Wald settled on ey/em — a pronoun set that comes from the ends of the words “they” and “them.”“Now when I introduce my pronouns, I usually say ‘ey/em, or anything else gender-neutral,’” ey said.

We still need deliberate effort to remove sexism – like the Washington Post’s recent move from she/he to they as their default pronoun.

Jane Austen uses they in the singular 75 times in Pride and Prejudice (1813) and as Rosalind muses in 1848’s Vanity Fair: “A person can’t help their birth.”

Around 1809, Samuel Taylor Coleridge rejected “he” as the generic pronoun (“in order to avoid particularising man or woman, or in order to express either sex indifferently”, he wrote in his notebooks), settling on “it” as an ideal, neutral solution

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Shakespeare followed in 1594, in The Comedy of Errors: “There’s not a man I meet but doth salute me/As if I were their well-acquainted friend”

At the start of 2016, the good folks of the American Dialect Society got together to crown their Word of the Year. They (see what I’m doing here) have decided that the word could now be used as a singular pronoun, flexing the English language so a plural could denote a singular, genderless, individual.

Geoffrey Chaucer in 1395, who wrote in The Pardoner’s Tale: “And whoso fyndeth hym out of swich blame, They wol come up…”

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ave a different bearing on texts with an author and 23on those without one. In the latter, these 'shifters' refer to a realspeaker and to an actual deictic situation, with certain exceptionssuch as the case of indirect speech in the first person. When dis-course is linked to an author, however, the role of 'shifters' is morecomplex and variable. It is well known that in a novel narrated inthe first person, neither the first person pronoun, the presentindicative tense, nor, for that matter, its signs of localization referdirectly to the %vriter, either to the time when he wrote, or to thespecific act of writing; rather, they stand for a 'second self whosesimilarity to the author is never fixed and undergoes considerablealteration within the course of a single book. It

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‘It’s impossible’‘It’s possible, but it’s not worth doing’‘I said it was a good idea all along.’

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The goal of “Making the world work for everyone” is vague and can be in-terpreted in many ways. I believe that is it’s power.

In a delightful book, Founding Grammars: How Early America’s War Over Words Shaped Today’s Language (St Martin’s Press, 309 pages, $27.99), Rosemarie Ostler traces an arc that keeps repeating itself: A writer offers advice about language, his followers and schoolteachers convert the advice into dogma, and the public plumps for easy-to-follow rules, however bogus, over nuances and judgments.

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In the third chapter rhetoric is separated into five parts: invention, arrangement, style, mem-ory, delivery. I am now not at all surprised that Quintilian is so bereft of dialectic in this division, for he was unable to recognize that here he h is confused dialectic itself with rhetoric, since in-vention, arrangement, and memory belong to di-alectic and only style and delivery to rhetoric. Indeed, Quintilian's reason for dividing rhetoric into these five parts derived from the same single source of error as did the causes of the previous confusion. The orator, says Quintilian, cannot be perfected without virtue, without grammar, with-out mathematics, and without philosophy. There-fore, one must define the nature of the orator from all these subjects. The grammarian, the same man says, cannot be complete without mu-sic, astrology, philosophy, rhetoric, and history. Consequently there are two parts of grammar, methodology and literary interpretation. As a re-sult Quintilian now finally reasons that rhetoric cannot exist unless the subject matter is first of all discovered, next arranged, then embellished ' and finally committed to memory and delivered. Thus these are the five parts of rhetoric.

Nor is it sufficient to have read the poets only; every class of writers must be studied, not simply for matter, but for words, which often receive their authority from writers. Nor can grammar be complete without a knowledge of music, since the grammarian has to speak of meter and rhythm; nor, if he is ignorant of astronomy, can he understand the poets, who, to say nothing of other matters, so often allude to the rising and setting of the stars in marking the seasons; nor must he be unacquainted with philosophy, both on account of numbers of passages, in almost all poems, drawn from the most abstruse subtleties of physical investigation, and also on account of Empedocles among the Greeks, and Varro and Lucretius among the Latins, who have committed the precepts of philosophy to verse

into two parts, the art of speaking correctly, and the illustration of the poets