The Very First Written Use of the F Word in English (1528)

Eng­lish speak­ers enjoy what seems like an unmatched curios­i­ty about the ori­gins and his­tor­i­cal usages of their lan­guage’s curs­es. The exceed­ing­ly pop­u­lar “F word” has accret­ed an espe­cial­ly wide body of tex­tu­al inves­ti­ga­tion, wide-eyed spec­u­la­tion, and implau­si­ble folk ety­mol­o­gy. (One of the ter­m’s well-known if spu­ri­ous cre­ation myths even has a Van Halen album named after it.) “The his­to­ry begins in murky cir­cum­stances,” says the Oxford Eng­lish Dic­tio­nary’s site, and that dic­tio­nary of dic­tio­nar­ies has man­aged to place the word’s ear­li­est print appear­ance in the ear­ly six­teenth cen­tu­ry, albeit writ­ten “in code” and “in a mixed Latin-and-Eng­lish con­text.” Above, you can see one of the few con­crete pieces of infor­ma­tion we have on the mat­ter: the first defin­i­tive use of the F word in “the Eng­lish adjec­ti­val form, which implies use of the verb.”

Here the word appears (for the first time if not the last) not­ed down by hand in the mar­gins of a prop­er text, in this case Cicero’s De Offici­is. â€śIt’s a monk express­ing his dis­plea­sure at an abbot,” writes Katharine Tren­da­cos­ta at i09. “In the mar­gins of a guide to moral con­duct. Because of course.” She quotes Melis­sa Mohr, author of Holy Sh*t: A Brief His­to­ry of Swear­ing, as declar­ing it “dif­fi­cult to know” whether this mar­gin­a­lia-mak­ing monk meant the word lit­er­al­ly, to accuse this abbott of “ques­tion­able monas­tic morals,” or whether he used it “as an inten­si­fi­er, to con­vey his extreme dis­may.” Either way, it holds a great deal of val­ue for schol­ars of lan­guage, giv­en, as the OED puts it, “the absence of the word from most print­ed text before the mid twen­ti­eth cen­tu­ry” and the “quo­ta­tion dif­fi­cul­ties” that caus­es. If you find noth­ing to like in the F word’s ever-increas­ing preva­lence in the media, think of it this way: at least future lex­i­cog­ra­phers of swear­ing will have more to go on.

To view the com­plete man­u­script page, click here. The doc­u­ment seem­ing­ly resides at Brasenose Col­lege, Oxford.

via io9

Relat­ed Con­tent:

Steven Pinker Explains the Neu­ro­science of Swear­ing (NSFW)

Stephen Fry, Lan­guage Enthu­si­ast, Defends The “Unnec­es­sary” Art Of Swear­ing

George Car­lin Per­forms His “Sev­en Dirty Words” Rou­tine: His­toric and Com­plete­ly NSFW

Medieval Cats Behav­ing Bad­ly: Kit­ties That Left Paw Prints … and Peed … on 15th Cen­tu­ry Man­u­scripts

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture and writes essays on cities, Asia, film, lit­er­a­ture, and aes­thet­ics. He’s at work on a book about Los Ange­les, A Los Ange­les Primer. Fol­low him on Twit­ter at @colinmarshall or on his brand new Face­book page.

Play the Great Language Game: It’s Fun and Free

great language game

Are you ready to play The Great Lan­guage Game? This online game “chal­lenges you to dis­tin­guish between some eighty or so lan­guages [see a list here] based on their sound alone. In each game you’re allowed three mis­takes, which are kept for you to study at the end. If you’re feel­ing com­pet­i­tive, share your score with some friends and com­pete for some seri­ous brag­ging rights.” You can even see how oth­er play­ers are far­ing inter­na­tion­al­ly.

If you rock the game, let us know in the com­ments below.

If you come out of the game feel­ing like you could brush up on your  lan­guages (which you pret­ty well might), then head over to our col­lec­tion of Free Lan­guage Lessons. It offers free lessons in 46 lan­guages, every­thing from Ara­bic to Yid­dish. Have fun.

via Kot­tke

Relat­ed Con­tent:

Learn 46 Lan­guages Online for Free: Span­ish, Chi­nese, Eng­lish & More

Learn Latin, Old Eng­lish, San­skrit, Clas­si­cal Greek & Oth­er Ancient Lan­guages in 10 Lessons

Speak­ing in Whis­tles: The Whis­tled Lan­guage of Oax­a­ca, Mex­i­co

“Learn Eng­lish With Ricky Ger­vais,” A New Pod­cast Debuts (NSFW)

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David Foster Wallace’s Sharp Letter to His Editor: “Don’t F with the Mechanics of My Piece”

DFWFax

Click for expand­ed ver­sion

We might imag­ine that David Fos­ter Wal­lace worked out his neu­roses pri­mar­i­ly in his volu­mi­nous fic­tion­al and crit­i­cal out­put, but as we see from a fax above to Harper’s edi­tor Joel Lovell, the painful self-con­scious­ness that drove his writ­ing man­i­fest­ed in even the most mun­dane of doc­u­ments. Wal­lace sub­mit­ted the faxed let­ter with a short essay on Kaf­ka that appeared in Harper’s in 1998. The essay itself—an account of the dif­fi­cul­ties of teach­ing the arch Czech author to Amer­i­can undergraduates—slices through com­mon­places, arriv­ing at the con­clu­sion that “the hor­rif­ic strug­gle to estab­lish a human self results in a self whose human­i­ty is insep­a­ra­ble from that hor­rif­ic strug­gle. That our end­less and impos­si­ble jour­ney toward home is in fact our home.” Reas­sur­ing stuff this ain’t, but then, nei­ther is Kaf­ka. Even amidst all of its elab­o­rate defen­sive strate­gies, Wallace’s writ­ing also expos­es the unheim­lichkeit of human embod­i­ment, and in the Kaf­ka essay, it’s a point he want­ed to make in a very par­tic­u­lar way, unmedi­at­ed by any edi­to­r­i­al inter­ven­tion.

His faxed let­ter to Lovell antic­i­pates and resists crit­i­cism and alter­nates between dis­mis­sive, self-effac­ing, and mock-threat­en­ing in his expressed desire that the Harper’s staff “not copy­ed­it this like a fresh­man essay.” He explains the con­ver­sa­tion­al style of the piece as an effort to “pro­tect me from people’s ire.” The body of the let­ter fin­ish­es with Wallace’s foot­not­ed promise to “find a way to harm you or cause you suf­fer­ing* if you fuck with the mechan­ics of this piece.” It’s clas­sic DFW: com­plete­ly idio­syn­crat­ic, a prose style induced by his “hor­rif­ic strug­gle” to estab­lish an authen­tic self. Read a tran­script below, cour­tesy of Let­ters of Note. All, of course, sic.

ATTEMPTED FAX COVER SHEET

From: David Wal­lace

To: Joel Lovell, Harper’s [redact­ed] (Office [redact­ed])

This is pret­ty much the best I can do, I think. I feel shit­ty stick­ing a lot of what you want­ed in FN’s, but I didn’t see any work to work it into the main text w/o hav­ing to rewrite whole ¶s and throw the thing’s Sty­ro­foamish weight off.

The deal is this. You’re wel­come to this for READINGS if you wish. What I’d ask is that you (or Ms. Rosen­bush, whom I respect but fear) not copy­ed­it this like a fresh­man essay. Idio­syn­cra­cies of ital, punc­tu­a­tion, and syn­tax (“stuff,” “light­bulb” as one word, “i.e.”/“e.g.” with­out com­mas after, the colon 4 words after ellipses at the end, etc.) need to be stet­ted. (A big rea­son for this is that I want to pre­serve an oral­ish, out-loud feel to the remarks so as to pro­tect me from people’s ire at stuff that isn’t expand­ed on more; for you, the big rea­son is that I’m not espe­cial­ly psy­ched to have this run at all, much less to take a blue-skyed 75-degree after­noon futz­ing with it to bring it into line with your specs, and you should feel oblig­ed and bor­der­line guilty, and I will find a way to harm you or cause you suf­fer­ing* if you fuck with the mechan­ics of this piece.

Let Me Know,

Dave Wal­lace

* (It may take years for the opor­tu­ni­ty to arise. I’m very patient. Think of me as a spi­der with a phe­nom­e­nal emo­tion­al mem­o­ry. Ask Charis.)

via F yeah, man­u­scripts!

Relat­ed Con­tent:

30 Free Essays & Sto­ries by David Fos­ter Wal­lace on the Web

David Fos­ter Wallace’s 1994 Syl­labus: How to Teach Seri­ous Lit­er­a­ture with Light­weight Books

David Fos­ter Wal­lace Cre­ates Lists of His Favorite Words: “Mau­gre,” “Taran­tism,” “Ruck,” “Prima­para” & More

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

How a Book Thief Forged a Rare Edition of Galileo’s Scientific Work, and Almost Pulled it Off

GalileoForgeries1

A cou­ple of weeks ago, we pub­lished a post that fea­tured Galileo’s Moon draw­ings, “the first real­is­tic depic­tions of the moon in his­to­ry.” As it turns out—some read­ers alert­ed us—some of the Moon illus­tra­tions attrib­uted to Galileo are actu­al­ly very con­vinc­ing forg­eries, so con­vinc­ing, in fact that when the draw­ings sur­faced in 2005, they ini­tial­ly swayed such experts as rare books deal­er Richard Lan, Har­vard pro­fes­sor of astron­o­my and his­to­ry of sci­ence Owen Gin­gerich, and art his­to­ri­an Horst Bre­dekamp. All of these experts have since come to learn—partially through the inves­ti­ga­tions of Geor­gia State Uni­ver­si­ty his­to­ri­an Nick Wild­ing—that an unusu­al edi­tion con­tain­ing detailed water­col­ors, pur­port­ed­ly in Galileo’s own hand (above and below), was in fact cre­at­ed by forg­er, book thief, and for­mer direc­tor of the State Library of Giro­lami­ni, Mari­no Mas­si­mo De Caro, who now stands accused of steal­ing thou­sands of vol­umes, includ­ing cen­turies-old edi­tions of Aris­to­tle, Descartes, Galileo and Machi­avel­li.

GalileoForgery2

The draw­ings we fea­tured at the top of our pre­vi­ous post—from a set of five inkwash­es made in 1609, called “the Flo­rence Sheet”—are gen­uine, as are the etch­ings in the orig­i­nal text of Galileo’s sci­en­tif­ic trea­tise, Sidereus Nun­cius. How­ev­er, as inves­tiga­tive reporter Nicholas Schmi­dle doc­u­ment­ed in a lengthy arti­cle pub­lished in last December’s New York­er, the edi­tion pic­tured above—purchased for half a mil­lion dol­lars by Richard Lan of rare book­sellers Mar­tayan Lan and once val­ued at over ten mil­lion dol­lars for its unique rust-col­ored illustrations—is a fake, despite being authen­ti­cat­ed by a team of schol­ars in 2007.

The sto­ry of how De Caro’s forgery came to fool near­ly every­one who exam­ined it (end­ing up in Time mag­a­zine and dozens of oth­er pub­li­ca­tions and schol­ar­ly web­sites) is a long and wind­ing tale. Like many forg­ers, De Caro act­ed out of a mix­ture of greed, envy, and a desire to prove him­self to a field he felt did not rec­og­nize his tal­ents (De Caro also forged a copy of Galileo’s 1606 Com­pas­so to replace a stolen ver­sion). A col­lege dropout, he “held an impe­ri­ous grudge against peo­ple who had spent years study­ing in libraries,” writes Schmi­dle. Instead, De Caro had earned an hon­orary pro­fes­sor­ship by donat­ing four Galileo edi­tions (pre­sum­ably gen­uine) and a chunk of mete­orite to a pri­vate insti­tu­tion in Buenos Aires. More than just a sto­ry of fraud and theft, De Caro’s is one of aca­d­e­m­ic impos­ture. In 2006, for exam­ple, he par­tic­i­pat­ed in a pan­el dis­cus­sion on Galileo at Ford­ham Uni­ver­si­ty, and despite the skep­ti­cism of actu­al schol­ars, his exper­tise was trust­ed in the rare books and muse­um worlds until his dis­cov­ery.

Accord­ing to Schmi­dle, De Caro and an accom­plice artist aged sev­er­al bot­tles of nine­teenth-cen­tu­ry ink to cre­ate the Galileo draw­ings, using the Flo­rence Sheet as a guide for the sev­en­teenth-cen­tu­ry astronomer’s hand. After open­ing a bot­tle of red wine, he had his accom­plice trace the out­line of the moons with the foot of his wine­glass. Then they baked the pages in his home oven to age them. It’s hard to believe De Caro’s fake sur­vived scruti­ny for over five years, until Wild­ing began to express his doubts in 2011. Though fac­ing sev­er­al years in prison, De Caro hopes to work some­day with the F.B.I., help­ing them dis­cov­er forged and stolen books. He cites famous con man Frank Abag­nale, played by Leonar­do Di Caprio in the 2002 film Catch Me If You Can, as an inspi­ra­tion. “I want to do for books what he did for checks,” says De Caro. “I can help them find all the black, off­shore accounts of all the book­sellers.” Read a fac­sim­i­le of Schmidle’s arti­cle here. And for more on De Caro’s brazen crimes, see this detailed Exam­in­er arti­cle.

Relat­ed Con­tents:

Galileo’s Moon Draw­ings, the First Real­is­tic Depic­tions of the Moon in His­to­ry (1609–1610)

Meet “Father Phil­an­thropy”: America’s Most Pro­lif­ic and Unlike­ly Mas­ter Art Forg­er

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

Free Guided Meditations From UCLA: Boost Your Awareness & Ease Your Stress

Pre­vi­ous­ly, we’ve writ­ten about a grow­ing num­ber of cul­tur­al fig­ures who prac­tice tran­scen­den­tal med­i­ta­tion, with Paul McCart­ney, David LynchLeonard CohenEllen Degeneres, and Sheryl Crow being ardent sup­port­ers. Mind­ful­ness med­i­ta­tion, while less known, has also steadi­ly increased in pop­u­lar­i­ty over the past half-decade. In part, there’s its inher­ent appeal: mind­ful­ness cul­ti­vates an all-accept­ing aware­ness of the present moment, there­by dis­solv­ing anx­i­eties about the future or pre­oc­cu­pa­tions with thoughts of the past. There’s also the grow­ing momen­tum of mind­ful­ness research in the sci­en­tif­ic com­mu­ni­ty, with stud­ies sug­gest­ing that mind­ful­ness-based ther­a­peu­tic approach­es may ben­e­fit a host of psy­cho­log­i­cal issues. Its use to alle­vi­ate anx­i­ety, depres­sion, and stress is par­tic­u­lar­ly promis­ing.

“Sounds tempt­ing,” you say, “but where does one try this mind­ful­ness med­i­ta­tion busi­ness, any­way? Can I try it with­out going any­where?” You’re in luck, my friend! UCLA’s Mind­ful Aware­ness Research Cen­ter (MARC) has uploaded a set of mind­ful­ness med­i­ta­tions to iTune­sU, where the series is present­ly the #1 down­load. “I’m too busy,” you say, open­ing a Face­book tab. Not so fast! Most of the med­i­ta­tions are under 10 min­utes long, with the com­plete series clock­ing in at two hours.

We’ve had trou­ble lis­ten­ing to the lec­tures on the UCLA site, so if you’re inter­est­ed, head over to iTune­sU to down­load Mind­ful Med­i­ta­tions. Oth­er­wise, if you live with­in a rea­son­able dis­tance of UCLA’s Ham­mer Muse­um, drop in for free week­ly med­i­ta­tion ses­sions (record­ings for most of these are avail­able here).

Ilia Blin­d­er­man is a Mon­tre­al-based cul­ture and sci­ence writer. Fol­low him at @iliablinderman, or read more of his writ­ing at the Huff­in­g­ton Post.

Relat­ed Con­tent:

Alan Watts Intro­duces Amer­i­ca to Med­i­ta­tion & East­ern Phi­los­o­phy (1960)

David Lynch Talks Med­i­ta­tion with Paul McCart­ney

Mihaly Czik­szent­mi­ha­lyi Explains Why the Source of Hap­pi­ness Lies in Cre­ativ­i­ty and Flow, Not Mon­ey

David Lynch Explains How Med­i­ta­tion Enhances Our Cre­ativ­i­ty

An Artistic Portrait of Stephen Fry Made From His Own Bacteria

Stephen Fry is tak­ing part in a curi­ous sci­ence exper­i­ment. It involves cre­at­ing a por­trait of the writer/comedian/science enthu­si­ast, using noth­ing but his own bac­te­ria and cells. Accord­ing to the web site of The Big Bang UK Young Sci­en­tists & Engi­neers Fair, the “bac­te­ri­ographs” — as the por­traits are called — are “made from the sub­jects’ own cells – and have been grown by Zachary Copfer, an Amer­i­can micro­bi­ol­o­gist and pho­tog­ra­ph­er.” “To make the Pop Art style images, Zachary clev­er­ly expos­es areas of a petri dish to radi­a­tion in order to stim­u­late the bacteria’s growth. This cre­ates a pho­to­graph grown entire­ly from the bac­te­ria itself.” Find more of Copfer­’s work below, and oth­er sci­en­tif­ic work fea­tur­ing Stephen Fry fur­ther down the page.

Bacteriographs

Relat­ed Con­tent

Stephen Fry Hosts “The Sci­ence of Opera,” a Dis­cus­sion of How Music Moves Us Phys­i­cal­ly to Tears

Stephen Fry Explains Cloud Com­put­ing in a Short Ani­mat­ed Video

Stephen Fry Intro­duces the Strange New World of Nanoscience

Free Online Biol­o­gy Cours­es

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Allen Ginsberg’s Last Three Days on Earth as a Spirit: The Poet’s Final Days Captured in a 1997 Film

You may have read Allen Gins­berg’s final poem “Things I’ll Not Do (Nos­tal­gias)” when we fea­tured it last month. In it, the lead­ing Beat poet, near­ing the very end of his life, lists off all of the peo­ple, places, and things he knew he would nev­er see, vis­it, and do again. But a prac­tic­ing Bud­dhist such as Gins­berg cer­tain­ly would­n’t have viewed the event of his death with total final­i­ty. What, then, hap­pened to him after April 5th, 1997, when his offi­cial biog­ra­phy came to a close? Here we have one attempt at an answer by Lithuan­ian avant-garde lumi­nary Jonas Mekas (who, inci­den­tal­ly, hap­pens to remain active in this mor­tal coil today at the age of 91). Mekas doc­u­men­tary Scenes from Allen’s Last Three Days on Earth as a Spir­it observes Gins­berg’s Bud­dhist wake and col­lects mem­o­ries and impres­sions from his friends and col­lab­o­ra­tors, Mekas him­self includ­ed.

The scenes occa­sioned by Gins­berg’s death slant, per­haps unsur­pris­ing­ly, toward the artis­tic and lit­er­ary: musi­cian Pat­ti Smith, poet Gre­go­ry Cor­so, writer Amiri Bara­ka, visu­al artist Hiro Yam­a­ga­ta, and poet Anne Wald­man all make appear­ances. You can watch an excerpt of the film above and its 67-minute entire­ty on Ubuweb. (Also find the film list­ed in the doc­u­men­taries sec­tion of our col­lec­tion of Free Movies Online.) Allen’s Last Three Days on Earth, a kind of video diary as well as a memo­r­i­al state­ment, gives as much insight into Mekas’ per­spec­tive as it does to Gins­berg’s exis­tence. By the time of Gins­berg’s pass­ing, Mekas’s body of work includ­ed “two nar­ra­tive films and near­ly twen­ty years’ worth of pri­vate record­ings,” at which point he had “decid­ed to make fea­ture films from his home movies.” That descrip­tion comes from Aaron Cut­ler in The Believ­er, writ­ing on Mekas’ meth­ods of turn­ing into “oppo­si­tion­al cin­e­ma” records of his life spent immersed in the art world. Such a prac­tice cap­tures many impor­tant ques­tions, often inad­ver­tent­ly. In this case, one in par­tic­u­lar has left me think­ing: what on Earth would Allen Gins­berg have rein­car­nat­ed as?

Relat­ed Con­tent:

Read Allen Ginsberg’s Poignant Final Poem “Things I’ll Not Do (Nos­tal­gias)”

Hear the Very First Record­ing of Allen Gins­berg Read­ing His Epic Poem “Howl” (1956)

Allen Ginsberg’s “Celes­tial Home­work”: A Read­ing List for His Class “Lit­er­ary His­to­ry of the Beats”

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture and writes essays on cities, Asia, film, lit­er­a­ture, and aes­thet­ics. He’s at work on a book about Los Ange­les, A Los Ange­les Primer. Fol­low him on Twit­ter at @colinmarshall or on his brand new Face­book page.

Jack Kerouac’s On The Road Turned Into Google Driving Directions & Published as a Free eBook

A cou­ple weeks ago, Col­in Mar­shall high­light­ed for you Jack Kerouac’s Hand-Drawn Map of the Hitch­hik­ing Trip Nar­rat­ed in On the Road. Now we have anoth­er Ker­oua­cian map for you — a map for our times. Gre­gor Weich­brodt, a Ger­man col­lege stu­dent, took all of the geo­graph­ic stops men­tioned in On the Road, plugged them into Google Maps, and end­ed up with a 45-page man­u­al of dri­ving direc­tions, divid­ed into chap­ters par­al­lel­ing those of Ker­ouac’s orig­i­nal book. You can read the man­u­al — On the Road for 17,527 Miles– as a free ebook. Just click the image above to view it online (or click here). Like­wise, you can pur­chase a print copy on Lulu and per­haps make it the basis for your own road trip. Won­der­ing how long such a trip might take? Google Maps indi­cates that Ker­ouac’s jour­ney cov­ered some 17,527 miles and the­o­ret­i­cal­ly took some 272 hours.

Note: You can find lec­tures (1 + 2) dis­cussing the impor­tance of On the Road in Yale’s course, The Amer­i­can Nov­el Since 1945. It appears in the Lit­er­a­ture sec­tion of our col­lec­tion, 1,700 Free Online Cours­es from Top Uni­ver­si­ties.

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. Or fol­low our posts on Threads, Face­book, BlueSky or Mastodon.

If you would like to sup­port the mis­sion of Open Cul­ture, con­sid­er mak­ing a dona­tion to our site. It’s hard to rely 100% on ads, and your con­tri­bu­tions will help us con­tin­ue pro­vid­ing the best free cul­tur­al and edu­ca­tion­al mate­ri­als to learn­ers every­where. You can con­tribute through Pay­Pal, Patre­on, and Ven­mo (@openculture). Thanks!

via @SteveSilberman and PRI

Relat­ed Con­tent:

Jack Ker­ouac Lists 9 Essen­tials for Writ­ing Spon­ta­neous Prose

Pull My Daisy: 1959 Beat­nik Film Stars Jack Ker­ouac and Allen Gins­berg

Jack Ker­ouac Reads from On the Road (1959)

500 Free eBooks: Down­load Great Books for Free

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