Changing Planes

THE NNA MMOY LANGUAGE

THE “GARDEN UTOPIA” of the Nna Mmoy deservedly enjoys the reputation of being absolutely safe—“an ideal plane for children and elderly people.” The few visitors who come, including children and the aged, usually find it very dull and leave as soon as possible.

The scenery is all the same everywhere—hills, fields, park-lands, woods, villages: a fertile, pretty, seasonless monotony. Cultivated land and wilderness look exactly alike. The few species of plants are all useful, yielding food or wood or fabric. There is no animal life except bacteria, some creatures resembling jellyfish in the oceans, two species of useful insect, and the Nna Mmoy.

Their manners are pleasant, but nobody has yet succeeded in talking with them.

Though their monosyllabic language is melodious to the ear, the translatomat has so much trouble with it that it cannot be relied upon even for the simplest conversation.

A look at the written language may yield some light on the problem. Written Nna Mmoy is a syllabary: each of its several thousand characters represents a syllable. Each syllable is a word, but a word with no fixed, specific meaning, only a range of possible significances determined by the syllables that come before, after, or near it. A word in Nna Mmoy has no denotation, but is a nucleus of potential connotations which may be activated, or created, by its context. Thus it would be possible to make a dictionary of Nna Mmoy only if the number of possible sentences were finite.

Texts written in Nna Mmoy are not linear, either horizontally or vertically, but radial, budding out in all directions, like tree branches or growing crystals, from a first or central word which, once the text is complete, may well be neither the center nor the beginning of the statement. Literary texts carry this polydirectional complexity to such an extreme that they resemble mazes, roses, artichokes, sunflowers, fractal patterns.

Whatever language we speak, before we begin a sentence we have an almost infinite choice of words to use. A, The, They, Whereas, Having, Then, To, Bison, Ignorant, Since, Winnemucca, In, It, As… Any word of the immense vocabulary of English may begin an English sentence. As we speak or write the sentence, each word influences the choice of the next—its syntactical function as noun, verb, adjective, etc., its person and number if a pronoun, its tense and number as a verb, etc., etc. And as the sentence goes on, the choices narrow, until the last word may very likely be the only one we can use. (Though a phrase, not a sentence, this quotation nicely exemplifies the point: To be or not to—.)

It appears that in the language of the Nna Mmoy, not only the choice of word—noun or verb, tense, person, etc.—but the meaning of each word is continuously modified by all the words that precede or may follow it in the sentence (if in fact the Nna Mmoy speak in sentences). And so, after receiving only a few syllables, the translatomat begins to generate a flurry of possible alternate meanings which proliferate rapidly into such a thicket of syntactical and connotational possibilities that the machine overloads and shuts down.

Purported translations of the written texts are either meaningless or ridiculously various. For example, I have come upon four different translations of the same nine-character inscription: “All within this space are to be considered friends, as are all creatures under heaven.”

“If you don’t know what is inside, take care, for if you bring hatred in with you the roof will fall upon you.”

“On one side of every door is mystery. Caution is useless. Friendship and enmity sink to nothing under the gaze of eternity.”

“Enter boldly, stranger, and be welcome. Sit down now.” This inscription, the characters of which are written so as to form a shape like a comet with a radiant head, is often found on doors, box lids, and book covers.

The Nna Mmoy are excellent gardeners, vegetarians by necessity. Their arts are cookery, jewelry, and poetry. Each village is able to grow, gather, and make everything it needs. There is some commerce between villages, mostly involving cooked dishes, special preparations of the rather limited vegetable menu by professional cooks. Admired cooks barter their dishes for the raw materials produced by the gardeners, with a bit over. No mining has been observed, but opals, peridots, amethysts, garnets, topazes, and colored quartzes may be picked up in any stream bed; jewels are bartered for unworked or reused gold and silver. Money exists but has only a symbolic, honorary value: it is used in gambling (the Nna Mmoy play various low-keyed gambling games with dice, counters, and tiles) and to buy works of art. The money is the pearly-violet, translucent mantle, about the size and shape of a thumbnail, left by the largest species of jellyfish. Found washed up on the sea beaches, these shells are traded inland for finished jewelry and for poems—if that is what the written texts, single sheets, booklets, and scrolls, so beautiful and teasing to the eye, actually are.

Some visitors confidently assert that these texts are religious works, calling them mandalas or scriptures. Others confidently assert that the Nna Mmoy have no religion.

There are many traces on the Nna Mmoy plane of what people from our plane call civilisation, by which people from our plane, these days, usually mean a capitalist economy and an industrial technology based on intense, exhaustive exploitation of natural and human resources.

Ruins of immense cities, traces of long roads and huge paved areas, vast wastelands of desertification and permanent pollution, and other evidences of progressive society and advanced scientific technology crop up among the fields and border the parklands. All are very ancient and seem to be quite meaningless to the Nna Mmoy, who regard them without awe or interest.

Which is how they also regard visitors.

No one understands the language well enough to know if the Nna Mmoy have any history or legends of the ancestors responsible for the vast works and destructions that litter their placid landscape.

My friend Laure says that he heard the Nna Mmoy use a word in connection with the ruins: nen. As well as he could figure out, the syllable nen, variously modified by the syllables that surround it, may signify a range of objects from a flash flood to a tiny iridescent beetle. He thought the central area of connotation of nen might be “things that move fast” or “events occurring quickly.” It seems an odd name to give the timeless, grass-grown ruins that loom above the villages or serve as their foundations—the cracked and sunken tracts of pavement that are now the silted bottoms of shallow lakes—the immense chemical deserts where nothing grows except a thin, purplish bloom of bacteria on poisonous water seeps.

But then, it’s not certain that anything has a name in Nna Mmoy.

Laure has spent more time in the “garden utopia” than most people. I asked him to write me anything he wanted about it. He sent the following letter:

YOU ASKED ABOUT THE LANGUAGE. You’ve described the problem well, I think. It might help to think of it this way:

We talk snake. A snake can go any direction but only one direction at one time, following its head.

They talk starfish. A starfish doesn’t go anywhere much. It has no head. It keeps more choices handy, even if it doesn’t use them.

I imagine that starfish don’t think about alternatives, like left or right, forward or back; they’d think in terms of five kinds of lefts and rights, five kinds of backs and forths. Or twenty kinds of lefts and rights, twenty kinds of backs and forths. The only either/or for a starfish would be up and down. The other dimensions or directions or choices would be either/or/or/or/or…

Well, that describes one aspect of their language. When you say something in Nna Mmoy, there is a center to what you say, but the statement goes in more than one direction from the center—or to the center.

In Japanese, I’m told, a slight modification in one word or reference changes a sentence entirely, so that—I don’t know Japanese, I’m making this up—if a syllable changes in one word, then “the crickets are singing in chorus in the starlight” becomes “the taxicabs are in gridlock at the intersection.” I gather that Japanese poetry uses these almost-double meanings deliberately. A line of poetry can be translucent, as it were, to another meaning it could have if it were in a different context. The surface significance allows a possible alternate significance to register at the same time.

Well, everything you say in Nna Mmoy is like that. Every statement is transparent to other possible statements because the meaning of every word is contingent on the meanings of the words around it. Which is why you probably can’t call them words.

A word in our languages is a real thing, a sound with a fixed form to it. Take cat. In a sentence or standing by itself, it has a meaning: a certain kind of animal; in talking it’s the same three phonemes, and in writing the same three letters c, a, t, plus maybe s, and there it is, cat. As distinct as a pebble. Or as a cat. Cat is a noun. Verbs are a little shiftier. What does it mean if you say the word had? All by itself? Not much. Had isn’t like cat, it needs context, a subject, an object.

No word in Nna Mmoy is like cat. Every word in Nna Mmoy is like had, only more so, much more so.

Take the syllable dde. It doesn’t have a meaning yet. A no dde mil as, that means more or less “Let’s go into the woods”; in that context dde is “woods.” But if you say Dim a dde mil as, that means, more or less, “The tree stands beside the road”: dde is “tree” and a is “road” instead of “go,” and as is “beside” instead of “into.” But then if that connotation group occurred inside other groups, it would change again—Hse vuy uno a dde mu as med as hro se se: “The travelers came through the desert where nothing grows.” Now dde is “desert land,” not “trees.” And in o be k’a dde k’a, the syllable dde means “generous, giving freely”—nothing to do with trees at all, unless maybe metaphorically. The phrase means, more or less, “Thank you.”

The range of meanings of a syllable isn’t infinite, of course, but I don’t think you could make a list of the possible or potential meanings. Not even a long list, like the entry for a syllable in Chinese dictionaries. A spoken Chinese syllable, hsing or lung, may have dozens of meanings; but it’s still a word, even though its meaning depends to some extent on context, and even if it takes fifty different written characters to express the different meanings. Each different meaning of the syllable is in fact a different word, an entity, a pebble in the great riverbed of the language.

A Nna Mmoy syllable only has one written character. But it’s not a pebble. It’s a drop in the river.

Learning Nna Mmoy is like learning to weave water. I believe it’s just as difficult for them to learn their language as it is for us. But then, they have enough time, so it doesn’t matter. Their lives don’t start here and run to there, like ours, like horses on a racecourse. They live in the middle of time, like a starfish in its own center. Like the sun in its light.

What little I know of the language—and I’m not really certain of any of it, despite my learned disquisition on dde—I learned mostly from children. Their children’s words are more like our words, you can expect them to mean the same thing in different sentences. But the children keep learning; and when they begin learning to read and write, at ten or so, they begin to talk more like the adults; and by the time they’re adolescents I couldn’t understand much of what they said—unless they talked baby talk to me. Which they often did. Learning to read and write is a lifelong occupation. I suspect it involves not only learning the characters but inventing new ones, and new combinations of them—beautiful new patterns of meaning.

They’re gardeners. Things there pretty much grow on their own—no weeding, no weeds, no spraying, no pests. Still, you know how it is, in a garden there’s always something to be done. In the village where I stayed there was always somebody working away in the gardens and among the trees. Nobody ever wore themselves out doing it. Then they’d gather, along in the afternoon, under the trees, and they’d talk and laugh, having one of their long, long conversations.

The talking often ended up with people reciting, or getting out a paper or a book and reading from it. Some of them would already be off reading by themselves, or writing. A lot of people wrote every day, very slowly, of course, on flimsy bits of the paper they make out of cotton plant. They might bring that piece of writing to the group in the afternoon and pass it around, and people would read from it aloud. Or some people would be at the village workshop working on a piece of jewelry, the circlets and brooches and complicated necklaces they make out of gold wire and opals and amethysts and such. When those were finished they’d get shown around too, and given away, and worn first by one person then another; nobody kept those pieces. They passed around. There was some of the shell money in the village, and sometimes, if somebody won a heap of it playing ten-tiles, they’d offer the owner of a fine piece of jewelry a shell or two for it, usually with a good deal of laughter and what seemed to be ritual insults. Some of the pieces of jewelry were wonderful things, delicate armpieces like endless filigree, or great massive necklaces shaped like starbursts and interlocking spirals. Several times I was given one. That’s when I learned to say o be k’a dde k’a. I’d wear it for a while, and pass it on. Much as I would have liked to keep it.

I finally realised that some of the pieces of jewelry were sentences, or lines of poems. Maybe they all were.

There was a village school under a nut tree. The climate is very mild and dull, it never varies, so you can live outdoors. It seemed to be all right with everybody if I sat in at school and listened. Children would gather under that tree daily and play, until one or another of the villagers showed up and taught them one thing or another. Most of it seemed to be language practice, by way of storytelling. The teacher would start a story and then a child would carry it on a way, and then another would pick it up, and so on, everybody listening very intently, alert, ready to take over. The subjects were just village doings, as far as I could tell, pretty dull stuff, but there were twists and jokes, and an unexpected or inventive usage or connection caused a lot of pleasure and praise—”A jewel!” they’d all say. Now and then a regular teacher would wander by, doing a round of the villages, and have a session for a day or two or three, teaching writing and reading. Adolescents and some adults would come to hear the teacher, along with the children. That’s how I learned to read a few characters in certain texts.

The villagers never tried to ask me about myself or where I came from. They had no curiosity of that kind at all. They were kind, patient, generous, sharing food, giving me a house, letting me work with them, but they were not interested in me. Or in anything, as far as I could tell, except their daily pursuits—gardening, preparing food, making jewelry, writing, and conversation. But conversation only with one another.

Like everybody else, I found their language so difficult that they probably thought me retarded. I made the usual attempts to learn by exchanging words—you hit your chest and say your name and look inquiringly at the person facing you—you hold up a leaf and say “leaf” and look hopefully at the person facing you… They simply did not respond. Not even the young children.

As far as I can tell, a Nna Mmoy does not have a name. They address one another by ever-varying phrases which seem to signify both permanent and temporary relationships of consanguinity, of responsibility and dependence, of contingent status, of a thousand social and emotional connections. I could point to myself and say “Laure,” but what relationship would that signify?

I suspect they heard my language as a noise made by an idiot.

Nothing else in their world speaks. Nothing else has sentience, let alone intelligence. In their world there is only one language. They recognised me as a human being, but as a defective one. I couldn’t talk. I couldn’t make the connections.

I had with me a magazine, a publication of an American conservation organisation, which I’d been reading in the airport. I brought it out one day and offered it to the conversation group. They didn’t ask about the text or look at it with any interest. I’m sure they didn’t recognise it as writing—a couple of dozen black characters, repeated endlessly in straight lines—nothing remotely like their marvelous swirls and fern fronds and interlocking superimplicated patterns. But they did look at the pictures. The magazine was full of color photographs of animals, endangered species—coral reefs and their fish, Florida panthers, manatees, California condors. It passed around the village, and people from other villages asked to look at it when they came visiting and bartering and conversing.

They showed it to the schoolteacher when she came on her rounds, and she asked me about the pictures, the only time any Nna Mmoy tried to ask me a question. I think what she was asking was Who are these people?

In their world, you know, there are no animals but themselves. Except for little, harmless bees and flies, that pollinate plants or break down dead matter. All the plants are edible. The grass is a nourishing grain. Five kinds of trees, that all bear fruit or nuts. One kind of evergreen, used for wood, and it has edible nuts too. One ubiquitous shrub, a cotton bush which produces fiber to spin, edible roots, and leaves for tea. Aside from the necessary bacteria there aren’t more than twenty or thirty species of animal or plant in the world. All of them, including the bacteria, are “useful” and “harmless”—to human beings.

Life there is a product of engineering. It was designed. Utopia indeed. Everything human beings need and nothing they don’t need. Panthers, condors, manatees—who needs them?

Roman’s Planary Guide says the Nna Mmoy are “degenerate remnants of a great ancient culture.” Roman has things backward. What is degenerate on their plane is the web of life. The “great ancient culture” took a vast, rich, incalculably complex tapestry, like the life that clothes our world, and reduced it to a miserable scrap.

I am certain this terrible poverty dates from the age of the ruins. Their ancestors, with all the resources of science and all the best intentions, robbed them blind. Our world is full of diseases, enemies, waste, and danger, those ancestors said—hostile microbes and viruses infecting us, noxious weeds growing thick about us while we starve, useless animals that carry plagues and poisons and compete with us for air and food and water. This world is too hard for human beings to live in, too hard for our children, they said, but we know how to make it easy.

So they did. They eliminated everything that was not useful. They took a great complex pattern and simplified it to perfection. A nursery room safe for the children. A theme park where people have nothing to do but enjoy themselves.

But the Nna Mmoy outwitted their ancestors, at least in part. They’ve made the pattern back into something endlessly complicated, infinitely rich, and without any rational use. They do it with words.

They don’t have any representative arts. They decorate their pottery and whatever else they make only with their beautiful writing. The only way they imitate the world is by putting words together: that is, by letting words interrelate in a fertile, ever-changing complexity to form shapes and patterns that have never existed before, beautiful forms that exist briefly and create and give way to other forms. Their language is their own exuberant, endlessly proliferating ecology. All the jungle they have, all the wilderness, is their poetry.

As I said, the pictures in my magazine interested them, the pictures of animals. They gazed at them with what seemed to me an uncomprehending wistfulness. I told them the names, pointing out the word written as I spoke it. And they’d repeat: Pan dhedh. Kon dodh. Ma na tii.

Those were the only words of my language they ever listened to, recognising that they had meaning.

I suppose they understood as much from those words as I did from the syllables of their language that I learned: very little, and probably all wrong.

I wandered around the ancient ruins near the village sometimes. I found a wall that had been revealed when one of the villages used the place as a rock quarry. There was a carving, a bas-relief, worn away by the ages, but as I studied it I began to see what it was: a procession of people, and there were other creatures in the procession. It was hard to make out what they were. Animals, certainly. Some were four-legged. One had great horns or wings. They might have been real animals or imaginary, or figures of animal gods. I tried to ask the teacher about them, but she just said, “Nen, nen.”