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This language is only used when collecting nuts in New Guinea

(From Atlas Obscura. Link to the complete article given below)

A chain of mountains splits the center of Papua New Guinea, crossing east to west for nearly a thousand miles. These highlands are full of peaks and V-shaped valleys, covered in forest and hard to reach—a terrain that has isolated clans for millennia, leading to the country’s famously diverse languages and cultures.

On these mountains grow the pandanus tree, up to 90 feet tall and bearing clusters of knobbly, pineapple-like fruits; eaten raw or cooked, they taste a little like pecans. This dense, high-fat nut is preserved during famine, smashed into pudding, consumed during ceremonies, and connected to the earliest signs of humanity in Papua New Guinea. As far back as the Ice Age, residents were leaving the coasts to trek into the mountains to harvest them. Over time, the harvesting expeditions took on ritual significance, and spurred the development of a hidden form of language.

On pandanus-gathering expeditions, ordinary words cannot be spoken. Instead, people use pandanus talk. It is not a language of its own like Russian or Mandarin, but a style of language used in a special context, or what linguists call a “register.” Across Papua New Guinea, different clans with different languages all switch up their speech when they gather pandanus, lest they risk harming the harvest.

Back when Karl Franklin lived near Mount Giluwe, the second-highest mountain in Papua New Guinea, the surrounding area was believed to be inhabited by wild dogs. Franklin, a now-retired American linguist, first traveled to Papua New Guinea in 1958 to help catalog the local languages. He and his wife lived in a village with the Kewa people, five hours from the nearest government station. Franklin would spend the next few decades creating an alphabet for Kewa (then solely an oral language) and, eventually, compiling a dictionary.

Read more at this Atlas Obscura link

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On falling in love with the language I’ve spoken my entire life

(From Lithub. Link to the complete article given below)

The first fiction I ever read in Chinese was a short story by Eileen Chang, titled simply, “Love.” I was in college at the time, and my Chinese language teacher had handed it to out to the class. After I finished reading it, I quietly began to cry.

I can’t tell this story without telling you what the language meant to me then. My parents are Chinese-American immigrants, and the first language I learned was Chinese. I spoke it almost exclusively until the very first day of pre-school, when I learned the sentence, “Can I have some juice?” From then on, I spoke in full English sentences. Chinese became the language I only spoke when compelled—with my family, who always spoke Chinese in the house, or when I was forced to practice it at Chinese school on the weekends. I struggled against it, partly because I didn’t possess the full range of vocabulary through which to express myself, and partly because it was a language in which I couldn’t address my emotions.

My parents did not like emotional conversations. They did not say I love you. On parents’ visiting day at school, other kids’ parents left them notes that said “We’re proud of you!” My note said, “We hope you will continue to improve this year. Please read books other than the series, The Baby-Sitters Club.” The closest they had come to addressing the issue of emotion were the times they asked me, “Why are you crying?” By which they meant, Stop crying. And so I tried never to cry in front of them. I held my tears through dinner. I cried only alone, in my room, or on the phone with friends. It seemed to me that the heart was a dangerous territory for Chinese and so I kept the two apart. It was in English that said I love you to a boy for the first time, English in which I cursed aloud. In books written in English, the intricacies of feeling and mysteries of human existence were explored. It was in the love of this language that, early on, I found the determination to become a writer.

Read more at this Lithub link


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How I learned to claim space as a multilingual author

One of the very first questions I wrestled with as a writer was this: Why write in English, the colonizer’s language, when I have others at my disposal? I grew up acquainted with three languages; my grandparents immigrated from southern China to Malaya, which was a British imperial territory. So if I didn’t write in Malay, didn’t that make me unpatriotic? And if I didn’t write in Chinese, didn’t that make me a “race traitor?” Why English?

English is intricately woven into my family history. When my grandparents first came to occupied Malaya, they worked for the British. For some time they lived apart, my grandfather cooking meals for colonial officers while my grandmother worked as a nanny for British children in a different part of the country. I never heard either of them speak English, but in my imagination, the few English phrases they did know formed the language of intimate care: Please enjoy the food. Are you warm enough? Have another helping. Did you sleep well? Don’t cry. I’m here.

I suppose they learned as much English as allowed them to forge new lives. It was both a choice and not, just as it was and was not for me as I haltingly attempted to piece together a self through literature. I did not see myself in my Malay textbooks about boys who formed interracial friendships. Neither could I find myself in the Tang poems my parents encouraged me to memorize, which featured ancient men in long-sleeved robes drinking alcohol and being sorrowful (only later in life would I come to relate to that). It was in English books that I saw a sense of adventure and escape that I identified with, as embodied by British children daringly solving mysteries or circumventing adult cruelty.

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