Outside the Lighthouse

Out across the sea, the beam of light sweeps, searching… guiding… waiting for someone to see.

The rain pelts the windows, hammering in sheets and droves.

The storm rages.

His coffee… different… a slight hint of salt and iron.

He had emptied the last of his bottled water yesterday, so he was using water from the tap.

His chair, comfortable, in fact… more comfortable than he could remember.

The rain rolled across the glass in waves, like people at a ball game, or a concert perhaps.

It slid across, methodical then pelted the glass unevenly for a while, only to once again roll across.

The tea kettle started squealing, loud, but with varying pitch as the ancient stove elements heated, then cooled in slow succession.

Struggling, he worked his way out of the overstuffed chair, and stood.

A sip of coffee. Good… real good… warm and slightly metallic.

Another quick sip, ill timed with his breath, caused him to cough… the warm coffee spewed across the room.

He looked around in mild disgust as he headed for the stairs in search of a towel.

A towel… and to turn that incessant squeal off.

He followed the spiral staircase, feeling a bit unsteady, he grasped the handrail and longed for the comfort of the chair.

In the kitchen, he felt his way through the darkness to the stove.

The window outlined in flashes of light through and around the shutters and curtains occasionally lighting the scene.

He turned off the stove, and reached for a towel.

The rain murmured outside, the light outside the window, somehow was steady and bright.

He looked down at the coffee cup in his hand as he brought it up for a sip.

As he shifted the curtain and flung the shutters wide, he coughed again, spewing coffee.

Something slammed into his chest and he coughed again, then filled his lungs with air as he looked out…

…into the face of the paramedic, now dripping with blood as his cough sprayed him again.

“Welcome back,” the paramedic grinned in satisfaction.

Just In Time

The fog-laden evening chilled him to the bone as he stood beneath the street lamp.

“I am getting to old for this,” he mutters.

The juxtaposing hard soft glow of the lamps created an eerie duality of light on the street. The long

shadows dancing in the wind blown lamplight. The headlights shine on him briefly as the vehicle passes.

He checked his watch and pulled his cloak tighter against the cold.

The ache in his back. He leaned over and touches his toes to stretch the muscles, then placed his hands in the small of his back and leaned back, as far as he could.

The pop was almost audible as his spine realigned.

He sighed in relief.

Looking at his watch, he finally heard the approach in the distance.

He never knew when this she might tire of this.

Her incessant need to keep tabs on him was annoying, but he had long ago resigned himself.

She had little sense of humor, but she was pleasant to look at. They had played this game for as long as he could remember, and he was pushing… uh… well lets just say he was much older than the young lady.

He reached down and picked up the glass that he had set on the walk beside him.

She approached her hands flying, knitting, crocheting…or something else, he was never quite sure, and truthfully not that interested.

“Evening!” He said cheerfully. “Fancy meeting a girl like you in a place like this.”

Hand slowly demonstrating the magnificent surroundings, well… at least to him.

She winked. Reached out a hand containing a small piece of thread.

“Father,” she said as he took the thread.

Beautiful as ever he thought. He dearly enjoyed the moments, brief though they were.

“Fate, same time next year?” he smiled as he and his hourglass slowly disappeared.

Special Delivery

The cracked sidewalk lead up to the creaky steps of the old Victorian house.

He took a deep breath… and began walking up to the porch just above the stairs.

With each step it felt like he was walking in molasses, slowly his legs felt heavier the closer he got.

At the steps he struggled to lift his leg. Placing it on the step, he struggled to lift the other as the step creaked and groaned under him.

Twice more he struggled, twice more he climbed. Now, on the porch, he could see the note on the door. “Ring for delivery.”

The postman reached behind his back, fondling the bloody knife. The last victim had struggled and screamed. His crooked smile spread as he pushed the button and heard the ding dong of the bell.

He could see the little girl approach the door.

His hand closed on the knife as he stood holding the package. The door opened and the little girl stepped out. She smiled at the man.

She reached for the package and his hand swung the knife as the girl brushed his hand with hers.

The scene explodes in white bright, the man feels at peace, at last, his anger swept away.

The eerie soft words faded in the air. “Special delivery…” The young girl said.

You Never Saw It Coming

The young waitress sat at the counter, her tips laid out in front of her as she counted.

Old county songs, soft in the background, as she felt around for her glasses.

A movement from the corner caught her attention.

The last booth, the last customer… creepy. The guy seemed to be staring at her all night, but when she looked…

“I wish… he would just… leave,” she thought.

The creaks and groans of the diner always grated on her.

And the guy in the corner was not helping.

She turned and opened the register, trading her tips for larger bills.

As the drawer dinged shut, the ringing of the bell above the door caused her to start.

Oh…

She could see Jerry, the cook through the window as he walked out to his car.

Her heart sank.

She snuck a glance toward the corner, then, finding the man standing, her heart stopped.

The man reached into his pocket, slowly, deliberately, as he slowly sauntered in her direction. She diverted her gaze, maybe…

She saw his shoes as he stopped in front of her.

As the metal pressed against her hand, the man spoke.

“Annie,” he said softly. “You forgot your glasses again.”

He reached down and took her hand, placing her glass…

It’s Not Just Sexual…

[Verse 1]
Your visage woven in subconcious memes,
It seems you meander through my dreams,
Like a goddess your spirit beams
Making me wonder, do you still ponder
If I still have a place for you to sit.

[CHORUS]
It’s NOT JUST SEXUAL,
Though your sexuality caused my heart to race,
And our minds entwined in a warm embrace.

[Verse 2]
If I could only feel your touch, with such
emotion, it feels so much
like a whirlwind through my soul
binding wounds and making whole,
Restore my heart with your alluring wit.

[CHORUS]
It’s NOT JUST SEXUAL,
Though your sexuality caused my heart to race,
And our minds entwined in a warm embrace.

[Verse 2 Revisited]
If I could only feel your touch, with such
emotion, it feels so much
like a whirlwind through my soul
binding wounds and making whole,
Restore my heart with your alluring wit.

[CHORUS]
It’s NOT JUST SEXUAL,
Though your sexuality caused my heart to race,
And our minds entwined in a warm embrace.

[Verse 3]
In your presence, I felt replete,
I strived always to offer you a seat
Had you taken I would have been amazed
My heart and soul like a village raised
But not in a bad way, I always wanted it.

[CHORUS]
It’s NOT JUST SEXUAL,
A bond that transcended the physical affection.
In you, I found a muse and a friend.
Your legacy, an eternal light that will never end.

[Verse 4]
Your body, vivid and bold, sultry as you danced.
Your beauty and grace leaving my soul entranced.
As your beauty took my breath away,
your mind was a marvel, lighting up my day.

[Bridge]
Your absence, a void in my heart, taking its toll.
The echoes still subtly reverberate through my soul.
Consistently in my every thought and phrase,
Your radiance still guides me through life’s intricate maze.

[CHORUS]
It’s NOT JUST SEXUAL,
A bond that transcended the physical affection.
In you, I found a muse and a friend.
Your legacy, an eternal light that will never end.

It’s not JUST sexual
(sexual)…
(sexual)…
It’s not JUST sexual
(sexual)…
(sexual)…
You have an eternal light that will never end.

The Hidden Dangers of Dihydrogen Monoxide (DHMO)

Introduction

Dihydrogen monoxide (DHMO) is a chemical that is pervasive in our environment and present in almost all human ingestible food. Despite its ubiquitous presence, DHMO has several potentially dangerous effects that have not been adequately addressed by regulatory bodies such as the FDA. The use of pseudo-science to shift the focus of substances such as this to make them appear more or less dangerous than science would indicate is a critical component in understanding what their true impact is.

Health Risks Associated with DHMO

Respiratory Issues

In sufficient quantities, DHMO can cause severe breathing difficulties. Inhaling DHMO can lead to a cessation of breathing and even death.

Addiction

DHMO is incredibly addictive. If deprived of this substance, humans experience severe withdrawal symptoms and ultimately death.

Tissue Damage

Prolonged exposure to DHMO in certain forms can cause significant tissue damage.

Exposure to the Liquid Form:
Prolonged contact with liquid DHMO can cause skin irritation and damage.

Exposure to the Solid Form:
Contact with solid DHMO can cause severe frostbite and tissue damage.

Exposure to the Gaseous Form:
Inhalation of gaseous DHMO can cause severe burns and respiratory tract damage.

Environmental Impact of DHMO

Soil Erosion

DHMO contributes significantly to soil erosion, disrupting ecosystems and agricultural stability.

Major Component of Acid Rain

DHMO is a major component of acid rain, which can damage forests, aquatic environments, and infrastructure.

Nutrient Recycling

In large quantities, DHMO can prevent the natural process of nutrient recycling.

Pest Control

Heavy DHMO presence can prevent natural pest control processes.

Habitat Creation

Excessive DHMO can obstruct the creation of naturally diverse animal habitats.

Germination of Seeds

Large amounts of DHMO can inhibit the germination of many plants.

Fuel Buildup

DHMO can prevent the natural reduction of organic debris.

Biodiversity

Large amounts of DHMO can suppress biodiversity.

New Plant Growth

High levels of DHMO can inhibit new plant growth.

FDA and Regulatory Oversight

The FDA has long ignored the inclusion of DHMO in almost all human ingestible food, not only failing to require further investigation, but has also allowed the listing of DHMO to be excluded from warnings and ingredients of most food products. Despite its known risks, DHMO is allowed to be used in food production and processing without any significant regulatory oversight. The addictive nature of DHMO is well acknowledged, yet it remains a staple in our diet, indicating a failure to protect public health.

The Call for Action

Given the myriad of risks associated with DHMO, it is clear that immediate action is needed. We propose a complete ban on DHMO in all food products. It’s time to address this overlooked threat and remove DHMO from our food supply to safeguard our health and environment.

Revelation

Upon reviewing the evidence, it becomes apparent that DHMO is a significant risk, with a long history of being either ignored or actively allowed by almost all regulatory bodies.

Final Thoughts:

Understanding the effects of this chemical compound is imperative for understanding why and how it should be used and in what quantities it is safe to consume. But what is DHMO really? It’s commonly known as water (H₂O). While the above points about DHMO might seem alarming, they illustrate the necessity of water in our lives and the importance of understanding scientific information in context.


Review of Points in the Context of Water

Respiratory Issues

Twisted Fact: “In sufficient quantities, such as during a deluge, DHMO can cause severe breathing difficulties. Inhaling DHMO can lead to a cessation of breathing and even death.”
Truth: Water, when inhaled, can cause drowning, but it is essential for life.

Addiction

Twisted Fact: “DHMO is incredibly addictive. If deprived of this substance, humans experience severe withdrawal symptoms and ultimately death.”
Truth: Water is essential for life; dehydration can lead to severe health issues, but water itself is not addictive.

Tissue Damage

Exposure to the Liquid Form

Twisted Fact: “Prolonged contact with liquid DHMO can cause skin irritation and damage.”
Truth: Water at extreme temperatures can cause damage, but it is necessary for hydration and overall health.

Exposure to the Solid Form

Twisted Fact: “Contact with solid DHMO can cause severe frostbite and tissue damage.”
Truth: Ice can cause frostbite, but it is a natural state of water that plays a role in various ecological processes.

Exposure to the Gaseous Form

Twisted Fact: “Inhalation of gaseous DHMO can cause severe burns and respiratory tract damage.”
Truth: Steam can cause burns due to its high temperature, but it is also a natural process of the water cycle.

Environmental Impact

Soil Erosion

Twisted Fact: “DHMO contributes significantly to soil erosion, disrupting ecosystems and agricultural stability.”
Truth: Water can cause soil erosion, which is a natural part of landscape formation, and is essential for life.

Major Component of Acid Rain

Twisted Fact: “DHMO is a major component of acid rain, which can damage forests, aquatic environments, and infrastructure.”
Truth: Water is a component of rain, and while acid rain can be harmful, it is due to pollutants, not the water itself.

Nutrient Recycling

Twisted Fact: “In large quantities, DHMO can prevent the natural process of nutrient recycling.”
Truth: High amounts of water can wash away nutrients, but rain is a natural process essential for nutrient cycling.

Pest Control

Twisted Fact: “Heavy DHMO presence can prevent natural pest control processes.”
Truth: Water can disrupt pest populations by altering habitats, but it is essential for maintaining healthy ecosystems.

Habitat Creation

Twisted Fact: “Excessive DHMO can obstruct the creation of naturally diverse animal habitats.”
Truth: Water supports diverse habitats, though excessive amounts can alter environmental conditions temporarily.

Germination of Seeds

Twisted Fact: “Large amounts of DHMO can inhibit the germination of many plants.”
Truth: Excessive water can hinder germination, but water is necessary for most plant growth.

Fuel Buildup

Twisted Fact: “DHMO can prevent the natural reduction of organic debris.”
Truth: Excessive water can hinder the reduction of organic debris, but water is part of the natural decay process.

Biodiversity

Twisted Fact: “Large amounts of DHMO can suppress biodiversity.”
Truth: Water is vital for supporting biodiversity, though excessive amounts can temporarily change habitats.

New Plant Growth

Twisted Fact: “High levels of DHMO can inhibit new plant growth.”
Truth: Excessive water can hinder new plant growth, but water is essential for plant life.

Conclusion

This exercise demonstrates how easily scientific facts can be presented in a misleading way. Water is essential for life, and its presence in food and the environment is not only safe but necessary. Let’s approach scientific discussions with critical thinking and a demand for context, ensuring that we understand the true nature of the substances we encounter daily.

Hangeul and the Empowerment of a Nation

Until the 15th century, while Koreans had their own unique language, all written forms were limited to what has become known as Classic Chinese. The complexities and inability of Classic Chinese to encapsulate the phonemic nuances and grammatical structures of the spoken Korean language relegated the average Korean to illiteracy. The Classic Chinese writing was reserved for a select class of people, typically the wealthy, royalty, or those in governmental positions were the only ones that had any literacy and this was of course in Chinese.

Under the reign of the Yongle Emporer circa 1402-1424 the compilation of the “Yongle Dadian” was commissioned in an attempt to standardize pronunciation of Chinese and the usage of Chinese characters. With the expansive territory that China encompassed it had numerous regional dialects and standardization was an attempt to not only unify these diverse dialects and facilitate better communication within the empire, it also was enacted to further consolidate the Ming dynasty’s cultural and political power.

Korea relied heavily on the Hanja (Chinese characters) for its writing system and the changes in pronunciation introduced complexities which poorly represented the spoken Korean language. This change extended the chasm between ordinary common Koreans and made it even more difficult to learn to use the script effectively, hindering literacy and efficiency of governing within Korea itself.

Japan and Vietnam were also heavily impacted by the efforts to consolidate and standardize the Hanja, but they already had scripts in place that had evolved more naturally over many centuries. Kanji in Japan and Chữ Nôm in Vietnam softened the changes being implemented for the Hanji and thus the impact was not as great in these areas.

In 1418 King Sejong ascended to the throne, and as a would be validated in later years, this visionary understood the value of literacy of his people and valued education highly. Under his rein, numerous cultural and scientific advancements were made. Having instituted the Hall of Worthies (Jiphyeonjeion) in 1420, he gathered scholars from many fields and worked to advance various fields of study.

Some of the greatest contributions to come out of the Hall of Worthies includes the water-clock, a star chart mapping constellations visible from the region, as well as the compilation of literary and legal texts. These various results from the Hall of Worthies expanded numerous fields of study and amongst the fields of engineering and astronomy, was agriculture and many others.

One of these fields was linguistics, which had become cumbersome with the changes in the Chinese writing and pronunciations. In 1443 King Sejong and the Hall of Worthies started work on a project to change the literacy in Korea, its goal to create a script that was not only easy to use and read, but properly represented the sounds inflections and grammar that was ubiquitous during that period. This new script and alphabet was designed specifically for its ease of use and learning which enabled and empowered the common people to become literate.

Though there was resistance from the aristocratic class (including King Sejong’s own sons), who preferred Classical Chinese and the prestige and elitism it perpetrated, the ease of use and learning allowed Hangeul to continue to spread throughout the common people of Korea. The scope of this change would only be truly understood centuries later as the script and its use was repressed by ruling classes more than one over the centuries.

Hangeul was a definitive statement bolstering Korea’s own cultural interdependence from the Chinese and moved Korea to a more unique identity of Korea as an independent nation. From the point of it’s creation Hangeul facilitated education of the masses, inexorably changing the Korean society as a whole, as it made knowledge accessible to all.

Having been stationed in Korea in the late 1980’s I was fascinated by the language and though I would not realize it until decades later, the scripting of Hangeul made an impact on me that has never left. Though I always wanted to learn how to speak Korean, it was not something I actively pursued.

Almost three and a half decades later, I embarked on another project in registering a coat of arms, and this little jaunt led me to create a piece of writing that encompassed the magnitude of my feelings about my coat of arms and the meanings behind it.

As I delved into writing my book, which prompted the creation of a conlang for a society that fleshed out parts of my novel, I inadvertently settled on script that was syllabic in structure and encapsulated many of the nuances that embodies the magnificent script of Hangeul, though mine was a much simpler implementation, as it was just me and not an academy full of scholars.

Once I realized the similarities between my conlang and Hangeul, it re-sparked my interest in the Korean language, and with the advancements in technology, made learning easier and more accessible than it had been 3 decades ago. This of course lead to research about the language where I learned about King Sejon the Great and the Hunminyeongeum.

I have mad respect for this man and the various things that he empowered to be created. This writing is not an essay or dissertation, it is simply an acknowledgement of something great sparked and driven by a man intent on empowering his people.

Power to the people (Korean people)! 😀

Hadokai Tubatonona Script Syllabic Structure

Syllabic Structures Explanation

Explanation:

The provided image illustrates the three distinct syllabic structures within a hadokai tubatonona script. These structures are designed to represent syllables by combining consonants and vowels in a systematic way.


First Structure:

The first structure, shown on the left side of the image, features a 2×3 rectangle divided into two columns with a vertical line. The left column is further divided into three rows by horizontal lines from the outer edge on the left to the central vertical line, these are designated for the placement of vowels which are defined by the placement of a visible dot within the appropriate division. The column on the right is divided into two rows without a dividing line. The top row is for any letter that begins the syllable, and the bottom row is for any letter that ends the syllable. The sections are color-coded; the peach-colored areas are for the placement of the vowel dots. The Blue area is for the placement of the beginning consonant should there be one, and the green area is for the placement of the closing consonant should one be needed. This structure defines the vowels “a”, “e”, and “ʌ” as defined by the International Pronunciation Association (IPA)

the “a” sound. the “e” sound.  the “ʌ” sound

E
L S Blank

represents the syllable “les”


Second Structure:

The second structure, shown on the right side of the image, features a 2×3 rectangle divided into two columns with a vertical line. The right column is further divided into three rows by horizontal lines from the outer edge on the right to the central vertical line, these are designated for the placement of vowels which are defined by the placement of a visible dot within the appropriate division. The column on the left is divided into two rows without a dividing line. The top row is for any letter that begins the syllable, and the bottom row is for any letter that ends the syllable. The sections are color-coded; the peach-colored areas are for the placement of the vowel dots. The Blue area is for the placement of the beginning consonant should there be one, and the green area is for the placement of the closing consonant should one be needed, thus maintaining the same color coding as the first structure.

This structure defines the vowels “i”, “o”, and “ɪ” as defined by the IPA.

the “i” sound. the “o” sound.  the “ɪ” sound

L S Blank
E

represents the syllable “dok”


Third Structure:

The third structure, shown in the middle of the image, in keeping with the previous descriptions, the structure presents a 1×3 column, divided as before in the previous structures and bounded on either side with a vertical line each. These lines flank the consonant(s), dividing it as before into two rows, a top and a bottom. Again the beginning consonant goes in the top area and the closing consonant resides in the bottom area.  which flank the consonants; however, the structure provides for a 3rd row under the main consonants for the placement of a vowel dot. This columnar design streamlines the syllable construction, focusing on vertical alignment.

This structure represents the u sound as defined by the IPA.

E

represents the syllable “put”


Word Structure:

When combining these into a word, they are written side by side.

L S Blank
a

is the word “david”


Sentence Structure:

L Blank
a
E
L Blank
a
L Blank
a
E

This phrase reads “hadokai tubatonona tu balana aʤ” and this phrase translates into English as “I speak Tubatonona Language.”


Hadokai Tubatonona Lexicon – In Progress

https://www.kreativekorp.com/clcr/register.php

Lexicon

A “a”: /a/ – Pronounced as in “father” or “car.” An open-front unrounded vowel sound.

  • Ae: /aɪ/ – Eat or partake
  • Al: /al/ – 1. Water (Noun) 2. beside or alongside (suffix)
  • Alcha: /al.cha/ – Blue, literally water color
  • Alda: /’al.da/ – Calm, nice, good
  • Aldagiroda: /’al.da.’gi.ro.da/ – GoodEvil, Balance
  • Alirti: /’al.ir.ti/ – Gentle or subtle form of floating or swimming
  • Aldavudoh: /’al.da.’vu.do.h/ – Good life area (Nature).
  • Albe: /’al.be/ – Steam, literally water soft, or water fluffy
  • Alpo: /’al.po/ – Ice, literally water hard

B “b”: /b/ – Articulated as in “bed” or “bat.” A voiced bilabial plosive sound.

  • Ba: /ba/ – Work or labor
  • Baka: /’ba.ka/ – Create or build
  • Bakanano: /ba.ka.’na.no/ – We (my community) are creating (baka – create, na – individual, no – community)
  • Bakanono: /ba.ka.’no.no/ – We (our communities) are creating; emphasizes the collective aspect (baka – create, no – community/plural, no – community)
  • Bala: /’ba.la/ – Speak
  • Balaaldatu: /ba.la.’al.da.tu/ – To express joy or amusement (Laugh).
  • Balana: /ba.’la.na/ – I am speaking (singularly)
  • Balano: /ba.’la.no/ – We are speaking
  • Bapa: /’ba.pa/ – to Write
  • Bapava: /’ba.pa.va/ – The writings
  • Bato: /’ba.to/ – Divine communal creation
  • Batonana: /ba.to.’na.na/ – My community is spiritually creating (singularly)
  • Batonano: /ba.to.’na.no/ – Our communities are spiritually creating
  • Batova: /ba.’to.va/ – Divine creator
  • Batau: /ba.to.u/ – Formal greetings and Relious/spiritual passages open and close with this
  • Be: /be/ – Soft or fluffy; describes objects or substances that are light, airy, or yielding to touch.
  • Bo: /bo/ – an object or item, some thing

Ch “ch”: /ʧ/ – Articulated as in “check” or “church.” A voiceless postalveolar affricate sound, which combines a plosive and a fricative. The tongue initially makes a complete closure near the palate (as in the sound ‘t’), followed by a fricative release similar to the “sh” sound.

  • Cha: /ʧa/ – having color or colored
  • Chavi: /ʧa.vi/ – to color or coloring
  • Che: /ʧe/ –
  • Chi: /ʧi/ – plant
  • Chim: /ʧi/ – tree
  • Chimti: /ʧi.ti/ – sapling (small)
  • Chimta: /ʧi.ta/ – mature tree (normal average)
  • Chimto: /ʧi.to/ – old tree (large)
  • Chimzutoto: /ʧi.zu.to.to/ – ancient tree
  • Cho: /ʧo/ – Air
  • Chogiro: /ʧo.gi.ro/ – Smoke (as from a fire)
  • Chu: /ʧu/ – to become

D “d”: /d/ – As in “dog” or “door.” A voiced dental or alveolar plosive sound.

  • Da: /da/ – Feeling or sensation (suffix)
  • De: /de/ – Second person indicator, defaults to individual if verb is unmodified for quantity indicators (de bata – You, as an individual, create spiritually/divinely)
  • Di: /di/ – Lesser or smaller version of an action (suffix)
  • Do: /do/ – greater or larger version of an action (suffix)
  • Doh: /do.h/ – Area indicator
  • Dohna: /’do.h.na/ – My area, my space, my home
  • Dohnati: /’do.h.na.ti/ – My little area or space

E “e”: /e/ – Similar to “bed” or “met.” A close-mid front unrounded vowel sound.

  • E: /e/ – with
    example, she tu navaena – cow [first person] run with [singular]
  • En: /en/ – Directional “around” (suffix)
  • Em: /em/ – Food
  • Es: /es/ – Directional “towards” or “to” (suffix)
  • Et: /et/ – Directional “away” (suffix)

F “f”: /f/ – As in “fair” or “flame.” A voiceless labiodental fricative sound.

  • Fa: /fa/ – Nuetral, specifically neither gender version
  • Fe: /fe/ – Combined gender or both genders
  • Fi: /fi/ – Feminine, female version
  • Fo: /fo/ – Masculine, male version

G “g”: /g/ – As in “go” or “green.” A voiced velar plosive sound.

  • Ga: /ga/ – Dark, absence of light
  • Gi: /’gi/ – Danger
  • Giro: /’gi.ro/ – Fire
  • Girocha: /gi.ro.cha/ – Red
  • Giroda: /’gi.ro.da/ – Anxious, bad, evil

H “h”: /h/ – As in “hat” or “hello.” A voiceless glottal fricative sound.

  • Ha: /ha/ – Utter or make sound with your mouth
  • Hadi: /’ha.di/ – Whisper
  • Hado: /’ha.do/ – Language or talk
  • Hadoalda: /’ha.do.’al.da/ – Singing
  • Hadokai: /ha.do.’kaɪ/ – Unique language
  • Han: /han/ – Surface or covering of an object (tunahan – human skin)
  • Ho: /ho/ –

I “i”: /i/ – As in “machine” or “beet.” A close front unrounded vowel sound.

  • I: /i/ –
  • Il: /il/ – Under or beneath (suffix)
  • Ir: /ir/ – through or inside or within (suffix)
  • Im: /im/ – represents the concept of temperature, along with the use of the gender morphemes to denote intensity, and the various colors to indicate level of heat, aldo

J “j”: /ʤ/ – As in “judge” or “gel.” A voiced postalveolar affricate sound, like a combination of a soft “d” and “zh.”

  • Ja: /ʤa/ – sharp, able to cut, (adjective suffix)
  • javi: /ʤa.vi/ – to cut (verb)
  • Ji: /ʤi/ – Sharp, able to pierce, (adjective suffix)
  • Jivi: /ʤi.vi/ – to cut (verb)
  • Jo: /ʤo/ – Rock
  • Jobaal: /ʤo.ba.al/ – metal, literally rock work water, rock that can be liquid when worked (such as in a forge)

K “k”: /k/ – As in “kite” or “key.” A voiceless velar plosive sound.

  • Ka: /ka/ – Rare, arms-side hand (right hand), the number 5 (see numbering system)
  • Kai: /ka.i/ – Unique (noun modifier), the number 1 (see numbering system)
  • Ki: /ki/ – changing size
  • Kiti: /ki.ti/ – growing smaller in size
  • Kito: /ki.to/ – growing larger in size
  • Ko: /ko/ – texture rough

L “l”: /l/ – As in “like” or “lamp.” A voiced alveolar lateral approximant sound.

  • Lasi
  • Li: /li/ – eye
  • Lira: /’li.ra/ – To see
  • Ludi: /’lu.di/ – To Play

M “m”: /m/ – As in “moon” or “man.” A voiced bilabial nasal sound.

  • Ma: /ma/ – Sky
  • Magiro: /ma.gi.ro/ – The sun, literally sky fire
  • Mak: /mak/ – Wall or divider
  • Makvi: /’mak.vi/ – To divide or separate
  • Mo: /mo/ – texture fine or smooth
  • Mu: /mu/ – Slower version of an action (

N “n”: /n/ – As in “now” or “nice.” A voiced alveolar nasal sound.

  • Na: /na/ – Singular action or adverbial modifier
  • Nad: /nad/ – separate singular appendage ie. gironad – singular focused flame, literally a fire appendage.
  • Nada: /’na.da/ – To walk
  • Nava: /’na.va/ – To run
  • Nama: /’na.ma/ – to fly
  • Ni: /ni/ –
  • No: /no/ – 1. Third person indicator, defaults plural if verb is unmodified for quantitiy indicators (no bata – They create spiritually/divinely) 2. Multiple indicator or adverbial modifier (suffix

O “o”: /o/ – As in “go” (without the w-like offglide) or “note.” A mid-back rounded vowel sound.

  • Ou: /o.u/ – to gather
  • Oupensava: /’o.u.pen.sa.va/ – To acquire knowledge or skill, from “ou” for gather + “pensava” for knowledge (Learn).
  • Oram: /’o.ram/ – To love

P “p”: /p/ – As in “pen” or “pale.” A voiceless bilabial plosive sound.

  • Pensa: /’pen.sa/ – To think
  • Pensam: /’pen.sam/ – To Know
  • Pensava: /’pen.sa.va/ – A thought
  • Pi: /pi/ – Faster version of an action (navapi – run fast)
  • Po: /po/ – Hard or dense; refers to objects or substances that are firm, solid, or compact in structure.
  • Pra: /pra/ – Protection
  • Pramak: /pra.mak/ – protective wall, shield

R “r”: /r/ – As in the rolled ‘r’ in “arrive” or “red.” A voiced alveolar or postalveolar trill or tap/flap sound.

  • Ra: /ra/ – Closeness or proximity
  • Ro: /ro/ – light or absence of darkness
  • Ren: /ren/ – a stick or a rod
  • Renjaviti: – literally stick sharp small, a knife of sorts
  • Renjavita: – literally stick sharp moderate, a sword
  • Renjavito: – literally stick sharp large, a halberd

S “s”: /s/ – As in “sun” or “sand.” A voiceless alveolar sibilant sound.\

  • Sana: /’sa.na/ – To hear
  • Si: /si/ – To sleep
  • Siti: /’si.ti/ – To Nap
  • Sitva: /’si.ti.va/ – A Nap
  • Spa /spa/ – quality of an object
  • Spako /spa.ko/ – rought in quality, not well made
  • Spamo /spa.mo/ – of fine quality, well made
  • Spa /spa/ – quality of an object
  • Su: /su/ – a name (suffix), Emanresu – the name Emanre (what you call the person or thing specifically)

Sh “sh”: /ʃ/ – Pronounced as in “shoe” or “fish.” A voiceless postalveolar fricative sound, produced by slightly rounding the lips and directing air flow over the center of the tongue, which is raised towards the palate.

  • Sha:/ʃa/ – shield-side hand, the number 10 (see numbering system)
  • Shap: /ʃap/ – 100 (see numbering system)
  • Shai: /ʃa.i/ – the number six (see numbering system)
  • She: /ʃe/ – Cow, Bovine
  • Sheal: /ʃe.al/ – Milk, literally cow water

T “t”: /t/ – As in “top” or “table.” A voiceless dental or alveolar plosive sound.

  • Ta: /ta/ – Medium size/scope Medium or Average Degree
  • Single Use (“ta”): Denotes a medium or average degree. “Alchata” suggests an “average blue” or “moderately blue.”
  • Double Use (“tata”): Intensifies the averageness. “Alchatata” means “very average blue” or “the epitome of blue.”
  • Te: /te/ – Stay, Don’t move, hold still
  • Titato: /’ti.ta.to/ – Increase in size, quantity, or quality (indicated by the increasing descriptors: small medium large), “totati” for decrease in size, quantity or quality (Shrink: large medium small).
  • Ti: /ti/ – Small size/scope Lesser Degree
  • Single Use (“ti”): Indicates a lesser or reduced degree of a quality. For example, “Alchati” could mean “less blue” or “slightly blue.”
  • Double Use (“titi”): Emphasizes the reduction. “Alchatiti” would then mean “much less blue” or “very slightly blue.”
  • To: /to/ – Large size/scope – Greater or Intense Degree:
  • Single Use (“to”): Implies a greater or more intense degree. “Alchato” translates to “bluer” or “more intensely blue.”
  • Double Use (“toto”): Signifies the superlative degree. “Alchatoto” would be “bluest” or “most intensely blue.”
  • Tono: /’to.no/ – Something unpleasant or not pleasurable
  • Tu: /tu/ – First person indicator, defaults to singular if verb is unmodified for quantity indicators (tu bata – I create spiritually/divinely)
  • Tubatonona: /tu.’ba.to.no.na/ – The name for the race, direct translation is “We, the unique creators of the divine”
  • Tuna: /’tu.na/ – an object like me, in my image, ie. a singular human.
  • Tunapensa: /’tu.na.pen.sa/ – A companion or non-familial relationship (Friend) someone I know
  • Tunati: /’tu.na.ti/ – Young person or offspring (Child).
  • Tutototo: /’tu.to.to.’to/ – First person indicator of the cosmic or divine entity, similar to a god or the God speaking to man.

U “u”: /u/ – As in “food” or “rude.” A high back rounded vowel sound.

  • U: /u/ – up, upwards, above
  • Ul: /ʌl/ – Over or on top of (suffix)
  • Uo: /uo/ – receive
  • Uova: /’u.o.va/ – the reciever
  • Uu: /u.u/ – give
  • Uuva: /u.u.va/ – the giver

V “v”: /v/ – As in “van” or “violet.” A voiced labiodental fricative sound.

  • Va: /va/ – Turns a verb into a noun (suffix)
  • Ve: /ve/ – To come
  • Vi: /vi/ – Turns a noun into a verb (suffix)
  • Vu: /vu/ – Existence / life
  • Vualda: /vu.’al.da/ – Expectation for a positive outcome (Hope).
  • Vugiroda: /vu.’gi.ro.da/ – expectation for a negative outcome (dispair)
  • Vudohtoto: /vu.do.h.to.to/ – Life area very large, the world in which we live.
  • Vuviva: /vu.’vi.va/ – State of physical or mental well-being (Health).

Y “y”: /j/ – As in “yes” or “yellow.” A palatal approximant sound.

  • Ya: /ja/ – Question prefix
  • Yaba: /ja.ba/ – How
  • Yabo: /ja.bo/ – What
  • Yadoh: /ja.do.h/ – Where
  • Yahpensa: /ja.pen.sa/ – Why
  • Yatuna: /ja.tu.na/ – Who
  • Yazu: /ja.zu/ – when
  • Yu: /ju/ – To help

Z “z”: /z/ – As in “zoo” or “zebra.” A voiced alveolar sibilant sound.

  • Za: /za/ – exist, to exist, to be
  • Zavuti: /za.vu.ti/ – currently in existence for a short time; denotes something relatively new or recently begun.
  • Zavutiti: /za.vu.ti.ti/ – currently in existence for a very short time; refers to something extremely new or freshly started.
  • Zavuto: /za.vu.to/ – currently in existence for a long time; implies something old or long-standing.
  • Zavutoto: /za.vu.to.to/ – currently in existence for a very long time; used to describe something ancient or of great age.
  • Zavuzubavati: /za.vu.zu.ba.va.ti/ – To have existed for a short time. It denotes something that had a brief existence, without specifying if it is still existing or not.
  • Zavuzubavatiti: /za.vu.zu.ba.va.ti.ti/ – To have existed for a very short time. It denotes something that had a very brief existence, without specifying if it is still existing or not.
  • Zavuzubavato: /za.vu.zu.ba.va.to/ – To have existed for a long time. It denotes something that had a long existence, without specifying if it is still existing or not.
  • Zavuzubavatoto: /za.vu.zu.ba.va.toto/ – To have existed for a very long time. It denotes something that had a very long existence, without specifying if it is still existing or not.
  • Zu: /’zu/ – The time
  • Zuba: /’zu.ba/ – Past tense (prefix)
  • Zubava /’zu.ba.va/ – The past
  • Zubava bana zufova pensam /’zu.ba.va ‘ba.na ‘zu.fo.va ‘pen.sam/ – zubava:the past, bana:write, zufova:the future, pensam:to know (inscribe the past and know the future)
  • Zufo: /’zu.fo/ – Future tense (prefix)
  • Zufoti /’zu.fo.ti/ – Imminent or near future (prefix)
  • Zufova /’zu.fo.va/ – The future
  • Zufovualdi: /zu.fo.’vu.al.di/ – Future good thoughts (Dream; as in aspirations).
  • Zuti: /’zu.ti/ – now or immediately
  • Zuta: /’zu.ta/ – this day, dawn to dawn
  • Zuto: /’zu.to/ – longer than day, perhaps a week
  • Zufo: /’zu.fo/ – Future tense (prefix)