet, is best known for the fog poem, with its cat-analogy, and the Chicago poem. He took over the long free-verse line from Whitman, made it more laconic, much less ecstatic, and made it work. His poetry is pleasing in ways similar to those in which Jeffers's poetry is. Among the poets he influenced was Langston Hughes, who liked Sandburg's focus on working folks and his unpretentiousness.

Sandburg takes a morbid turn in the following poem, but I don't think it's a gratuitous turn, as one sometimes finds in Poe's verse, for example.

Cool Tombs

By Carl Sandburg

WHEN Abraham Lincoln was shoveled into the tombs, he forgot the copperheads and the assassin ... in the dust, in the cool tombs.
And Ulysses Grant lost all thought of con men and Wall Street, cash and collateral turned ashes ... in the dust, in the cool tombs.
Pocahontas' body, lovely as a poplar, sweet as a red haw in November or a pawpaw in May, did she wonder? does she remember?... in the dust, in the cool tombs?
Take any streetful of people buying clothes and groceries, cheering a hero or throwing confetti and blowing tin horns ... tell me if the lovers are losers ... tell me if any get more than the lovers ... in the dust ... in the cool tombs.

The decision to treat the iconic, even sacred, Lincoln roughly in the first line fascinates me, and I think it takes the poem in a successful, if risky, direction. Then there's a shift to Grant, feckless as a president, victim of corruption. The shift to Pocahontas makes sense; after Lincoln and Grant, we need a feminine icon, and we need a person who represents grace. As plain as the last stanza is, I think it's inspired--especially the choice to interrogate the reader. This not so well known poem is one I admire.

Molecular Sonnet for Sunday

Whether you take some kind of Creationist point of view or some kind of Evolutionary one--or are skeptical of both, as a friend of mine is--it's nonetheless amazing that mere matter, of which we are composed, can have concepts and produce complicated emotions. If we ask how in the heck single-cell organisms evolved into organisms complex enough to think of love, time-share condos, philosophy, chess, and combustion-engines, the Creationist point of few is certainly easier to grasp: God made it so. The Evolutionary point of view, ironically, seems more miraculous. What are the odds that organism A would have eventually evolved into organism Z--a human? A key variable, I think, is time. The Biblical calendar is pretty brief. The Evolutionary one allows for millions and millions of years during which lots of accidents and false starts can happen--eventually leading to organisms called human golfing, cheating on taxes, and singing ballads in cafes. The Evolutionist's retort to God made it so seems, in part, to be Evolution takes its own sweet time, of which there is an infinite amount.

As may be immediately apparent, I did not take millions of years to write the following sonnet, which has something to do with molecules and love.

Molecular Mood: A Sonnet

Molecular in nature were the two,
For they were human, and therefore made
Of carbon, protein, fat--the usual stew
Of which stuff in this matter, fact, is said
By scientists to be composed. But how
Does one molecular composite reach
The point at which it loves, the point called Now
Wherein one body-mind, by means of speech,
Decides and then declares this thing called Love,
A concept generated by uncounted other
Molecular composites, the stuff of
Which Civilization's made? Whatever.
The she loves him; the he loves her. Their cells
Conspire to cast reciprocating spells.

Hans Ostrom/Copyright 2008 Hans Ostrom

I'm inordinately fond of the made/said partial rhyme in the first quatrain, and of the partial rhyming of other/Whatever. The couplet pleases me, for some reason.

Songbooks Exhumed

Among the items paroled from storage have been songbooks, many of which feature ballads from the 30s, 40s, and 50s. By accident, I started playing these ballads as I was teaching myself to play piano, using the quick-and-dirty "chord" method. So there I was, age 16, playing songs like "Two Sleepy People." Two things interested me about the songs--the complicated chords, never just a D minor, but always a D minor seventh or something like that, clusters of notes; and the lyrics, which were often sentimental, true, but just as likely to be whimsical, wry, and ironic. They were way over my head, of course, written by "sophisticated" and rich lyricists in New York or Palm Springs.

So it's been great playing the songs and reading the lyrics again. There's probably a book to be written out there about American ballads being an important window on American culture, and on the complicated "icons" that sang the ballads, like Sinatra, who in one sense was a hack and a thug but in another sense was a very puzzling amalgamation of traditional American manhood, celebrity, androgyny, money, poverty, East Coast values, and West Coast values. He was also an Old School liberal, who, of course, became a conservative, as almost all Old School liberals did and do. Scratch a Northern White liberal, and you almost always find a redneck, as James Baldwin articulated. Thus has it always been so.

Ah, but the lyrics are so smart, especially those written by Johnny Mercer (not a pleasant person, alas: read Skylark, the recent biography), Dorothy Fields, Billie Holliday, Cole Porter, Jules Styne, the Gershwins, Harry Warren, et alia.

Some will say the wry, ironic, whimsical poetry has disappeared from American popular music, and to some extent that's true. Most popular songs are about as subtle as an avalanche. But you will still find a great deal of subtlety and wit even in some Hip Hop music, such as that by the Fugees (one example). Nonetheless, the Great Age of the Ballad has passed. Hence the importance of exhumed songbooks.

Not that you asked, but my all-time favorite Sinatra "album" is the one recorded live in Las Vegas with Count Basie's orchestra and Quincy Jones's arrangements. There's an edge to the swing that you don't find in the Nelson Riddle arrangements, and you sense that Basie, Jones, and Sinatra are engaged in a healthy competition. Sinatra is 50, I think, so the voice is down an octave or two, but the schtick is finely tuned. When Basie's orchestra is about to take off on an instrumental raid, Sinatra warns, "Run fuh covah; run and hide!" If you like Sinatra, you'll love (and probably already know well) this CD. If you don't know much about Sinatra or are skeptical, give a song or two a listen on this one. A fascinating artifact.

Boring

An apt title for the blog, don't you think? Speaking of boring, I looked it up in the OED online--a terribly boring thing to do if, unlike a tiny percentage of the population, you think (quite rationally) that looking words up on the OED is tediously nerdy or nerdily tedious, or just plain wrong. Anyway, some info:

1840 T. HOOK Fitzherbert III. iv. 66 Emily was patiently enduring..Miss Matthews's boring vanities.

I was a bit surprised that the word, with this connotation, apparently arose in the written language so relatively late, a mere nine years before the California Gold Rush, which was probably more boring than its name makes it sound. Digging for gold is terribly boring work, although my father didn't think so.

Anyway, it looks as though the adjective, as deployed this way, springs directly from boring as in boring into--like a drill. Monotonous, unrelenting. Let us leap to the next point and avoid a boring transition:

Karl Shapiro, among others, insisted that the single most reliable test of a poem's worth [aside from historical worth, etc.] was whether the reader wanted to read it again--not necessarily right away (although that would be fine), but tomorrow, or next week, or five years from now. I think this also means that the poem isn't boring, but I suppose the poem has to be more than just not boring. Now a hop, as opposed to a leap:

Samuel Johnson, one of the most discerning readers ever, apparently got bored with one of the great poems ever, Paradise Lost. He agreed that Milton's blank-verse tour de force, or tour de paradise, was terrific, but he also famously said of the epic poem, "No one wished it longer." I feel the same way about films by Oliver Stone and John Cassavetes, not that the latter two are in Milton's league; on the other hand, did Milton ever direct a film? I think not. A sideways hop:

My "urban hike," which I attempt to take every other day (cycling in place on the other every other day, speaking of boring [but heart healthy, or so they tell me] exercise), takes me on the same vaguely circular route. Going in a different direction helps, and sometimes I stop halfway and do something, like drink espresso or observe Moldavians. Today, however, I was thinking that what really makes a familiar route interesting is simply paying attention. To the tiniest scrap of something someone throws away, for example. Or one weird rock. Or what people try to do with and to their yards. Or a cat, watching you as if you were dinner.

A high school teacher, attempting to teach us to write poetry, made a similar point. He told us to go outside and "really look at the world"--and then write. His implicit argument was that whatever one saw (and heard, etc.) was interesting, by definition, because it existed and because we would, he hoped, apply attention to it. I think it was a vaguely Zen point he was making, and I'm not sure whether "vaguely Zen" is redundant or not. It's still a great prompt for writing a poem--or story or essay: A) Assume that wherever you are, you are in an interesting place, and B) just observe the heck out of the place, pouring your attention into it and receiving all its particularity in return, and C) write.

Write.

Hey, Cliche

I tend not to get quite as upset by cliches as most teachers of writing, especially in introductory writing classes. (By the way, I know the word needs an accent over the e, but how to put it there using the blog machinery is beyond me.) If you look at the alleged problem of cliches from a relatively younger writer's point of view, it's no big deal, and I think I just used a cliche. Usually, when I'm visiting a work-group in class or writing comments on a poem (or essay or story), I simply point out that most readers of such pieces react badly to the appearance of a cliche, and the writer gets the point immediately, and he or she then knows that what's expected is a fresh analogy or metaphor--or, if a good fresh one doesn't seem to arise, then a different good way of expressing what needs to be expressed. I don't take cliches personally.

Moreover, I have a special fondness for the word, cliche, because I acted in a short film of that title. It was directed by Ben Shelton, and, among other things, it landed my name in the IMDB database ("database" is redundant here, I think) as an actor. (Apparently, IMDB uses the term "actor" loosely.) The role did not prove to be my big break in the movie business, but I didn't expect it to do so.

"Big break." That's a cliche, I think. But it's one of those cliches that are part of the everyday linguistic currency.

What does it mean literally? I'm not sure. Does it refer to a breaking through (which would be a kind of military term, as in breaking through the enemy's lines)? When we say "give me a break," I think we mean something like "please provide me with a rest-period from your nonsense.? For example, if we're watching yet another tired Hollywood movie with 23.5 plot-cliches, we might mutter, "Give me a break." Ironically, and intentionally, Ben Shelton's short movie did not have such cliches.

My good friend, the OED online, informed me that the French word cliche entered the written English language around 1892. In French, the term originally referred to a pre-fabricated pattern or matrix that was plopped onto molten metal to create an object. --Rather like a cookie-cutter, I reckon. Some Brits, perhaps following a French lead (to use a cliche), apparently decided that such a pre-fabricated mold served as a good image for a too frequently used expression. But of course no one thinks of the mold or matrix anymore when they read or hear "cliche," and the same is true of cliches. In English, cliche is now a noun, of course, and an adjective ("that is a cliche expression"). I believe the more standard usage of the adjectival form is "cliched," however: e.g., "that is a cliched expression"). Both forms are probably acceptable, as long as there's an accent over the e, a wee homage to French, a feather in the cap of the e, to use a cliche.

My parents' generation used the expression "don't go off half-cocked," and I assume that refers literally to a pistol that fires as the person is cocking it. The pistol "goes off." Now, however, I'd be willing to wager that if anyone uses the expression (I don't hear it much), they may not think of a pistol or anything concrete. Moreover, they may vaguely think of "going off" in terms of leaving, of going away. And they may vaguely think that half-cocked refers to being only half prepared--or something like that. "Don't go off half-cocked" now means "don't behave impulsively," yes?

Similarly, when people to refer to a dependable or resilient person as a "trouper," they may think they're saying "trooper," and they may, as I did once, write "trooper." A "trouper" is a dependable member of an itinerant performing troupe, at least that is my inference. Now, however, people may vaguely think that "trouper" is "trooper" and that "trooper" refers to a dependable member of the military, so they may think that the comparison is between a reliable person and a foot-soldier. And one one cliche leads to another: "foot soldier." Is that a podiatrist who works for the army? :-)

Another expression that interests me is "tow the line," which I belief refers to one boat towing another boat, as when a tugboat tows a large ship. So "towing the company line" would mean that, like a tugboat, a person is behaving in a servile, unquestioning way with regard to the company's policy, or the policy of "the big ship." However, I think most people now think the expression is "toe the line," as in bringing your feet in close proximity to a line on a floor. Again the reference is to a kind of obedience or servility. I think of getting one's shod toes close to the free-throw line on a basketball court, for example--obeying the rules, so that your free-throw counts, even though you don't really throw the ball as much as toss it--unless of course you're a terrible shooter of free-throws, in which case you really do hurl the ball.

In any event (to use a cliched transition, and just what event are we talking about?), I seem to be more interested in how cliches operate, how they drift far away from the original comparison, than I am in eradicating them or fiercely correcting writers who use them. (As you probably already know, there's a nice section in George Orwell's "Politics and the English Language" about how expressions drift, become cliches, and otherwise lose precision and force.) Probably if writers get interested in how cliches work or even in the origins of favorite cliches, they will be likely to recognize cliches in their writing and speaking and, in revisions, excise and/or replace them, if that's the right writerly move to make.

I'll conclude by noting that I think "wasted" has become a cliche, in reference to being intoxicated or inebriated. I was most amused yesterday in a health-food store, where I went in search of almond-butter, when I heard one of the clerks say to another one, "I was totally wasted, so I had a good time." I liked the counterintuitive sense in which "totally" (as opposed to partially) wasted resulted in a "good" time, and I liked the fact that a clerk at a health-food store would not only get his body and mind "wasted" but happily discuss the matter at work the next day. I had (but did not act on) the urge to say to the clerks, "Hi--I'm interested in a product that will get me totally wasted so I can have a good time--do you have that sort of thing in the store? I'd like it to be organic, however, and healthy."