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Spirit writing that manifested under an inverted tumbler, wishing that your husband had been here. From 'Twixt Two Worlds by John Stephen Farmer, 1886.
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Is a dictionary a guidebook or a rulebook? Does it tell you where you can go or what you should do? In this fascinating compendium of improbable words comprised either entirely of consonants or entirely of vowels, Craig Conley takes guidebook lexicography (or descriptivism) to an extreme that is comic and informative in succession. "Comic" because it is at first amusing to read a dictionary with entries like "oooooo ooooo" ("a wail of wanton depravity") or "whrr" ("an emphatic spoken by a rat"). Yet it soon becomes clear that Conley is after more than jokes: like the OED, his Dictionary of Improbable Words generously quotes published instances of usage, which leads the book to read like a tribute to literary creativity in domains from video games and comics to classical and experimental fiction to straightforward ornithology—any type of writing whose authors were not satisfied with the words in the standard dictionaries and had to devise their own representations of how the world sounds ("trrt-trrt," "mm," "brrrm," etc.). As such, Conley's dictionary may be used as a rulebook for writers in search of elegant and inventive onomatopoeia for purposes ranging from the whimsical to the scientific. Conley also, by the way, reveals that the world contains more rivers, streams, and towns with all-vowel names than you might expect, and in that way his intriguing lexicon approaches the status of a literal guidebook!
The new Webster's Dictionary of Improbable Words collects hundreds and hundreds of all-vowel and all-consonant words from literature. It's a word gamer's secret weapon. Pioneering lexicographer Noah Webster (October 16, 1758 – May 28, 1843) published his first Compendious Dictionary of the English Language in 1806. He spent decade after decade expanding his dictionary to make it more comprehensive. Webster's Dictionary of Improbable Words is a testament to the great wordsmith’s dedication.
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I tried to say something intelligent and witty, but it came out more like: "Asterfobulongues?"
He looked confused and leaned forward slightly.
"I'm sorry, what was that?"
"Nothing."
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In this pairing of quotations, we learn that every act of reading is either aporetic or a palimpsest (or both?).
Every act of reading is an act of forgetting: the experience of reading is a palimpsest, in which each text partially covers those that came before. Those books that allow us to forget the most are accorded the authority of the classic.
—James A. Second, Victorian Sensation
Every act of reading is when memory and forgetting collide: every act of reading is aporetic, as one has to both remember and forget at the same time. Each time reading occurs, one is not just reading the text for the first time, but also reading for the first time.
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From Celtic Fairy Tales, selected by Joseph Jacobs and illustrated by John D. Batten, 1892.
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"When knights were bold." From Harper's Weekly, 1916.
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Page 34 of 71

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Original Content Copyright © 2025 by Craig Conley. All rights reserved.
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