Elaboration of the cryptic language: an absurd language

Language is often considered the bridge that connects people, a shared code through which thoughts, emotions, and ideas are exchanged. But what happens when language becomes a labyrinth, a private and surrealist construction that isolates its creators even as it unites them? For the twin brothers at the heart of this story, language is a mirror of their absurd existence: a cryptic language that evolves alongside their spinning bodies, simultaneously absurd, profound, and deeply human. 

From the moment of their surrealist birth, the twins were marked not only by their spinning bodies but also by an innate need for a language that could encapsulate the absurdity of their existence. Their private language, a strange amalgamation of meaningless sounds, inverted grammar, and invented symbols, began as a playful imitation of their parents' speech. Over time, it evolved into a fully complete linguistic system, unintelligible to anyone other than themselves. This process of linguistic evolution reflects what P. Stockwell (2016) describes as surrealism's ability to reevaluate and distort traditional views of language, using it as a tool to challenge conventional meanings and structures.

The twins' language is not simply a mode of communication; it is a world-building mechanism. Each invented word or phrase carries layers of meaning, linked to memories, emotions, and shared experiences. For example, the word "Flurvix," which could be loosely translated as "a moment of simultaneous joy and despair," encapsulates their existential detachment and the inherent paradoxes of their lives. This linguistic oddity reflects the interaction between the visual and verbal, as discussed by N. Lusty (2017), where the aesthetic practice of creating a private language becomes a form of surrealist expression, blurring the lines between the real and the imagined.

The twins' language is riddled with humor: transfer humor that confuses outsiders but provides the brothers with endless amusement. For instance, their word for "breakfast" might be "Zibbadoodle," a term that combines the sound of a spinning wheel with the sensation of hunger. Their syntax defies logic, with sentences structured like riddles: "The Zibbadoodle spins sideways when the sun eats toast." This nonsensical arrangement of words is both a linguistic game and a reflection of their spinning worldview.

Humor, as argued by A. Schwanhausser and S. Wellgraf (2015), often serves as a coping mechanism for dealing with the ineffable, a way to articulate emotions and experiences that defy conventional language. For the twins, their cryptic language is not just an absurd toy; it is a means to process the surrealist nature of their existence. The spin of their bodies, a constant and uncontrollable movement, finds an echo in the revolving logic of their language.

The cryptic language of the twins is more than a tool for communication; it is a reflection of their inner worlds. Each word and phrase carries emotional weight, serving as a linguistic map of their psychological landscape. For example, their word for "fear" might be "Shudderwhirl," a term that combines the sensation of spinning with the emotional tremor of anxiety. This synthesis of physical and emotional experiences into linguistic constructions highlights the surrealist tendency to erase boundaries, as noted by V. Foster (2019), where methods of communication become as surreal as the worlds they inhabit.

The private language also acts as a shield, protecting the twins from the misunderstanding and judgment of the outside world. Strangers perceive their spinning bodies as a grotesque anomaly, and their cryptic language only deepens the divide. However, within this linguistic cocoon, the twins find comfort and connection. Their language becomes a sanctuary, a place where they can articulate their unique experiences without fear of misinterpretation or ridicule.

While the cryptic language serves as a bond between the twins, it also becomes a source of tension within their family. Their parents, unable to decipher the language, feel increasingly alienated from their children. This linguistic barrier exacerbates the already surreal and dysfunctional dynamics within the family. As noted by R. Spiteri and D. Lacoss (2020), language can often be a battleground for authority and identity, particularly within the context of family dynamics.

The parents' attempts to impose linguistic norms on the twins, sending them to speak "correctly" or adopt a more conventional mode of communication, are met with resistance. For the twins, their language is not just a means of expression but a central part of their identity. Abandoning it would mean denying their own absurd existence. This clash between the parents' authority and the twins' linguistic autonomy creates moments of humor and pathos, as the parents struggle to connect with their children while the twins retreat further into their private world.

The cryptic language of the twins raises profound philosophical questions about the nature of language, meaning, and human connection. Can a language spoken by only two people still be considered a language? What does it mean for communication when the words themselves defy conventional meaning? These questions echo the surrealist exploration of language as a dynamic and fluid construct, as discussed by K. Fijalkowski and M. Richardson (2016). For the twins, their language is not subject to the rules of syntax or semantics; it is a living, evolving entity that reflects their absurd reality.

The twins' language also challenges the notion of linguistic universality. While most languages are designed to facilitate communication between individuals and communities, their private language exists solely for their own use. It is a closed system, a linguistic echo chamber that reinforces their existential detachment. This isolation is both a strength and a weakness, providing the twins with a unique medium of self-expression while cutting them off from the wider world.

One of the most fascinating aspects of the twins' cryptic language is its dual role as a tool for both connection and isolation. Within their insular world, the language serves as a bridge, fostering a deep bond between the siblings. It allows them to articulate their shared experiences and emotions in a way no other language could. However, this same language becomes a wall, separating them from their family and the outside world.

This paradoxical nature of language recalls S. Laxton's (2019) analysis of surrealist play, where the act of creating a private linguistic system becomes a form of rebellion against conventional norms. For the twins, their language is both an act of defiance and a cry for understanding, a way to assert their individuality while grappling with their existential detachment.

Over time, the twins' language evolves, reflecting changes in their inner worlds and their interactions with their family. New words and phrases are added, each capturing a specific moment or emotion. For example, a particularly heated argument with their parents might give rise to the word "BLUSTVEX," a term that encapsulates the whirlwind of anger and frustration they feel. These linguistic creations are not static; they are constantly changing and adapting, much like the twins' spinning bodies themselves.

This dynamic nature of the twins' language aligns with S. Zalman's (2017) observation that surrealism often seeks to capture the fluidity and impermanence of human experience. For the twins, their language is a living testament to their surrealist journey, a constantly evolving tapestry of words that reflects their spinning existence.

The cryptic language of the twins is a linguistic marvel, a surrealist and absurd construction that defies conventional rules and expectations. It is a reflection of their inner worlds, a tool for connection and conflict, and a profound philosophical statement on the nature of language and meaning. Through their private language, the twins navigate the absurdity of their existence, finding humor, comfort, and identity in a world that often feels incomprehensible. In the end, their language is a celebration of their individuality and a poignant reminder of their isolation. It is a linguistic embodiment of the absurd that defines their lives, a spinning wheel of words that captures the paradoxes of human connection and detachment. As noted by S. D'Alessandro and M. Gale (2021), the act of creating a private language is a deeply personal and deeply surrealist endeavor, a testament to the human capacity for imagination and resilience in the face of the absurd.

Through their cryptic language, the twins offer a glimpse into a world where language is not just a means of communication but a surrealist and transformative force, capable of capturing the complexities of existence in all its absurd and beautiful forms.

By Carlos del Puente relatos

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