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Draft Pieces for Whagta Kriowday! Creoles and Creolized Language in the Writing of Finnegans Wake by James Joyce

I.

Whagta Kriowday! Creoles and Creolized Language in the Writing of Finnegans Wake

"That James Joyce is indeed a black Irishman, wreaking a vengeance, even wilder than the I.R.A.'s, on the English language from within, invading the territory of its sanitary ego-presumptions with a flood of impure, dark languages flowing from the damned up sources of collective speech, savagely drowning the ego of the traditional speaker and depositing the property of words in everybody, in the total human community of those who speak and have spoken and shall speak." Carlos Fuentes ( American Review , 1975)

'And perhaps it is madness to grind up words in order to extract their substance, or to graft them one onto another, to create crossbreeds and unknown variants, to open up unsuspected possibilities for these words, to marry sounds which were not usually joined together before, although they were meant for one another, to allow water to speak like water, birds to chirp in the words of birds, to liberate all sounds of rustling, breaking, arguing, shouting, cracking, whistling, creaking, gurgling - from their servile, contemptible role and to attach them to the feelers of expressions which grope for definitions of the undefined. I took literally Gautier's dictum, 'The inexpressible does not exist.' With this hash of sounds I am building the great myth of everyday life.' James Joyce (to Jan Parandowski)

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In late 1978 I wrote a paper (unpub) called "Whagta Kriowday": Creole Languages in Finnegans Wake. In 1980, while a Fellow at Timothy Dwight College, Robert Faris Thompson and John Szwed became enthused about extending this idea to say that the language of Finnegans Wake was itself a Creole.

To do this raises fundamental questions as to what is a Creole. Is it just a mixture?Or does the term refer to languages which play with the elements of words and meanings in particular ways.Or are they languages which share a history of developing from simplified Pidgin languages used for restricted purposes? Or are they members of a group of languages which share structural features of a particular kind, usually related to features found in African languages grafted with various European languages? Or is there some other way we can identify a language as Creole?

And there are questions also of what motivates the existence of Creole languages.The quote from Carlos Fuentes at the head of this essay raises further questions of this latter kind. By claiming that Joyce is using Creoles and other languages to subvert the fundamental bases of European culture and language dominance, it leads us to ask if Creole languages themselves contain elements of such a subversive motive.

Whatever our asnswers Joyce not only uses Creole languages and treats them in a way completely distinct from his treatment of such other 'mixed' languages as Pacific Pidgin, but he shows complete awareness of the history of the term Creole itself.

1. Joyce is explicit: Finnegans Wake talks about some kind of Creole or Creoles:

For he could ciappacioppachew upon a skarp snakk of pure undefallen engelsk, melanmoon or tartatortoise, tsukisaki or soppisuppon, as raskly and as baskly as your cheesechalk cow cudd spanich. Makoto! Whagta kriowday! (FW233.32-)

"Whagta kriowday!" 'What a creole day!'

Creole is a word with a complex history. The Oxford English Dictionary attributes it to Spanish criollo:'native to the locality, country; believed to be a colonial corruption of *criadillo,

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and takes it back to Latin 'to create'.

So even in its first uses creole has three elements -- "colonial", "corrupt" (i.e. 'mixed'), and "created" or new. All of these senses came together in the actual uses of the word.

Its first specific Latin American use seems to have been 'person born in the New World of parents from elsewhere'. So to the Spanish conquistadores and those who followed them in the Spanish colonies it meant the children of Spanish parents, but born in the New World.In other words someone not native to the New World, though born there. And thus not of mixed parentage.

Nevertheless Spanish law discriminated against Creoles, so much so that pregnant women would rush onto Spanish boats so their children could be born at sea, and thus be Spanish, not Creoles.

The term extended itself, perhaps as a consequence of this discrimination, so that by a not unusual irony of history the word came to mean precisely its opposite, namely, 'of mixed parentage'. The OED cites J.M. Ludlow's 1862 History of the United States (p. 316 note) as commenting that "creole whites are, of all persons, the most anxious to be deemed of pure white blood." So the word came imply someone tainted with a suspicion of mixed origins. From this it was later extended to free mulatto populations in slave societies, as in New Orleans and elsewhere.

"Creole" was also applied to slaves born in the New World, to distinguish them from those born in Africa, who were considered less habituated to slave conditions and thus more difficult to manage.

Eventually positive value was given the term in Latin America, where it was applied to the whole gamut of Latin American culture and expression - as something 'new', 'national', and gloriously mixed up, for example the popular comidas criollas 'Creole foods', but also for more serious cultural and spiritual matters in more serious discussion.

In the British and French language areas Creole came to refer to the specifically West Indian cultural products of the mixture of African and European elements - emphasizing, as in the case of the languages of the islands, their uniqueness, special character, and common characteristics. In one of its important contemporary linguistic senses Creole refers to African-European languages that were products of the slave trade,

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both in Africa and in the areas of African slavery.

In the form Krio, the term applies to the English-based Creole language of Sierra Leone in Africa, which was influenced by or created by returning Jamaicans. It is this form Joyce uses in "kriowday", a specific reference to Sierra Leone creole,the only such language whose name is spelt with a K, although it also has a much broaderreference to creole and creoles, and contains within it further creole voices and meanings.

The Passage

Let us look further at the the context Joyce provides: For he could ciappacioppachew upon a skarp snakk of pure undefallen engelsk, melanmoon or tartatortoise, tsukisaki or soppisuppon, as raskly and as baskly as your cheesechalk cow cudd spanich. Makoto! Whagta kriowday! (FW233.32-)

All the meanings, "colonial", "corrupt" (i.e. 'mixed'), and "created" or new, are relevant to an understanding of this passage. Joyce clearly describes the 'chopping up' or 'chewing up' ("ciappacioppachew upon"), of both language and food. What is chopped and chewed up is "pure undefallen" English (in Danish, "engelsk") and the "spanich" (with 'spinach') of the "cheesechalk cow". The "cheesechalk cow" may well be a "Creole", in the word's original sense. This white lady is insulted or undercut in a variety of ways. She is not only a cow chewing her cud, but like her cud her Spanish is green, 'spinach'. And the quality of her "pure" language is indicated by the French expression suggested: "Il parle fran‡ais comme une vache espagnole" (McHugh: Annotations) ('She speaks Frenchlike a Spanish cow').

The Italian ciappacioppa, meaning 'take breast' (McHugh), suggests baby-talk if viewed in a language context - as well as introducing the food theme that runs counterpoint to the creole theme throughout the passage. Eating and language are mediated by the Danish and English meanings of "a skarp snakk",Danish: snakke 'talk, chat' and English 'snack'. The sk/sh alternation between Danish and English in 'skarp/sharp' is common, and shows up here also inEngelsk/English). So the 'snack' which indicates the baby's taking the breast and biting it (sharply) is also the word for 'speech'.

The chopping and chewing point to the manner in which creoles often enter the text of

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Finnegans Wake - by "subjunction":

often hate on first hearing comes of love by second sight. Have your little sintalks in the dunk of subjunctions (FW269.03; "sintalks" representing, among other things, a special West Indian pronunciation of 'syntax')

"undefallen" The baby is an unfallen 'angel' (German: engel, McHugh) but the "pure undefallen engelsk" he speaks is not only 'undefiled' or 'undershot' (as McHugh indicates), but is also 'wave fallen' (Latin unda), fallen by passage 'over the waves' into some form of 'overseas English' -- identified at the end of the paragraph as Creole. Other Latin readings, unde 'from where' and fallo 'deceive', also suggest deception or doubt as to ancestry. English, among its other impurities, also lurks as a term for sadistic sexual behavior, suggested in a reading 'undie fallen'.

"as raskly and as baskly" Other languages and foods are suggested. 'Melon moon' is respelled to "melanmoon", 'black moon', suggesting 'Melanesia' where a variety of Pacific pidgin (used by Joyce in FW) established strong roots and became 'creolized', became the mother tongue of a significant town population (now a national language). The blackness of melan is echoed in the tar of "tartartortoise", while 'moon' echoes as Japanese tsuki ('moon' McHugh), which is also a reworking of Japanese Sukiyaki, a mixed food merged with Saki wine . Food occurs again in Melanesian Pidgin pisupo 'tinned food' (McHugh) accompanied by a typically Danish 'pea soup'.

Danish rask means 'healthy' or 'vigorous'. But Rasmus Rask was the great Danish linguist who first discovered the correspondences now called 'Grimm's Law' (see FW378.27: "And smotthermock Gramm's laws!"). So a reading of "as raskly and as baskly" is 'as healthily or as learnedly (as Rask)'. Basking as the cow chewing his cud, speaking is it Spanish or is it Basque? There is quite probably an echo here of Jamaican Creole ras, a crude word for 'ass' (see 348.05 "rassociations" and 348.27 "Raise ras tryracy!").

So 'What a Creole day it truly is. Both in the sense of 'mixed', a soup of languages, but also with clear references to Creoles (wave-fallen English, kriowday) and Pidgins.

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"the novo takin place of what stale words"

The passage is also a mirror of a whole variety of language and sociolinguistic processes very much like the real situation of Creoles and creolized languages themselves. Their identity has often been confused in a maze of language reflections, both the confusion of Creoles and European languages, and the inability of scholars, particularly recently, to see a clear line between creolizing processes and general processes of language history.

Joyce himself sees the relation of Creole and Pidgin processes to general processes of language development: what a jetsam litterage of convolvuli of times lost or strayed, of lands derelict and of tongues laggin too, longa yamsayore, not only that but, search lighting, beached, bashed and beaushelled … la Mer pharahead into faturity, your own convolvulis pickninnig capman would real to jazztfancy the novo takin place of what stale words whilom were woven with and fitted fairly featly for, so; and equally so, the crame of the whole faustian fustian, whether your launer's lightsome or your soulard's schwearmood, it is that, whenas the swiftshut scareyss of our pupilteachertaut duplex will hark back to lark to you symibellically that, though a day be as dense as a decade, no mouth has the might to set a mearbound to the march of a landsmaul (FW292.15) Nor that the mappamund has been changing pattern as youth plays moves from street to street since time and races were (FW253.05)

I will not explicate these passages here, except to point out that the first one involves Melanesian pidgin (Beach-la-Mar), as well as the African related speech involved in "pickninnig" and "jazztfancy". A landsmål is Danish/Norwegian for a 'national language', but refers more specifically to the "New Norwegian" created as a unified Norwegian (Landsmål) in the 19th century by Ivar Aasen. Landsmål was the subject of much politics and language conflict in relation to Rigsmål, the state language inherited from Danish rule. The mauling of national languages by fundamental historical processes is very much at issue.

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Joyce seems to have known more about the nature of language than all the linguists and other experts, more than almost anyone. Not that he didn't read and understand the linguists.The central concept the linguists of his time focused on - after having created the edifice of Indo-European historical linguistics - was what Roman Jakobson used to call, with emphasis, the relation between signans and signatum , the physical sign or sound, and the thing referred to, or more broadly Sound and Meaning. Jaques Derrida has pointed out the limitations of such a perspective in his On Grammatology. And Noam Chomsky also has tried to move beyond such a stable structure to a generative approach which in the end has raised profound questions about what we really 'know' about how language works in human beings. For Joyce language is like river flowing, responding to the shape of the banks.

The "kriowday" passage ends by reminding us of these forces that Joyce thinks shape these mixtures of our languages -- in Japanese, "Makoto!" ('reality').

West Indian Tunes Joyce is also explicit that he is interested in West Indian speech: tendulcis tunes like water parted fluted up from the westinders while from gorges in the east came the strife of ourangoontangues. (FW541.32-)

The 'ten sweet tunes' of the West Indians are contrasted with the strife of 'our own goon tongues' (also 'orangutans') that come from 'throats' ("gorges" in French). So the noises of orangutans in the East Indies are contrasted with the sweet melodiousness of the voices ('speech') of the "westinders" as well as pairedwith the 'goon' tongues of Europe.

The 'goon tongues' in this passage seem to echo from the opposite page, where the 'redone Negro', seen with 'new eyes', is threatened by German "horneymen" along the 'Unter den Linden':

New highs for all! Redu Negru may be black in tawn but under them lintels are staying my horneymen meet each his mansiemagd (FW540.22)

The word "mansiemagd" contains a reference to emancipation ('emancipated maids') and "Redu Negru" is not only the founder of the principality of Walachia, Radu Negru or 'Rudolf the Black' (1290 A.D.),

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but the "New ('redone') Negro" of the Harlem Renaissance . Many of its leaders were "black in tawn" or light in color. The Harlem Renaissance had echoes in Paris; Joyce certainly knew Nancy Cunard, who was very involved in African American and Pan-African cultural movements.Yet "black in tawn" in a contrary violent image is also a reference to the 'Black and Tans'.

The two facing passages are further tied by "tawn". The East Indies - "gorges in the east" - home of Rangoon Burma in those times, and of the 'orangutans' the most orange, or tawny, of the apes. "Tawn" appears also in "A lurk of orangetawneymen!" (FW361.24), another version of "ourangoontangues" (also read in another context 'Oran, gay tawney men').

Explicating these passages may have seemed distracting, but they do go to show both Joyce's explicit involvement with Creoles, and his understanding of the history and historical processes involved.

2. The reason the presence of Creole languages in Finnegans Wake is important is because they are tied to Joyce's view of "coglionial expancian" (488.31-32) and slavery as fundamental aspects of modern history and human life.

[loose draft notes]: Unlike most Europeans in the 19th and early 20th centuries dealing with non-European cultures who treated thepeople and their arts as exotic images. some more factually than others, or as materials to be used to question andrebuild European cultural principles: James Joyce never forgot that all the people of the world were first humans.

Here, I want to look at Joyce's relations to some of the peoples and languages and cultures of the wider Africanworld, as he followed in the wake of Fionn, the white man, in his journeys of colonization and the slave trade.

----------

James Joyce's use of the languages, speech patterns, cultures, mindsets, people, and histories of the AfricanWorld, both Africa and the African forced diaspora in the New World and elsewhere, has serious implications for thereading and understanding of Finnegans Wake and its way of understanding the world and of understandinglanguage.

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Colonial Expansion

The reason the presence of Creole languages in Finnegans Wake is important is because they are tied to Joyce'sview of "coglionial expancian" (488.31-32) and slavery as fundamental aspects of modern history and human life.

Joyce's almost Braudel like vision of the history of slavery and colonialism is one of the starting points of thatunderstanding. The identification of Ireland with other island colonies and colonized peoples is part of its map.

Language The African restructured languages of the New World and other slave plantation colonies such as Mauritius andsome of the islands off the African coast, and of parts of coastal mainland West Africa have, in their processes, afundamental relation to much language in Finnegans Wake and perhaps so some of the very principles of itsstructure. These languages are often called Creoles and Joyce knew some of them and used them.

Part of their way of treating language is to break words down into parts - and to play with these parts in a way familiarto readers of Finnegans Wake. Joyce at one point calls this process "subjunction" and I have adopted this word as ageneral term for this language process as Joyce and many African cultures use it.

Sidney Mintz describes Caribbean Creole languages in this way:

What is so remarkable about these languages is that they coulddevelop under repressive social conditions until they became thefirst or native languages of millions oi‘ people, even becoming lit-erary languages in some instances. lt is not their particular his-torical roots alone, but also the ways in which they grew, thatmakes them especially interesting to the Afro-Americanist. And inthis perspective, it is not the precise historical origins of a word, ameaning, a phrase, an instrument, or a rhythm that matters, somuch as the creative genius of the users, molding older culturalsubstances into new and unfamiliar pattems. without regard for“purity” or "pedigree."

Caribbean Transormations p17 Introduction 1974

The often Joyce like deep language games that Creole speakers playis startling - and there are references in Joyce that make one think he was

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aware of this.

Some creole language games that seem Joycean - and of the type that mighthave struck him Wisemore to Seymour paradise to Sparrow - pairodice

Double consciousness and Creole langs

========

[[[ All this is to do scant justice to the reach of Joyce's ambitions. The language ofFinnegans Wake is not only made up of all languages, but of all kinds of languages -pidgins, creoles, lingua francas, universal languages, and all the other kinds Joyce could find. 198.18 {Emme for your reussischer Honddu jarkon! Tell us in franca langua. And call a spate a spate. Did they never sharee you ebro at skol, you antiabecedarian? ]]]

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Compare Creoles language and language processes with the language of Finnegans Wake[[[In this sense Joyce's language is richer and more extended even than that Creole speech which makes use ofmany of the same devices.]]]

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* 2013 Book and Creole notes

Joyce seems to have known more about the nature of language than all the linguists and other experts, more thanalmost anyone. Not that he didn't read and understand the linguists.The central concept the linguists of his time - after having created the edifice of Indo-European historical linguistics -

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focused on what Roman Jakobson used to call, with emphasis, the difference between signans and signatum(ital),the physical sign or sound, and the thing referred to, or more broadly Sound and Meaning. Jaques Derrida has pointed out the limitations of such a perspective in his On Grammatology. And Noam Chomskyalso has tried to move beyond such a stable structure to a generative approach which in the end has raised profoundquestions about what we really 'know' about how language works in human beings. "that the mappamund has been changing pattern as youth plays moves from street to street since time and races were" 253.05

Joyce focused on the 'fluidity' (ital / bold) of language. It's constantly changing and uncontrollable nature." reflections from a Creole-tained mirror. There is of course much else in the passage. Later we will look at another reading, in Jamaican, of "Whagta kriowday!". God Cry

II.

FW 198 and 199 - echoes of the Middle Passage and thepresence of Jamaican Creole and Haitian Vodun

to FWRead

FW 198 and 199 - echoes of the Middle Passage and the presence of Jamaican Creole and Haitian Vodun

198198.01 your pipes and fall ahumming, you born ijypt, and you're no- [Egypt, jipped, Gypsy + Ptolemy (line 02) see 005.22 a wink to the wabsanti. Otherways wesways like that provost scoffing005.23 bedoueen the jebel and the jpysian sea.

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'Gypsy Ann' Anna Between ('Bedouin') the Devil and the Deep Blue Sea (song 1920's) wabsanti - see "absantee" Ashanti 198.16] 198.02 thing short of one! Well, ptellomey soon and curb your escumo.198.03 When they saw him shoot swift up her sheba sheath, like any198.04 gay lord salomon, her bulls they were ruhring, surfed with the Salomon (exact spelling) was the name of Sir John Hawkins' boat which was the first English boat to carryslaves to the New World.

So this whole page will be, among other things, about the Middle Passage (see p 316)

316.24 The foe things your niggerhead needs316.25 to be fitten for the Big Water. He made the sign of the ham-316.26 mer. God's drought, he sayd, after a few daze, thinking of all316.27 those bliakings, how leif pauses! Here you are back on your haw-316.28 kins, from Blasil the Brast to our povotogesus portocall, the furt316.29 on the turn of the hurdies, slave to trade, vassal of spices and a316.30 dragon-the-market, and be turbot, lurch a stripe, as were you316.31 soused methought out of the mackerel. bliakings 'blacks' leif 'life' Leif Ericson' - another voyage Sir John Hawkins see the Wikipedia and NNDB links below and the header quote from Burrage/Hakluyt -------------------------------------------------------------------on Sir John Hawkins - Wikipedia (not including SalomonSir John Hawkins bio at NNDB (not including Salomon)

Early English and French voyages: chiefly fromHakluyt, 1534-1608 - Page 114

books.google.com Henry Sweetser Burrage, Richard Hakluyt - 1906 - 451 pages - Free Google eBook - ReadMASTER JOHN HAWKINS with the Jesus of Lubek, a shippe of 700. and the Salomon a shippe of 140. the Tiger a barke of 50. and the Swallow of 30. tunnes, being all well furnished with men to the number of one hundreth threescore and tenne, ...

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one hundreth threescore and tenne, ... -------------------------------------------------------------------

198.05 spree. Boyarka buah! Boyana bueh~He erned his lille Bunbath Boyarka is in the Ukraine Boyana is in Bulgaria and (Fweet also) (Buah is also a Malay/Indonesian fruit)BUT Boyarka can be smushed into Arabic Swahili Barca 'praise' while Boyana can be smushed into Swahili Bwana 'Boss' which gives a sort of Swahili reading

- the only reason to do this is an impressionistic reaction to go along with the other Swahili items on 198-199entered on the galleys -------------------------------- on these - see Dalton--and Wolff who discovered all this (without JJ's notes) -- in A Wake Digest -- "Kiswahili Words in Finnegans Wake" I give the two relevant pages:198.11 nyumba noo, chamba choo. Nyumba = house; noo = a large whetstone; chamba = a hiding place, also, towash one’s private parts (said of a woman); choo = privy: Joyce found “choo”particularly appropriate for what it names, since it contains the German symbol “oo.” (Because of the alliterationand parallel construction, and the nonsense nature of the sequence, I think it isreasonable (among reasonable men) to say that in this case Joyce used the words with little or no considerationfor their sense, though the meanings are significant, if not particularly so in the case of “nyumba.” The words “noo” and “chamba” are the only ones which do not appear at all in his notes (Buffalo MS VI.B.46, “Kissahueli”).(Cf. the sequence at -.5, based on rivers.) 198.16 sina feza = I have no money 198.16 The words “me” and “him” substituting the objective case for the subjective, are familiar native-sounding talk. I think, however, thatJoyce consciously based them on K. pronouns, which combine the cases into one form. “Mimi” (or, as frequentlyabbreviated, “mi”) = I, me; “yeye” = he, him/she, her.

198.16 absantee. This appears in the notes as “absanthe (thanks),” and it is a mistake: the “b” should be an “h.” The error in reverse was made in another entry but caught: in setting down the wordsfor silver and gold he wrote “zalahu,” then followed it with the correct “zahabu” (gold).199.12 Wendawanda, a fingerthick. Wanda = a finger’s breadth or thickness. It is the Swahili inch. In his notesJoyce wrote “1 fingerthick.” Hewas working from a German source (see below), and it must have said “fingerdick,” as in Velten’s definition:“Breite oder Dicke eines Fingers, fingerdick.”

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199.16 yayis. Yayi = egg199.20 hamjambo, bana? A K. greeting, “Hujambo, bana?”, roughly analogous to Eng. “How are you, sir?”“Hamjambo” means are you (pl.), etc.,” which does not agree with the singular “bana.” I cannot say whether Joyce knew this; there is of course a pun with Eng. “ham,” but the “m” appears in the notesas well.Though this fits the pattern in no particular, there is a reference to the running “How are you today, my darksir?”s which appear in so many languages. K. itself supplies the “dark,” being a Negersprache.[[And the other pages cited by Dalton from Joyce's notebook]]201.23 homa = fever201.24 mahun of the horse. The phrase “man of the horse” occurs in the notes, but I am unable to state itsrelationship to K.—if it has one.It is not a literal translation of K. “horseman,” for example. Earlier in the notes there is a brief exercise ingenitives (“days of the work,the werks day”—”werks” being German), and presumably the same thing is being got at in both.

201.25 bundukiboi meet askarigal. Bunduki = gun; boi = houseboy, servant (derived from Eng. “boy”); askari =soldier201.30 meanacuminamoyas. mia na kumi na moja = correct K. for the number 111 (lit., (one)hundred and ten and one, or, more correctly, (one)hundred and eleven, since “kumi na moja” = eleven)[[ I read also, 'My Anna, "come in my ass"' in a chopped up West Indian ]]

203.31 But the majik wavus has elfun anon meshes. Maji = water; wavu = net, as a fishnet (“meshes”); elfu =1000. Note the pattern: oneletter is added to the end of each K. word.203.32 Simba ... Oga. Simba = lion; “Oga” is a problem. In his notes Joyce wrote “ogakoga (bath).” “Oga” is theshort form of “koga,” “tobathe,” and, as “oga,” is indistinguishable except in context from “oga” meaning “fear, cowardice.” “Oga” doesnot mean “bath,” but Joyce thought it did, and we therefore read it “bath,” a waterword in a waterchapter. [[???]]204.21 Mtu or Mti. Mtu = man; mti = tree. K. for “river” is “mto,” which does not appear in the notes. “Tum” and“Tim” skirt “Tom,” making 2 + 1 witnesses.’

206.28 pooleypooley. Polipoli = slowly

209.11 tembo = palmwine (v. 428.1); tumbo = belly (Ger. “bauch” in the notes, followed by “utumbo (bowels)” andpreceded by a word for “lung”); pilipili = pepper; saa = watch, clock, hour (Ger. “uhr” in the notes); taa = lamp; bizaa =merchandise (v. 210.2), but

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in his notes Joyce wrote “bizari,” “spice” (pilipili and bizari are two ofthe three chief parts of their curry powder), and this word and meaning is preserved by the preceding “specis” [[Other Swahili occurs in FW - but is not in Notebook VI - You may need to look back to Dalton's readings aswe look at the lines below.]] -------------------------------------------------------------------

198.06 hard, our staly bred, the trader. He did. Look at here. In this wet198.07 of his prow. Don't you know he was kaldt a bairn of the brine,198.08 Wasserbourne the waterbaby? Havemmarea, so he was! H.C.E.

As Fweet also notes, this is a reference to Charles Kingsley's The Waterbabies - which is significant for mein two ways. 1. it is another structuring of the MIddle Passage - as the 'black' chimney sweep by his passage through thewater is "washed whiter than snow" 2. C.K. Meek, Tribal Studies in Northern Nigeria, 2 vols. London, 1931. ( Humanities Press, new impression,1950) Meek only gives his initials but it turns out that the C K stands for Charles Kingsley.Some of Meek's major chapters have to do with two groups he calls Chamba which is their Fulani name. They call themselves Sama.- a pairing of sounds that Joyce makes use of.Meek's book is a major source for Joyce on this region - at that time the province of Adamawa (Adama - wa) So the "Chamba" we find 3 lines after the Waterbabies can raise, though not establish, reasonablesuspicions of Meek's presence See also lines that may be claims of Meek's presence at 271.F4 "Understudy my understandings, Sostituda, and meek thine complinement gymnufleshed" ( 'naked' asin the pictures in Meek's book) 423.13 "It was given meeck . . . to assist at the whole thing byck"

Another use of "meek" which may have helped lead Joyce to Meek's Tribal Studies is in Portrait of the Artist,when discussing Newman, Stephen sheds his "second skin of meekness".

John Szwed has noticed that Joyce seems to use the words that Meek puts in italics - which he may also do wihother authors - but I will not go into that here. But among the items in italics there is a photograph of a phallic mudpillar, with the italicized name Woops (Meek: Vol. I, Ch. 7 p431).And a case can be made that it appears along with other phallic resurrections in the line at 24.14 when Finneganrevives: Have you whines for my wedding, did you bring bride and bedding, will you whoop for my deading is a? Wake? Usqueadbaugham! (As Mark Troy has noted, "deading is a" can be read as 'dead in Gisa' AWN XII:5, 92 1975 OCT. -giving us a reference the great pyramid along with the mud pillar) Now see discussion at line .11 below of the Swahili entry "nyumba noo, chamba choo"

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198.09 has a codfisck ee. Shyr she's nearly as badher as him herself.198.10 Who? Anna Livia? Ay, Anna Livia. Do you know she was call-198.11 ing bakvandets sals from all around, nyumba noo, chamba choo,

The first thing to realize about these Swahili entries is that they are not just in Swahili. And as we will see, Joyceby introducing them on the galleys (from the notebooks where they had been waiting to be used) was not justadding a couple of words. He was transforming meanings across at least two pages of his book.

To begin to see the significance of Chamba we must note that there are several places in Finnegans Wake whereJoyce pairs his Swahili (East Africa) entries with items from West Africa. Chamba on line 11 is one of these. In Meek, the Chamba or Sama of Nigeria in West Africa are of 2 kinds - the Chamba Daka and the Chamba Leko -as he calls them.. Actually the Daka are the hill residents among the people speaking the language - Sama mum(or 'Sama mouth') of his "Chamba Daka" (pop. about 100,000) - while his Chamba Leko, relatively far to thesouthwest, speak a language almost as different as Vere or Mumuye (groups with populations of about 200,000each).. Although at the edges of the Hausa-Fulani empires, often resistant, they form a middle belt of peoples that donot make it into most of the stereotypical descriptions of Nigeria. Parts of Meek's two volume book can be found on Google books at CK Meek - Tribal Studies in Northern Nigeria(But not the chapter on the Chamba nor the photograph of woops)

Another pairing of a Swahili entry with the name of a West African people occursat 206.28 "And pooleypooley." In Swahili, as Wolff (and Dalton) tells us is Swahili Polipoli, meaning 'slowly'. But the pronunciation Puli (From the Fulani singular Pullo - British Pul) that we hear in "pooley' is a somewhat derogatory form of theirname used by the smaller tribes they have dominated and often enslaved since 1809.

So as we begin to proceed in this matter bit by bit, we can notice that Joyce is not just accumulating namereferences, or just relations of east and west, but is marking social relationships. This becomes even more clearwith the pairing of the Swahili entries at 198 line 16 which Dalton comments with typical rash emendation as198.16 sina feza = I have no money198.16 The words “me” and “him” substituting the objective case for the subjective, are familiar native-soundingtalk. . . .198.16 absantee. This appears in the notes as “absanthe (thanks),” and it is amistake: the “b” should be an “h.”

Dalton is rash because the b is no mistake.Among other reasons, these entries can quite clearly be read in various levels of Jamaican Creole.[The case is a little elaborate and I don't know how much of it I want to do here so bear with me. But it is definite.]

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Before I do however, I need to finish the case for connecting Meek with the Chamba entry at line 11, a casewhich in itself is also quite elaborate - and does not merely depend on Meek's first names being CharlesKingsley and his having written achapter on the Chamba. The Chamba call themselves Sama, and the Lapps (of Finland and Sweden and Norway)call themselves Same (2 syllables (the second one a front rounded vowel - but not sami, as some crudeAnglicizations have it) or Samer in the plural. Joyce just happens to illustrate this across the page with another Swahili entry at 199.11-12199.11 And there she was, Anna Livia, she darent catch a winkle of199.12 sleep, purling around like a chit of a child, Wendawanda, a finger-199.13 thick, in a Lapsummer skirt and damazon cheeks,where "Lap summer" clearly indicates the name pairing of Lap and Samer, and the "damazon cheeks" showvividly that AL is wearing, appropriately, as the Lapp women did in summer, and as the Chamba/Sama womendid, a skirt of leaves. Now all we have to do to show that Joyce is making all these connections is to show him using the form Samain a context in which the Lapps definitely appear. And we can do this!.625.27 But the still sama sitta. I've lapped so long.

In part we have here Joyce's African steatopygia fetish, the Sama and their "sitta", but also we have theLaps/Lapps (both spellings are recognized) with their traditional social unit, the reindeer herding group, whichthey call the siida.

So so far we have shown that Joyce ties the Sama/Chamba and Lapps/Samer togetherand that he is interested in the alternation between outsiders' names - Chamba and Lapp - and their own names Sama and Same. - Well - 105.21 Lapps for Finns This Funnycoon's Week - (where the Lapps had/have an inferior social position to the Finns as African Americans had/have to the so-called white population.)

For the Chamba the sound change is between ch and sNOW -- if we return to the Chamba entry on 198.11and substitute s for ch we get an interesting result. The Swahili is all about privies and washing private parts.But 'Sama Suu', unlike "chamba choo" means 'Sama God', or 'Sama sun'. (and "noo" means 'leaf' which may beneither here nor there). Clearly there is no way to 'prove' these last readings. Or to determine how far Joyce really took his games. Butthe contrast in meanings is interesting and a fairly Joycean set of opposites. And it does make more telling the Charles Kingsley/Meek connection - which I think it is demonstrated Joyceknew in connection with Chamba. But these ties across the page are not finished - as we shall see with Jamaica and particularly Haitian Vodun

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('voodoo') at lines 16 and beyond.

This tieing of East and West not only to the middle passage of the African to slavery and of the chimney sweepso blackened and then washed whiter than snow - also has ties with Cardinal Newman and thus with Charles Kingsley. and Meek. In the Isles of the West we have both the isles of the Blest (from Blasil the Brast) and Utopia also - for the CapeVerde islands that More seems to have in mind were indeed the first island of European industrialized overseasAfrican slavery, and the New Man was also the slave. It was in defense of Cardinal Newman, that Stephen inPortrait sheds 'his second skin of meekness'.And of course the four Cardinals are the cardinal directionsKingsley was also the author of Westward Ho,championing explorers of the sea, as wellas Hereward the Wake (about the men of the Fens).John Henry Newman and Charles Kingsley: A Correspondence on the Question "Whether Dr. NewmanTeachers That Truth is No Virtue", Jan 31. 1864Newman - Kingsley Controversy some quotations (LINK)While the Kingsley Newman controversy about truth(and Protestant/Catholic differences) was not directly connected to the controversy over Governor Eyre inJamaica and his handling of the Morant Bay "Rebellion" which split up English intellectual society, the sides inboth cases had much in common and there is a sense that the role of race and ex-slavery was involved. As arecent commentator put it - In Kingsley’s mind, there seems to have been a strong psychological connection between Romanism and the West Indies. His mostsuccessful novel Westward Ho! , written in Devon in the early months of the Crimean War, describes the exploitsof the Elizabethan worthy Amyas Leigh. Early in the book Leigh’s fiance, the symbolically named Rose, isseduced by a Spaniard sea captain called Don Guzman, who elopes with her to the Caribbean, where Amyashunts them down. Rose is taken to South America, where she perishes under the Inquisition. Meanwhile, Amyas returns to Europe, where he eventually commands a battle ship against the Armada. In theclimactic scene he sights his erstwhile rival driving his own boat up the West coast of England; Amyas intercepts the vessel, and is about tocrush it and its captain against the rocks when storm and lightning sink the ship, depriving him of his moment of revenge, and blind him. The blinding, as many of Kingsley’s readers will attest, is probably the most effective moment in his fiction, sinceit appears to reprove the protagonist and, by extension the author, for their own ethical purblindness, their deliberate and sustained pursuits of prejudice.Robert Fraser, FRSL, Professor of English, Open University

All of this requires study by me to really understand it. But there is no question that Joyce understood it, bothNewman, and Eyre who earlier had been aclaimed "Black Protecter of the Lower Murray" in Australia. - The magical name "Murray" would have been enough as well as the fact that it was also a river.["South Australia's Lake Eyre, Eyre Peninsula, Eyre Creek, Eyre Highway (the main highway from SouthAustralia to Western Australia), and the Eyre Hotel in Whyalla are named in his honour,

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as are the villages of Eyreton and West Eyreton in Canterbury, New Zealand."]

Joyce probably conflates Eire, air, e're, and Eyre The Handel aria from Semele, Where'er you walk, cool gales shall fan the glade; Trees, where you sit, shall crowd into a shade ...is turned into a mixture of Mary had a little lamb anda move by the Prankquean250.29 And their prunktqueen kilt her kirtles up and250.30 set out. And her troup came heeling, O. And what do you think250.31 that pride was drest in! Voolykins' diamondinah's vestin. For ever250.32 they scent where air she. went.

Eyre's March - an account of his walk with three Aborigines (who died) along almost the whole, waterless, southcoast of Australia was described in a work by Kingsley's brother Henry. (Henry also wrote a story about how a boat and its passengers wererescued in a storm by a Black or Dark man who had been ostracized by the passengers, but who turned out to be a heroic - and extremely well-educated - Rear Admiral of the Navy - a story Joyce usesin Finnegans Wake.) Eyre's direct appearance in the Wake is domestic - 581.06 and the swanee her ainsell and Eyrewaker's family sock and there seems to be some desire to establish his Irishness -His family were generations old among theProtestant Ascendancy in Galway. 301 Y 2 Excuse theyre christianbrothers irish?

==================

So one more pause before we actually get to the West Indies, or rather as we pass beyond to Argentina andUruguay and Columbia - and the whole Amazon basin - while Joyce again marks his theme as "El Negro" -- who turns out to be an African who made a different voyage.

198.12 to go in till him, her erring cheef, and tickle the pontiff aisy-oisy?198.13 She was? Gota pot! Yssel that the limmat? As El Negro winced198.14 when he wonced in La Plate. O, tell me all I want to hear, how

El Rio Negro, La Plata, Huila, Colombia At its Columbia source the Black River is at La Plata vs. El Rio de la Plata, 'Silver River', 'the River Plate' that separates Uruguay from Argentina

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La Plata ("La Plate") is the capital city of the Province of Buenos Aires [note - Rio Negro (Portuguese&Spanish),:English,: the Black River, is the largest left tributary of the Amazon andthe largest blackwater river in the world.] So we have 2 rivers, both identified with La Plata

Wikipedia on 'the Rio Negro' - contains the map belowHere is a larger version of the river map of the Amazon Basin with the Rio Negro

Nasa photo of the Rio de la Plata from west looking east - Buenas Aires on the right, with La Plata just beyond it, and Montevideo on the left at the end of the pink part.

Map of mouth of Rio de la Plata w Buenas Aires, La Plata, and Montevideo all marked

So we can see that Joyce has linked together two major river basins in South America in one line. But Joyce does not say Rio Negro. He says, "El Negro" - I have found several people with this title, but so far they are all from recent times. However I did find the following on a 'stuffed African' on display in Banyoles (North of Spain, region ofGirona)."Two French taxidermists stole the body later known as El Negro from a grave beyond the Cape Colony frontierin 1830-31. It was stuffed and displayed as 'Le Betjouana' (i.e. the Bechuana or Motswana) in France and as '1/Betjouana' in Spain. From 1916 until 1998 it was the prime exhibit in a museum at Banyoles, north of Barcelona, where it becameknown as El Negro. (Controversy over its display began in 1991, and was complicated by the assertion that a'Betjouana' was a type of 'Bosquimano' (Bushman))."LINKPula: Botswana Journal of African Studies vol.16 (2002) nO.1 One body playing many parts-Ie Betjouana, elNegro, and il Bosquimano Neil Parsons University of Botswana, History

I tried to link El Negro or Banyoles to the River Plate or the River Negro - but have not found anything so far.If there was a 1920's or 1930's boxer or other sports figure known as El Negro that you know about, please let me know Someone who had reason to "wince"

===============

And so we arrive at the isles of the west.

198.15 loft she was lift a laddery dextro! A coneywink after the bunting

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198.16 fell. Letting on she didn't care, sina feza, me absantee, him man198.17 in passession, the proxenete! Proxenete and phwhat is phthat?

The passage on page 198.16 "sina feza, me absantee, him man in passession"was annotated as Swahili by Dalton (AWD, 43): "sina feza" glossed as 'I have no money', "absantee" as Swahili ahsanthe 'thanks'.

In Joyce's "Kissuaheli" notes (Buffalo MS VI. B. 48) Dalton found the latter as absanthe thanks)". Daltoncomments that "this is a mistake: the 'b' should be an 'h'." But Joyce may very well have intended the "mistake"- just as "barnaboy" isnot, as Dalton claims, a reading error for Swahili 'barua', but includes the Danish word for child, 'barn' (AWD45). Joyce's 'error' prefigures the placement of Swahili and Jamaican in theword "absantee" (Has Joyce no limits - notebooks, letters from 1905 and much else all still in mind as he places one word inFinnegans Wake?) In any case our attention is directed to a very productive b - h alternation. Joyce was certainly aware of the h, for one important reading of "absantee" is 'Ashanti' - which inverts theSwahili (German spelling) hs to sh. (other early versions of the name Ashanti remove the h, or emphasize thepronunciation - 'Asante' 'Ashantee'). As we saw with Chamba, a reading of 'Ashanti' would be the second time on page 198 that the name of a WestAfrican people occurs blended with a passage Joyce notes in Swahili

On page 198.16, the b of "absantee"(and of Joyce's distortion of Swahili 'thankyou' as "absanthe") enters Finnegans Wake first as part of aJamaican-Ashanti slave's complaint about his ABSENCE from his homeland. For "absantee" represents right onits surface a British West Indian and typically Jamaican pronunciation of 'absentee'.See also Joyce letter to Stanislaus (28 Feb., 1905) where he notes that "He (Renan) calls John the Baptist theabsinthe(Italic) of the divine feast". French pronunciation of 'absinthe' with an unreleased b and its reading'absent' in"absintheminded" (464.17) also suggests b/h and the b inserted in the "ahsante" that Dalton wishes to find inJoyce's notes.

The Ashanti slave has been carried to Jamaica and complains he is an absentee - but he makes a twist. For theowners of Jamaican plantations were notoriously 'absentee landlords'. The slave plays on this by asserting 'meabsantee; him, man inpassession'. 'I am the absentee, while absentee is is the man in possession'

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While the Jamaican slave's complaint and longing for his homeland is genuine, the language we give him here isa caricature. Dalton refers to "me" and "him" as "native sounding talk" - a fair description, for as we have read it so far thiscould be not only imitation African based English but also pidgin, pseudo-Indian, or what have you. Tonto (in The Lone Ranger), for example. used this construction regularly.

If this reading were in a form of Jamaican Creole, one would not simply delete the copula ('me (to be) absentee').Instead we might hear 'him a di man in passession' (where 'a' can translate as 'is' or 'it is'). The tone of the slave in "him man in passession" is that presented in 18th and 19th century caricaturerepresentations of slave speech.

But Joyce does not leave his slave in this sorry state, deprived not only of his homeland and property, includinghis ownership of himself, but of his language and culture as well.He gives us also a reading in genuine Jamaican Creole. In this reading the Jamaican slave stresses his calm andclarity (self-possession) as against the loss of control of the master who is in a state of alien 'possession' (byspirits, the devil or whatever): 'me ab san+tee; him, man, in passession' - 'I have sanity (or French 'santé' 'health'); he, man, is possessed.'

198.18 Emme for your reussischer Honddu jarkon! Tell us in franca198.19 langua. And call a spate a spate. Did they never sharee you ebro198.20 at skol, you antiabecedarian? It's just the same as if I was to go198.21 par examplum now in conservancy's cause out of telekinesis and198.22 proxenete you. For coxyt sake and is that what she is?

The case for Jamaican Creole in line 16 is made immeasurably stronger by the list of lingua francas, jargons -and the indirect reference to'unwritten' languages in "antiabecedarian".

There is an apparent reference to Creole speakers speech styles in "And call a spate a spate" which can alsobe read as 'and call a spade a spade' (as in Fweet) - thus a "Black" reference.Evidence for this reading of "spate" with a t can also be found at318.04 I'll think uplon, lilady. . . .318.06 . . . Obsit nemon! 318.12 Ethna Prettyplume, Hooghly Spaight. . . . .318.15 where the lowcasts have aten of amilikan318.16 honey and datish fruits where the "uplon" and the "nemon" and the 'plum' and the specifically Jamaican hoghly 'ugly' fruit (a wrinkled

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variety of grapefruit, that originated in Jamaica) figure in this list of ("honey and datish") fruitsBut of course "Hooghly Spaight" is also the racial insult 'ugly Spade'.

And this list is followed immediately by a reference to Haitian Vodun.at 198.22-23 "Botlettle I thought she'd act that loa."

I know this is also a reference to a Spanish loa or Prologue to an Auto"Sor Juana Inés de la Cruz—poet, prose writer and dramatist—was not the first colonial Spanish Americanauthor to write loas, but her efforts aresuperior to those of other Hispanic American writers.1 Most of Sor Juana's loas are refined examples of thegenre and have a sophistication which permits them play status. This assessment of her loas can besubstantiated by comparing them to those of her predecessors in Spanish America such as Fernán González deEslava and to the loas of Agustín de Rojas Villandrando, and others, written in Spain prior to Calderón. Calderón,who began producing loas in 1650, and later Sor Juana, writing in a similar fashion, changed the loa from a short,simple monologue or dialogue to a longer form having all the trappings of drama. Although scholars believe thathundreds of loas were written in Spanish America during the seventeenth century, only eighteen from that periodare extant (AMP, p.6). Since all of the eighteenremaining seventeenth-century loas are by Sor Juana, she is now considered the most prolific loa writer ofSpanish America.2"from The loa: One Aspect of the Sorjuanian Mask by A. Daniel Lee

But the loa (as the order of Google search results knows) is also the term - originally from the Fon of Dahomey -for the Gods that the the worshipper possessed by one of them in a Haitian Vodun ceremony proceeds to "act". The dancing involved is describedacross the page on 199.22 along with an essential element of the Vodun ceremony

Haiti and Jamaica form a pair in Finnegans Wake. Where one finds one one can expect to find the other nearby.Thus on page 23 one finds the Jamaican ancestral spirit, the duppy, performing a typical duppy action023.05 And the duppy shot the shutter clupwith a typical West Indian sound adverb - clup,And below one finds 023.31 the louthly one023.32 whose loab we are devorers of, expressing in "loab" both 'loa' and 'love'and in "devorers" both the devotion of the worshiper, and the devouring nature of love.We find loa again on 102.15 in a religious context also invoking US Jazz and perhaps some other meanings of the term102.14 when Tinktink in the churchclose clinked

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102.15 Steploajazzyma Sunday, Sola, with pawns, prelates and pookas

Across the page, as I mentioned, we find199.21 while her199.22 togglejoints shuck with goyt and as rash as she'd russ with her199.23 peakload of vivers up on her sieve which not only describes the dancing style but mentions the drawings made with flour on the ground to invokethe Gods, the vevers.

Agwe

What is a Vever? A symbolic design, formed on the ground (in the peristyle) by sprinklingwheatmeal, cornmeal, or some other appropriate powder from the hand, at or before thebeginning of a ceremony. Such a design represents a Loa to be invoked, and serves both asa focal point for invocation and a kind of altar for offerings. Several vevers of different Loamay be drawn for one ceremony. The designs incorporate well-recognized traditionalelements, but reflect also the individual intentions and creative skill of the Houngan or Mambo.

What is a Vever, at Voodoo Authentica LINK vevers illustrated on left of page.

Of course all this information would have been more commonplace in Paris in the 1920's than in the UnitedStates.

So the connection of Loa with Haiti and Haitian Vodun and of Haiti and Jamaica are confirmed. But Joyce gives usthe Haiti Jamaica pairing yet again, just above the appearance of Anna Livia in her "lapsummer" skirt of leaves.199.09 You'd think all was dodo belonging to him how he durmed199.10 adranse in durance vaal.

"dodo" is both French child language and French Caribbean for 'sleep'. -

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'how he dreamed a dance'. Adranse is not only a dance - but also the Ashanti and Jamaican spider tricksterAnansi/Ananse, hero of the folktales.(It may not be irrelevant that Joyce's well known dance that he liked to perform was likened to a spider dance.)

But "vaal" is also an allusion to the Irish music hall singer, Val Vousden.whom Joyce remembers in a letter"making a patriarchal entry into theBlack Maria outside Stores St." (Letters I, 394.F) where one could backread 'Black Maria' as not only a police vanbut a Vodun allusion. Val Vousden also shows up in Finnegans Wake with the last syllable of his name converted to a Jamaican pluralmarker (to mark the plurality of the French 'vous' in "Venerable Val Vousdem" (439.17-.18).

Joyce also connects "dodo" to the hymnal of Sankey and Moody used in many churches thoughout the Britishempire, notably in the WestIndies where it is called "The Sankey", and which Joyce uses as a verb (French 'without key') in "or so theysankeyed. Dodo!" (533.20)perhaps to capture the singing style.

Perhaps the east-west route of the slave from Ashanti to Jamaica, of the middle passage, may be heard - alongwith a distant echo of Ashanti in "will shantey soloweys sang" (330.08) where the 'Way of the Sun' - 'Sol - O -ways' is found also in the song, the 'Solveig' of Solveig's Song (Edvard Grieg)

So a main point that I mentioned and think I have demonstrated is that Joyce has connected all these passages,and altered their relationshipsfundamentally, just by these few Swahili entries he added to the galleys.To do this shows how long term histhinking was in writing FW, and the amazing mental capacity required to do this.

Didn't you spot her in her windaug,198.24 wubbling up on an osiery chair, with a meusic before her all198.25 cunniform letters, pretending to ribble a reedy derg on a fiddle198.26 she bogans without a band on? Sure she can't fiddan a dee, with198.27 bow or abandon! Sure, she can't! Tista suck. Well, I never now198.28 heard the like of that! Tell me moher. Tell me moatst. Well, old198.29 Humber was as glommen as grampus, with the tares at his thor198.30 and the buboes for ages and neither bowman nor shot abroad and198.31 bales allbrant on the crests of rockies and nera lamp in kitchen or198.32 church and giant's holes in Grafton's causeway and deathcap198.33 mushrooms round Funglus grave and the great tribune's barrow198.34 all darnels occumule, sittang sambre on his sett, drammen and

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198.35 drommen, usking queasy quizzers of his ruful continence, his198.36 childlinen scarf to encourage his obsequies where he'd check their

198

..199199. 1 debths in that mormon's thames, be questing and handsetl, hop, 'polygamy themes' see 628.05628.05 Two more. Onetwo628.06 moremens more.

199. 2 step and a deepend, with his berths in their toiling moil, his swal-199. 3 lower open from swolf to fore and the snipes of the gutter pecking199. 4 his crocs, hungerstriking all alone and holding doomsdag over199. 5 hunselv, dreeing his weird, with his dander up, and his fringe199. 6 combed over his eygs and droming on loft till the sight of the199. 7 sternes, after zwarthy kowse and weedy broeks and the tits of199. 8 buddy and the loits of pest and to peer was Parish worth thette199. 9 mess. You'd think all was dodo belonging to him how he durmed199.10 adranse in durance vaal. He had been belching for severn years.199.11 And there she was, Anna Livia, she darent catch a winkle of199.12 sleep, purling around like a chit of a child, Wendawanda, a finger-199.13 thick, in a Lapsummer skirt and damazon cheeks, for to ishim199.14 bonzour to her dear dubber Dan. With neuphraties and sault199.15 from his maggias. And an odd time she'd cook him up blooms199.16 of fisk and lay to his heartsfoot her meddery eygs, yayis, and199.17 staynish beacons on toasc and a cupenhave so weeshywashy of199.18 Greenland's tay or a dzoupgan of Kaffue mokau an sable or199.19 Sikiang sukry or his ale of ferns in trueart pewter and a shin-199.20 kobread (hamjambo, bana?) for to plaise that man hog stay his199.21 stomicker till her pyrraknees shrunk to nutmeg graters while her199.22

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togglejoints shuck with goyt and as rash as she'd russ with her199.23 peakload of vivers up on her sieve(see Dalton above, for the Swahili items in the highlighted passages.)

Karl ReismanJBryllars@Gmail.com850 Horizons East #111Boynton Beach FL 33435