an examination of the use of Pidgin and how it communicates humor without relying on the “it sounds [so] funny it tickles” factor. I think that there is something a little more sophisticated than readers (and sometimes writers) care to admit about the use of dialects, accents, regional speech, etc. And since you are exploring that territory, I want you to take a close look at how Linmark or Yamanaka use it. Why is it funny? How do we Western proper-English readers keep these characters from becoming clowns or fools? How is their complexity established and maintained? I want you to be very conscious about this when you read and write using Pidgin. Otherwise, you will be relying on the funny-sounding things that come out of characters’ mouths. It should not only be funny because it sounds different. But how do these characters display depth? There is something very cultural and working class about speech, but it should be handled delicately, respectfully.My desk is covered with books, my thick file of articles and research about pidgin/Hawaiian Creole English, and another thick file of my undergrad senior year-long paper, "The Viscosity of Vernacular: The Politics of Employing Endemic Language in Literature." I reread that paper and I think damn I was a genius back then, and now every critical part of my brain had rotted away to make room for proofreaders' marks and the AAA Style Guide.
I do not have high hopes.
Why is this so fucking hard?! I used to write 30-50 page papers a few times a semester in undergraduate, and now I am being felled by a single three-page paper? WTF?!