In “The Gutenberg Galaxy” (1962), Marshall McLuhan was the first modern blogger. Though published in traditional book form, the structure resembles many of today’s blogs. Norman O. Brown followed suit with “Love’s Body,” in 1966. McLuhan and Brown built their books on a framework of short paragraphs full of quotes, or links, to a cornucopia of sources – both books cite hundreds of references. The writing is often aphoristic, cryptic, anecdotal. The quotes become like comments that propel the blog onward.
McLuhan suggests that in the medieval world reading was oral. Monks read aloud, even when reading alone, because they had to hear the word in order to process its meaning (p. 115). Reading silently is a developmental skill, and some readers never master the skill of reading directly from eye to memory, but must mouth the words, moving their tongues silently. They read by hearing their own voice.
Brown said, “Our identity is always a case of mistaken identity” (p. 144). What is the identity within our writing? Are there times when the identity within our writing is a case of mistaken identity?
Harold Bloom, in his portentous but readable book, “Shakespeare: the Invention of the Human,” suggests that Montaigne influenced Shakespeare, but says Montaigne’s essay, “Of Experience,” seems Shakespearean. Bloom’s subject in his final chapter is “foregrounding,” and he draws attention to this characteristic of Montaigne: “Montaigne, like Shakespeare’s greatest characters, changes because he overhears what he himself has said. It is in reading his own text that Montaigne becomes Hamlet’s precursor at representing reality in and by himself” (1998, p. 739). Montaigne wrote what he spoke, like he spoke. In other words, he practiced E. B. White’s “reminder” to “Write in a way that comes naturally” (p. 70). Yet Montaigne said that he spoke differently depending on his environment; he talked differently when conversing in Paris than when in Montaigne. Montaigne’s “principal aim and virtue,” in his writing, was “to be nothing but myself” (p. 113). He said “I speak on paper as I do to the first person I meet” (p. 115). Montaigne avoided affectation by accepting language as alive and therefore always changing: “I reject nothing which is current on the streets of France, for the man who would correct usage by grammar is a simpleton” (p. 113).
We don’t encourage a writing anarchy; listen, and learn to compare your voice to the voice of others. Overhear your own writing. We don’t want to all sound the same; neither do we want to write the same. We want to write with originality and individuality. We want our voice to be our own, but we want others to be able to listen to our voice easily, without straining to hear. Read your writing aloud. What’s the identity of the speaker? Have someone else read your paper aloud to you. Is your writing true to your natural voice? Does your writing sound natural to you, or does it sound stilted, awkward, falsely academic? Try to overhear.
The Coming of the Toads 