I was reading an article in The New Yorker in which the (American) author, Alice Gregory, refers to someone “learning the vocabulary for kitchen utensils while laying the table.” I assumed the last three words meant what I had always called “setting the table” — putting dishes, utensils (cutlery in BrE) and napkins (serviettes) on it. And I had a hunch it was a Britishism.

Sure enough, Lynne Murphy wrote about the phrase back in 2006 as a straight-up Britishism — that is, no reference to use by Americans. There was, however, this anonymous comment on Lynne’s post, presumably written by an American: “In Code to Zero British author Ken Follett has his American character in 1958 America ‘lay’ the table…..I had to look it up!”

I don’t have any record of any American other than Gregory using the phrase, so will label it as “Outlier” for the time being. If I learn of any more, I’ll upgrade to “On the Radar.”

Nancy Friedman recently alerted me to an American use of a Britishism I had been unfamiliar with. (As she does.) It was from a blog post by an American writer named Tim Carmody, referring to an interview with public radio figure Ira Glass, in which Carmody thought Glass was unforthcoming: “he kind of schtums up and falls back on generalities and a few broad compliments.”

The OED doesn’t have an entry for “schtum,” but, unsurprisingly, Green’s Dictionary of Slang does. Green’s says its origin was the Yiddish word for “silent” and gives these citations:

One immediately notices the array of spellings — shtoom, stumm, schtum, stumm, and stumpf — and the procession of Union Jacks, indicating all of the sources are British. In an admittedly less than comprehensive search, I was unable to find any other American uses beyond Carmody’s, other than an National Public Radio interview with the British author of a novel called Shtum (about a 10-year-old boy with autism who has never spoken). Therefore I’m classifying it as “Outlier.” (BTW, Green’s has a separate entry for the verb form Carmody used, “shtoom up.”)

The word apparently emerged from Yiddish to the British criminal underground; Green’s first citation is from a memoir of petty crime and prison by Frank Norman. I was able to antedate that by one year. British journalist Laurence Wilkinson’s 1957 book Behind the Face of Crime has this passage (the snippet view was all I could get from Google Books):

The ever-observant Jan Freeman sends along a quote from (Syracuse-born) Daniel Dezner in a Washington Post essay: “When [people associated with the Foundation for the Defense of Democracy] try to rubbish everyone else’s expertise, however, they only highlight their own intellectual inadequacies.”

This blog has covered the noun, which is the common British term for Americans’ “garbage” or “trash” — both metaphorical and literal — and noted that literal “rubbish” has pockets of popularity in Massachusetts and around Philadelphia. The OED defines the verb as “To disparage, criticize severely, pour scorn on” and notes it originated in Australia and New Zealand. The first citation is from a 1953 Australian novel, Riverslake: “If Verity was going to tramp [that is, dismiss from employment or sack] you for burning the tucker [that is, food] ..he would have rubbished you long before this.”

As the Google Books Ngram Viewer chart below shows, the verb started catching on in Britain in the 1980s, but is still very rare in the U.S., making rubbish the verb an outlier:

I’m not sure what this blog would do without Ben Brantley. The American-born New York Times theater critic is a veritable font of NOOBs, notably obscure ones, like “gives me the pip” and “twig.” He struck again yesterday in the first line of his review of Jez Butterworth’s play The Ferryman: “No matter what sort of spread you’ve planned for your Thanksgiving dinner, it won’t be a patch on the glorious feast that has been laid out at the Bernard B. Jacobs Theater.”

Since I didn’t recognize “won’t be a patch on,” and since it came from Brantley, I assumed it was a Britishism. I assumed right. The OED defines “not a patch on” as “in no way comparable to, not nearly as good as.” All the citations (starting in 1860) are from British sources, for example, the Daily Telegraph in 1994: “Set against native trees, Leyland green looks very synthetic, and is not a patch on yew.”

I’m going to label the phrase as an outlier, since when I searched Google Books for it, every single hit came from British or Commonwealth sources, including the title of the 2009 novel Not a Patch on Charlotte Cox.

But in any case, cheers, Mr. Brantley.

Over on the American Dialect Society listserv, Wilson Gray posted that he had come across an unfamiliar expression at the website 9to5mac.com:

While you can argue that it’s more convenient to simply put your phone down on a pad than to have to plug in a cable, that’s swings and roundabouts: a cable lets me continue to use my phone while I’m charging it. Pick it up from a pad, however, and it’s no longer charging.

“A Briticism?” wondered Wilson.

Well, yes (or, as this blog likes to spell it, a Britishism). The Oxford online dictionary identifies “swings and roundabouts” as such and gives this definition: “A situation in which different actions or options result in no eventual gain or loss.” The idea is that in carnivals, where the proprietor might be losing money on one ride, such as the swings, he is likely to be doing well on another, such as the roundabout. (That doesn’t refer to a traffic circle but to what Americans would call a merry-go-round.) The equivalent American expression, I would say, is “Six of one, half-dozen of the other.” [A comment, below, led me to realize that “six of one…” has been equally popular on both sides of the pond.] “It all comes out in the wash,” has a similar message.

There is an interesting discussion of the origin of “swings and roundabouts” at a website appropriately called Interesting Literature. The first use that’s given there is in a 1906 P.G. Wodehouse novel, Love Among the Chickens:

In Chapter 16, when the protagonist, Jerry Garnet, realises that he’s probably done his dash with the object of his affections and he should get back to writing his novel, he remarks philosophically: ‘A man must go through the fire before he write his masterpiece. We learn in suffering what we teach in song. What we lose on the swings, we make up on the roundabouts’.

The context suggests that even then it was a familiar expression. Six years later, in 1912, it provided the title and theme to a poem by Patrick Chalmers, “Roundabouts and Swings.”

Since then it’s appeared almost exclusively in British sources. Either version (“swings and roundabouts” and “roundabouts and swings”) has been used in the New York Times a little more than a half-dozen times, and only twice by Americans. The first was book editor Jeremiah Kaplan, clearly an Anglophile, who was quoted in 1985, ”Publishing has always been swings and roundabouts, so publishers who diversify have a much better chance of succeeding.”  The second was fashion writer Vanessa Friedman, who didn’t seem to understand its meaning, using it to describe the rapidly changing looks that David Bowie embodied over the years.

As for the 9t05mac.com post, the author is Ben Lovejoy, whose bio describes him as “a British technology writer.” It goes on: “He speaks fluent English but only broken American, so please forgive any Anglicised spelling in his posts.”

Update: Robin Hamilton informs by e-mail me that he found both an earlier use of the phrase quoted by Wodehouse, and its origin, in a saying of costermongers, or costers. The use was in a Parliamentary debate in 1895:

“As the coster said : ‘What we gain on the swings we lose on the roundabouts.’”