Here you will find links to some of the interesting articles on literature and literary figures that I stumble across as I scan the web with my coffee in hand…
Today, British novelist Will Self asks whether we are switching from books to digital entertainment because of a change in our need to communicate. Find the original version of this article published on The Guardian website (25 November 2016).
by Will Self
When he lectured on literature in the 1950s, Vladimir Nabokov would draw a map on the blackboard at the beginning of each session, depicting, for example, the floor plan of Austen’s Mansfield Park, or the “two ways” of Proust’s Combray. What Nabokov seems to have understood intuitively is what neuroscience is now proving: reading fiction enables a deeply memorable engagement with our sense of space and place. What the master was perhaps less aware of – because, as yet, this phenomenon was inchoate – was that throughout the 20th century the editing techniques employed in Hollywood films were being increasingly refined. This is the so-called “tyranny of film”: editing methods that compel our attention, rather than leaving us free to absorb the narrative in our own way. Anyone now in middle age will have an intuitive understanding of this: shots are shorter nowadays, and almost all transitions are effected by crosscutting, whereby two ongoing scenes are intercut in order to force upon the viewer the idea of their synchrony. It’s in large part this tyranny that makes contemporary films something of a headache for older viewers, to whom they can seem like a hypnotic swirl of action.
It will come as no surprise to Gutenberg minds to learn that reading is a better means of forming memory than watching films, as is listening to afternoon drama on Radio 4. This is the so-called “visualisation hypothesis” that proposes that people – and children in particular – find it harder not only to remember film as against spoken or written narratives, but also to come up with novel responses to them, because the amount of information they’re given, together with its determinate nature, forecloses imaginative response.
Almost all contemporary parents – and especially those of us who class themselves as “readers” – have engaged in the Great Battle of Screen: attempting to limit our children’s consumption of films, videos, computer games and phone-based social media. We feel intuitively that it can’t be doing our kids any good – they seem mentally distracted as well as physically fidgety: unable to concentrate as they often look from one handheld screen to a second freestanding one, alternating between tweezering some images on a touchscreen and manipulating others using a remote control. Far from admonishing my younger children to “read the classics” – an utterly forlorn hope – I often find myself simply wishing they’d put their phones down long enough to have their attention compelled by the film we’re watching.
If we take seriously the conclusions of these recent neuroscientific studies, one fact is indisputable: whatever the figures for books sales (either in print or digital form), reading for pleasure has been in serious decline for over a decade. That this form of narrative absorption (if you’ll forgive the coinage) is closely correlated with high attainment and wellbeing may tell us nothing about the underlying causation, but the studies do demonstrate that the suite of cognitive aptitudes needed to decipher text and turn it into living, breathing, visible and tangible worlds seem to wither away once we stop turning the pages and start goggling at virtual tales.
(Courtesy of Guardian News & Media Ltd)
Read the full article on The Guardian website
By Tim Cooke (10 June 2016)
Read the full interview on The Guardian website
By Cory Doctorow & Simon Willmetts (6 Feb 2016)
Read the full interview on the Jacobin magazine website