“Lift” is such a sensible way to say “elevator,” if only because it has three fewer syllables, but I have never encountered it in the U.S., maybe because it is such a quintessential Britishism.
Never encountered it until now, that is. Here’s what I saw on the lower level of the Chelsea Market in New York City:
Was “lift” used here merely because “elevator” wouldn’t fit? Or is this the harbinger of a “lift” incursion on U.S. shores? Only time will tell.
I last discussed the British expression “on the day”–AmE equivalent: “on the day of the event,” or “on the day in question”–because it was used by an American writer who turned out to have spent twenty years in the U.K. Two years later, it’s shown up again, this time in a quote by since-departed U.S. football manager Bruce Arena, after his team failed to qualify for the World Cup:
“This game in my view was perfectly positioned for the US team and we failed on the day.”
Arena has never coached anywhere but in the U.S., but, as has been discussed here in several posts, many Britishisms have made their way into American soccer. “On the day” hasn’t achieved broad acceptance, but it’s a useful expression, and Arena’s use of it makes me elevate its status from “outlier” to “on the radar.”
I mentioned that Stuart Semmel had suggested two NOOBs. The first was “liaise” and the second is second. That’s not double-talk: the word he suggested was “second,” usually used in passive-voice participle form: to be “seconded” (accent appropriately on the second syllable).
The term is of military origin. The OED has a first citation from 1802 and offers this definition: “To remove (an officer) temporarily from his regiment or corps, for employment on the staff, or in some other extra-regimental appointment.” It was applied to movements of civilian employees as early as 1920, when this appeared in the Westminster Gazette: “It was finally agreed that Lord Moulton should be seconded to the service of the Corporation and of the dye industry for..one year.”
This Google Ngram Viewer chart indicates that ever since, “seconded” has been a decided Britishism. (The red line indcates British use, the blue line American)
And truth to tell, it still is one. The first five pages (after which I quit looking) of Google News hits for the phrase are all from U.K. or Commonwealth sources. However, Stuart reports hearing it on occasion in academic circles and my friend Nanette Tobin in corporate ones. And it was used three times in the New York Times in 2016, including this by Sarah Lyall (a longtime resident of London), in her coverage of the New York’s Westminster Dog Show: “Andy Das, an assistant sports editor whose responsibilities typically include soccer and college sports, but who was seconded to dog duty this year…”
So “seconded” is definitely On the Radar.
After all these years, it’s rare for me to come across an American using a Britishism I was previously unaware of. But that’s what happened when I was reading the New York Times the other day. Theater critic Ben Brantley, reviewing a revival of the musical “Sweet Charity,” alliteratively noted, “Peppiness gives me the pip.”
Actually, “pip” is one of the first Britishisms I was ever aware of, upon reading the Conan Doyle story “The Five Orange Pips” when I was a kid. (The word I would use for the seeds in an orange is “seed.”) “Gives me the pip” was a new expression to me, one that definitely had a British sound to it. And Britishism it is. It derives from the poultry disease known as “the pip.” The Oxford English Dictionary and Green’s Dictionary of Slang reveal having or getting the pip was used to mean feeling depressed or out of sorts starting in the 1830s, and “giving [someone] the pip,” meaning to annoy or irritate, in 1896.
All of the many citations in Green’s are from British sources, including no fewer than five from the quintessential Englishman P.G. Wodehouse, ranging from 1910’s Psmith in the City (“That’s the sort of thing which gives me the pip”) to 1960’s Jeeves in the Offing (“It would be fatal to risk giving her the pip in any way”).
The online magazine Slate sent out this tweet June 23:
The Oxford English Dictionary‘s first citation for “dog’s breakfast,” from the Balleymena (Ireland) Observer, 1892, also provides a definition: “In a lump like a dog’s breakfast, said of a heterogeneous heap of things.”
It is very much a Britishism, but more of a NOOB than I would have expected. It has appeared in the New York Times–attributed to or written by Americans–seven times since 2010, the first in a quote from Supreme Court Chief Justice John Roberts, who called court rulings on jury instructions “a dog’s breakfast of divided, conflicting, and ever-changing analyses.” The most recent occurred in a review of the HBO series “Vinyl” this past February, referring to a character who is “president of American Century Records, which has a dog’s breakfast of an artist roster: Grand Funk Railroad, Donny Osmond, Savoy Brown, Robert Goulet, and their biggest act, Led Zeppelin.”
Slate’s use of the phrase was appropriate–the author of the article called Simmons’ show “a mess.” If only the magazine had left things there. Instead, a mere four days later, it sent out this tweet:
That was a misuse of “dog’s breakfast”; all the article really said about the industry was that it isn’t doing well. But the tweet committed an even worse journalistic sin: repeating yourself.
When a friend wrote in a Facebook post the other day that a certain political figure had “lost the plot,” my NOOB-dar came on. I wasn’t familiar with the phrase but it had the definite feel of a Britishism, and sure enough, it is.
The Oxford English Dictionary defines “lose the plot” as “to lose one’s ability to understand or cope with events; to lose one’s touch; to go off the rails.” There is a dubious 17th-century citation, with the next not coming till a 1984 quote from The Times, presumably about a fashion show: “Arabella Pollen showed sharp linens, lost the plot in a sarong skirt and brought out curvaceous racing silk and a show-stopping bow-legged Willie Carson.”
As to the phrase’s national origin, the OED doesn’t say. A 1994 article in The American Scholar claims it’s Australian. It would be interesting to hear about that from an Australian. In any case, it definitely is a Britishism, as shown in this Google Ngram Viewer chart comparing uses of the phrase “lost the plot” in books published in the U.S. and the U.K:
Interestingly, the first time it shows up in the New York Times, in 1998, it’s also in a fashion article:
From the parade of Mao worker jackets with frog closures and cheongsam dresses at Ferragamo to the indiscriminate layering of tulle and other sheer fabrics over trousers and skirts at Anna Molinari, many designers in Milan had a story’s worth of ideas, but they had lost the plot.
It’s been used a few dozen of times since then, most recently less than a week ago, in a May 14 article about entertainment mogul Sumner Redstone:
The legal fracas has changed Mr. Redstone’s public image from a firebrand whose business acumen and ruthlessness won him control of Viacom, Paramount Pictures and CBS, a $40 billion empire, into something quite different. In the local parlance, he lost the plot.
Online comments sections have a bad reputation, but sometimes you can learn a lot there. The first version of my post on Britishisms in the novel Room (below) appeared in the Lingua Franca blog of the Chronicle of Higher Education, to which I contribute one post a week. A commenter who calls herself “englishwlu” noted:
imagine my surprise when my kid (Virginia born and bred) started saying “I can’t be asked. . .” and “go on about” and “sweet f. a.”–all with the right intonation! It turns out that for many years some of the kids he hangs out with inside games like Minecraft on X-Box Live are British. Evidently their idioms of teenaged ennui have transferred and stuck.
Englishwlu mentioned three expressions. “Go on about” is more precisely “on about,” and I wrote about it here. The other two mystified me. I learned about the meaning and origin of “sweet f.a.” here. As for “can’t be asked,” NOOB friend Nancy Friedman commented on the comment: “I believe you or your child mis-heard ‘can’t be arsed.'” The top definition for “can’t be arsed” at Urban Dictionary is “To be seriously demotivated; To be disinclined to get off one’s arse; To be unwilling to do something.”
All well and good, but I couldn’t very well claim “can’t be arsed” as a NOOB based on one Virginia teen’s use, or misuse, of it. Again, Nancy Friedman to the rescue. Today, she told me on Twitter that last night, an American had used the phrase in a tweet. Sure enough, she had, and here’s the tweet:
A few years ago, I called “different to” (as opposed to the American “different from” or “different than”) a “doobious NOOB”–meaning that there was no sign of it becoming popular in the U.S. But since reader Hal Hall recently spotted this sentence in the online publication Quartz—
One company, Canada’s D-Wave, which uses a different process to IBM’s, claims to have already built a commercially viable computer with 1,000 qubits.
–I’m upgrading it to “On the Radar.”
The public radio program “Marketplace” recently aired a piece about a new sitcom called “Crazy Ex-Girlfriend,” which is set in West Covina, California. Discussing why she chose that town, one of the show’s producers (a female American, complete with vocal fry) said among other things she liked the fact that the local mall had pretzel shops at both entrances, “just in case you got peckish for a pretzel.” [Note: A commenter observes that “peckish for” is unidiomatic. It strikes me that this woman’s use of it grew out of the currently popular “hungry for”–as in “hungry for lunch”–as discussed here.]
This was the first time I was aware of encountering an American use of “peckish”–defined concisely by the OED as “somewhat hungry.” All of the dictionary’s citations are British with the exception of this from Laurie Colwin’s 1988 book Home Cooking: “At four in the afternoon, everyone feels a little peckish, but only the British have institutionalised this feeling.” (I wondered whether Colwin eschewed the American spelling “institutionalized”; Google Books told me “no.”)
It’s interesting that she would have mentioned 4 p.m., because I personally tend to get peckish in the morning. Many other people apparently do as well, hence the (British) custom of “elevenses,” for which
Winnie-the-Pooh Paddington favored honey on bread with condensed milk.
Anyway, it turns out that “peckish” shows up here now and again. It’s appeared sporadically in the New York Times in recent years, most recently in a review of a bar on the Lower East Side: “If peckish, try the matzo-meal fried chicken with pastrami-spiced gravy ($23).” Somehow, I don’t think Winnie-the-Pooh would approve.
The OED says this adjective derives from “obstreperous” and means the same thing, with some overtones, to wit: “bad-tempered, rebellious, awkward, unruly.” All the citations (starting in 1951) are from British sources, including John Burke’s novelization of the Beatles’ “A Hard Day’s Night.” (The word also appears, differently, in the screenplay by Alun Owen, a Liverpool writer. After Ringo complains to a little boy about being knocked over with a tire, the boy says, “Oh, don’t be so stroppy.”)
As this Google Ngram Viewer chart indicates, it’s indeed a Britishism:
Also as the chart indicates, the word’s presence in the U.S. is minimal at the moment. I had to go through about 100 hits of a Google News search before I found an American use, from a July Boston Globe review of the Amy Winehouse documentary: “the early sequences of ‘Amy’ are heartbreaking in the way they capture a lumpy, stroppy North London girl who just about bursts into flame when she opens her mouth to sing.” Also in July, there was a USA Today story quoting (the British) Piers Morgan on rapper Nicki Minaj: “I experienced at first hand what a stroppy little piece of work she could be when she appeared as a guest act on ‘America’s Got Talent’ when I was still a judge on the show.”
Over at the New York Times, the word has mainly been in quotes by or attributions to British people. Otherwise, the last use was in a 2011 review of a Sarah Palin biography, in which–according to the reviewer, the feisty Jack Shafer–anonymous sources characterized Palin’s marriage as “bloodless and stroppy.” The same year, the Times quoted a song by the Topp Twins, lesbian singers from New Zealand: “We’re stroppy, we’re aggressive, we’ll take over the world.”