John McWhorter - Böcker

Foreigners often say that English language is "easy." A language like Spanish is challenging in its variety of verb endings (the verb speak is conjugated hablo, hablas, hablamos), and gender for nouns, whereas English is more straight forward (I speak, you speak, we speak). But linguists generally swat down claims that certain languages are "easier" than others, since it is assumed all languages are complex to the same degree. For example, theywill point to English's use of the word "do" -- Do you know French? This usage is counter-intuitive and difficult for non-native speakers. Linguist John McWhorter agrees that all languages are complex, but questionswhether or not they are all equally complex. The topic of complexity has become a hot issue in recent years, particularly in creole studies, historical linguistics, and language contact. As McWhorter describes, when languages came into contact over the years (when French speakers ruled the English for a few centuries, or the vikings invaded England), a large number of speakers are forced to learn a new language quickly, and this came up with a simplified version, a pidgin. When this ultimatelyturns into a "real" language, a creole, the result is still simpler and less complex than a "non-interrupted" language that has been around for a long time. McWhorter makes the case that this kind ofsimplification happens in degrees, and criticizes linguists who are reluctant to say that, for example, English is simply simpler than Spanish for socio-historical reasons. He analyzes how various languages that seem simple but are not creoles, actually are simpler than they would be if they had not been broken down by large numbers of adult learners. In addition to English, he looks at Mandarin Chinese, Persian, Malay, and some Arabic varieties. His work will interest not just experts increole studies and historical linguistics, but the wider community interested in language complexity.

John McWhorter challenges an enduring paradigm among linguists in this provocative exploration of the origins of plantation creoles. Using a wealth of data--linguistic, sociolinguistic, historical--he proposes that the "limited access model" of creole genesis is seriously flawed. That model maintains that plantation creole languages emerged because African slaves greatly outnumbered whites on colonial plantations. Having little access to the slaveholders' European languages, the slaves were forced to build a new language from what fragments they did acquire. Not so, says McWhorter, who posits that plantation creole originated in West African trade settlements, in interactions between white traders and slaves, some of whom were eventually transported overseas. The evidence that most New World creoles were imports traceable to West Africa strongly suggests that the well-established limited access model for plantation creole needs revision. In forcing a reexamination of this basic tenet, McWhorter's book will undoubtedly cause controversy. At the same time, it makes available a vast amount of data that will be a valuable resource for further explorations of genesis theory.

Though there is a contingent of linguists who fight the fact, our language is always changing- not only through slang, but sound, syntax, and words' meanings as well. Debunking the myth of "pure" standard English, tackling controversial positions, and eschewing politically correct arguments, linguist John McWhorter considers speech patterns and regional accents to demonstrate just how the changes do occur. Wielding reason and humour, McWhorter ultimately explains why we must embrace these changes, ultimately revealing our American English in all its variety, expressiveness, and power.

From Show Boat to The Wiz, The Lion King, and Ragtime, everyone recognizes the “Broadway sound.” But what’s less known is how Black artists, collaborating with white creatives, pioneered the very essence of this uniquely American art form. In Broadway in Black and White, John Mauceri, a renowned conductor and music scholar, and John McWhorter, a celebrated linguist and New York Times columnist, bring their wide-ranging expertise to reveal Broadway’s culturally hybrid roots. Featuring intimate portraits of stars such as Ethel Waters, Paul Robeson, and Pearl Bailey, Mauceri and McWhorter explore the interrelationship between Black and white writers, musicians, actors, and producers throughout Broadway’s history. From Shuffle Along to Hamilton, Broadway in Black and White illustrates how culturally diverse artists created a politically active art form with the goal of fulfilling America’s foundational ideal that all people are created equal.

People of good will on both the left and the right are secretly asking themselves the same question: how has the conversation on race gone so crazy?Bestselling author and acclaimed linguist John McWhorter argues that an illiberal neoracism, disguised as antiracism, is hurting black communities and weakening the social fabric.We're told to read books and listen to music by people of colour but that wearing certain clothes is 'appropriation.' We hear that being white automatically gives you privilege and that being black makes you a victim. We want to speak up but fear we'll be seen as unwoke, or worse, labelled a racist. According to John McWhorter, the problem is that a well-meaning but pernicious form of antiracism has become, not a progressive ideology, but a religion – and one that's illogical, unreachable, and unintentionally neoracist.In Woke Racism, McWhorter reveals the workings of this new religion, from the original sin of 'white privilege' and the weaponization of cancel culture to ban heretics, to the evangelical fervour of the 'woke mob.' He shows how this religion that claims to 'dismantle racist structures' is actually harming his fellow black Americans by infantilizing black people, setting black students up for failure, and passing policies that disproportionately damage black communities. The new religion might be called 'antiracism,' but it features a racial essentialism that's barely distinguishable from racist arguments of the past.Fortunately, for all of us, it's not too late to push back against woke racism. McWhorter shares scripts and encouragement with those trying to deprogramme friends and family. And most importantly, he offers a roadmap to justice that actually will help, not hurt, black people.A NEW YORK TIMES BESTSELLER

“Superb.” —Steven Pinker“An explanation, a defense, and, most heartening, a celebration. . . . McWhorter demonstrates the ‘legitimacy’ of Black English by uncovering its complexity and sophistication, as well as the still unfolding journey that has led to its creation. . . . [His] intelligent breeziness is the source of the book’s considerable charm.” —New Yorker“Talking Back, Talking Black is [McWhorter’s] case for the acceptance of black English as a legitimate American dialect. . . . He ably and enthusiastically breaks down the mechanics.” —New York Times Book ReviewLinguists have been studying Black English as a speech variety for years, arguing to the public that it is different from Standard English, not a degradation of it. Yet false assumptions and controversies still swirl around what it means to speak and sound “black.” In his first book devoted solely to the form, structure, and development of Black English, John McWhorter clearly explains its fundamentals and rich history while carefully examining the cultural, educational, and political issues that have undermined recognition of this transformative, empowering dialect.Talking Back, Talking Black takes us on a fascinating tour of a nuanced and complex language that has moved beyond America’s borders to become a dynamic force for today’s youth culture around the world.John McWhorter teaches linguistics, Western civilization, music history, and American studies at Columbia University. A New York Times best-selling author and TED speaker, he is a columnist for CNN.com, a regular contributor to the Atlantic, a frequent guest on CNN and MSNBC, and the host of Slate’s language podcast, Lexicon Valley. His books on language include The Power of Babel; Our Magnificent Bastard Tongue; Words on the Move; Talking Back, Talking Black; and The Creole Debate.

Saramaccan has been central to various debates regarding the origin and nature of creole languages. Being the most removed of all English-based creoles from European language structure in terms of phonology, morphology and syntax, it has been seen as one of the most extreme instantiations of the creolization process. This is the first full-length description of Saramaccan. The grammar documents, in particular, a valence-sensitive system of indicating movement and direction via serial verb constructions, hitherto overlooked amidst the generalized phenomenon of serialization itself.