A writer’s biggest frustration is language itself. You’ll be scribbling through an afternoon, words tumbling onto the page one after another, your brain and pen for once not squabbling but in perfect sync — and then you’ll swerve into a ditch. A chasm will have opened up, one that stinks foul and no amount of flipping through a thesaurus will help you cross. You’ve hit an emotion and you can find no way to describe it, no word or phrase to bridge the gap.
Some languages navigate these pitfalls better than others. German, obligingly following stereotype, is precise and efficient, taking compounds to a new level, never reticent to throw two, three or four words together if the situation calls for it. “Vergangenheitsbewaltigung” means struggling to come to terms with the past. “Sitzpinkler” is a man who sits down to pee. “Eisenbahnscheinbewegung,” which never fails to bring a smile to my face, describes the sensation of sitting on a train you think is moving, only to find out it is actually the adjacent train that is in motion.
All in one word! The opposite of George Orwell’s Newspeak, expanding vocabulary by creating more nuanced, specific and fine-grained words, broadening the possibilities of human expression. Orwell proposed just this: a real-life ministry for language charged with inventing new words for phenomena we haven’t yet labelled. We come up with words for new technology all the time, but rarely do we try to name new emotions, novel feelings that bubble up in that swirling, gurgling morass inside us.






