Made In America - Bill Bryson [1]
www.billbrysonofficial.co.uk
www.rbooks.co.uk
To David, Felicity, Catherine and Sam
List of Illustrations
Founding Fathers’ Day, Plymouth Rock
Dame Railway and Her Choo-Choo Court, Cincinnati Ironmongery Fair, 1852
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Hoplock’s amazing catch in the 1946 World Series
Wing dining, somewhere over France, 1929
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Acknowledgements
Among the many people to whom I am indebted for assistance and encouragement during the preparation of this book, I would like especially to thank Maria Guarnaschelli, Geoff Mulligan, Max Eilenberg, Carol Heaton, Dan Franklin, Andrew Franklin, John Price, Erla Zwingle, Karen Voelkening, Oliver Salzmann, Hobie and Lois Morris, Heidi Du Belt, James Mansley, Samuel H. Beamesderfer, Bonita Lousie Billman, Dr John L. Sommer, Allan M. Siegal, Bruce Corson, and the staffs of the Drake University Library in Des Moines and the National Geographic Society Library in Washington. Above all, and as ever, my infinite, heartfelt thanks and admiration to my wife, Cynthia.
Introduction
In the 1940s, a British traveller to Anholt, a small island fifty miles out in the Kattegat strait between Denmark and Sweden, noticed that the island children sang a piece of doggerel that was clearly nonsense to them. It went:
Jeck og Jill
Vent op de hill
Og Jell kom tombling after.
The ditty, it turned out, had been brought to the island by occupying British soldiers during the Napoleonic wars, and had been handed down from generation to generation of children for 130 years, even though the words meant nothing to them.
In London, this small discovery was received with interest by a couple named Peter and lona Opie. The Opies had dedicated their lives to the scholarly pursuit of nursery rhymes. No one had put more effort into investigating the history and distribution of these durable but largely uncelebrated components of childhood life. Something that had long puzzled the Opies was the curious fate of a rhyme called ‘Brow Bender’. Once as popular as ‘Humpty Dumpty’ and ‘Hickory Dickory Dock’, it was routinely included in children’s nursery books up until the late eighteenth century, but then it quietly and mysteriously vanished. It had not been recorded in print anywhere since 1788. Then one night as the Opies’ nanny was tucking their children in to bed, they overheard her reciting a nursery rhyme to them. It was, as you will have guessed, ‘Brow Bender’, exactly as set down in the 1788 version and with five lines never before recorded.
Now what, you may reasonably ask, does any of this have to do with a book on the history and development of the English language in America? I bring it up for two reasons. First, to make the point that it is often the little, unnoticed things that are most revealing about the history and nature of language. Nursery rhymes, for example, are fastidiously resistant to change. Even when they make no sense, as in the case of ‘Jack and Jill’ with children on an isolated Danish isle, they are generally passed from generation to generation with solemn precision, like a treasured incantation. Because of this, they are often among the longest-surviving features of any language. ‘Eenie, meenie, minie, mo’ is based on a counting system that predates the Roman occupation of Britain, and that may even be pre-Celtic. If so, it is one of our few surviving links with the very distant past. It not only gives us a fragmentary image of how children were being amused at the time that Stonehenge was built, but tells us something