POORF RAEDNIG

Your brain is hard wired in such a way as to recognize potential matches to familiar objects; this is how optical illusions work. But did you konw taht aoccdrnig to rscheearch at an Elingsh uinervtisy, it deosn't mttaer in waht oredr the ltteers in a wrod are, the olny iprmoatnt tihng is taht the frist and lsat ltteer is in the rghit pclae. The rset can be a toatl mses and you can sitll raed it wouthit porbelm. Tihs is bcuseae we do not raed ervey lteter by istlef but the wrod as a wlohe. Cool eh?

In fcat, I hvae no ieda whetehr an Elingsh Uinervtisy has rllaey dnoe tihs rscheearch. But I dbuot it. So far, Herr Doktor Professor Alan M. Edelson, who knidly e-mlaied me taht praagaprh, has not dcsioveerd its ogiirn. Nor hvae the fkols who snet it to him. I ceehckd on Gglooe, aksnig tihs qstueion: Deos it mttaer in waht oredr the ltteers in a wrod are? Gglooe rpleid: "Did you mean: Does it matter in what order the letters in a wrod are?" and streeed me to tihs stie: marginal hacks, aonmg ohters scuh as teehs: gamez.com and antenna. Oblivousy, the praagaprh has been mkaing the rnuods on the Itnrneet. Makes me think of old-time typesetters who could read words upside down and mirror-image backwards. Some didn't even need the letters, just the serifs.

September 17, 2003 9:44 AM |

Categories:

Me Elsewhere

'WILD SIDE' STILL ROCKS 

Nelson Algren was one of the great American authors of the 20th century, it is no exaggeration to say, and among the most neglected. Consider his underrated classic, "A Walk on the Wild Side." The title -- popularized and co-opted as an idiomatic phrase by Hollywood and Madison Avenue (institutions Algren loathed) -- is familiar to most anyone who speaks English or knows Lou Reed's lyrics. But the novel itself? Hardly.

BUSTER KEATON REVISITED 
Buster Keaton: Tempest in a Flat Hat is not a biography. "This book is merely a fan's notes," Edward McPherson writes in the introduction, although his publisher ignores the disclaimer and calls it a biography on the cover. In fact, the book is a bit of both, a difficult combination to bring off unless you're David Thomson, who set the standard with Rosebud, his penetrating rumination on the life and career of Orson Welles, which was nothing if not a distillation of every obsessive thought he ever had about the myth and the man and all his movies.
LAUREN BACALL, STILL SALTY AT 80 
When Lauren Bacall writes that her singing voice ranges "somewhere between B minus sharp and outer space," she's being candid and funny. It's not every stage star with two Tony Awards for best actress in a musical whose vocal talent offers so little promise. (OK, Harvey Fierstein excepted.) Still less would one admit it.
THE STARS ACCORDING TO BOGDANOVICH 
Peter Bogdanovich's superb collection of movie-star profiles and interviews -- a sequel to Who the Devil Made It, his interviews of top film directors -- begins with an affectionate tale about Orson Welles that reminds us just how intimate the author's connection to Hollywood's greatest has been. But contrary to what we've come to expect from dime-a-dozen celebrities and celebrity interviews not worth two cents, the tale avoids bromidic egotism and journalistic platitudes.
SAMMY'S WHITE DREAMS 
Four decades ago Lenny Bruce sentenced Sammy Davis Jr. to "30 years in Biloxi," stripping him of "his Jewish star" and "his religious statue of Elizabeth Taylor." Now we have two new biographies of Davis that spring him from ridicule, if not from doubts about his legacy, and restore a measure of dignity to a black entertainer whose huge fame and success never overcame his devout wish -- indeed his lifelong effort -- to be white.
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This page contains a single entry by CriticalMASS published on September 17, 2003 9:44 AM.

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