Lit vs. Everything Else
January 19, 2013 § 1 Comment
Let’s pit the art forms against each other in a grisly melee. Life being what it is, I could’ve ended up with an interest in anything else: music, sports, motorcycles, whatever. But straws were drawn and I got books as my passion. How does that stack up against other possibilities?
In the interest of counting my blessings, I’ve thought about the advantages and disadvantages of being a reader, and of the literary art form. There’s so much to explore in life that even if you pursue all your interests with the deepest energy and effort you have, you’re only getting one or two flavors of creative enjoyment from your years. To love deeply is to love a sliver of things.
First, the bad stuff. Language is always changing, so compared to other art forms, like music, literature is thoroughly doomed to obscurity. Even if we optimistically assume the permanent dominance of the English language, your writing is not going to survive as it is. Shakespeare is only four centuries old, and even his work, the crown jewel of the canon, is heavily annotated today.
So all writing is inherently doomed in the long run. What else? Literature is obsolete, compared to movies or video games. The art form is pretty well established and even corporatized. It has no hold over the public imagination and — don’t underestimate this one — doesn’t gain the direct and exciting benefits of advancing technology the way music or movies do. It’s inherently more static than other art forms because of the simplicity of its means, words on a page.
But there are serious upsides. They just require a lot of work on the part of a writer or reader to manifest:
Anyone Can Write
You don’t need an early introduction to writing, the way violinists start at age three. You don’t need to gain entry into a conservatory or art school, you don’t need to be born into an upper-class life that sanctions frivolous pursuits, and you don’t need a formal education. Because writing is a skill acquired in some form by practically everyone, everyone has the foundation to explore the art form if they’re so inclined. And (this is a big one for me personally since my childhood was so scattershot) you can pick it up in your teens or twenties or thirties and it’s not too late to become a great reader or writer. So there’s less luck involved.
A Blanker Slate and a Freer Range
Music works within an abstract system of scales and harmony and what not. Painting is bound to color and line and space. Motorcycling follows the laws of physics. But an individual piece of writing sets its own rules for harmony or color or physics. It also sets its own logic, its own sense of time, and its own definitions of possible and impossible. In The Metamorphosis, a man may turn into a beetle. In In Search Of Lost Time, time is an imaginative process rather than an administrative or entropic one. In Coleridge’s poetry, Xanadu is vividly felt and real life is a hazy interruption. Who knows what the stuff of a real book may look or feel like, or how it may behave, or how it may delight? Who knows? That’s the fun of it. (That’s also what makes writing really hard, by the way. Why do you think the publishing industry and creative writing classes are so obsessed with restraint and convention? Because the threat of freedom is so large.)
Varieties Of Subtlety
The fine, nearly inexpressible subtleties and details that transform mere narration into an amazing imaginative act can take any shape. This is harder to explain than the previous two points. In Gogol’s writing, artistry is the digression that gives the backstory for the “freshly laid egg” in a simple analogy like “Her pretty face was as oval as a freshly laid egg.” In Dickens, artistry is the aggregation of soot-marks — on the windowsill, on the floor, in dirty London — before discovering a character has spontaneously combusted. Neither of these is a prescribed pattern — like, say, recitative in opera or a slice serve in tennis — but an artistic form newly and wholly created for the sake of a single book or passage or image. There is a dizzying and exhilarating exploratory quality to all great writing, since we are seeing what strangeness an individual mind can produce and still get away with under the humble guise of a “novel”.
There’s probably more, but I hope I’ve made enough points. If my points have anything unifying in them, it’s probably that, since language is and can be twisted to so many ends of so many minds, books occupy a special closeness to the dizzying variety and strangeness of thought and imagination.