Nounjectives
Using nouns to describe other nouns
First off, let me say that nounjectives are my favorite part of speech. They are an extremely useful tool for the short story writer because they offer rich description with a small amount of words. I don’t know if there’s a real, more proper grammar term to describe them, but I will always call these glorious little chimeras “nounjectives.” So, what is a nounjective? A nounjective is when an author uses one noun to describe another instead of a normal adjective. Sometimes nounjectives stand alone; sometimes they are combined with normal adjectives for a more specific effect.
Stand Alone Nounjectives
“the shark wind” Gabriel García Márquez, “The Autumn of the Patriarch”
“a megawatt behemoth” Karen Russell, “Haunting Olivia”
“postcard hearts” Gabriel García Márquez, “The Autumn of the Patriarch”
“shipwreck disorder” Gabriel García Márquez, “A Very Old Man with Enormous Wings”
Adjective + Nounjective Combo
“the glacial insecticide wind” Gabriel García Márquez, “The Autumn of the Patriarch”
“a tusky, warthog grin” Karen Russell, “Haunting Olivia”
“his big orphan feet” Gabriel García Márquez, “The Autumn of the Patriarch”
Another kind of nounjective is something I call the “Of Construction.” Unlike the standard nounjective, this is not a case of a nounjective coming directly before the noun it modifies. The Of Construction is a further kind of hybridization between nounjective and metaphor. It usually involves connecting two unrelated nouns with “of.” Sometimes authors even combine Stand-Alone Nounjectives, Adjective/Nounjective Combos, and Of Constructions to make really amazing descriptions.
Of Constructions
“the sweet poison of vanity” Carlos Ruiz Zafón, “The Angel’s Game”
“the hard substance of a truth” Gabriel García Márquez, “Dialogue with the Mirror”
“in that thicket of ovations” Gabriel García Márquez, “The Autumn of the Patriarch
“the brine of his power” Gabriel García Márquez, “The Autumn of the Patriarch”
“a black fist of clouds” Karen Russell, “The Star-Gazer’s Log of Summer-Time Crime”
Combo Breaker!
“sobbing with the hot urine tears of a great and solitary orphan” Gabriel García Márquez, “The Autumn of the Patriarch”
The beauty of the nounjective is that it conjures up an image, which the reader must then compare with the imagery in the main narrative. This has a double effect of both effectively describing something and actively involving the reader. Let’s take one of the examples from above and dissect it. I’ll use “the shark wind.” Okay, so the wind is the main noun here, the one that’s being described. “Shark” is the nounjective. So, first, what sort of image or connotation does a shark evoke? It’s in the ocean, so that comes with all the smells and sensations of the ocean: salty, stinky, cold, wet. Then one thinks of a shark’s appearance and demeanor: fast, sharp, vicious, hungry, dull in color, uncaring. By using the nounjective “shark,” the author has, in a sense, extracted the essence of ten normal adjectives and condensed them into one word. As an added bonus, it provides the reader with an interesting mini-puzzle. The unique combination of words causes the reader to process the relationship between noun and nounjective. This may pull specific memories or feelings to the forefront of a reader’s mind, thus further involving them in the fabrication of the story. Suddenly, the author and reader are working together to bring the narrative to life. Plus, come on, it just sounds cooler.
I hope I haven’t confused anyone with this spotlight on nounjectives. They really are a great, economical tool for description. I also apologize for using so many examples from Gabriel García Márquez; he’s just such a master of the nounjective! If nounjectives seem too weird to try, consider this: nounjectives are also part of everyday speech. “Gallows humor.” “Graveyard shift.” Don’t fear nounjectives; give them a try! I think you’ll find they’re as fun to create as they are to read!
Cheers!
