The Syntax and History of the Appalachian English Dialect, a guest post by Cole Barnes

Cole Barnes is 2019 graduate of Southern Oregon University, with an English major, as well as minors in Psychology and Rhetoric and Reason. He has been fortunate to call many places throughout Oregon home, including Ashland for at least a few years now. He likes to write poetry, collect records, play guitar, travel, read books, listen to music, and take the occasional hike. Cole is excited to see what the future holds.

Appalachia is a mountainous region ranging from northern Alabama and Georgia, stretching northward as far as southern New York. The dialect native to this sub-region which spans several southern and eastern states is referred to as Appalachian English. This “mountain talk” has been commonly associated with Inland South, Midland, and even Ozark dialects. However, it is a unique dialect with its own lexicon and syntax, and has gained a certain level of legitimacy and recognition in recent years regardless of the stereotypes that have historically affected the tongue’s reputation. Primarily, this analysis will consider how Appalachian English operates, and the differences in usage that exist between this speech and other forms of English. Research on the historical origins and evolution of Appalachian syntactical patterns will also be included. This dialect shares many similarities with its standardized counterpart and contains many distinctive linguistic qualities worth investigating.

The heartland of the Appalachian region is typically classified by states such as West Virginia, Tennessee, Virginia, Kentucky, and the Carolinas. From around 1730 to the 1830’s, this region became gradually populated by European settlers through a “widening corridor from central Pennsylvania’s Cumberland Valley westward to Pittsburgh and the Ohio Valley and southwestward into Virginia” (Montgomery 26). A sizable portion of the current inhabitants of these regions hold claim to English, Scottish, Irish, or even German ancestry, as these were some of the first non-indigenous inhabitants in this area. Some of the first colonizers of the Appalachian region included land speculators, many of which were soldiers from the Revolutionary War. Others included families who had pushed westward across the Blue Ridge Mountains, many of which were immigrants (Hall 10). Generations of Appalachian settlers had begun to spread across these mountains; most white settlements had been fully established by 1810 (10).

Appalachian English has been misleadingly considered to be a dialect by which linguistic development is entirely reliant upon geography and regional features (Montgomery 27). Several hypotheses attempt to explain the prevalence of the Appalachian dialect, such as the notion that settlers of this area brought Elizabethan, Scottish, and Irish English with them to the communities of Appalachia, which led to the emergence of a unique dialect significantly influenced by the speech of the British Isles (32-33). Some claim that Appalachian speech is a uniform dialect preserved in time because of a purported geographic and cultural isolation, but such a separation of localities “should logically produce increasing differences in speech rather than uniformity” (28). Appalachian English is more conservative than it is isolated, and still changes just like any other dialect or language. Even though the original settlers strongly influenced the evolution of Appalachian English, this variant developed independently as a distinct dialect, and is not simply a remnant or a hold-over from a different time. The following sections will attempt to highlight the dynamic structure of this “mountain talk” by outlining a few of the unique usages and syntactical features of this dialect.

For speakers of Appalachian English, nouns of measure and weight typically lack an -s when used to mark plurality, precede a number, or express quantity. For instance, “They had to drive twenty mile to work,” or “I am nearly twelve year older than my sister.” Many of the mass nouns that do not require a plural -s are construed as count nouns: “Gravels are hard on the feet,” or “A beef is bigger than a sheep.” Count nouns can also be understood as mass nouns. Nouns that end in an s sound may also be taken for a plural meaning: “Give me a slice of them cheese,” or “A fox is more of a dog specie.” Plural animal names either omit or add an -s ending, contrary to the customary usage in standard English. This can be demonstrated in the following examples: “There are plenty bobcat here” or “I caught a few trouts today.” Double plurals may also be employed, as in folkses or oxen (Grammar and Syntax).

Pronouns are also an area of grammatical complexity in Appalachian speech. The commonly used nominative singular pronouns include I, me, you, ye, he, him, she, her, hit, and it. We, we’uns, you, you’un, you’all, y’all, you all, ye, and they are nominative plural pronouns. You, ye, her, him, hit, and it are used as objective singular pronouns. Us, you, you’uns, you’uns all, y’all, you all, ye, and them are all objective plural pronouns (Grammar and Syntax).

Adverbial phrases can be moved to the front of a sentence as in the following instances: “We’d all the time get in fights,” or “We’s all the way talkin’.” Adverbs of frequency can also be placed within or outside of a verb phrase: “That was the brightest light that ever I seen.” The adverb ever may be combined with pronoun forms like what. In the place of whatever, Appalachian English speakers often construct phrases that employ everwhat. This extends to cases in which speakers also say everwho in the place of whoever. Ever is also widely used as an abbreviation for every: “And ever time …” (Wolfram 99). Many of the adverbs that utilize -ly endings are left as their root form: “I’m frightful scared of spiders” (105).

These speakers also engage in the process of “a-verb-ing.” For example, “You just look at him and he starts a-bustin’ out laughing at you” (71). While speakers of other varieties of American English do this as well, it is a form most frequent in Appalachian English. The most common cases of this usage “occur with progressives, which includes past tense, non-past tense, and be + ing forms where the tense is found elsewhere in the main verb phrase” (70).

This dialect also employs the double modal. Appalachian constructions may have close “translations,” but in some cases, there are no real equivalents. “Might be able to” may be substituted with “might could,” but with some such as “might should,” there is no real modal translation that would sustain the same semantic meaning. The following is an example of a double modal in use: “I might could make up one, but I don’t know” (90). Other widely used double modals such as liketa, are most accurately translated as “almost” or “nearly.” Another common double modal, supposeta, is closely related to “supposed to” (92).

The perfective done is not widely used by speakers currently, as it is very much a stigmatized feature. It is more commonly employed among middle-aged and elderly speakers of the dialect. This construction deals with aspect, which can either be neutral, progressive, or perfect. Perfect aspect refers to a situation or action that has already occurred, and the perfective done signals completeness (Hazen, et al. 59). The following examples display how speakers familiar with this dialect may use this feature: “I done lost my wallet,” or “she done went to the store.”

Another relatively stigmatized feature is the for-to infinitive, which typically only appears in speakers born before 1947. This infinitive uses for and to in coordination with unconjugated verbs. This could be used in two ways: “Because the teacher was glad for us to come in playing music now and then” (57), or “I had to pick up chestnuts for to buy what we had to wear” (60).

Demonstrative determiners modify nouns and give information about quantity or proximity. For instance, “you may have these or those” infers distance between the speaker and the aforementioned objects. In Appalachian English, speakers utilize them as a demonstrative: “We bought them shoes” (60-61). This is a usage characteristic of the Appalachian dialect, but is also widely used among other English speakers, despite its perceived informality.

The leveled was is also a key feature of Appalachian usage. While more common among older speakers, it is a widely distributed characteristic. This leveled was essentially replaces were: “They was like any other parents” (62). Leveling verbs like was into single forms helps to resolve the asymmetrical patterns of subject-verb agreement.

The grammatical features of Appalachian English demonstrate how this dialect is not arbitrary. Speakers of this dialect have an intuitive understanding of the syntactic structures of their spoken language. Regardless of the negative perceptions that some individuals hold of “mountain talk,” being a speaker of this dialect has nothing to do with a person’s intelligence. Being able to use the various grammatical rules of this dialect appears most of all to be a marker of linguistic competence. This speech has always been evolving, never existing as a static tongue. It has changed and adapted too much and too often to have been preserved in time by any type of geographic or cultural isolation. Appalachian English is not an indicator of laziness or a lack of education, but rather of a rich cultural history, tradition, and identity. The very nature of language is ever-changing and fluid; no language or dialect could ever become an artifact unless it stopped being spoken. While major grammatical differences exist between standard English and the Appalachian dialect, both share a common historical origin. Logical and systematic structural features help to comprise every language. This speech is no exception, surviving for hundreds of years in the face of staunch opposition and radical change. Appalachian English is a legitimate and valid dialect that is being further developed and refined every day that it is spoken.

Works Cited

“Grammar and Syntax of Smoky Mountain English (SME).” Appalachian English, University of South Carolina, artsandsciences.sc.edu/appalachianenglish/node/796.

Hall, Joseph Sargent. “The Phonetics of Great Smoky Mountain Speech.” American Speech, vol. 17, no. 2, 1942, pp. 1–12. JSTOR, www.jstor.org/stable/487132.

Hazen, Kirk, et al. “The Appalachian Range: The Limits of Language Variation in West Virginia.” Talking Appalachian: Voice, Identity, and Community, edited by Amy D. Clark and Nancy M. Hayward, University Press of Kentucky, 2013, pp. 54–69.

Montgomery, Michael. “The Historical Background and Nature of the Englishes of Appalachia.” Talking Appalachian: Voice, Identity, and Community, edited by Amy D. Clark and Nancy M. Hayward, University Press of Kentucky, 2013, pp. 25–53.

Wolfram, Walt, and Donna Christian. Appalachian Speech. Center for Applied Linguistics, 1976.

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An Interview with Michael Niemann, author of No Right Way

Michael Niemann grew up in a small town in western Germany before moving to the United States. He received a PhD in International Studies from the University of Denver.

For over three decades, Michael has been a teacher of international studies focusing on the ways in which ordinary people’s lives and global processes intersect. In addition to teaching and academic writing, Michael has pursued these interests through fiction writing in his series of thrillers featuring UN investigator Valentin Vermeulen, published by Coffeetown Press.

Legitimate Business and Illicit Trade were published in 2017. Illegal Holdings came out in March 2018. The fourth Vermeulen thriller No Right Way has just been released. His short stories have appeared in Vengeance, the 2012 Mystery Writers of America anthology edited by Lee Child and as Kindle singles.

Ed Battistella: I really enjoyed reading No Right Way. Can you tell folks a bit about Valentin Vermeulen’s latest adventure?

Michael Niemann: People had been fleeing the Syrian civil war that started in 2011 all along, but after the rise of ISIS (or Daesh as it’s called in Arabic), the fighting became so widespread that the flow turned into tidal wave in 2015. That wave of refugees caught the world unawares. The UN High Commissioner for Refugees (UNHCR) and the Turkish government had to scramble to deliver even a modicum of aid. They appealed for support from around the world, both in financial form and in asking places to resettle the refugees. In such desperate situation, money is often spend quickly to address the mounting needs. That means the usual safeguards, like competitive bids for services, etc., are often ignored because the need is to great. Unfortunately, human suffering and the efforts to ameliorate it also attracts all kinds of crooks hoping to cash in. So that’s the basic premise of the novel. Vermeulen is there to make sure no fraud is happening, but, of course, he finds it.

EB: How did you come up with or find the idea of the cash card and van rental scams? Are these based in real criminal activity?

MN: The smuggling of gasoline from ISIS controlled refineries to Turkey was know at the time. That’s how ISIS financed its weapons. The normal smuggling MO was shuttling jerry cans, stacked in vans across the border between Turkey and Syria. That border was rather porous, so it was easy to drive across. After NATO and others complained about the overt smuggling, ISIS even buried pipes under the border so that the vans didn’t have to leave Turkey. It didn’t take much research to tell that story.

The cash card scam was a little more complex. One of the developments in the aid sector is to move away from delivering food to refugee camps and use pre-paid cash or ATM cards instead. The logic is sound, it give refugees agency in choosing what to eat, rather than having to eat, say, surplus cheese from the EU or the US. It also supports local economies. Dumping a lot of free food in an area causes havoc with the local economy. Local shops and farmers are put out of business. So in most cases, giving refugees cash cards is a really good strategy. That doesn’t work well in very poor countries that don’t have the technical infrastructure for cashless payments, but Turkey has it.

However, issuing the cards involves multiple contractors and banks, and I asked myself, “What if one of those contractors was a front for the mafia?” Most crime writers ask themselves such “what if” questions to come up with a plot.

EB: The title is a departure for you—from the Legitimate Business, Illicit Trade, Illegal Holdings group. I understand that this one is based on a Turkish proverb: there’s no right way to do a wrong thing. Can you elaborate?

MN: I’m very bad with titles. I avoid finding one as long as I can. I usually get to the end of the novel and still don’t have a title. I then comb the manuscript for a pithy phrase that I could use. Yes, the first three novels had two-word titles. But that was getting a little worn. Since I had an old mafia boss, I did research on Turkish proverbs. That was my strategy to make him a little more relatable. He did use the one you cite as he complains about how his niece has run an operation. I just thought the first part had a good ring to it.

EB: What’s the most difficult aspect of writing a thriller? Pace, characterization, plot? I was really impressed with the way No Right Way kept things moving.

MN: Well, the pat answer is, “All of the above.” I think pace is important. To paraphrase Ian Fleming, you got to get the reader to turn the page. Pace is one way to achieve that. But pace alone gets boring. There was a funny cartoon in the paper where the editor tells the author (a dog), “Sure, it’s exciting, but you can’t have a chase scene on every page.”

The plot has to be plausible. I think that’s key. The reader has to believe that it could have happened. That’s where a lot of my research happens. One of the side effects has been that I know a lot about money laundering.

In the end, though, it’s the characters that make the reader care. They have to be as three dimensional as possible. I’ve gotten better at that. A good rule of thumb is Kurt Vonnegut’s maxim that every character has to want something, “even if it’s only a glass of water.”

EB: Vermeulen is a wonderful character. Tough and competent, but no James Bond or Jack Reacher. You’ve got some interesting female characters in the novel—aside from, I thought and of course Vermeulen’s daughter. Is writing strong female characters something you’ve worked on? I notice this in your last Vermeulen book as well.

MN: Yes, I’ve consciously worked on that. There’s a bad tradition in crime fiction that relegates women to be either the “dead girl,” the prostitute, rough but with a heart of gold, the mousy secretary who secretly loves the hero, and so on. I couldn’t write such characters. The women in Illegal Holdings, for example, were inspired by all the women who ran human rights organizations in southern Africa. I met them doing academic research in the region. Vermeulen’s daughter (about which we learn a lot more in the fifth novel) is still young but very competent in her job at a logistics company. She’s always part of Vermeulen’s team, as is his partner/lover Tessa. In No Right Way I chose to create a female character who’s just as strong willed, but on the other side of the law. Yesim Yaser wants to represent a new generation of leadership in the Turkish mafia. It was fun creating her.

EB: I was intrigued by the Inspector Demirel character. Can you talk more about him?

MN: He began as an afterthought, I needed a police officer of higher rank. Demirel just emerged without a lot of planning. One of the problems of setting stories in foreign places is the language barrier. Vermeulen speaks Dutch, French, English and bits of other western European languages. He doesn’t speak Turkish. To overcome this and avoid the tedious translating, I had Demirel study at Boston University. To make him more three-dimensional I also gave him a Kurdish background which makes him somewhat of an outsider. At the same time, he resents outsider know-it-alls. So he’s got a bit of national pride that is tempered by his one ambivalent status. He and Vermeulen spend a great night drinking Raki.

EB: I know you are a fan of noir. Would you consider your Vermeulen series noir?

MN: No, it’s not noir. If we use Tim Wohlforth’s definition of noir—things start out bad and only get worse—my novels don’t qualify. For one, Vermeulen isn’t some tragic character. Yes, he’s had his ups and downs, but he doesn’t drown his sorrows in whisky. My endings also aren’t worse than where the novel started. They aren’t necessarily happy endings. I think I distinguish between personal and systemic endings. On the personal level issues do get resolved, but on the system level they aren’t necessarily. So that might me more gris then noir.

EB: What else are you working on? A fifth Vermeulen thriller, I hope.

MN: Yes, I’ve finished the manuscript for the fifth Vermeulen thriller. For once, it doesn’t involve the UN or far away places. Vermeulen is called back to Antwerp where he learns that the past indeed isn’t dead and not past either. The story weaves together two mysteries, one in 2002 and one in the present.

My publisher didn’t like some of the things I’d tried to do, but fixing them turned out easier than I thought at first. I’m about to send it off again and hope that I’ve addressed those concerns.

EB: Thanks for talking with me. Good luck with the book.

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Commencement BINGO

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An Interview with John Yunker, author of Where the Oceans Hide Their Dead

John Yunker is a writer of plays, short stories and novels focused on human/animal relationships. He is author of the novels The Tourist Trail and the sequel Where Oceans Hide Their Dead. He is also editor of the anthologies Writing for Animals and Among Animals.

His full-length play Meat the Parents was a finalist at the Centre Stage New Play Festival (South Carolina) and semi-finalist in the AACT new play contest. Species of Least Concern was a finalist in the 2016 Mountain Playhouse Comedy Festival. His short play, Little Red House, was published in the literary journal Mason’s Road, and produced by the Studio Players Theatre in Lexington, Kentucky.

His short stories have been published by literary journals such as Phoebe, Qu, Flyway, and Antennae.

Yunker is also the co-founder of Ashland Creek Press, a publisher devoted to environmental and animal rights literature. He also has a passion for languages and for helping organizations develop better multilingual websites. You can find more of his work at JohnYunker.com

Ed Battistella: I enjoyed Where the Oceans Hide Their Dead. What prompted you to revisit the characters from The Tourist Trail.

John Yunker: I had a sense while writing The Tourist Trail that there was a bigger story to be told. And I too wanted to know what happened to Robert when he stepped off the plane in Namibia.

EB: One of the things that impressed me was the characterization and dialogue. You seemed to do a lot with a small ensemble of well-developed characters. I’m wondering how your work as a playwright influences your characterizations and your novelistic writing generally.

JY: I find that a character is “working” when you can hear him or her in your head and you become, in effect, the stenographer. This applies to playwriting as well. Of course, the trouble with having these characters talking inside your head is that they don’t always keep their mouths shut, which is another reason why there is a book two.

EB: The structure of the book, following three characters in different situations, was an interesting choice but it also required a sharp eye for details. How did you research the many convincing details, about seal hunting, espionage, chicken farming and more?

JY: Great question. Research, research and more research. Which includes everything from Wikipedia to Google Maps to following specific animal activists and court cases, as well as scientific journals and random news articles. I’d say the first few years of this book were more research and reading than writing. I’ve studied a number of well-documented cases of the FBI and animal activists, as well as trials. And I’ve gotten to know a few of the people who were imprisoned along the way; a few are still in prison as I write this.

EB: Are animal right groups routinely targeted as terrorist or tracked by private security? Where the Oceans Hide Their Dead painted a complex, fraught picture of activism.

JY: The FBI has targeted animal rights groups for decades now, but the risks for activists have become acute over the past decade. In 2006, the government passed the Animal Enterprise Terrorism Act, which effectively allowed the government to label anyone who simply disrupted the activities of a slaughterhouse or animal testing laboratory as a terrorist. In addition, many states now have “ag-gag” laws that have made it a crime to take photographs or videos within slaughterhouses or on ranches or farms – even if you’re taking a photograph from the side of the road. In addition to the FBI, corporations hire private firms to monitor and (in some cases) infiltrate these groups. And it’s not just animal rights but the health of the planet that is at stake. Being from St. Louis, I grew up not very far from Monsanto (which inspired a portion of the book). Most people don’t know that Monsanto once founded its own private town along the banks of the Mississippi specifically so it could avoid all regulation and freely do whatever it wanted with its chemical waste. The town is now called Sauget, and it includes a superfund site. But growing up there, I didn’t know any of this. I knew only that Monsanto was a very large company and that it had very tight security. I now know a great deal more about the company, as do a growing number of Americans.

EB: Have you got plans for a third book featuring Robert Porter and company?

JY: I do. Hopefully book three won’t take as long as book two, though I make no predictions.

EB: I was pleased to see Ashland and even SOU mentioned. Do you have connections with some of the other places you wrote about in the book?

JY: It’s difficult to keep my real life from seeping into my fictional life, so, yes, many of the locations are places I have a connection with. But not all. For instance, I’ve never been to Namibia and can only hope I did a decent job of portraying that region of the world; I hope to get there one day. Sadly, the seal slaughter along the shores of Namibia is all too true and still happening today. I did get to know, virtually, a man who rescued the stray seals who washed ashore in South Africa. The thing about people who devote their lives to rescuing animals – it can be such a heartbreaking and lonely life. This book, as well as the first, is my attempt to tell their stories.

EB: Thanks for talking with us!

JY: Thank you, Ed, for including me!

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