The past couple of weekends have been eventful and a lot of fun (which means this post is going to be long and all over the place). On April 18th, I went to the LA Times Festival of Books at the University of Southern California. My main purpose in going was to meet my editor, whom I had never met in person and who was going to be on a panel wearing her author hat. It was fun to wander among the booths too, though I will admit to spending part of my time at the festival drafting a handout on English speakers’ perception of Zulu clicks.
The panel I attended featured authors David Levithan, Leila Sales (my editor), and Tommy Wallach. It was moderated by Aaron Hartzler, and it was a lot of fun. Afterwards, I got in the signing line and met Leila. She signed my copy of This Song Will Save Your Life, and we chatted a bit more after the signing crowd had dispersed.
Last weekend, I went to Chicago for the Chicago Linguistic Society’s conference (CLS), which was also a lot of fun. I flew in on Wednesday evening and attended a few talks on Thursday; in particular I’d wanted to hear the one on homesign and the one on sign language phonological typology. I don’t really expect to ever work on sign languages, but I’m always drawn to talks in that area. I also got to see linguists I knew at Swarthmore or whom I had met on the grad school open house circuit again, and it was great to catch up with them.
I presented my paper first thing on Friday morning. It was nice to get it over with and have the rest of the day to absorb other people’s research without worrying about my own talk. I particularly appreciated Bernard Perley’s invited talk on reframing the rhetoric and metaphors around language death and endangerment (in essence, he would like to see linguists talk about language life instead of language death). I thought what he had to say was hugely important and rightly challenged us linguists to think hard about the ethics of linguistic fieldwork. He also gently (but directly) called out the previous invited speaker on an aspect of her talk, which had been just hours before his. I have no doubt that was an uncomfortable moment, and for more of us than just the invited speaker, but I think Dr. Perley was right to point out what he did because we can’t change what we don’t realize we’re doing wrong.
My colleagues from UCLA were both presenting in the Beyond Field Methodologies session. I was particularly eager for my field methods professor’s talk because it was about me! Okay, not really. It was about our class’s experience taking a monolingual approach to doing field methods on Maragoli and about monolingual fieldwork in general. That evening, our little UCLA contingent of three went out for Chicago deep-dish pizza.
On Saturday, I skipped out on the conference to go to the Chicago Comic & Entertainment Expo (C2E2). I’d been planning this ever since I’d learned that author Rachel Hartman would be appearing at C2E2 and that C2E2 was the same weekend as CLS. The timing worked out beautifully. It was my first time at a comic con, and I felt kind of out of my element among the crowds of cosplayers, but the costumes were pretty amazing.
The panel I’d come for was one of the few book-related panels and was about worldbuilding. In addition to Rachel Hartman, there were six other panelists, including the guy who writes the Star Wars Shakespeare (Shakespeare Star Wars?) books. I particularly liked the discussion of creating maps and of the authors’ favorite worlds. And best of all, I had the good fortune of getting to have dinner with Rachel, which was delightful.
Afterwards, I made my way back to the CLS banquet. Dinner was over, but the evening’s entertainment was just getting underway. And by entertainment I mean hours of karaoke, a CLS tradition. Now, I am not a karaoke person; I’ve always declined invitations to UCLA linguistics karaoke. I guess after my solos in the Georgian chorus concert I can no longer say that I do not sing in front of people without at least ten other people singing along with me, but the fact remains that my familiarity with popular music is so poor that most of the time I really can’t participate. I honestly don’t know the vast majority of songs that one could use for karaoke. Indeed, as other people went up to sing songs that are evidently well-known, I usually found myself recognizing the chorus or some chord progression but not knowing the melody, much less the words, to the verses.
It was fun to watch, though, and there were some pretty talented singers as well as dancers. A highlight was a non-karaoke number, in which two grad students sang a Greek song accompanied by clarinet and bouzouki. Bouzouki! I want a bouzouki. People also sang in Russian, Turkish, Japanese, and Indonesian. And Mandarin, which is how I ended up doing karaoke after all. I’d gotten up from our table briefly, and I came back just as a USC grad student I knew was singing a line from a song in Chinese. I said, “Hey, I know that song!”
Long story short, I found myself at the front of the hall with the USC grad student and a third grad student, and we sang the Taiwanese song 對面的女孩看過來, which, as far as I can tell, is about the inscrutability of girls. It brought me back to Chinese department New Year’s parties in the Swarthmore Friends Meetinghouse, which is the last place I sang this song, with the other students in my Chinese class. All I remembered of this song was the first line and the chorus, and although the karaoke video we’d found on Youtube had the words, they were obviously in Chinese characters, many of which I’ve forgotten. So I watched them fly by and jumped in on random pronouns or easy stuff like 很可愛. And the chorus, thank goodness.
So, you didn’t think I’d ever do karaoke? Yeah, me neither. I guess I do better with languages other than English. Maybe next time I’ll attempt a rendition of “Je fais de toi mon essentiel”…
Eleanor Glewwe 