Radiolab - Translation

Episode Date: August 27, 2020

How close can words get you to the truth and feel and force of life? That's the question poking at our ribs this hour, as we wonder how it is that the right words can have the wrong meanings, and why sometimes the best translations lead us to an understanding that's way deeper than language. This episode, a bunch of stories that play out in the middle space between one reality and another — where poetry, insult comedy, 911 calls, and even our own bodies work to close the gap. Support Radiolab today at Radiolab.org/donate.   Special thanks for the music of Brian Carpenter's Ghost Train Orchestra

Hey, this is Radio Lab. I'm Chad Abumrod. So in our last few episodes, you know, about the evolution of typing in Chinese and Lebanese guys roadtrip across America, visiting all the towns in the US called Lebanon, I just got us thinking about jumping across borders and, you know, borders of culture and language and technology. And it reminded us of a show that we did a few years ago that was basically all about that, called Translation. Hope you like it.

It's time now to practice some very useful phrases. I'll say them first, you repeat, and we'll learn together. Let's begin. Today's seven experiments in translation. Lesson number one. The best poem was by my mother. To Kakarashit his total de mama. Now you try. TELLER BELLS Hello. Hi there. Hi.

Is that Doug? Yes. Oh, boy. So this episode was inspired by a guy named Doug. Doug Hofstad, professor of cognitive science Indiana University, Bloomington. You may know him as the guy who wrote Godel Escherbach, which was a hugely influential book,

in certain circles, published in I think 1979, but we actually got interested in him, thanks to our producer, Lynn Levy, because of an obsession of his, which predates that. 16, I was 16. The year 1961. I was taking a French literature class and one day I came across this poem.

A tiny little poem that kind of sat right in the middle of the page. Like a long thin sausage vertical, you know, three syllables per line. So it was super skinny. And 28 lines long. And long. And it was delightful. It was very cute and funny. I fell in love with the poem immediately and memorized it I still know it by heart. The poem is basically a get-well card. It was written by this guy, Cleman Moro, who was a poet in the early 1500s at the court of

Queen and he wrote the poem for this Queen's daughter. She was seven or eight and she had gotten sick. The flu or something. And this poem was supposed to cheer her up. And I thought it was very sweet. Could you say it in French? Let's just hear it first. Yeah. OK, it's called a, a, a, a, a, a, a, a, a,

a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a,

a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a mignonne je vous donne le bon jour, le séjour s'éprisons, guérisons recouvrées, puis y ouvrez votre porte et qu'on sort de vitement carclément le voumande. Va friande de ta bouche qui se couche en danger pour manger confiture. Si tu dures trop malades, couleur fad tu prendras et perdras l'enbon point.

Dieu te doit un santé bonne bonne ma mignonne. Oh my god, il me reste donc beaucoup de chicks quand tu es 16. C'est vraiment très génial. Exactement, c'est l'opposite. Je... je... je... Je me suis... Ok, donc il réduit le pomme,

fasse-il un peu de la fin de sa tête. Fast forward, 20 ans, il publishe sa première book. Il est très popular, il a l'épublisher de la façon dont il a une translate. Files it away deep in the corner of his mind fast forward about 20 years. He publishes his first book It becomes very popular and the publisher decides to have it translated into a number of languages including French and that process Which took years it put me into the frame of mind of thinking what kinds of crazy things can happen when you translate crazy texts and All of a sudden one day that poem popped into his mind and I said ah there's a challenge Let's try to do this and when you say challenge like what was it? What is it? What is the challenge? Okay, what I meant was to Here's the thing he says you got this poem

Mamignon je vous donne le bon jouet and if you just focus on the words It's basically just this guy talking to a younger girl saying, hello, my dear, I'm sorry you're sick, being sick is like, prison. The sejours, it's prison. I clamant wish you to open your doors, get out into the world. Carclemant, le vouement.

Get out of bed, eat some jam. Confuture. So you don't look so pale, and you lose your plump shape. Perdral en bon poix. You know, it's sort of like, get better. Here's to your good health. Je te dois santé bonne, ma mignonne. But just saying those words in English misses the whole spirit of the poem. You know, it's sort of like, get better. Here's to your good health. Jutuduan, saunté bon, maminyan.

But just saying those words in English misses the whole spirit of the poem. The tone, the light-heartedness. And, and this is key for Doug, it also ignores the poem's form. It's wonderfully catchy, little sausage shape on the page, the fact of the lines. Rhyme, you know, AABBCCDD.

And the first line, Mamignon is identical to the last line, Mamignon. So it sort of has the feel of a palindrome? It has the poet's name in the middle of the poem. Clément Le Voumond. Oh, and I forgot, did I say three syllables per line? No, you didn't. Yeah, of course. Three syllables per line.

I mean, that's crucial. And then also, 28 lines long. So all of those things added à un certain nombre de constraints, vous pouvez dire, sur moi. Donc, Doug s'est fait le temps et a fait de travailler. Et il a été réveillé en question de comment vous transgléz cette poem? En même temps, il a commencé à faire un peu de petites possibilités pour différents liens de la poem.

Pour exemple, to make little grids of possibilities for different lines of the poem. For example, like this line that basically says, don't wallow in bed. I had a lot of possibilities, and I'll just read you the little diagonal display here, instead of spurting blood in bed, instead of burping in your bed, instead of bursting out in bed, instead of lurking in your bed, instead of hurtling out of bed, instead of bursting out in bed instead of lurking in your bed instead of hurtling out of instead of hurting there instead of squirming in your bed instead of slurping slop in instead of burning up in bed instead of turning blue in bed on and on and I came up with you want me to read my first translation please my sweet dear I send cheer all the best.

Your forced rest is like jail, so don't ale very long. Just get strong. Go outside. Take a ride. Do it quick. Stay not sick. Bann your ache for my sake. Buttered bread while in bed makes a mess, so unless you would choose that bad news, I suggest

that you'd best soon arise, so your eyes will not glaze. Douglas prays, health be near, my sweet dear. So Claymole is now Douglas. Yeah, Claymole became Douglas. And I like the word John. But the jam became bread though. Buttered bread. A buttered bread.

Buttered bread, yes. Well, I just figure jam and jelly, they are words, but the words represent concepts and the concepts have a kind of a halo around them. I mean, when you talk about jelly, you're implicitly talking about bread and things that you spread it on. Oh, how interesting. Some people just stick their fingers in jelly. No bread needed.

Okay, fair enough. Feeling like you hadn't quite nailed it, Doug sent the poem to one of the guys that translated his first book into French. Yeah. A guy named. Oddly enough, Bob French. And Bob was like, hey, I said, hey, Bob, can you do it? And Bob said, well, I'll give it a try.

Ferest friend, let me send my embrace. Quit this place. it's dark halls and dank walls. In soft stealth regain health, dress and flee off with me, Clement who calls for you. Very different in tone, and really quite marvelous. You got the pale face in there, you got the jam, you put Clemond's name in the middle. But at the same time, it didn't have the lightness. The tone is much more ancient. Which you could argue well, it's an ancient poem.

But Doug says, no, no, there's a bigger problem. It was 30 lines long, so extra long. And 28 was a sacrosanct number. Was that just two lines though? No, no, no, no, no. Clemond Marrow wrote a three syllable poem of 28 lines that rhymed wonderfully and the essence of his poem was a form

rather than a message. That is, the message was get well. Which is pretty simple, but Doug would argue, no, it was the form. That's what made the thing funny and charming and so the question for him was, who could get the feel but nail the form? To make a long story short,

he ended up sending the poem out to like 60 people. Doctoral students, who my sweet, I entreat, one regard, oh, it is hard, dear recluse. Colleagues, friends, check a D, I decree a fine day. You even got his wife to do one? Dart away from your cage and engage in brave flight so you might flee the crew. It was all birth-themed. Hope you swoop into ham, apple jam, and French bread. Did you go ridden around from town to town saying, hey, I got a little poem, anybody

wanted to do it? I certainly did. I am a person of benches. This began a binge, you might say. And that binge ended up becoming a 700-page book filled with translations of this poem. Go ahead and read that. Best one. Now. This is the best one. No, this is not the best one.

It is just one. No, stop it. Okay, here we go. Okay, okay. This is also one of his, but like the 20th one he did. Palpatete. Gal so sweet. Hug from Doug.

Some dumb bug dragged you down. Zap that fram. Feel the urge bugs to purge. From the scourge you'll emerge in a trice. Sound advice from a ham, Doug slash clam. So smash flu. Come, you who? Come, you who live to chew.

Sheets S chew. Sweets, let's chew. Pop it hard. Make your heart palpitate. Climbs mandate. Sure hope God cures your bod. Head to feet. Palpatine.

Sure hope God cures your bod. I'll take you back. I want to send the red it's humorous. Although not the best, he says. I do want to get to my mother's translation because my mother's was somehow, I'm going to have to look it up here where it was, where it was, where it was, this book is long and complicated.

This one from his mom, he says, came along years after he started. Here it is. Anything that might be the winner. Hi, Toots, get well, hospitals, prison, and prisons hell. Get well, flee yourself. Clements orders in a nutshell. Go pick out, opw hide your mouth. Keep those sweet meats going south.

Unless your hail you'll turn pale. Lose pula la that wiggles your tail. God restore good health to you, my little flower. Moe piti shoo. Whoa, that's cool. Notice that she doesn't begin the poem and end the poem with the same line. She doesn't have 28 lines.

She has maybe about 16 lines. She doesn't pay any attention to syllable count. You must have hated this one. I did. My first reaction was, oh, no, mom, come on. What do you think? Come on, didn't you pay any attention to the form? And she said, I did what I wanted to do.

This is my feeling, you know, just, that's what I did. And actually, you know, I have to say, it has stood the test of time. It has some kind of pizzazz that no other one ever had. But if she didn't respect the form, she didn't do the syllable, she didn't rhyme at the way it's supposed to rhyme, she didn't give you 28 lines, she even like, have that practically.

Is that a translation then, or is that just a mom? What is that? What is that? The hundred flowers bloom. As I got more and more deeply into this poem, my philosophy started to become Chairman Mao's statement, let 100 flowers bloom. In other words, you can look at it from so many angles and each new angle enriches it and makes it more fun.

All right, but you can't read 100 versions of every poem that you wanna read. Okay, okay, I agree, are you right? It does make me question though, the rules of engagement in a way. There are no rules. There are no rules. It's all informal.

Okay, but there's jam in one of the translations and ham in the other, and they're like, they're factually different. Food and substances. Somehow, like the facts of the poem shouldn't be negotiable, should they? What do you mean by a fact? I mean, a fact about the poem is that it was written

by somebody in French. It's not in French anymore. Now here's what Jared I think was really wondering is the mission we thought was what was he saying? Not what do we make of what he's saying? What are the flavors of what he's saying? What are the variants of what he's saying? And even beyond that like isn't the expectation that you as a translator like isn't the expectation that you as a translator are giving me him? Like this man has lost to time and now suddenly I get to experience him.

But if a hundred flowers are blooming, that somehow feels like I'm not getting him at all. Obviously you're getting to the question of what is translation and can it be done? My feeling is that even though these translations that we've heard are all very different, they all show something about Claymore Maho. Doug's basic point is that like any person

is kind of a universe. They're too big to comprehend in their entirety. And so any translation of say a poem or whatever is only gonna get you a tiny piece of that person, a tiny refraction. I mean look we have one photograph of Frederick Chopin, one photograph. And in that picture he's scowling. What did Frederick Chopin really look like? What was his smile like? You know you look at a photograph of Chopin and you say, oh, this is what Chopin looked like.

Well, no. Chopin looked like many things. Even the very day that that photograph was taken, he had thousands of different expressions on his face. But then, what about a year earlier? Or ten years earlier? I mean, knowing Chopin is a very complex thing, it's not one thing.

It's a millions of different things that are united by analogy into something that we refer to as one thing. We should say we looked into it and there are actually two pictures of Chopin, but he's kind of scowling in both, or you can't really tell in the second one, it's too disinterrated, but no smiles.このメッダのカフォロー 嫌いよ このミシュー コンベイニーの嫌いよ Mu mu mu je fe ya mu je mu faan be mu mu Korometa no ka foro I ya I ya yo Lesson number two

Are you just talking or are you doing? To forget ya ka ka uta rase rase rase do Now you try Number two I hear the sound of a telephone. Hello. How about he's a subulli? A story from Greg Warner.

Yes, hi, Jack. Greg is an NPR's East Africa correspondent. What time is it where you are? It's evening. He's based in Nairobi. Around 730 in the evening, which is embarrassing, because I just told you good morning in Sohealy. But I forgot how to say good evening.

So oh. Okay. So Greg, I mean, we were just a anyhow. We called Greg up because he had written this article for this great website called Transome.org about being a foreign reporter and working with translators and all the mishaps, you know, when you have to go from one language to another. But there's actually a really good example that I didn't use in the piece about the failure

to communicate. I could tell you that story. Yeah, yeah. So there's this word, and you wouldn't think of it as untranslatable, but it's the word serious. And when you see this word serious, like SIRIO, US. Okay. In my experience, when you hear this word serious, like SCRIO, US. In my experience, when you hear this word serious in East Africa, it does not mean solemn or thoughtful or stern.

It actually almost never has something to do with your mood. What serious tends to mean is, are you just talking to me or are you serious? Are you doing something? And usually doing is like some kind of transaction, usually financial. I've been asked by many East African officials, are you going to be serious with me? And it obviously means, are you going to pay me a bribe?

Usually I pretend to misunderstand at that key moment. I say, yes, I'm a very serious international journalist. But the story that I want to misunderstand at the key moment. I say yes, I'm a very serious international journalist. And, but the story that I want to tell you took place a couple of months ago. Good afternoon, everybody. I'm really pleased to be back in Africa. Secretary Kerry, I disabba by visiting Ethiopia. And just a few days before Kerry's visit

nine journalists had been arrested under this relatively recent anti-terrorism law that basically says that any criticism of the government is illegal. I had a series of very productive meetings this morning with my foreign minister counterparts and Secretary Kerry was giving this press conference. I shared my concerns about a young Ethiopian blogger that I met last year, Nutt Nile Felleke, who, with eight of his peers, have been imprisoned.

And I firmly believe that the work of journalists, whether it's print journalists or in the internet or media of other kinds, it makes societies stronger. You know, he said all the things you'd expect him to say, he said, we believe that free speech and open dialogue is important to the economic development of a country, blah, blah, blah. But we remain committed to our partnership with Ethiopia. This comment was also wrapped up in a lot of praise of Ethiopia.

And... I'd be delighted to answer a few questions. I'm not sure how that's even going to do that. Then, it came time for questions. He took some vetted questions from the Ethiopian journalists to more from the traveling press. And to Kerry's credit, I want to give this to him. I want to give him a shot.

I know he was very impatient. He sort of, before he left the podium, he was like, you know what, we're just going to try something different. We're going to call on an Ethiopian journalist. I want to make sure we get a fair distribution here. Carry pointed this one guy in the second row. Young guy in his 20s, boyish face wearing a mustache. I have only two questions for you sir.

I may have invited the hardest question of the day now, but one question fair enough, okay. So let me choose. You have raised up about the issues of Nathanael Felicca, who's a blogger and his friends. Yeah. لقد أخذت أن تتخذت أن تتخذت أن تتخذت أن تتخذت أن تتخذت أن تتخذت أن تتخذت أن تتخذت أن تتخذت أن تتخذت أن تتخذت أن تتخذت أن تتخذت أن تتخذت أن تتخذت أن تتخذت أن تتخذت أن تتخذت أن تتخذت أن تتخذت أن تتخذت أن تتخذت أن تتخذت أن تتخذت أن تتخذت أن تتخذت أن تتخذت أن تتخذت أن تتخذت أن تتخذت أن تتخذت أن تتخذت أن تتخذت أن تتخذت أن تتخذت أن تتخذت أن تتخذت أن تتخذت أن تتخذت أن تتخذت أن تخذت أن تتخذت أن تتخذت أن تتخذت أن تتخذت أن تتخذت أن تتخذت أن تتخذت أن تتخذت أن تتخذت أن تتخذت أن تتخذت أن تتخذت أن تتخذت أن تتخذت أن تتخذت أن تتخذت أن تتخذت أن تتخذت أن تتخذت أن تتخذت أن تخذت أن تخذت أن تتخذت أن تتخذت أن تخذت أن تتخذت أن تخذت أن تتخذت أن تتخذت أن تخذت أن تخذت أن تتخذت أن تتخذت أن repeating very much. So then he asks his question. Is it lip service or are you seriously concerned about the terrorist? Is this lip service or are you seriously concerned? At this point everybody's just not looking at Kerry. They're all looking at this journalist who obviously had to take considerable personal

risks in a place like Ethiopia in a crowd journalists, including state-run TV stations. This guy's on camera asking this extremely sensitive question about the arrested journalists. We really demand genuine answer from you. And Carrie looks at him like... Well... You got to be kidding. When I stand up in public and I say something, I try to be serious about it, and I think the fact that I'm doing that is serious.

And when I raised him by name in my comments today... It can't be something like he's sort of insulted by the question. And so, remember, serious, the word serious in East Africa. It can't be something like he's sort of insulted by the question and so remember Serious the word serious in East Africa can be translated very much as are you doing something? preferably like a financial transaction, right and so what this journalist is saying is Are you just talking about this or are you doing something maybe threatening Ethiopia with talking about this? Or are you doing something? Maybe threatening Ethiopia with drawing aid or with drawing support.

And Kerry says, I am very seriously talking about this. We have previously called for the release of these individuals and that is the policy of our government and it's a serious policy. Thank you all very, very much. And it seemed to me, maybe, you know, you can judge, but it seemed like he was almost like, look, I'm like the most serious politician that's out there. I mean, I lost the presidential race in 2004 in part because I was deemed too serious by the American public, you know, like, what are you accusing me of not being serious?

We put in a number of requests to speak to John Kerry or someone in the State Department but there was no response. Do you think he was aware of the misunderstanding? Who, Kerry? No, this fellow. Oh yeah, I know I followed him out afterward. Hey, man. Can you pronounce your name for me?

My name is Ananya Sori. He's a young guy and he's 20, he's an independent journalist. Yeah, I used to work in different newspapers. And I was like, you know, when you listen, what happened there? And I almost felt like I wasn't kind of cultural guide. I mean, because Americans think serious means, I'm standing here, I'm not joking, I'm serious. But when African space is serious,

and I'm using it generally, they say, no, are you gonna not just speak, are you gonna do? Yeah, that's exactly my point. Are you going to take sanctions maybe? I can see the obvious. Do you feel that that question puts you at risk? Maybe who knows? That is a job description doing journalism in Ethiopia. Thanks so much. Thank you. I will give you a call. My number's on there.

Yeah. So that conversation was about five months ago. Did you know what his fate at all? Let me have you found out whether did he suffer for this question in any way? No, but I have his phone number so I can get him a call and find out. I know. Hello. Hi, Anani, it's Gregory. Gregory Warner. Oh, Gregory, how are you? I'm good, I'm good.

Nice. So I reached him by Skype. He told me that actually after that press conference, he did get strange calls to his home and some Facebook messages from people he didn't know telling him that he better rethink what he said. They said you should line up with the government's priorities? These messages were from the government? It's hard to tell.

It has been reported that this Ethiopian anti-terrorism task force will wage social media attacks by getting people to send messages on its behalf. People in the anti-carrierism task force are the ones that send this kind of message. And were they threatening? Yeah, some of them were insulting and that I would be punished accordingly when the time comes. And this might come one day. A newspaper he founded got shut down after publishing one issue and he was planning for a while to flee to Nairobi to secure my safety.

Leave his wife and kid behind and then maybe return, grab them, apply for a asylum in the United States. You know my mother and my older brother are visiting the US Washington. Oh, okay US Washington. Oh, okay. Washington. Like a lot of Ethiopians, he's actually got some relatives in the States. Did they hear that you asked a question to John Kerry? Yeah, yeah, yeah. They have heard that.

What did your mom say? She said, please don't do that. It's not good. They might be targeting you. Things like that, you know. Mums things like that, you know, mums are like that, eh? Yeah, nor will I be afraid of you. When you are not happy, I will not believe my sun is coming. Radio Lab will continue in a moment. Message 1.

Hello, this is Doug from StarterCone. Hey, this is Gregory Warner, and here is East Africa correspondent. I'm supposed to read some texts. Radio Lab is supported in part by the National Science Foundation and the Alfred T. Sloan Foundation and some public understanding of science and technology in the modern world. More information about Sloan at www.Sloan.org. Radio Lab is produced by WNYC. And also thanks to Transom.org, who's series on translation in radio stories, got me

thinking about some of these stories. Okie Doke, thanks. Bye. And this message. Science reporting on Radio Lab is supported in part by Science Sandbox, a Simon's Foundation initiative dedicated to engaging everyone with the process of science. Hey, I'm Chad Iboomrod, this is Radio Lab today. 8 Experiments in Translation

Lesson number three. They called it shell shock. Duvargi Gurtatash, discovered a shell shock. Now you try. In this one, Robert Crowich and our producers are Wheeler talk to writer Adam Gopnik about George Carlin. Why is George Carlin mentioned?

Oh, because Carlin is the wonderful sort of folk philosopher of language. You're talking about the comedian, George Carlin? The comedian, yeah. And this next thing is about the English language. It's about little expressions we use. We all say in the little sayings and expressions that we use all the time. There's one of his great subjects. It never really seemed to examine these expressions.

And all the more interesting, because he didn't even have a high school education, you know, so it was not something that he got from schooling. And one of Gopnik's favorite carliners, and I really like this one too, is about how Carlin hated euphemisms. I don't like words that hide the truth. I don't like words that conceal reality. I don't like euphemisms. An American English is loaded with euphemisms because Americans have a lot of trouble dealing

with reality. And Carlin was wonderful about things like that What about bulls**t as he called it? We have no more old people in this country no more old people We shipped them all away and we brought in these senior citizens Isn't that a tip? And he was on sympathetic the reason we use euphemism I just been through my father-in-law died four months ago and we went through those same horrible business that we all go through in a Intensive Care Award where the doctors and nurse practitioners have a language that they've been taught

We just want your father to be comfortable. He's gravely ill. His gravely ill means he's dying, right? And we want him to be comfortable means can we give him enough drugs so that he'll Pass out before he dies and so on. And so it's certainly true that euphemism can be a repellent thing, but no one is fooled. What we're mocking is the absurdity of the effort to disguise something that you cannot disguise. But Carlin's real point was that it, like, dulls our reactions to it, that actually has like a kind of a negative effect. And it gets worse with every generation. He has this whole bit. It's about shell shock becoming PTSD. No, no, it goes, it's in four different things.

In the first world war, that condition was called shell shock. They used to call it shell shock. Simple, honest, direct language. Two syllables, shell shock. And then it became battle fatigue. Battle fatigue. Four syllables now. Takes a little longer to say.

Doesn't seem to hurt as much. And then after it became battle fatigue, then it became... Operational exhaustion. Hey, we're up to eight syllables now. Then it became post-traumatic shock disorder. Still eight syllables, but we've added a hyphen. And then it became PTSD. Post-traumatic

stress disorder. The pain is completely buried under jargon. This was the Orwell notion that you could erase sensitivities if you bland it out the word. So if you stop saying, no, yeah, we just tortured the guy. If you say some force of interrogation or enhanced interrogation. That makes a big difference and part of what Carl is saying is that like now that it's PTSD, we are not having the appropriate reaction to it. I mean, it's f***ing shell shock. I'll betcha if we'd have still been calling it shell shock, some of those Vietnam veterans might have gotten the attention they needed at the time.

I'll betcha that. I'll betcha that. Now you're putting your finger on the, this is where the rubber meets the time. I'll fetch you that. I'll fetch you that. Now you're putting your finger on the, this is where the rubber meets the rope. Does the use of euphemism? Does that really rob us of some understanding? And Adam Gopnik surprisingly says, maybe not. The truth is just the opposite.

We actually have more of an apparatus to help people with PTSD than they did in 1915 to help guys with shell shock. The reason the word gets more abstract is because you have a much more complicated abstract system of support. It's not because... I think that's the reason it's called PTSD is because it's a more complex and... Yes, because think about what that evolution says.

The initial thing was, all these guys are being driven crazy because the shells are exploding all around me. On the Western Fund. Gopnik says the thinking was, you know, it was temporary. The shell goes off, it explodes in a moment. They have a moment of shock and they need a moment of rest and then they can go back in. But by World War II we were thinking, that's not quite right. It's not just shells exploding, right? It's the whole experience of battle. It's all the shooting and the death and the fear. So it becomes battle fatigue.

You're trying to generalize it. You're trying to make it richer as the concept. But it also becomes fatigue versus shock. There's less violence in that. Right. Because you're looking at guys who may not exhibit the symptoms of shock necessarily, but over time it becomes impossible for them to go on. There's a wonderful film from World War II called Let There Be Light.

These are the casualties of the spirit that troubled in mind, men who are damaged emotionally. About guys with what they were then calling, battle fatigue. And the reason they were calling it that was because you didn't necessarily see it right away. Then around Vietnam, he says, we realize, you don't just see this on the battlefield, you see it with guys who aren't necessarily directly involved in battle. And so the question became, what's the source of it? It's, you say, well, it's nervous exhaustion.

You say the human nervous system can only take it for so long, and then everybody's nervous system shuts down. Hence the term operational exhaustion. Now, that's example. Again, when you're trying to enrich it, you're saying, the guys aren't coward, it's not in a state of shock. They're behaving the way all human beings do. And then you get more concern about them. And you say, the real problem isn't there just their experience on the battlefield. The problem is that they're in a constant state of disorder

because it lingers on long after you think it's over. You can't just get these guys into a hospital for six months and think they're going to be better. They are permanently, you have post-traumatic shock. And then once you have a whole apparatus to deal with it, then you become PTSD. My point is just that it's perfectly possible that the language of euphemism grows and becomes more abstract as act as people actually are becoming more empathetic to the people suffer from it soren do you buy i mean he's to he's basically turned carl and on his head and he's made the splinter and blander words

enrichment i i have i mean i only move would be to hit play on carlin poor people used to live in slums now the economically disadvantaged occupy substandard housing in the inner cities. And they're broke. They're broke. They don't have a negative cash flow position. They're f***ing broke.

Because a lot of them were fired. You know, fired management wanted to curtail the human resources. Son on regazzo y enquituro. I wanted to protect the human resources I'm a little bit tired It's my joy, little bit Little bit, it's all gone I'm just on my own I'm a little bit tired Lesson number four

Imagine a lot of Coca-Cola like bubbles on your tongue Forget the sheer Coca-Cola that P-P-P-P-P-P-P-P-P-P-P-P-P-P-P on the planet Now you try. Pretty good. This is Emily. My name is Emily Gossi and I'm an artist. I'm a jury. Some of you may remember that a couple years ago we did a story about Emily where she'd

been hit by a truck, gone into a coma, and then her boyfriend at the time, Alan, had brought her back by writing on her hand. She's writing her name on the palm of my hand. With all the stories we've ever done, I think this one has gotten the most response. And when we left that story, Emily had emerged from the coma and begun to recover, but she was blind. Totally blind, right? Yeah.

And like, no light and nothing coming in. No. Okay. Needless to say, it was a very big adjustment. I just had to develop my own ways to navigate throughout the world and trust myself. And being a visual artist, she had to develop new ways to draw. I had crayons and if you draw crayons hard enough you can feel the wax on the paper. But then one day in the summer of 2012, she gets a call.

From the lighthouse school in New York City. The lighthouse school? Yeah, it's a school for the blind. Her mom had found out that they were trying out this brand new technology. I think they were doing this study for the FDA. Very experimental, and her mom signed her up. Long story short, Emily shows up to the lighthouse school one day and walks into this room and a guy named Ed gives her this thing. He gives me this device.

Can you describe it? I mean, is it a big helmet? No, it's not. It's just like a regular pair of sunglasses. Though they were a little heavier than your normal sunglasses, she says, because right on the front, like on the bridge of the nose, was a little camera, pointing forward. And then a toss to the sunglasses was a little wire. That ran out of the camera and down to this little square piece of metal. I think it's made out of titanium, and it's just like the size of a postage stamp. Or a little bit thicker, though.

It explained to her that the little piece of titanium was filled with thousands of electrodes. And what was going to happen is that the camera was going to convert images into patterns of electricity on that little square. So we told her to take the little square, place it on your tongue, put a right on the center of your tongue, and close your mouth. So I put it on and they turned it on. I put it on and they turned it on. And it was like, it started to tickle. Imagine a lot of Coca-Cola, like a lot of bubbles on your tongue, and always like prickly, prickly feelings. The idea behind this thing, according to science writer Sam Keane,

author of The Tale of the Doling Neuro Surgeons, is that we actually see with our brain not our eyes. I mean, it might seem like our eyes are doing the seeing and our ears are doing the hearing and our fingers and tongue-nurting and the tasting and touching, but that's actually not how it works. Each of our senses sends signals into the brain as electricity. It's a little blips on nerves. And it is the brain that then converts those little blips into what you perceive as a sight or a sound or a smell. Now, obviously, someone who is blind,

their retina is not sending those signals anymore. But what if there is another way to get signals for light and dark and color into our brains? In all of our brains, there are lots and lots of pathways going from every part of the brain to every other part of the brain. And normally, your brain isn't using those pathways, even though they exist. It's like there's a road there, but it's shut down and traffic can't be on it. But what if you could open up some of those rats? He just let me sit with it on for an hour or two hours.

Emily says at first she had no idea what was happening. She would just swivel her head around and feel the patterns on her tongue change. And every time I looked around, he'd say, oh, that's his chair, that's his door, that's me, that's your mom. And it went on like this for a while. Ed showed her a ball and a square.

A plastic banana. And nothing was really happening for her, except for a while. Ed showed her a ball and a square... A plastic banana. And nothing was really happening for her, except for the prickly feelings on her tongue. But then there was this moment. Ed had this really long styrofoam rod, and he flashed it in front of me. He moved it up and down in front of my face. And I was like, oh my god, what was that? Suddenly she says she just saw it. I was like like oh my god what was that? Suddenly she says she just saw it. I was like oh my god it just happened on its own.

What did it look like? In some of my minds I looked like a long white skinny stick. Could you see the texture of the stick? No, I couldn't see texture, I couldn't see in three dimensions. It was very flat. It was kind of like that kids toy light bright. So imagine like a black screen and little tiny white dots. All arranged in a line.

So Emily was allowed to keep the brain port device for about a year and a half, and during that time, the light bright resolution of it did get better as her brain learned to speak tongue. It was awesome when I saw the people moving. And one of the things that really struck me in our conversation was I asked her about this video that her mom had sent me showing her wearing the device and walking down the street. And she told me that usually, you know, now that she's blind when she's walking down the streets of New York City.

Especially uptown where the streets are a lot wider. She says people see her and her white cane and walk a really wide circle around her. So I, yeah, I hardly ever noticed other people walking around me. It feels like I'm just walking alone. I can always hear the traffic and the sounds of traffic, but not other people. But she says when she put the device on and put that little sensor on her tongue,

the sidewalk came alive. I thought it was amazing like I didn't know this many people were on the street at the same time as me. No they're all they're all there again. But she described them in a way that sounded almost like a painting. almost like a painting. Like really soft blotches. Everything was really soft like soft blotches of ink that could move. They were walking and I could see their legs moving and I could see them their gate, but I couldn't see them clearly like I couldn't see their features or what

they were wearing a shirt or shorts or a dress or pants I just like see their shadows and every now and then I see the light cast it on them. Really? Yeah. I've imagined somehow somehow underwater creatures. Squishy jellyfish-like? Yeah. Yeah, like, lighting up. Yeah, like that. And that, for Emily, is what it's like to translate the city with your tongue. Make their way along in the sunshine. أين يعمتوا قد ودات خوفك في القلبير One amado, katharara, khalbi minarabi

Lesson number five. I feel like oil futures are going to crash today. For the they get better of booster, now you try. Next up, producer Tim Howard. Yes, hi, hello. So when I heard about this story with Emily and the brain board, I immediately called up this guy. Hey John, which microphone is it? This one or this one?

Okay. You might remember him. I'm David Eagleman, I'm a neuroscientist at Baylor College of Medicine. Call them up because I came across this thing that he's working on that is sort of like the next generation of crazy. It's called the vest, which stands for the variable,

extra sensory, sensory transducer. And it's a vest that you wear underneath the clothing. And this vest has 24 motors on it, little vibratory motors, just like the ones in your cell phone, and the vest connects to your phone. So we pick up sound, through a cell phone, and the cell phone does all the computational work to then convert that sound into patterns of vibration on the vest and you feel a buzzing all over your torso, different motors running at different amplitudes, it actually changes every 20 milliseconds so it's a moving pattern and it might seem impossible that you could actually extract something useful about what's

being said. But when David brings deaf volunteers into the lab and has them do a particular training on the vest, he says it over the course of 12 days. People get really good at word recognition. Somehow they begin to intuitively recognize that this means high or blue or chair. If you tried to concentrate on it and figure out how each motor translates

to some part of that sound, you would never figure it out. But the good news is you don't have to do it consciously. The brain is a specialist at extracting statistical information. And because the brain is so good at this kind of translation, says David, what he really wants to do is use this best to create new senses. So what if you've fed in stock market data? Oxygen! Oxygen!

25! So 25. Oxygen, 75, 5, 5, 7, 7, 8. And converted that into the buzzing. I'm so excited! I'm so excited! I'm so excited! I'm so excited! I'm so excited! I'm so excited! I'm so excited! I'm so excited! I'm so excited! I'm so excited! I'm so excited!

I'm so excited! I'm so excited! I'm so excited! I'm so excited! I'm so excited! I'm so excited! I'm so excited! I'm so excited!

I'm so excited! I'm so excited! I'm so excited! I'm so excited! I'm so excited! I'm so excited! I'm so excited! I'm so excited! I'm so excited! I'm so excited! how or why you're feeling a certain way, could you have an intuition like, you know, I kind of feel like oil futures are gonna crash today. You wouldn't be analyzing all this information.

You would just feel it. We're also working on feeding in. You are seeing a tremendous amount of rainfall and a lot of rainfall and rainfall. Real-time weather data. This is a very, very slow question. From the, let's say, 200 miles around you. Question is, would you end up having an intuition?

Peak skill, I storm. That's better than what the weatherman can tell you on the news. Or this one. What if we took 500,000 tweets per second, passed it through some natural language processing to sort of have a higher level summary of what's going on. And pump all that information through the vest. Would you develop a sense of what's happening on the planet?

Where you suddenly say, ooh, I feel like something just happened in Nairobi. And oh, I think the Canadians have just, you know, finalized their election of something. I don't know what this will be like yet, but there's no reason to expect any limit on what the brain will be able to develop an immediate perceptual experience about. More experiments in translation in a moment. This is Darlene, calling from Kampala Uganda. Rachel Lab is supported in part by the National Science Foundation and by the Alfred P. Sloan Foundation, enhancing public understanding of science and technology in the modern world. More information about Sloan at www.sloan.org I'm Robert Kowicz, this is Radio Lab and today experiments in translation. Lesson number six.

Thank you very much, interpreter 3940. Thank you, Tarsugabbo, reporter, for the fact that I get to, now you try. For an interpreter, you really do get a spectrum of life. This is Natalie Kelly. You know, you get a little taste of all these different things that are happening in the world. It really opens your eyes. She wrote a book called Found in Translation and Years ago.

You know, I grew up in a very small town in the Midwest. Back when she was just a kid. I remember going to work with my dad, and there was a jan janitor and my dad said, you know, he actually speaks another language, another language on top of English. And she says she remembers her seven-year-old brain being like, wow, there's a whole another language beyond English that I could learn. Fast forward, many, many years, Natalie goes to college and she just started learning languages.

Yes, Spanish, Japanese, Arabic, German, Italian, whatever, could get my hands on. Because she had this basic idea that it would just connect her to the wider world, but what it actually led to, at least initially, was this very strange job. Called telephone interpreting. This is a job I never actually thought to think about until now, but basically when anyone calls a business

and there's a language barrier, the operator can call switchboard and patch in someone like Natalie. So I could interpret for them. And Natalie, like a lot of these telephone interpreters, worked remotely, which meant she'd be in her house alone in a room and every few minutes... Hello, this is interpreter 3940, how may I help you? She'd get a call, and it could be anything.

One minute you're interpreting for, it could be a celebrity who's booking a hotel or a restaurant in Spain, then you're interpreting for a court hearing, and then you're interpreting for a hospital. And what was the most memorable call you ever got? I was, well, let me put it this way. I got a call. You never know where the call's going to come from, and I heard that it was a 911 call. And most of these calls are actually not real emergencies, but I knew immediately something was different. The dispatcher was connected, and I heard this woman whispering

on the other side of the phone. She said, meba matar. Meba matar. He's going to kill me. Oh my God. The dispatcher said, where is he, donnesta?

And she said, is it on the casa? In the house she said, is he in the house? In the house. Yeah, he's in the house. And then the dispatcher said, and where are you? The Bacchol de la Cama. What's that mean? Under the bed. Oh my God.

Does he have a gun? Tiene una pistola? See, where is he now? In the hallway? What is he now? In the hallway. What's he doing? He's opening the door and then... Click. Oh, f*** off, really?

Mm-hmm. Yeah, there was just a click. That's it? That's it. Yeah. If it sort of gets me about that, it's like, I don't weird. Like, if you got into it for the connection, then what weird place to end up in were like,

you're by yourself in your room, and then suddenly you're dropped into the middle of the most intense moment in a person's life, but then ripped out before you can know who the person was or what's about to happen to them and then you're back in your room again by yourself. That happens and then the phone rings again and then you're, hello this is interpreted 3940 how may help you. And you're back to it and you're interpreting something literally within a minute after that phone call ends.

And the next president is probably trying to buy trading stamps in Spanish or something. Yeah. I can't imagine what it would be like to have to skip and jump like that. I'm going to go on the sun, I'm going to go on the sun, I'm going to go on the sun, Lesson number seven. He got down and dirty, so I got down and dirty too. Okay, so this next story, this next translation story, maybe it's a mist translation story.

Now you try. Hey, this next story actually, we should say, it contains a lot of obscenities, a lot of obscenities coming up, a lot of strong graphic language. If that's not something you're into, or if you've got kids around, I would advise you to skip forward about nine and a half minutes.

All right, if you're still here. Yeah, we're rolling. This one comes from our executive producer, Ellen Horn. Okay, so you should start the story, Ellen Horn. Yeah, so how did, were you at the show? Like yeah, you so you guys know Nick News of Fora who helped us arrange the the tour for radio Sure, so he invited me to come to all right. It's oddball 2014

So it's the oddball comedy festival and when we got there, you know, there's huge crowds. tens of thousands of people kind of crowds? like 14,000 people. Oh my god. Yeah so we sat down and uh... From the state of New Jersey the Rose Master General Jeff Ross. Do you know guys know Jeff Ross? No, no, no. He's a insults comedian.

He gets up, he's the MC for the night and he kicks the show off. How the hell are you Jersey? Yeah! And how you doing, sir? He starts picking folks out of the crowd. What's your name? Rob, I loved you on to catch a predator. Look at these two chicks. How you doing, ladies? You look very cute. Two fives make a 10. Dole. And And then he looks to his left and

Hi, there's a lady doing sign language over there. He sees the sign language interpreter. Can I come over there? She looks like she's in her 50s, Brunette glasses wearing tank top. What's your name? Kim? Give it up for Kim Stadium gives a polite laughing for him. This is wild Kim and then he says so anyway. I was jerking off the other day And Kim gives a like She has to try she translating him oh, yeah, oh god. She cuts her hand and quickly moves it up and down in the air. That's a big laugh.

And so Jeff Ross, seeing this, he escalates. Then I stuck my thumb in my nose just as I had a bugger in there. So to translate, she has to stick her thumb in her nose. And I decided to stick my pinky in my own... Oh! Kim does a few signs and then makes it look like she's sticking her hand in her butt. Crowd goes wild. So Jeff Ross takes it even further.

And afterwards I'm gonna get out my viabator with a hand crank. I'm troubled by how funny this is. I love you Kim. Well, yeah. Cause here's the thing. Halfway through the show, I noticed that Kim wasn't there anymore. She didn't translate for Sarah Silverman, she didn't translate for- Did someone else, or was she no translation?

No, no translation, huh. So it made me wonder, what did I see there? What was going on? Jeff Ross was clearly using her, but was Kim okay with that. Okay. So I found a list of all the sign language translators in the state of New Jersey. Hi. Hi, how are you?

I'm good, how are you? And I found her. Okay, my name is Kim Van Cleve, and I'm a certified American Sign Language interpreter, and we're here in Ocean Grove, New Jersey. Turns out that Kim lives part of the year, and she has her entire life in a religious community on the beach in New Jersey. When I'm not doing comedy, I'm doing religious sign language. I interpret the services and I'm in the choir.

And there's this venue nearby that does these big stadium shows. There's any deaf ticket buyers. The venue's required by law to provide a sign language interpreter. So PNC called me, I do all of their concerts, all the musical concerts, which I've been doing for years, you know, Goo Goo Dolls, Jane Show, whatever. But I always can prep up for them. I get the set list, I go to lyrics.com, I always,

you know, because a lot of times I don't know the Goo Goo Dolls. You know, I like Frank Sinatra and, you know, hip-hop. When he asked me to do comment, I'm like, there's no prep for that. I didn't know what was coming at me. I had no idea who any of these comedians are. Of course, I went on. Do you know any of the comedians? Eventually, I ask her about the whole Jeff Ross thing. So he's basically having you harass yourself. Yes. And I am most curious to sort of find you and follow up and just find out like how that felt. Well, and she says the moment Jeff Ross

started getting raunchy, she had a choice. There's registers in sign language. Registers. Yeah, you can be formal, you can be casual, or you can be intimate. And you can pick signs from all of those registers. Like take, for example, the word. Mm-hmm. Now the polite way to do it would to maybe spell it.

So F-U-C-K or... You know, there's the regular gesture. You could do this. So you're giving us a finger? Two little fingers, yeah. You know, there's quite a few. What was just getting started. And then there's this one that actually shows people

doing the action. Because she takes out two fingers, any chand and smashes them together. There's the, you know, this way, which is even more graphic. Arms out and just hold it through us. So you're receiving the physical act? Yeah. so she had a lot of options but with Jeff Ross She figured that what was necessary was this kind of intimate graphic tone. He was down in dirty

I was down in dirty So you didn't have any discomfort with any of that No, I was having such a good time. I really, I really was enjoying it. So then why do you think she left? This never occurred to me. She was there for one girl, one deaf girl. What? What do you mean? So there's 14,000 people there. But one ticket buyer was deaf and asked for a sign language interpreter. Just one? Yeah. Young girl was there with her mom. Wow.

But she know where this client was? Yeah, oh yeah, she was in that position on the stage because she was near where the client was. And so the whole time she's signing towards the client and seeing her reaction. Can you describe what your client was doing? She was like, oh, so I said, you're holding your hand over your eyes. She said the client,

I mean, it looks like a whole body cringe. Because I think she thought she was getting a lot of attention. Like the client was mortified. And at intermission, my client signed back to her. We're gonna take off. We're gonna go home now. So I'm like, okay.

And so Kim left because the client left. Yeah. I mean, did you manage to talk to this girl? No. I've emailed her. I got the venue to call her, but she hasn't gotten back to me. Huh.

I'm suddenly feeling bad for this girl. I mean, it feels somehow like she got a raw deal, you know? Would you, if you had been her, if you'd been Kim, would you have, do you think just enjoyed yourself a little less, been a little less graphic and been a little less playing with the comedian? I think I would have dialed it down, knowing me. Oh my god, yeah.

You would have dialed it down. He's a good man, Jennifer. No, but it's a terrible translator. No way. Why would they make me a terrible translator? I mean, this is one girl in a crowd of fourteen thousand and the translators there for her not the fourteen thousand no but remember think about what the job is she came to a common but in it was there in any way in which Kim had an obligation

to represent the client not she's in the middle between the two that's and I think a fair question I think it's a fair question I mean she's not just there to represent Jeff on stage. Yes, she is. No, she's there to be a mutual representative of both people. No, why not? She's at a comedy show. She's in the show.

She's translating the show from the stage. You matched the tone of the person. That's what Kim said. And if they're yelling and screaming, your signs are bigger, your face is exaggerated. You know, I made it clear to the tone that he was projecting. But I asked her like, do you feel bad at all? Do you feel like you lost sight of her and you started translating for the whole crowd? Did it feel like you went behind M Numi Lines at all?

She just said no. If the whole audience was deaf, I would have done the same thing. I was doing my job. Yes, because that's what a translator does. A translator is making what is happening up there available to me, not creating a middle space. I guess you could argue that if she had made the choice to finger spell so that she protected the girl, you could see that from her perspective as betraying the club

because she's not giving her the full experience. But it's weird because in her making the equal experience and her doing that, she makes it an experience that the girl doesn't want to have. Yeah. Although Kim did tell me she could have taken it way farther. For sure. To the intimate.

Oh no, I did not. You're intimate with her just so. No, I did not go there I did the casual yeah casual Very good. And now, let's say goodbye. Now you try. I'm done. This was so hard. It doesn't make any sense because all the syllables are totally off. Okay. Kurikonan hanksanggol. Yay.

Glad heroic translation. From the Korean of Oraligo is by Margaret Glassby, so thank you, Margaret. Yeah, and thanks to all our singers. Koro Megda No Caforo. Viesta. Iya Iya Yo. Who's saying Old McDonald in Bambara, which is the Malayan language. Sonon Ragazo Yankee Doodle.

Katherine McCarthy, who did our Italian version of Yankee Doodle, Dandy. Hey, Shar, right on them side. Leia Torres, who did the German I've been working on the railroad. As a Khalil, who did the Arabic amazing grace, and she's the mom of our intern. Really, really. Yeah. And of course, our puppeteer from our apocalyptic show, show Myron Gusso did our Russian version of you are my sunshine

Being under two hands Kiran Alwalia doing the Hindi version of three blind mics. And finally on with the piano and musical interpretation on everything John dried in. Thank you John. Oh and you know what if you go to our website radiolab.org you can hear a proto version of a

Radio Lab in Spanish Which we'd like your feedback on. Yep. I'm Chad Abumrod. I'm Robert Colwich. Start of message. Hi, this is David Eagleman. Hello. This is Karl Zimmer. This is Kim Van Cleese. Radio Lab is produced by Chad Abumrod. Our staff includes Alan Horn, Shore and Wheeler. Shore and Wheeler who produced this show. Kim Howard, Brenna Farrell. Molly Webster, Melissa O'Donnell, Dylan T. Jamie York, Andy Mills, Kelsey Paget, and Matt Kelti.

With help from Adrian Wock, Reem Abdu, and Claire Tennis-Sketter. Special thanks to Nancy Updike, Larry Kaplow. Emily Condon, John Lomburg. Nick Duciferro, C. J. Vleet, Comberta Fararras. special thanks to nancy updike larry cap low family condon john lumburg nick duce foro he jade bleep combert a parare wallis almy eda cizant franks and everyone at language line

and this message alright so this is where it's the shows over right it's definitely over we've said goodbye yeah yeah so like any one of the same but uh... this is now we're not even here really. No, this is for the people who want to venture into some, well, hideous territory. Really awful territory.

We, because we have, we asked listeners to, to send in. Send to tell us what you think of us. Tell it to you, like, do you like us? And here's what we got. Malpari, hue, pouta con orea, mierda. You missed, kevoto, kakpatsa, dohostu, vaisa. I'll go take it thirty-pan, chod, madar, chod. Kani ni aji wa ganin toma, ganin sio mo yo.

Toma, maha, dra duaren, fash, did you eat me? Me cao en la puda, ke te pario, gili boya. Hala tus huevos se conviertan en tumores, te o se permen fuego para... ...titu, sa, tanapirkeascal. Your words become your dreams, and your dreams are your way. And your soul is your own. You're a fucking hell. You're a fucking hell. You're a fucking hell. You're a fucking hell.

You're a fucking hell. Oh, the thing is, the fuck is being seen from the... The shit in the book, the shit in the book. No, in English. You're... What the f***? F***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***ing f***