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James Fallows

James Fallows - James Fallows is a national correspondent for The Atlantic and has written for the magazine since the late 1970s. He has reported extensively from outside the United States, and once worked as President Carter's chief speechwriter. His latest book, China Airborne, will be published in May.
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James Fallows is based in Washington as a national correspondent for The Atlantic. He has worked for the magazine for nearly 30 years and in that time has also lived in Seattle, Berkeley, Austin, Tokyo, Kuala Lumpur, Shanghai, and Beijing. He was raised in Redlands, California, received his undergraduate degree in American history and literature from Harvard, and received a graduate degree in economics from Oxford as a Rhodes scholar. In addition to working for The Atlantic, he has spent two years as chief White House speechwriter for Jimmy Carter, two years as the editor of US News & World Report, and six months as a program designer at Microsoft. He is an instrument-rated private pilot. He is also now the chair in U.S. media at the US Studies Centre at the University of Sydney, in Australia.

Fallows has been a finalist for the National Magazine Award five times and has won once; he has also won the American Book Award for nonfiction and a N.Y. Emmy award for the documentary series Doing Business in China. He was the founding chairman of the New America Foundation. His two most recent books, Blind Into Baghdad (2006) and Postcards From Tomorrow Square (2009), are based on his writings for The Atlantic; he is at work on another book about China. He is married to Deborah Fallows, author of the recent book Dreaming in Chinese. They have two married sons.

Fallows welcomes and frequently quotes from reader mail sent via the "Email" button below. Unless you specify otherwise, we consider any incoming mail available for possible quotation -- but not with the sender's real name unless you explicitly state that it may be used. If you are wondering why Fallows does not use a "Comments" field below his posts, please see previous explanations here and here.

Technology as friend of tradition! (Chinese language dept.)

By James Fallows
Mar 12 2009, 7:20 AM ET

People inside China already know about this, and people outside may not care. But because there are points of general intellectual interest involved, a word about discussions within China about possibly changing its system for writing Chinese characters.

No, not getting rid of them altogether and instead using an alphabet -- a pipedream for reformers from time to time, and something with too many complex implications to get into right now.

Rather, undoing one of the big "reforms" rammed through under Chairman Mao: the replacement of many hundreds of characters with streamlined, "simplified" forms. Joel Martinsen of Danwei.org has an excellent primer on the whole subject here. (Other Wikipedia history here and here.) To illustrate what the difference looks like, here is the simple word "telephone" (dianhua in Mandarin) as written first in "traditional" and then in "simplified" forms. In each case it is written with the character for "electricity" followed by the one for "talk," so a telephone is "electric talk," as a computer is "electric brain" (diannao).

Here is "telephone" as written in traditional characters -- which are still used in Taiwan, Hong Kong, Macau, and some other parts of the Chinese-speaking world outside of the mainland:
TelephoneOld.jpg


And here is the same word, with the "same" characters, in the simplified form used on the mainlaind:
TelephoneNew.jpg


The argument for simplified writing is analogous to various crusades to "rationalize" English spelling -- so u can rite in a kwik and e-z way The simplified versions are obviously simpler to write, with fewer strokes. But there are many objections, enumerated at astonishing length here, which boil down to:

1) The new characters violate tradition. Written English had been in very great flux until the standardization of printing about two centuries ago. (We can barely read Chaucer, and students require glosses for Shakespeare.) Written, traditional Chinese characters had been the great element of continuity for a much longer time -- at least for the people who could read them. Now they've been upturned -- although partisans of simplified characters claim that they're based on a time-honored hand-written form.

2) The new characters are graceless and ugly.  The characters below mean the same thing, guangchang, or "Square," as in People's Square, Tomorrow Square, or Tiananmen Square -- a name I dare use because it's on the street maps in Beijng. Those on left are traditional. On the right, streamlined and simplified. It's like the difference between "through" and "thru."  

SquareOld.jpg
(old to the left, new to the right)    SquareNew.jpg


3) The new characters are easier to write but harder to understand. A nonobvious point but an important one. Consider the English word pronounced "for." When spoken, it could be ambiguous. When written, it's immediately obvious whether we mean for, four, or fore.  Same with "right" -- potentially confusing when heard, immediately obvious when read as right, write, wright, or rite. And -- strangely -- characters have a counterpart to this problem, made worse by simplification. (This is not even getting into the related but different topic of words pronounced the same and distinguishable mainly by their characters-- as if the for/four/fore problem came up all the time.)

The two characters below, which mean "east" on the left and "happy" or "enjoyment" on the right, are very easy to tell apart in traditional form (ignore the little dots on the side; part of my home-made effort to illustrate the characters.) :
EastOld.jpg
LeOld.jpg

Here is how much more similar the two of them look when simplified -- again "east" on the left and "happy" on the right:
eastnew.jpg
LeNew.jpg

The "extra information" in the traditional characters is what made them more cumbersome to write, but also easier to tell apart. (Again, think right/write/rite/wright: suppose they were all spelled rite!) Now, here is the interesting part:

Increasingly, Chinese people don't actually have to write (rite? right?) out these characters by hand. More and more, they key them in with mobile phones or at computers. And when they do that, it's just as easy to "write" a traditional-style, complex, information-dense character as  a streamlined new one. (Reason: you key in clues about the character, either its pronunciation or its root form, and then click to choose the one you want.) So -- according to current arguments -- the technology of computers and mobile phones could actually revive an important, quasi-antique style of writing.

Much more on the debate here and here. In practical terms, my bet is that nothing will change. But if you're interested in language or the relationship between technology and styles of thought, it has to be interesting. Or so I contend.



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