Kēlen (IPA:[ˈkeː.len]) is aconstructed language created by Sylvia Sotomayor in 1998. The language is designed to be a trulyalien language by violating a keylinguistic universal — namely that all human languages haveverbs. In Kēlen, relationships between noun phrases making up the sentence are expressed by one of fourrelationals. According to Sotomayor, these relationals perform the functions of verbs but lack any of the semantic content.^[1] However, the semantic content found in common verbs, such as those that aresemantic primes, can also be found in Kēlen's relationals,^[2] which calls into question whether Kēlen is technically verbless. Despite its distinctive grammar, Kēlen is an expressive and intelligible language.^[3] Texts written in Kēlen have been translated into other languages by several people other than the creator of the language.^[4] In an interview, Sotomayor stated that she aimed for Kēlen to be naturalistic apart from its verblessness, and that to achieve this she employs the principle "change one thing and keep everything else the same".^[5]

In itsconcultural setting, Kēlen is spoken by an alien species called the Kēleñi, for whom the language was created.

Kēlen has gained recognition and acclaim within the conlanging community. It is mentioned prominently bySarah L. Higley in her bookHildegard of Bingen's Unknown Language: An edition, translation and discussion (Palgrave Macmillan 2007),The New Middle AgesISBN 1-4039-7673-2,ISBN 978-1-4039-7673-4) where she discussesLingua Ignota in the context of constructed languages up to the present day. Higley describes Kēlen as an example of the desire for originality in contemporary conlanging, by virtue of its verbless grammar, and notes that it is a prominent example of a conlang created by a woman. She also says that "fellow conlangers consider Kēlen to be efficient, elegant, strange and innovative, and its writing system is greatly admired."Logan Kearsley discusses Kēlen in his essay "How to Not Verb",^[6] describing it as "almost the prototypical example of a conlang without verbs" and the most well fleshed-out of the languages he reviewed for the essay. However, he does mention that by some definitions, relationals could be considered a small closed class of verbs.Peter Bleackley cites Kēlen as a key influence on his conlang iljena.^[7] Kēlen is also discussed at length in a book by M. Yu. Sidorova and O.N. Shuvalova, including several glossed examples.^[8]

At the third Language Creation ConferenceDavid J. Peterson awarded theSmiley Award to Kēlen, describing it as "anengineered language with the soul of anartistic language". Peterson explains that while its experimental structure is in many ways similar to an engineered language, the amount of linguistic and concultural detail given by Sotomayor (including inflection of the relationals, three different scripts, and information on Kēleñi culture and society such as a calendar and a method of divination) make it a fully-fledged artistic project rather than a simple experiment.^[9]

Sylvia Sotomayor analyses the voiceless alveolar fricative /s/ as a stop, because "it used to be [pronounced] like German <z> or /ts/. This pronunciation is still found in some dialects."^[10] In addition, allsonorants, except /ʎ/, can begeminated, as follows: mm /mː/, nn /nː/, ññ /ɲː/, ŋŋ /ŋː/, ll /lː/, rr /rː/.

Kēlen has the same fivemonophthongs as inSpanish, with the addition ofvowel length anddiphthongs making it similar to the system found inHawaiian. Some dialects also use a central short monophthong.

Sotomayor specifies that when any two vowels appear next to one another that are not specified as being read as diphthongs, they are instead spoken as two separate vowels.

Kēlen uses a (C)V(C)syllable structure.^[11]

Theromanization of Kēlen is given in the phonology section next to the phonemes that each Latin character represents. However, Kēlen also features three original writing systems by Sylvia Sotomayor.

• Kēlen Writing System - While not given its own name by Sotomayor, the primary writing system of Kēlen is ostensibly analphabet, and bears a superficial resemblance toDevanagari.^[12]
• Box Script - A variation upon the standard writing system which encloses text within a box.^[13]
• Ceremonial Interlace Alphabet - An alphabet used for ceremonial purposes where each character is represented by a pattern which crosses over itself, "interlacing." as Sotomayor says, "Letters start in the bottom right hand corner, and continue over - under - over - under (or under - over, etc.) until they end at the top right hand corner."^[14]

Theword order of Kēlen depends upon the relational used in a given sentence. However,adjectives always come after nouns.^[15]

Personal pronouns in Kēlen have singular, dual, paucal, and plural forms, as well as distinctions ofclusivity in the first-person.^[15]

Kēlen featuresreflexive pronouns, most of which can also be used as so-called "reduced" forms of the ordinary personal pronouns with the exception of the 3rd person inanimate, "ja". When used as reduced pronouns, some are considered more or lesspolite than others.

Le, ri, and ma can all be used as reduced forms of the singular, dual, and paucal of their corresponding full-length personal pronouns. Ma can be freely used in place of any 3rd person pronoun. Using le as a reduced pronoun is considered polite, ri is considered impolite, and ma is "neutral as far as politeness is concerned".

There are threedemonstrative pronouns in Kēlen, distinguishing between the proximal, medial, and distal. They can be used as adjectives, and "generally follow the noun they modify, but can immediately precede it. They can also be used to reference a previously mentioned noun. However, in certain contexts, the noun they are assumed to modify is 'place'". The table below outlines potential uses of the demonstrative pronouns.

Indefinite pronouns in Kēlen function similarly to the demonstratives, where they can be used either as modifiers or standalone. Unlike the demonstratives, however, which indefinite is used depends upon number and animacy.

Kēlen makes extensive use of a system ofanimacy, with a set of mandatoryprefixes on allnoun stems, the usage of which depends upon the speaker's view of what they are talking about. Sotomayor provides an animacy hierarchy as follows, with 1 being the most likely to be considered animate by any given speaker, and 7 the least:

1. Kēleñi Kin
2. Kēleñi Non-Kin
3. Īrāñi & Humans
4. Natural Forces, Pets
5. Animals, Natural Objects
6. Tools
7. Everything Else

Prefixes are given for animate, inanimate, and possessed nouns. Sotomayor describes the latter as "[referring] to those inanimates that are considered to be part of a person, such as body parts."^[15]

Kēlen's nouns are suffixed forgrammatical number, distinguishing between the singular and theplural. The suffixes used for the singular are dependent upon the ending of the noun stem, and the suffixes for the plural depend upon the animacy.^[15]

According to Sotomayor, in lieu of verbs Kēlen uses four so-called "Relationals".^[2] She describes these on her site with examples of the potential uses of each within the context of larger sentences, with the abbreviation "NP" for "Noun Phrase".

La is the relational of existence: "La is used to express a static state, a location, or equivalence." Itinflects fortense,aspect, andmodality.

Ñi is the relational of change: "Ñi is used to express a coming into existence, a change in state (when the noun phrase that is the object of ñi has more than one noun in it), or a change in location." Ñiinflects foragent.

Se is the transactional relational, "Se is used to express giving and receiving, with the object given or received as the object of se and the giver as the source and the receiver as the beneficiary. This pattern is extended to encompass speech and information. Se is also used to express sensing and experiencing of mental states." Seinflects for source, beneficiary andtense.

Pa is the most recent relational in-fiction, "In many ways it expresses the same thing as LA NP pa NP", but indicates a passive meaning. Pa is never inflected.

• An Introduction to Kēlen
• "Verblessness in Kēlen", presented at the 2nd Language Creation Conference

• Artistic languages
• Constructed languages
• Constructed languages introduced in the 1990s
• 1998 introductions

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