The French Protect Their Language Like the British Protect Their Currency

This first appeared in The Guardian‘s Comment is Free section on 23 May 2013. It was reprised in The Guardian Weekly (31 May-6 June 2013, p. 48):

The French Protect Their Language Like the British Protect Their Currency

A row over using English in universities has blown up in France, where language is at the heart of the national identity

'The nod to Asterix (left, pictured with Obelix) – the diminutive comic-strip hero who punches above his weight thanks to his cunning and occasional swigs of magic potion – is highly significant.' Photograph: Allstar/Cinetext/United Artist

‘The nod to Asterix (left, pictured with Obelix) – the diminutive comic-strip hero who punches above his weight thanks to his cunning and occasional swigs of magic potion – is highly significant.’ Photograph: Allstar/Cinetext/United Artist

The front page of Libération, one of France’s leading dailies, was printed entirely in English on Tuesday. “Let’s do it,” ran the banner headline. Sounding like a Nike slogan penned by Cole Porter, it in fact referred to a new bill, which, if passed, would allow some university courses to be taught in English.

Inside the paper (and in French), the editorialists urged their compatriots to “stop behaving like the last representatives of a besieged Gaulish village”. The nod to Asterix — the diminutive comic-strip hero who punches above his weight thanks to his cunning and occasional swigs of magic potion — is highly significant. For decades, France has identified with the plucky denizens of Asterix’s village, the last corner of Gaul to hold out against Roman invasion. This is how the French fancy themselves: besieged but unbowed — a kind of Gallic take on the Blitz spirit.

The reason Uderzo and Goscinny’s books resonated at the time of their publication is that they replayed the myth of French resistance in the context of the cold war. This time around the invaders were no longer German or Roman, but American. Asterix’s first outing (in a long-defunct magazine called Pilote) occurred in 1959, the year Charles de Gaulle became president, and grammarian Max Rat coined the word “franglais“. My contention is that this is not purely coincidental.

France’s identity has long been bound up with its language, more so possibly than anywhere else. This may be due to the fact that French is treated as a top-down affair, policed by the state: an affaire d’état, if you will. Language, for instance, is at the heart of the Organisation Mondiale de la Francophonie, France’s answer to the Commonwealth. The flipside of a state-sponsored language has been a deep-rooted anxiety over linguistic decay and decline. The official custodian of the French tongue — the Académie française — was partly created, back in 1635, to counter pernicious Italian influences.

French nationalism was largely discredited after the second world war, because of the Vichy regime and collaboration. As a result, it often took refuge in cultural — particularly linguistic — concerns. De Gaulle’s inflammatory 1967 speech in Quebec, when he took the linguistic battle into the very heart of enemy territory, speaks volumes. “Long live free Quebec! Long live French Canada! And long live France!” declaimed de Gaulle (en français dans le texte, of course). Quebec was repositioned as a besieged Gaulish village, and French as a symbol of resistance — perhaps even as a surrogate magic potion. For de Gaulle, liberating Quebec meant reversing France’s defeat at the hands of the English in 1763.

My feeling is that France is haunted by its lost American future. Had the US fallen under Gallic domination, French would probably be the world’s lingua franca today. Fears over the decline of French vis-à-vis English are exacerbated by the knowledge that the enemy is also within. Although the linguistic watchdogs regularly come up with alternatives to anglicisms — “mercatique” for “marketing”; “papillon” for “Post-it note” — American expressions are often adopted with far more enthusiasm in France than across the Channel. David Brooks’s portmanteau word bobo (bourgeois bohemian) is more ubiquitous here than in Britain. Even more worrying, perhaps, is the French penchant for unwittingly redefining (“hype” for “hip”) or making up new English expressions (brushing, footing, fooding etc.).

The unregulated flexibility of English probably gives it an extra edge in our ever-shifting digital world. As Susan Sontag once pointed out, French is “a language that tends to break when you bend it”. It is significant that many young French speakers today should suddenly switch to English when writing a mél or courriel (if you’ll pardon my French) to a friend.

So what is all the fuss about right now? The higher education minister, Geneviève Fioraso, wants to amend the 1994 Toubon law so that French universities are allowed to teach a limited number of courses in English (which is already the case in the elite grandes écoles and top private business schools). The main aim of this is to attract foreign students, particularly from rapidly expanding economies such as China, India, or Brazil.

Unfortunately, Fioraso committed an unforgivable faux pas — on a par with Sarkozy’s disparaging comments about the Princess of Cleves — when the idea was first mooted in March. She warned that if teaching in English were not introduced, French research would eventually mean “five Proust specialists sitting around a table”. This led to accusations of philistinism on the part of those who believe that sitting around a table discussing the works of Proust is precisely what being French is all about.

Not surprisingly, reactions have been far more favourable in the scientific community than in literary circles. The Académie française is up in arms over what it sees as “linguistic treason”. Prominent academic and author Antoine Compagnon fears that the measure may lead to dumbing down, since most of these lectures would be spoken in “Globish” rather than the true language of Shakespeare. Bernard Pivot, who used to host a top literary TV programme (and belongs to the Académie), argues that French will become a dead language if it relies on English borrowings to describe the modern world. Claude Hagège, a renowned linguist, concurs, saying that France’s very identity is at stake.

Roland Barthes famously described language as essentially “fascist”, not because it censors but, on the contrary, because it forces us to think and say certain things. The idea that we are spoken by language as much as we speak through it is, I think, an important one here: French offers a different world view from English. Today, the symbol of British sovereignty is an independent currency. In France, it is an independent language, and that is indeed something to be cherished.

***

Here is a longer, unedited version of the same piece:

On Tuesday, the front page of Libération, one of France’s leading dailies, was printed entirely in English. “Let’s do it,” ran the banner headline. Despite sounding like a Nike slogan penned by Cole Porter, it referred to a new bill, which, if passed, would allow some university courses to be taught in English. Inside (and in French), the editorialists urged their compatriots to “stop behaving like the last representatives of a besieged Gaulish village”. The nod to Asterix — the diminutive comic-strip hero who punches above his weight thanks to his cunning and occasional swigs of magic potion — is highly significant. For decades, France has identified with the plucky denizens of Asterix’s village, the last corner of Gaul to hold out against Roman invasion. This is how the French fancy themselves: besieged but unbowed — a kind of Gallic take on the Dunkirk/Blitz spirit. Part of the resonance of Uderzo and Goscinny’s books is that they replayed the myth of the French resistance in the context of the Cold War. Now, of course, the invaders were no longer German or Roman, but American imperialists who spoke the tongue of perfidious Albion (or at least a variant thereof). Asterix’s first outing (in a long-defunct magazine called Pilote) occurred in 1959, the year de Gaulle became president, and grammarian Max Rat coined the word “franglais”. My contention is that this is not purely coincidental.

France’s identity has long been bound up with its language, more so possibly than anywhere else. This may be due to the fact that French is treated as a top-down affair, policed by the state: an affaire d’état, if you will. Language, for instance, is at the heart of the Organisation Mondiale de la Francophonie, France’s answer to the Commonwealth. The flipside of a state-sponsored language has been a deep-rooted anxiety over linguistic decay and decline. The official custodian of the French tongue — the Académie française — was partly created, back in 1635, in order to counter pernicious Italian influences. The title of Joachim du Bellay’s Defence and Illustration of the French Language (1549) — one of the first concerted efforts to raise French to the level of Latin and Greek — is eloquent: defence takes precedence over illustration.

French nationalism was largely discredited after the Second World War, due to the Vichy regime and collaboration. As a result, it often took refuge in cultural — particularly linguistic — concerns. The defence of the French language would be instrumental in de Gaulle’s attempt to counter Anglo-Saxon domination by embodying a third way between the United States and Soviet Union. The President’s inflammatory 1967 speech in Quebec, when he took the linguistic battle into the very heart of enemy territory, speaks volumes. “Long live free Quebec! Long live French Canada! And long live France!” declaimed de Gaulle (en français dans le texte, of course). Quebec was repositioned as a besieged Gaulish village, and French as a symbol of resistance — perhaps even as a surrogate magic potion. The Canadian PM countered that “Canadians do not need to be liberated. Indeed, many thousands of Canadians gave their lives in two world wars in the liberation of France and other European countries”. The two leaders were talking at cross purposes. For de Gaulle, liberating Quebec meant reversing France’s defeat at the hands of the English in 1763.

My feeling is that France is haunted by its lost American future. Had the United States fallen under Gallic domination, French would probably be the world’s lingua franca today. Fears over the decline of French vis-à-vis English are exacerbated by the knowledge that the enemy is also within. Although the linguistic watchdogs regularly come up with alternatives to anglicisms – “mercatique” for “marketing”; “papillon” for “Post-it note” — American expressions are often adopted with far more enthusiasm in France than across the Channel. David Brooks’s portmanteau word “bobo” (bourgeois bohemian) is ubiquitous over here, but has failed so far to take off in Britain. Even more worrying, perhaps, is the French penchant for unwittingly redefining (“hype” for “hip”) or making up new English expressions (brushing, footing, fooding etc.). None of this is new, of course. Dropping English phrases in conversation was already the last word in chic for the crème de la crème in the days of Proust, and René Etiemble’s famous Parlez-vous franglais ? was published as far back as 1964. The unregulated flexibility of English probably gives it an extra edge in our ever-shifting digital world. As Susan Sontag once pointed out, French is “a language that tends to break when you bend it”. It is significant that many young French speakers today should suddenly switch to English when writing a “mél” or “courriel” (if you’ll pardon my French) to a friend.

So what is all the fuss about right now? Higher Education Minister Geneviève Fioraso wants to amend the 1994 Toubon law (or “loi all good” as it is sometimes called) so that French universities are allowed to teach a limited number of courses in English (which is already the case in the elite grandes écoles and top private business schools). The main aim of this reform is to attract foreign students, particularly from rapidly-expanding economies such as China, India, or Brazil. Unfortunately, Ms Fioraso committed an unforgivable faux pas — on a par with Sarkozy’s disparaging comments about the Princess of Cleves — when the idea was first mooted in March. She warned that if teaching in English were not introduced, French research would eventually mean “five Proust specialists sitting around a table”. This led to accusations of philistinism on the part of those who believe that sitting around a table discussing the works of Proust is precisely what being French is all about.

Not surprisingly, reactions have been far more favourable in the scientific community than in literary circles. The Académie française is up in arms over what it sees as “linguistic treason”. Prominent academic and author Antoine Compagnon fears that the measure may lead to dumbing down, since most of these lectures would be spoken in “Globish” rather than the true language of Shakespeare. Bernard Pivot, who used to host a top literary TV programme (and belongs to the Académie), argues that French will become a dead language if it relies on English borrowings to describe the modern world. Claude Hagège, a renowned linguist, concurs, saying that France’s very identity is at stake.

Roland Barthes famously described language as essentially “fascist”, not because it censors but, on the contrary, because it forces us to think and say certain things. The idea that we are spoken by language as much as we speak through it is, I think, an important one here: French offers a different world view from English. Today, the symbol of British sovereignty is an independent currency. In France, it is an independent language, and that is indeed something to be cherished.

[* In The Guardian Weekly, this article appeared under the following heading: “The French Are Right to Protect their Language: It Runs to the Heart of their Identity and Offers a Different Worldview to English”.]

A Besieged Gaulish Village

I have written a piece on the current French row over the introduction of courses in English at university. It appears in the Guardian‘s Comment is Free section, and you can read it here:

Inside the paper (and in French), the editorialists urged their compatriots to “stop behaving like the last representatives of a besieged Gaulish village”. The nod to Asterix — the diminutive comic-strip hero who punches above his weight thanks to his cunning and occasional swigs of magic potion — is highly significant. For decades, France has identified with the plucky denizens of Asterix’s village, the last corner of Gaul to hold out against Roman invasion. This is how the French fancy themselves: besieged but unbowed — a kind of Gallic take on the Blitz spirit.

The Booker Steps Away From Being its Own Genre

This appeared in The Guardian (Comment is Free section) on 28 July 2012:

The Booker Steps Away From Being its Own Genre

The inclusion on the Man Booker longlist of four debuts and three novels from excellent indie publishers is a welcome sign

[Science Fiction novelist China Miéville has criticised the Booker Prize for becoming its own genre. Photograph: Sarah Lee for the Guardian]

The announcement of this year’s Booker longlist, just a few days before the opening of the Olympics, reminds us that literary jousting originated in ancient Greece. Modern literary competitions appeared shortly after the revival of the Olympic Games at the end of the 19th century. The Nobel prize in literature (1901) was followed by the Prix Goncourt in France (1903), the Pulitzer prizes in the States (1917) and the James Tait Black memorial prizes in Britain (1919). Compared with their Greekish forebears, they are far trickier affairs. Australian author Richard Flanagan is clearly no friend of contemporary book contests: in his view, they are often barometers “of bad taste” that only serve “to give dog shows a good name”.

The aristocratic authors of an earlier period often felt that there was something a little common, even humiliating, about wanting to be read by others, possibly of an inferior station. In Deceit, Desire, and the Novel, René Girard describes some of the excuses they came up with to give the impression that their works had got into print without their knowledge. La Rochefoucauld (to whom I am vaguely related through one of his descendants’ bastard offspring) claimed, for instance, that his manuscript had been stolen by a servant.

Thomas Bernhard had similar issues with literary prizes. My Prizes: An Accounting, published posthumously, is a series of diatribes against the nine eponymous prizes he received up until 1980 and the “assholes” who bestowed them upon him — which brings us back to the Booker.

In François Ozon’s film Swimming Pool, a bestselling author (played by Charlotte Rampling) pays a visit to her publisher, where she bumps into an up-and-coming novelist who has just won a minor literary prize. After the latter’s departure, the publisher tries — and fails — to clear the air by describing the award as “hardly the Booker prize!” Charlotte Rampling’s character reminds him of what he always used to say at the beginning of his career: “Awards are like haemorrhoids: sooner or later, every arsehole gets one”. This scene epitomises the Booker effect: the petty rivalries and insidious corrupting influence.

Launched in 1969, the Booker was always conceived of as a publicity stunt designed to shift units. I think it is fair to say that no other literary prize in the world has ever received so much media attention. By 1990, when Gilbert Adair included a chapter entitled “Le Booker nouveau est arrivé” in his Barthes-inspired Myths and Memories, the prize had already become an institution, thanks to a marketing strategy not dissimilar to that of Beaujolais nouveau.

The Booker has always worn its commercialism on its sleeve: its official name — the Man Booker Prize — derives from its original (Booker-McConnell) and current (the Man Group) sponsors. This, of course, is not necessarily a bad thing. Trying to sell more books is certainly nothing to be ashamed of, and the Booker has two big advantages over the Gallic Goncourt: it is not controlled by the publishing industry and the judging panel changes every year. However, financial considerations do, regrettably, play a part in the selection process: a publisher must “contribute £5,000 towards general publicity if the book reaches the shortlist” and “a further £5,000 if the book wins the prize”. Indies may find it difficult to stump up this sort of money.

The Nobel is awarded to “the person who shall have produced in the field of literature the most outstanding work in an ideal direction”. Aimed at “the intelligent general audience,” the Booker never entertained such lofty ambitions. It was always resolutely middlebrow as last year’s controversy over “readable books” that “zip along” amply illustrated.

Since its inception, the prize has championed a type of well-made mainstream novel that reflects the liberal humanist world view of the Home Counties (sometimes with decorative postmodern knobs on). When a thriller found its way on to the longlist, many people thought that the judges had lost the plot, and were no longer able to recognise a Booker novel. This reaction only confirmed China Miéville‘s argument that despite traditionally shunning genre fiction, the Booker had itself become a genre. This, I feel, has been the prize’s most pernicious influence. The novel — which was meant to be the genre to end all genres in which philosophy and poetry would be reunited — has been reduced to innocuous literary fiction narratives written as though modernism had never happened.

This year, there has been no populist talk of jolly good reads or zip-along page-turners. On the contrary, chairman Peter Stothard signalled the judges’ intention to focus on “texts not reputations“: books “that you can make a sustained critical argument about”. The kind that “you don’t leave on the beach” and want to “read again and again”. Hence, perhaps, the presence of four debuts and three novels released by excellent indie publishers (And Other Stories, Myrmidon Books and Salt).

The inclusion of Deborah Levy‘s Swimming Home, one of the finest new novels I have read (and already reread) in a long time, seems like a very good omen indeed. It radiates the sensual languor of sun-drenched afternoons in the south of France and the disquieting, uncanny beauty only perceived by a true daytime insomniac. At times, it reminded me of Ozon’s film. Let us hope this year’s Booker will not be awarded to an arsehole.

****

Here is a longer — uncut and unedited — version of the above text. A draft, if you will:

The announcement of this year’s Booker longlist, just a few days before the opening of the Olympics, reminds us that literary jousting originated in Ancient Greece. These early competitions, however, were more akin to poetry slams or the itinerant Literary Death Match, than to the sedate book prizes we are accustomed to. Dithyrambic contests were collective, all-singing-and-dancing renditions of poetic works. The name of the victorious chorus would often go down in history, while that of the poet himself would be forgotten. It was, above all, the performance that was being assessed.

Modern literary competitions appeared shortly after the revival of the Olympic Games at the end of the nineteenth century. The Nobel Prize in Literature (1901) was followed by the Goncourt in France (1903), the Pulitzer in the States (1917) and the James Tait Black Memorial Prize in Britain (1919). Compared with their Greekish forbears, they are far trickier affairs. Australian author Richard Flanagan is clearly no friend of contemporary book contests: in his view, they are often barometers “of bad taste” that only serve “to give dog shows a good name”. Whether or not most prizes “get it mostly wrong,” he clearly has a point when it comes to the Nobel: “No one I know hails Sigrid Undset or Frans Eemil Sillanpaa or Par Lagerkvist — Nobel laureates in 1928 and 1939 and 1951, respectively — as globally significant writers, important as they are to their own national literatures, perhaps because no one I know has ever read them. Yet Tolstoy, Chekhov, Kafka, Fitzgerald, Joyce, Cortazar, Nabokov, Borges, Kundera, Roth and Bolano have all been passed over for the gong of gongs”.

According to Lars Iyer (whose novel Spurious was shortlisted for last year’s Not the Booker), “the prestige of authorship” — producing great works — has given way to “the prestige of an ephemeral kind of literary careerism,” which is sanctioned by book clubs and prizes: “With pomp and circumstance, the award ceremonies vainly bestow medals of greatness on novels that vaguely mime our fading memory of masterpiece. The prestige, the debris, the body of Literature remains even as the spirit has fled”. The aristocratic authors of an earlier period often felt that there was something a little common, even humiliating, about wanting to be read by others, possibly of an inferior station. In Deceit, Desire, and the Novel, René Girard describes some of the excuses they came up with to give the impression that their works had got into print without their knowledge. La Rochefoucauld (to whom I am vaguely related through one of his descendants’ bastard offspring) claimed, for instance, that his manuscript had been stolen by a servant. Thomas Bernhard had similar issues with literary prizes. In the autobiographical Wittgenstein’s Nephew (1982), he describes a cursory acceptance speech as “a few sentences, amounting to a small philosophical digression, the upshot of which was that man was a wretched creature and death a certainty”. My Prizes: An Accounting, published posthumously, is a series of diatribes against the nine eponymous prizes he received up until 1980 and the “assholes” who bestowed them upon him — which brings us back to the Booker.

In François Ozon’s film Swimming Pool (2003), a bestselling author (played by Charlotte Rampling) pays a visit to her publisher, where she bumps into an up-and-coming novelist who has just won a minor literary prize. After the latter’s departure, the publisher tries — and fails — to clear the air by describing the award as “hardly the Booker Prize!” Charlotte Rampling’s character reminds him of what he always used to say at the beginning of his career: “Awards are like haemorrhoids: sooner or later, every arsehole gets one”. This scene epitomises the Booker effect: the petty rivalries and insidious corrupting influence.

Launched in 1969, the Booker was always conceived of as a publicity stunt designed to shift units. I think it is fair to say that no other literary prize in the world has ever received so much media attention. By 1990, when Gilbert Adair included a chapter entitled “Le Booker nouveau est arrivé” in his Barthes-inspired Myths and Memories, the prize had already become an institution, thanks to a marketing strategy not dissimilar to that of Beaujolais nouveau. The Booker has always worn its commercialism on its sleeve: its official name — the Man Booker Prize — derives from its original (Booker-McConnell) and current (the Man Group) sponsors. This, of course, is not necessarily a bad thing. Trying to sell more books is certainly nothing to be ashamed of, and the Booker has two big advantages over the Gallic Goncourt: it is not controlled by the publishing industry and the judging panel changes every year. However, financial considerations do, regrettably, play a part in the selection process: a publisher must “contribute £5,000 towards general publicity if the book reaches the shortlist” and “a further £5,000 if the book wins the prize”. Indies may find it difficult to stump up this sort of money.

The Nobel is awarded to “the person who shall have produced in the field of literature the most outstanding work in an ideal direction”. Aimed at “the intelligent general audience,” the Booker never entertained such lofty ambitions. It was always resolutely middlebrow as last year’s controversy over “readable books” that “zip along” amply illustrated. Since its inception, the prize has championed a type of well-made mainstream novel that reflects the liberal humanist world view of the Home Counties (sometimes with decorative postmodern knobs on). When a thriller found its way on to the longlist, many people thought that the judges had lost the plot, and were no longer able to recognise a Booker novel. This reaction only confirmed China Miéville‘s argument that despite traditionally shunning genre fiction, the Booker had itself become a genre. This, I feel, has been the prize’s most pernicious influence. The Novel — which was meant to be the genre to end all genres in which philosophy and poetry would be reunited — has been reduced to innocuous literary fiction narratives written as though Modernism had never happened.

This year, there has been no populist talk of jolly good reads or zipalong page-turners. On the contrary, chairman Peter Stothard signalled the judges’ intention to focus on “texts not reputations“: books “that you can make a sustained critical argument about”. The kind that “you don’t leave on the beach” and want to “read again and again”. Hence, perhaps, the presence of four debuts and three novels released by excellent indie publishers (And Other Stories, Myrmidon Books and Salt). The inclusion of Deborah Levy‘s Swimming Home, one of the finest new novels I have read (and already reread) in a long time, seems like a very good omen indeed. It radiates the sensual languor of sun-drenched afternoons in the south of France and the disquieting, uncanny beauty only perceived by a true daytime insomniac. At times, it reminded me of Ozon’s film. Let us hope this year’s Booker will not be awarded to an arsehole!

All the Latest

I was asked to write a piece about the Booker longlist. You can read it here in the Guardian‘s Comment is Free section:

[…] The inclusion of Deborah Levy‘s Swimming Home, one of the finest new novels I have read (and already reread) in a long time, seems like a very good omen indeed. It radiates the sensual languor of sun-drenched afternoons in the south of France and the disquieting, uncanny beauty only perceived by a true daytime insomniac. At times, it reminded me of Ozon’s film. Let us hope this year’s Booker will not be awarded to an arsehole.

All the Latest

I’ve written a piece about custard-pie activism for the Guardian‘s Comment is Free section. You can read it here. An expanded version of my review of Marc-Edouard Nabe‘s latest novel appeared in 3:AM Magazine. Also in 3:AM, I talk about my summer reading list.