The Paris Review

The Nationalist Roots of Merriam-Webster’s Dictionary

Amid the rancorous screaming matches of political discourse in 2016, a tempering voice emerged from an unlikely source: the dictionary. During the presidential election and its aftermath, Merriam-Webster’s Dictionary mobilized its large social-media following to fact-check political figures who treated all language like fiction. From explaining the meaning of fact to differentiating between bigly and big league, the dictionary served as a biting challenge to the new regime, winning praise for its pithy critiques.

Merriam-Webster’s resistance to an administration steeped in nativism, however, is complicated by the dictionary’s original goal to create and preserve a monolithic American culture. Noah Webster Jr., the dictionary’s founding author, was one of the first American nationalists, and he wrote his reference books with the express purpose of creating a single definition of American English—one that often existed at the expense of regional and cultural variation of any kind.

In the became so ubiquitous in the newly formed United States—selling an estimated hundred million copies—that its sales were outpaced only by those of the Bible. “To diffuse an uniformity and purity of language in America, to destroy the provincial prejudices that originate in the trifling differences of dialect,” wrote Webster in the preface of the speller, “is the most ardent wish of the author.” By capturing language not as it was written in England but as it was spoken in the U.S., Webster hoped to lay the foundation for a uniform American speech that could supersede European linguistic traditions. Where other instructional texts might capture existing modes of speech, he sought to elevate a new way of speaking, and in some sections the speller reads more like a political treatise than a children’s schoolbook.

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Credits
Cover: Courtesy of Nicolas Party and the Modern Institute /Toby Webster Ltd. Page 12, courtesy of Alice Notley; pages 32, 36, 39, 42, 45, 48, 52, 55, 56, courtesy of Jhumpa Lahiri; page 59, photograph by Marco Delogu, courtesy of Jhumpa Lahiri; pages

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