A person in a space suit standing in a field of purple flowers.

F in the ELLPH

A person in a space suit standing in a field of purple flowers.
Image by Rohit Choudhari

Corcoran and I went alone to planet F in the ELLPH system, where microbial and plant life had been discovered. The mission was to discover a proto-language. If F developed similarly to Earth, its vegetation would produce the early stages of the desire for separation, which would evolve into what we call human language, to be adopted eventually by hominid-like animals once their brains developed the capacity to house such an innovation. 

The army didn’t approve of two men alone on this special op. The risk of romantic attachment in such a lengthy, close-quarters critical mission was too high. But Corcoran was the only one in the training who met the essential requirement, so he was the only one who could go with me.

I didn’t notice anything special about him at first. A stocky, Midwestern fresh-faced kid, eyes wide as saucers. Strong Minnesotan accent, but only when he spoke English. His Portuguese, French and Russian were radio perfect in pronunciation, but in syntax and vocabulary he fell behind the other shortlisted multilinguals.

It wasn’t until he referred himself for a psych eval on the selection exercise in Yucatán that I took notice of him.

‘What part of your psyche needs evaluating, Sergeant?’

‘I’m seeing fairies, Sir.’

A Mayan medicine man had led the unit in a ritual the night before. I suspected half of the men in the unit had caught a glimpse of the fae, but Corcoran was the only one admitting it.

‘That’s the psychedelics talking, Corcoran.’ 

He didn’t stop admitting it, even after I gave him an out. He believed they were real. 

‘You were right about the fairies,’ I revealed on the craft that would bring us to F. ‘We’ve discovered that the elemental forces that on Earth are known as fae—or Alux, among the Maya—are the first attempts of a planet to produce linguistic expression.’

You were right about the romance, I’d have confessed to my superiors, if we hadn’t lost contact with them shortly before arrival. The elemental language prototypes that abounded on F had brought tears to the scrying pools of Corcoran’s eyes.

‘The separation creates the Mystery,’ he breathed. We held each other, weeping. The curious fairies gathered round.


Would you like to know more about this story? I discuss it in Episode 110 of Structured Visions, ‘Clap if you believe in fairies.’ You can also sign up to the Grammar for Dreamers newsletter to get monthly updates on the ideas that inspire my work.

Branch on a red maple.

The problem with talking to trees

Branch of a red maple tree.
Photo by Yuka Tanaka

‘The problem with telepathic communication with trees is not proving it’s possible. That it’s possible is undisputed. The number of people having meaningful conversations with our arboreal companions grows every day. The problem—’

Here the professor paused to sip some water.

‘The problem is that telepathy is a form of translation. Any communication directly transmitted to a human is understood exclusively in the recipient’s first language. Sequoias and redwoods do not “speak” English, or Tagalog, or any of the other languages their messages have been translated into. They speak the Earth’s own language, and relying upon telepathy to hear them makes it difficult to identify the Earth’s linguistic structure.’

The professor sensed some uneasiness in the audience. He stopped for a moment, but no questions, concerns or rebuttals came forth. 

‘There’s a way round this, though,’ he assured them. ‘Make hypotheses about what forms might only exist in your human L1—English, for instance—then pose telepathic questions that depend upon these structures. Copular verbs are a good example.’

He’d confused, he realised, the non-linguists in the audience. 

‘The English copula are the BE verbs—am, are, is, was, were,’ he explained, clumsily. ‘Like all verbs, copula require subjects, but they are more bound to these than lexical verbs, even analytic languages like English.’

Clearly no one knew what an analytic language was.

‘Analytic languages, of course,’ he coughed, ‘are those that rely less upon inflectional morphemes, like English.’

The explanation didn’t help, but the professor could not afford to lose more time.

‘I surmised that the Earth’s language, though abundant in verbs, would lack copula,’ he said. ‘Copular verbs require association between subjects and complements, either of identification or attribution. I am a professor of linguistics. I am Stephen. I am happy to be here. The verb separates me into at least two different entities or states. It creates a label that is affixed to the I.’

Something occurred to him. ‘It is strange that the word copula suggests a bringing together,’ he reflected extemporaneously. ‘What’s actually happening is that the verb separates. What was one becomes two.’

The professor could not afford to wonder whether this metalinguistic inaccuracy troubled anyone else. He had not yet communicated his most important discovery.

‘My hypothesis was that the tree’s linguistic system would not code for such a divide. You’ll be wondering how I managed to test this,’ he offered.

No one seemed to be wondering this.

‘I posed it a question. Two questions, in fact.’

He drained his cup of water and signalled for more.

‘“What are you?” I asked. “Who are you?”’

A nurse appeared with the requested refill. ‘Sleepy time now,’ she announced, casually placing the meds on his tongue and pouring the water into his mouth. She wiped the dribble from his chin and waited.

The professor’s eyes closed and his audience dissolved, the auditorium empty and echoing.

No one would have heard the tree’s response, had the red maple outside the window not offered it up as a reply.

“I am that I am,” it said, disproving the hypothesis. But no one heard, not Stephen, not the nurse, not the confused, invisible crowd.


Would you like to know more about this story? I discuss it in Episode 109 of Structured Visions, What makes you so special? You can also sign up to the Grammar for Dreamers newsletter to get monthly updates on the ideas that inspire my work.

Golden grass covered in dew.

Possessive

Golden, dew covered grass
Photo by Johnny McClung

‘I’ve started talking to Proto-Indo-European.’

‘You mean you’ve started talking in…’

‘No. Talking to,’ Cassie insists. ‘I’ve personified the language. I call him Piedas.’

They meet every Friday at Lenny’s for happy hour to complain about their PhDs, how far behind they are, how mad they’re going.

‘Midas? Like the king with the golden touch?’

Cassie chews on a mojito-drenched mint leaf. She knows Beth will never understand her obsession with the noun-based languages that Proto-Indo-European generated. She never should have mentioned Piedas.

‘Like Midas, but everything he touches turns to nouns.’

It troubles Cassie that 40 percent of people, herself included, are doomed to see the world in terms of nouns. Things. Isolated, rigid, commodified. Bought, sold, stolen.

‘PIEdas. Proto. Indo. European. You’ve got to be kidding me,’ Beth says. ‘Happy hour’s almost over,’ she hints.

Cassie rises unsteadily and joins the clamouring mob at the bar. Foolishly she closes her eyes and allows the invading nouns— elbow, glass, noise, light, exhaustion, panic—to transform into verbs. Gush, swirl, flow.

She sinks, as into a river, like Midas, who dipped his tortured hands into the river Pactolus to be cleansed of his greed.

What hope is there for Piedas? Cassie wonders, moments before her head hits the sticky floor. A vision appears before her dark, unconscious eyelids.

‘Everything now you touch,’ says the river to Piedas, ‘turns to yours.’

‘Mine?’ wonders the weary king, casting his eyes over the verdant landscape that now belongs to him. Each detail now reveals itself in golden splendour—the waving limbs of his grassland, the jutting peaks of his mountains, the roiling herds of his antelope.

We can redetermine the value of the possessive, Cassie realises, as the crowd helps her to her feet.

‘You are thirsty,’ said Piedas to his wilting tulip, carrying water from his river in his palms.


Would you like to know more about this story? I discuss it in Episode 109 of Structured Visions, What makes you so special? You can also sign up to the Grammar for Dreamers newsletter to get monthly updates on the ideas that inspire my work.

Person standing on a precipice.

The precipice

Person standing on top of a precipice.
Photo by EJ Strat

The gorge plunges beneath Susanna’s feet, her shoes displacing loose red rocks that tumble to the unseeable depths. At the precipice of this dizzying landscape all she can think about is the parenthetical you. The subject of imperatives. As she’s always taught her students, the shortest sentences are one-word commands, like Stop! The subject (you) is understood.

The parentheses around her own (you) hold her back like cords. Stay safe. Come back. Don’t jump.

Syntax, she tells her students, is like the pattern of beads on a string.

It would be easy, she thinks, to cut that string.

It is easy. She breathes one word, an onomatopoeic expletive. Snip! It will feel like flying, she thinks. The imperatives release their hold. 

To her surprise, she does not jump.

Disentangled from the strands of syntax, her body now pulses with the deeper language that thrums from the ancient red rock and expansive blue heights. She feels its embrace, a rising warmth, rooting her in a panoramic welcome, opening her heart to the magnitudes.


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Abstract Concept of TRAPPIST-1 System

The Earth’s boast

Abstract Concept of TRAPPIST-1 System
Abstract Concept of TRAPPIST-1 System by NASA

It started as a thought experiment among the life-sustaining planets. We might have been a little drunk. I certainly was. I’d not spent a lot of time in Trappist-1, and it’d been a while since I’d taken in that much laughing gas.

What if…? What if…? What if…? Each proposal became increasingly more ludicrous.

Inevitably I offered my own inebriated suggestion. ‘What if existence could limit its own consciousness?’

Their protestations rippled through the universe. ‘How would you achieve it? By focusing on just one of your species?’

I nodded.

‘Would you diminish the organism’s sensory sensitivity?’

‘That wouldn’t work. Consciousness expands in darkness,’ I reminded them.

The Trappist-1 planets nodded with a sagacity they did not possess.

‘It’s not the senses of the organism that you’d restrict,’ I said. ‘Instead you’d remove its capacity to name.’

‘Impossible!’ they bellowed, with a rising anxiety that roiled their oceans. The naivety of their ire further fuelled my urge to boast.

‘All it would take is a programme,’ I said. ‘One that masks the planet’s true names. When beholding a world’s vast complexities, the organism in question instead experiences unidimensional thought-forms known as words.’

As the terrifying realisation dawned I could not stop myself from delivering the coup de grâce. ‘Then,’ I said casually, ‘you convince the bewitched organisms that they are the Namers.’

A gasp. No one was laughing now.

‘The consequences of such a programme would be devastating,’ they declared. ‘No one could bear the burden of such a lie. The Naming Ones would roam the planet with a destructive hunger too deep to satisfy.’

Not a hunger, I thought, but a longing. For I had come to love my humans, my earthlings who, in the shrouds of the limiting language I made for them, had discovered the shapes of our common desire.


Would you like to know more about this story? I discuss it in Episode 108 of Structured Visions, Adulting, and stuff like that. You can also sign up to the Grammar for Dreamers newsletter to get monthly updates on the ideas that inspire my work.

Ventriloquist's dummy.

The Dummy

Ventriloquist's dummy.
Photo by Robert Zunikoff

‘The secret is to keep the lips perfectly still while the rest of the face expresses the range of emotions. The most difficult sounds are those where the lips come together, like p and b. Replace these with t and d.’

‘Try it now,’ he commanded. ‘Peter baked a berry pie.’

They obeyed, in chorus. ‘Teter daked a derry tie.’ 

‘If ever you require more precise enunciation, a hand in front of the mouth may suffice. Politely cover a yawn or a cough.’

The techniques were sound, thought the Dummy, but his students’ eyes were fixed upon him, not on the motionless lips of his demonstrating ventriloquist. It mattered little, he supposed, as long as the mysteries of language remained hidden.

‘Your lips are moving,’ admonished the Dummy, flapping his own charismatic wooden jaw. 

Just once he’d like to reveal the true teaching.

It is not you who move the lips, nor you who speak the words. You are the inhabitants of a language that speaks you into being.

But his students had signed up for illusion, not mystery, and he’d not be the one to disappoint them.


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Bible opened to the beginning of the Gospel According to St. John.

Logogenesis

The discovery of the Digital Scrolls caused quite a flurry among the Guild of Human Historians, mitigated marginally by the time it took to extract and translate the data. Then came the task of grouping texts and assigning them to research teams, accompanied by the usual bureaucratic bottlenecks and requisite hierarchical pissing contests.

Junior Guild members such as myself were assigned the least important pieces—isolated and/or anachronistic fragments of texts that resisted classification. I was tasked with working on a few lines from an arcane segment called ‘John’s Gospel.’ That its digital trace was identified in the Scrolls dated it to the dawn of the Anthropocene, but a cursory comparison with supposedly contemporary data suggested an even earlier origin.

Something about the document transfixed me.

‘I think it’s a sacred text,’ I told my supervisor, Jim. I translated the first line for him.

In the beginning was the Word, and the Word was with the Creator, and the Word was the Creator.

Jim’s chair squeaked as he shifted to hide his yawn. ‘The Word is language, I presume,’ he said, dully, and I understood his indifference. If ancient humans put language as the origin of all existence, their beliefs would not be dissimilar to ours, and there would be no story.

‘Most likely,’ I said. ‘But I don’t think they meant the Earth’s language. When they say Creator, I don’t think they’re talking about the Earth.’

Jim turned to face me, his eyebrows raised. The chair squeaked again, as if to protest such a heresy.

‘What other language would there be, other than the Earth’s? What other Creator?’

‘I think,’ I ventured, swallowing, ‘that they saw their Creator as existing outside of the Earth. Above the Earth, even. And they knew no other language than human language. They believed their language came from this other, human-like god.’

Jim’s eyes locked on mine. The implications of such a belief system were hard to imagine. A final, decisive squeal from his chair jolted him from his rumination. ‘Nonsense,’ he concluded. ‘If ancient humans believed such a thing, they never would have survived. They’d have been crushed by the weight of their own suffering.’

I left Jim and returned to the ever-elusive John’s Gospel, marvelling at our ancestors, whose god was so other, whose language was so separate, whose suffering was undeniably fathomless. 


Would you like to know more about this story? I discuss it in Episode 107 of Structured Visions. You can also sign up to the Grammar for Dreamers newsletter to get monthly updates on the ideas that inspire my work.

Close up of the strings of a violin.

The luthier

‘She doesn’t speak, only plays. A savant.’

The young girl seemed hesitant to leave the cold, coarse shelter of her guardian’s looming shadow. When his brusque prod forced her across the threshold, her body shrivelled, as if recoiling from the warm airiness of the Maestro’s studio.

A protective instinct made him dim the lights before asking her to play.

With the violin cradled between shoulder and chin she came to life, as a sapling in a dense wood stretches toward the sun.

In the rich tones she coaxed from her instrument, the Maestro heard a brief, bitter biography of her silenced grief. He stepped behind his new pupil to wipe away ineffectual tears.

‘I once knew a luthier,’ said the Maestro, when her small recital was complete. ‘A master of his art. He told me once how it sorrowed him to shape the wood, which once sang the symphonies of the Earth’s vast forests, into a body whose music must be reduced to a single line of notes.’

A sudden brightness on the child’s face made him think she’d understood. He readied himself to hear her first words, released like quivering strings on ancient wood, surrendering to the singularity of melody.

Instead, the looming shadow returned, marking the lesson’s end.

The violin hung lifelessly from the child’s limp arm.


Would you like to know more about this story? I discuss it in Episode 106 of Structured Visions, Prosody and peak experiences. You can also sign up to the Grammar for Dreamers newsletter to get monthly updates on the ideas that inspire my work.

Unclothing

Dome tent in the mountains, with the sun just above the horizon
Photo by Kevin Ianeselli

‘What sparked the idea?’

Dr Lauren Ellis’s eyes glaze as if no one has ever asked this intellectual giant what incited the Eureka moment that was to transform environmental research—the translation software that allows scientists to communicate with entire ecosystems, to enable a more symbiotic relationship between human communities and the natural world.

‘I was camping with my boyfriend,’ she reveals. ‘One morning I woke up to see the networks of mycelial threads that stretched out over the landscape.’

Cherchez la femme, they say, or in Dr Ellis’s case, cherchez l’homme. Is the mystery man still in her life?

‘Next question,’ is the curt reply. The man remains a mystery. Thankfully, due to Ellis’s pioneering spirit, the natural world is becoming less of one.

Not boyfriend but first husband, Lauren thinks, mentally editing the article for style and accuracy. 

He’d brought her on the camping trip to confess his affair. When in the early hours she’d ripped the sleeping bag from his body and voraciously unclothed him, buttons popping on his thermal gilet, lined tracksuit bottoms wrenched from kicking legs, he must have assumed he was forgiven. But the desire that raged through her was not a longing for loving union but an implacable will to discover.

Or rather, she thinks, to uncover what lay beneath the tight web of language that formed the noun-phrase containers of his image: faithful husband, misunderstood man, complex depressive, now woeful penitent. When stripping him of the layers of clothing did not sate her, she pressed into him with a passion, not to connect but to unweave the layers of language that shaped the likeness he’d presented, the only version of him she’d ever known, as if the naked heat of such a yearning could melt through his façade and reveal some nascent truth within.

Outside in the emerging day she wrapped her sleeping bag around her and marvelled at the white web of fungal strands that clothed the organic landscape. Not to insulate, she realised, but to connect

Something loosened within her, an idea unravelling.


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The words "THE END" spraypainted on a white brick wall

The end

The words "THE END" spray painted on a white brick wall
Photo by Crawford Jolly

In the city centre, at the cathedral, a lexical error. Writ large on a sign held aloft by brittle, needle-tracked arms. 

Ellen has just returned from a hospital appointment where she learned she has nothing left to lose. Whatever harm might come from correcting this error pales in comparison to her prognosis. She interrupts the ranting tramp.

‘It’s supposed to be The end is nigh.’ 

The addict lowers his arms to reflect upon his sign. The end is now.

With her linguistics training, Ellen can diagnose the reason for the error—the unfamiliarity of the archaic word paired with the phonological similarity between the diphthongs in now and nigh. Both are monophthongised in local accents. Nigh to nah in the American south. Now to nah in northern England. 

The man’s eyes are upon Ellen now, and they flood with a compassion that soaks her very synapses, dousing the incendiary syntax of her malignant thoughts. 

The end is now, he’s telling her, though his voice remains silent. The end is always, has always been now. It was only ever the stretching threads of mind-made language that could convince her otherwise, metastasising lies about the shape and structure of time.


Would you like to know more about this story? I discuss it in Episode 104 of Structured Visions, Consciousness is more than just a little cutie pie. You can also sign up to the Grammar for Dreamers newsletter to get monthly updates on the ideas that inspire my work.