Posts Tagged ‘writing’
The Crossword Century: 100 Years of Witty Wordplay, Ingenious Puzzles, and Linguistic Mischief for Gotham3 July 2014
“Amusing and informative”
— Pultizer-winner Jonathan Yardley, Washington Post
“such a fun read”
— Dinesh Ramde, Washington Times
My book about the fun of crosswords, The Crossword Century: 100 Years of Witty Wordplay, Ingenious Puzzles, and Linguistic Mischief, has been published by Gotham.
A couple of responses…
“Alan Connor’s Crossword Century is a fun and fascinating tale of language, commerce, culture and play. Before reading this book, I didn’t have a clue about the crossword’s checkered past. Now I can see its extraordinary future, too.”
— John Pollack, author of The Pun Also Rises and Shortcut: How Analogies Reveal Connections, Spark Innovation and Sell Your Greatest Ideas
“If you love language and history and marvel at the genius of puzzles, codes, and game design, Alan Connor’s deep dive into the crossword will keep you smiling and eagerly turning pages. Connor playfully explores the history of the beloved, gamified fever dream of sentences, definitions, letters, and words that is the modern crossword and reveals the dance that strange invention has enjoyed with its caretakers across history. If you adore words and wordplay, if you see language as an endless mutating jungle of puzzles and experimentation, you need this book in your life.”
— David McRaney, author of You Are Not so Smart and You Are Now Less Dumb
- This Week’s Must-Read Books, New York Post
- The Crossword’s Meandering 100-Year Journey, MacLean’s
- Down, But Not Out: The Uncertain Future of the Crossword Puzzle, The Atlantic
…and the reviews of the British edition as a word cloud:
And… it contains a puzzle by Brendan Emmett Quigley.
Listen: Think, from KERA
- Buy or read more about the UK edition
- Up to Date, KCUR · The Book Report · Lincoln Live, KFOR · Craig Fahle Show, WDET · Life Elsewhere, WMNF · Martin Kilcoyne Show, KTRS · Dean & Don, KMA-FM · Central Time, Wisconsin Public Radio
- Word cloud from Wordle
- Health & Self-Improvement Staff Picks, Penguin USA Blog
One rainy night in 1939, he wrote the opening lines of Aquarela do Brasil (Watercolour of Brazil): “Brasil, meu Brasil brasileiro.” This translates as “Brazil, my Brazilian Brazil”. Never have four words been more Brazilian, before or since.
The censors had issues with some colloquialisms and a folksy reference to tambourines, but Barroso persuaded them that his “samba exaltacao” was modern and patriotic enough to meet their exacting requirements.
I thoroughly enjoyed Misha Glenny’s radio documentary The Making of Brazil, Bryan McCann’s book Hello, Hello Brazil: Popular Music in the Making of Modern Brazil and Scott L. Baugh’s reference work Latino American Cinema: An Encyclopedia of Movies, Stars, Concepts, and Trends. I am endebted; they are recommended.
My favourite versions:
And here’s that Disney, and Ze Carioca alive and well in 2014:
A short-form piece for the Beeb on Stevie Wonder’s Another Star, the theme tune for the BBC’s World Cup coverage:
Another Star closes side four of Songs in the Key of Life – the very end of a four-album run in which Wonder relentlessly outdid himself. He had originally intended to follow his previous, Fulfillingness’s First Finale, with a sequel.
Fulfillingness’s Second Finale was to be a darker, socially conscious experience, but Wonder’s ambition overtook him, and he spent two years putting together a double album (with bonus single) instead.
No space this time for a collection of cover versions, so here they are.
With the Tokyo Philharmonic:
Salome De Bahia:
Caron Wheeler of Soul II Soul, Afrodiziak:
Kathy Sledge of Sister Sledge:
And, of course, with Nile Rodgers and Daft Punk:
My book about crosswords, Two Girls, One on Each Knee, is out today as a paperback.
It costs no more than £8.99, and I have removed an error, one concerning the PG Wodehouse story with the strawberries. It now begins with some commendations:
‘Connor’s wry, good-natured tone and his commitment to the serious business of play make him the perfect guide to a great pastime’ John Gallagher, Telegraph
‘Alan Connor’s charming, fascinating history of how the crossword went from a space filler in the back section of an American newspaper to one of the world’s most ubiquitous and addictive habits – he estimates that in Britain some 14.7m people do a crossword at least once a week – is the guide you have been waiting for. In a single, gloriously decipherable chapter he lays out with perfect clarity the entire range of rules and devices through which cryptic clues work their magic’ Robert Collins, Sunday Times
‘Connor’s scholarly knowledge doesn’t stop him extolling the vocabulary of The Simpsons. The solution to the title, by the way, is ‘patella’.’ Ben Felsenburg, Metro
‘No crossword addict, be they a compiler or a solver, can ignore it‘ Alan Taylor, Herald
‘Connor’s book is cleverly constructed around an initial cryptic crossword in which each clue provides the title of a chapter. And each chapter can be read independently of the others. There is something to entertain even the most infrequent dabbler, from a primer on how to actually do a cryptic crossword to the puzzle’s famous fans – the Queen, Sepp Blatter and Frank Sinatra among them – and its connections with the trains (one line in the US used to carry dictionaries)’ Carl Wilkinson, Financial Times
‘The brilliant new book on crosswords . . . Â Delivers fun galore whether you’re a doer or a duffer . . . Two Girls, One on Each Knee consists of a series of short, sparky chapters on topics as various as ‘Crosswords and detective fiction’, ‘Can machines do crosswords?’ and ‘The many ways of being rude in a crossword’. . . And this is also the guiding principle of his book — it favours the byway over the highway, and can never say no to a red herring’ Craig Brown, Mail on Sunday
‘This book shows you, among other things, how speaking aloud unpromising phrases such as ‘Tooting Carmen’ and ‘Servants Tease’ can yield obvious answers, and how sociable the crossword is. Of course, it can be tackled alone, and in Brief Encounter, it represents the antithesis of the longed-for romance, but it’s also perhaps fun to tackle with two or more heads rather than one’ Michael Caines, The Times Literary Supplement
‘Connor writes with great flair . . . it is nice to dip in and out of his entertaining essays’ Don Manley, Church Times
‘It is the relationship between setter and solver, between words and fun which provides the narrative thrust for Two Girls, One on Each Knee … ‘The experience of reading this book’, Connor says in the preamble, ‘should be equivalent to that of solving a cryptic puzzle…’ In fact it is rather better; it does not demand as much of the reader as a good puzzle does of the solver, but it delivers far more of its own accord. It is witty, charming, encyclopaedic and highly readable – and it can be read in any order. Take a chapter or a paragraph, a puzzle or a clue. In each the reader will find something to intrigue and delight‘ Sandy Balfour, Spectator
‘A wonderful little book that looks at the fascinating, often baffling world of the cryptic crossword. What connects Bletchley Park and the Daily Telegraph? And why should you always start in the bottom right-hand corner? Most of all, it’s a celebration of language‘ Jon Stock, Daily Telegraph
‘Delightful . . .
Verdict: Top rating for odd number of celebrities (4,5)’ Brandon Robshaw, Independent on Sunday
‘A joyous paean to the history of puzzlement and an essential guide‘ PD Smith, The Guardian
‘Delightful celebration of crosswords’ The Observer
‘A glorious guide that explains the history and universal appeal of the crossword’ Sunday Times, 100 Best Books for the Beach
A short-form Smashed Hits piece for the BBC News Magazine about Shipbuilding, pegged to the closure of the Portsmouth shipyards.
It would have sounded very different if Costello had written the song for himself – or written the music. Shipbuilding was originally a piano piece written by Madness’s producer Clive Langer for a gentler performer, Robert Wyatt. Langer bumped into Costello at a party and suggested they go out to his car and listen to a cassette of the tune. Costello subsequently called from an Australian tour to say he had “the best lyric I’ve ever written”. Wyatt’s song was made – and in 1983 Costello recorded it himself.
No room, sadly, for Chet Baker playing at London supper-and-jazz club The Canteen, approached by Costello and offering to play on EC’s version for scale. “I think we probably doubled it,” remembered Costello.