Why Read E-Book

Will Self

• Herausgeber: Grove Press UK
• Kategorie: Geisteswissenschaft
• Sprache: Englisch

Veröffentlichungsjahr: 2022

Beschreibung

'Will Self may not be the last modernist at work but at the moment he's the most fascinating of the tradition's torch bearers.' New York From one of the most unusual and distinctive writers working today, dubbed 'the most daring and delightful novelist of his generation' by the Guardian, Will Self's Why Read is a cornucopia of thoughtful and brilliantly witty essays on writing and literature. Self takes us with him: from the foibles of his typewriter repairman to the irradiated exclusion zone of Chernobyl, to the Australian outback and to literary forms past and future. With his characteristic intellectual brio, Self aims his inimitable eye at titans of literature like Woolf, Kafka, Orwell and Conrad. He writes movingly on W.G. Sebald's childhood in Germany and provocatively describes the elevation of William S. Burroughs's Junky from shocking pulp novel to beloved cult classic. Self also expands on his regular column in Literary Hub to ask readers how, what and ultimately why we should read in an ever-changing world. Whether he is writing on the rise of the bookshelf as an item of furniture in the nineteenth century or on the impossibility of Googling his own name in a world lived online, Self's trademark intoxicating prose and mordant, energetic humour infuse every piece.

Leseprobe

Also by Will Self

NOVELS

Cock and Bull

My Idea of Fun

The Sweet Smell of Psychosis

Great Apes

How the Dead Live

Dorian, an Imitation

The Book of Dave

The Butt

Walking to Hollywood

Umbrella

Shark

Phone

STORY COLLECTIONS

The Quantity Theory of Insanity

Grey Area

Tough, Tough Toys for Tough, Tough Boys

Dr. Mukti and Other Tales of Woe

Liver: A Fictional Organ with a Surface Anatomy of Four Lobes

The Undivided Self: Selected Stories

NONFICTION

Junk Mail

Perfidious Man

Sore Sites

Feeding Frenzy

Psychogeography

Psycho Too

The Unbearable Lightness of Being a Prawn Cracker

Will

First published in the United States of America in 2022 by Grove Atlantic

First published in Great Britain in 2022 by Grove Press UK, an imprint of Grove Atlantic

Copyright © 2022 by Will Self

The moral right of Will Self to be identified as the author of this work has been asserted by him in accordance with the Copyright, Designs and Patents Act of 1988.

All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of both the copyright owner and the above publisher of the book.

Every effort has been made to trace or contact all copyright-holders. The publishers will be pleased to make good any omissions or rectify any mistakes brought to their attention at the earliest opportunity.

1 3 5 7 9 8 6 4 2

A CIP record for this book is available from the British Library.

Grove Press UK

Ormond House

26–27 Boswell Street

London

WC1N 3JZ

www.atlantic-books.co.uk

Hardback ISBN 978 1 61185 661 3

Ebook ISBN 978 1 61185 868 6

Printed in Great Britain

For Ivan, who reads

Table of Contents

Why Read?

The Death of the Shelf

Absent Jews and Invisible Executioners: W. G. Sebald and the Holocaust

Chernobyl

Kafka’s Wound

A Care Home for Novels: The Narrative Art Form in the Age of Its Technical Supersession

The Last Typewriter Engineer

Isenshard

How Should We Read?

Junky

Being a Character

Australia and I

The Rise of the Machines

Literary Time

The Printed Word in Peril

The Secret Agent

What to Read?

On Writing Memoir

Apocalypse Then

The Technology of Journalism

St George for the French

Will Self-Driving Cars Take My Job?

Reading for Writers

Why Read?

The future St Augustine’s account of his mentor Bishop Ambrose’s reading habits, written during the fourth century of the Christian era, still stands as the first definitive account of anyone doing this: ‘When he read his eyes scanned the page and his heart sought out the meaning, but his voice was silent and his tongue was still. Anyone could approach him freely and guests were not commonly announced, so that often, when we came to visit him, we found him reading like this in silence, for he never read aloud.’ Augustine’s astonishment is so palpable – while other references to such a practice prior to this are so scant – we can only infer that reading was indeed principally undertaken aloud. Certainly, with literacy uncommon in the Roman world, there were fewer readers than those desirous of knowing texts; while, with the rise of a religion in which God’s revelation took a written form, this sacred imperative joined these more mundane motivations. Suffice it to say, it isn’t until the tenth century that we gain a general sense of reading becoming a solitary pursuit rather than a collective endeavour.

So why do it? Why bury your head in a book? Because let’s face it, the experience of solitary reading is qualitatively different from being read to aloud in a group – the former entails a deeper absorption in the text, and a more direct engagement with the mind shaping its language: immersive private reading leads one into a virtual reality, while being told a story with others keeps you in a social one. The analogy might be on the one hand with the individual liberty of conscience implicit in the Protestant confession, and on the other with collectively uttered Catholic credo. However, I suspect if you’ve even got this far you’re a reader anyway – and have now further self-selected by showing an interest not just in the text, but also – if you like – in the meta-text: what lies beyond the text that shapes our apprehension of it. In which case, you almost certainly know why you yourself read: it’s self-evidently to do with your enjoyment, experienced as the free play of your imagination, the stimulation of your intellect, and the engagement of your sympathy. But as to why it should be reading specifically that enables this – and what other values we project onto this ability – these are different questions, the answers to which may provide us with some insight into the vexed further one: whither reading?

In Understanding Media (1964), that revelatory and prophetic work of cultural philosophy, Marshall McLuhan speaks of the form of human consciousness engendered by the practice of solitary reading as ‘the Gutenberg mind’, and calls – implicitly – for a recognition of its potential limits. Indeed, to follow his most celebrated maxim is to recognise that the message of the codex, as a medium, is that acquiring knowledge and its understanding are undertakings separated from the social realm, whether by the bone of our skulls or the boards of our book covers.

In the current era the dispute between those who view the technological assemblage of the internet and the web as some sort of panacea for our ills, and those who worry it might herald the end of everything from independent thought (whatever that might be), to literacy itself, has a slightly muted feel. I suspect the reason for this is also to be found in Understanding Media: as McLuhan pointed out, the supplanting of one medium by another can take a long time – and just as the practice of copying manuscripts by hand continued for centuries after the invention of printing, so solitary reading – conceived of importantly as an individual and private absorption in a unitary text of some length – persists, and will continue to endure long after the vast majority of copy being ingested is in the form of tiny digitised gobbets.

2020 was an exceptional year, and the evidence is certainly not conclusive, but nonetheless the pandemic almost certainly resulted in renewed interest in long-form prose and the reading of it. There’s a nice sort of asynchrony here, with the reviving of the Gutenberg mind being occasioned by the sort of plague with which he would’ve been all too familiar. But when we ask why should we read? The answer surely cannot be that it’s the substrate best suited for cultivating a certain type of human persona – one that sees itself as unitary, maintaining identity through space and time, and capable of accounting for itself in a linear fashion conformable to external correlates – a persona, in other words, like a book. Yet just as the pandemic has got some of us scuttling back within its covers, so the longer-term decline in what we might call purposive reading has been inversely – arguably perversely – correlated with what the philosopher Galen Strawson terms ‘strong narrativity’: that belief not only in the book-like human persona, but in a categorical imperative to convey its contents to others.

The shibboleth ‘everyone has a book in them’ has mutated into the rather more hectoring: ‘everyone has a tale to tell, and they must be able to recount it in order to be accorded full moral status.’ It might be churlish of me – an autodidact, who believes the true writer to be necessarily so – to observe that this ‘philosophy’ has itself developed in lockstep with creative writing programmes, but there it is: having paid cash-on-the-nail to become proficient tale-tellers, creative-writing alumni and their instructors alike (many of whom are themselves also alumni), move to enact a closure that cannot – given the underlying economic metric – be anything but for the most part ethical. From this righteousness proceeds the proposition: I read (and am read), therefore I am, and I am good.

But shorn of a progressive worldview based on Enlightenment values that equate technological with moral advance, and figure human being itself as a meta-narrative whereby the West writes itself into supremacy, it’s impossible to argue for mandatory reading: ‘To get up in the morning, in the fullness of youth, and open a book! Now, that’s what I call vicious’ is Nietzsche’s admonition in Ecce Homo – and it’s one I’m fond of retailing to my own students, withal that I’d like them to read a great deal more than they do. Why? Because, yes, I too have never seen anything lovelier than a tree, while some of the unloveliest things I’ve ever witnessed have been metaphors, arboreal and floral. Moreover, if the bi-directional digital medium is rendering us illiterate, it’s as much because we can no longer read a map – which necessitates basic orientation – as a text. Put bluntly, we’re becoming strangers in a strange land, moving dazedly through it, our faces wan in the up-light from our screens, as we all follow the little-blue-dot-that’s-us. Under such circumstances, nostalgia for our Gutenberg minds, while understandable, is a bit like nostalgia for hand-tooled leather satchels: a move to accessorise rather than civilise.

Besides, what about those who can neither read nor write? You don’t have to be Jacques Derrida or Paul de Man – as we’ve seen – to assert the primacy of text over speech; nor do we have to be Socrates in order to advance the case for cultural forms that stand outside of ecriture. One of the most tedious aspects of our literary culture is this reductio ad nauseam: the vast number of novels (and indeed non-fiction works) almost exclusively concerned with the complex thoughts, tortuous feelings and subtle velleities of people – or characters – who themselves spend far too much time reading books. In another of the pieces collected here I muse as to whether an MRI scan of someone reading about someone reading in an MRI scanner might teach us about how we should read – and I summon this alternative mise en abyme, of novels about people reading novels about people reading novels, to banish once and for all this bogus teleology.

By contrast, there’s nothing I like reading about more than illiterate people and non-literate cultures. One of the books I read this year during my own protracted lock-down à cause de la crise was a taut little adventure tale by Jonathan Franklin, entitled 438 Days: An Extraordinary True Story of Survival at Sea. Like all the best books, its title is synecdochical: in 2012 José Salvador Alvarenga, an El Salvadoran fisherman, was blown away from the Mexican coast aboard a 23-foot-long skiff. In short order he lost his engine, most of his supplies – and then his only companion. Subsequent to this, he did indeed drift across the Pacific Ocean for 438 days, eventually coming ashore in the Marshall Islands after travelling some 10,000 miles. Look, I can admit it – I get a cheap little thrill reading about people caught up in terrible natural disasters the way others do reading genre fiction of one kind or another. Indeed, I call this sub-genre ‘schadenfic’, since my pleasure is so closely related to their, um, pain.

But that being said, whereas the likes of E L James couldn’t type their way out of the proverbial wet paper bag, Franklin is a skilled and even poetic writer, not least of whose skills is an ability to make vividly present to his readers scenes he himself has not witnessed. Arguably this is necessary for any competent narrative non-fiction writer – yet many fail spectacularly, often by their recourse to inventing reams of dialogue they never heard, and that almost certainly were never spoken. This is not a stratagem Franklin relies on; on the contrary, there’s a scrupulous quality to his reportage I can’t help but feel derives equally from his meticulous interviewing of his subjects, and from the fact that his principal one – Alvarenga himself – is illiterate.

The extraordinary capacity of non-literate people to remember things is a truth universally acknowledged, while the methods they adopt to do this demonstrate that there are semiotic systems that bridge the life-worlds of different species, while not necessarily conforming to received (human) notions of the symbolic. Alvarenga’s exceptional skill as a fisherman and a sailor constituted just such a system; such that – as Franklin tells it – he was able to create for himself an imaginative world that kept him sane and functioning through almost a year and a half of the most extreme isolation imaginable. Some of the El Salvadorian’s strategies may seem barbaric to our Gutenberg minds: such as catching seafowl who landed on his skiff, expertly crippling them by breaking their wings, and then keeping them – in substantial numbers – as at once larder, pets, and – when he felt the need for some entertainment – participants in bizarre football games, refereed by himself, and played with a dried puffer fish as a ‘ball’. But needs must – and there’s a nice symmetry here, because it’s difficult to see how anyone who’d been relying on book learning to survive such a perilous predicament, could have deployed the necessary skills to invent such a sport.

In a way, Alvarenga was simply confirming the truth of Montaigne’s observation in his seminal essay on cultural relativity, ‘Of the Cannibals’: ‘They are savages at the same rate that we say fruits are wild, which nature produces of herself and by her own ordinary progress; whereas, in truth, we ought rather to call those wild whose natures we have changed by our artifice and diverted from the common order.’ Not only did the fisherman find a mode of being that entertained and sustained him – he also undertook a complex theological and spiritual journey, interrogating – and ultimately confirming – his own faith as he struggled to cope with his guilt at surviving, while Ezequiel Cordoba, his younger companion, had died.

I’ve no wish to romanticise savagery – how could I, when I don’t believe it exists as a state contrary to civilisation; and nor, of course, do I see literacy and illiteracy as opposites. But here’s the paradox: while I, as a Gutenberg mind with no knowledge of the winds and the tides, the birds and the fish beyond the books I have read, would have undoubtedly gone the way of Cordoba in double-quick time, nonetheless, I’m privileged to be able to enter the mind of Alvarenga through the world summoned by Franklin’s words. And of course, there’s no going back anyway – unless we were to undergo some pinpoint-accurate laser-guided neuro-surgery to remove the pesky cells responsible for literacy from our mind/brains. Harsh critics of the web–internet technological assemblage, such as Nicholas Carr, see in our surfing of the imagistic zeitgeist it affords us, a dangerous brain-state emerging; one in which we no longer possess the intuitive capability to form those schemas necessary for the comprehension of new data sets – whether these be the figures on a spreadsheet or the lines on a storied page.

Even in the ten years I’ve been teaching university students, I’ve noticed a decline in their reading – both fewer works attempted, and these less deeply engaged with. But given I want them to read more books purely in order that they should, um, read more books, I can’t claim to be either devoid of a desire for professional closure myself, or free of a Gutenberg mind’s inherent biases: I just can’t look outside of what it might be like to have an intellect and sensibility formed by interaction with texts. Or can I? After all, I sympathised heavily with Alvarenga – so perhaps, after all, this is the answer to the vexed question of why we should read: so as to anticipate, understand and so connect with the non-literate realms that surround us – whether we be separated from them by reason of space or time or technology. Carr may believe the denizens of the web are flopping about, breathless, on the verge of anoesis in these soi-disant ‘shallows’ – our duty as good readers, surely, is to extend our imaginative sympathy to them, just as we do to Anna Karenina.

But I stress: this isn’t because I believe it makes us any better than these others in any other way; it’s simply that to be able to read and not try to at least read well, strikes me as a profligate waste of a skill that it’s difficult to acquire, and one which if mastered delivers such extraordinary delights. So, why read? Read because short of meeting and communing with them (and perhaps, because of this, writing about them), reading about diverse modes of being and consciousness is the best way we have of entering into them and abiding. To enter the flow-state of reading is to swim into other psyches with great ease, whatever their age, sex, sexual orientation, nationality, class or ethnicity. There’s this – and, for the more intellectually minded of us, there’s this conundrum: since the linguistic turn taken by Western philosophy in the early twentieth century, almost all the turf wars over belief – in its broadest, most encompassing sense – have been waged on the territory afforded by language itself. So, put simply: you cannot argue for this understanding of the Logos or that – for structuralism or deconstruction, langue or parole, the Imaginary or the Real – without being a reader, and a skilled one.

Of course, it could be that all these philosophical questions about language and its component parts – including reading – are simply the arcana of an age – and its scribal class – about to choke on its own lead-particulate-spewing tailpipe. In which case, we need to read in order to face with equanimity what’s to come. You don’t have to be the Unabomber to note that there’s one medium that operates entirely efficiently not just off, but way off the grid – so: why read? Read because since the onset of bi-directional digital media, codices, predictably, have become pretty much free – while it remains entirely free and freeing to be able to experience them whenever and wherever; a phenomenon the Kindle reader program celebrates with its homepage illustration of a winsome-looking child, in profile, reading in silence beneath an equally winsome tree.

22 April 2021Literary Hub

The Death of the Shelf

You might think that rumours of the death of the shelf are greatly exaggerated – at least if you visit my household, where shelves are a hot topic and a source of contention. I arrived home last week after a few days working on a book (one which will, I hope, eventually be printed, published, and require shelving), to discover that two new shelves had appeared in the kitchen. One of these was fairly utilitarian: a simple additional narrow shelf in the pantry to hold those troublesome pickle jars; but the other was positively baroque – a mosaic-encrusted ledge, high up above the work surface, supported by two ornate brackets, featuring dancing boys teased out of their wrought iron. I was informed that the brackets used to hold up a Victorian lavatory cistern, and I can assure you, had I expressed anything but wholehearted approval of the new shelf and its bog boys (as I immediately termed them), there would’ve been a domestic domestic.

My wife and I are of a generation – late baby-boomers, now in our early fifties – who revere the shelf. The shelf is, for us, the repository of culture-in-view; ranged along our shelves are all the artefacts we possess that indicate to ourselves, and to those we admit to the house, what we know, what we like, and what we consider to be of importance either for its use value, or its aesthetics. The application of shelving to our rooms makes of them individual chambers within a memory palace to which we and our invitees have open and continuous access. If you like, the shelves are the joinery knitting together the past and the present, the public and the private, the practical and the decorative. Far more than paintings, or other furniture, the shelves – whose raison d’être is to both contain and display – are, I would argue, the very lynchpins of a form of bourgeois domesticity dating from at least the early modern period.

At Skara Brae, the Neolithic village in Orkney that remained intact beneath a sand dune until being spectacularly and providentially revealed by a storm in the early 1900s, you can see Stone Age houses with fireplaces, beds and shelving systems that have endured for rising 5,000 years. On these petrified brick-and-board units (so suggestive of the neo-functionalism of the 1970s) are grouped small pots, domestic implements and other tools; and while it’s the merest speculation as to whether the inhabitants viewed their arrangement and display in the same way my wife does the new kitchen shelf, with its assemblage of different-sized coffee percolators and cafetieres, I think it reasonable to imagine they did. Certainly there are plenty of depictions of shelves in pre-modern contexts which indicate exactly this dual-purposing of the presentational and the practical; and by the time the Renaissance arrives the shelf is fully integrated into pictorial space as a representational trope: a painted figuration of three-dimensional stone, that along with pediments, niches, entablatures and other architectural detailing serves to impose the manmade on the natural and even the heavenly: the pietà and the Madonna Lactans are both often to be seen shelved.

But arguably it is only in the nineteenth century that the domestic shelf becomes fully ideologically articulated. Somewhere in the functionalist-decorative fault lines between the Biedermeier, the belle époque and the Arts and Crafts, a different, distinctively modern and emphatically middle-class shelf is put up. The capitulation and recapitulation of the craftsman-like as the decorative exists in a paradoxical relation to the onset of the mass production of a whole range of objects: lest we forget, William Morris funded his socialist-aesthetical dreaming off the back of a hugely successful wallpaper business. I would argue that so long as books and bibelots remain highly expensive and crafted, the shelf is an insecure place to house them – after all, they may be knocked off; but between the 1860s and the 1880s these artefacts become cheaper and widely available, so shelves are put up for them. Culture ceases to be an aristocratic matter of congenital acquisition, but instead an attribute it’s possible to acquire off the peg – from W.H. Smith or Whiteleys and show off on shelves supplied by Maple & Co or Heal’s.

Writing half a century later, Walter Benjamin notes of this era: ‘The middle-class interior of the 1860s with its giant sideboards heavy with woodcarving, the sunless corners where the palm stands, the bay window with its shielding balustrade, and those long corridors with the singing gas flame proves fit only to house the corpse.’ Benjamin’s idea was that the great writers anticipate the environments within which their narratives will take place; and that the golden age of logical-deductive detective fiction began with Edgar Allan Poe’s proto-Sherlock, Auguste Dupin, at a time when these interiors had yet to crystallise. Dupin’s solution of the case in ‘The Purloined Letter’ hinges crucially on concealment – in escritoires, behind books on shelves – and what Benjamin points us towards is the integration into the domestic space of information: the detective’s method is to tell us, via an analysis of objects, about the homeowners’ taste.

Again, this is not to suggest that the book in particular wasn’t viewed as a decorative object prior to the late nineteenth century; however, just as the size, weight and cost of early codices demanded dedicated furniture – such as flat reading tables and storage shelving – so the library itself remained a specialised room. By the time Virginia Woolf writes A Room of One’s Own, the invention of offset printing has made it possible for the lowliest Pooter to have a shelf of books in his living room (or drawing room as he’d probably style it); and while Woolf was just as afflicted by the snobberies of the era as others of her class, her ready assumption that all her readers will have a mental picture of a book-lined domestic interior readily to hand is suggestive of all the egalitarian, DIY shelves that are to come.

Woolf uses the recurrent image of retrieving books from shelves (or returning them) nine times in her essay; she not only pictures herself fetching down volumes, but also imagines her female literary subjects doing the same – these are, if you like, shelvings-within-shelving. It’s not only books that are so treated – jars are as well, and in proposing the necessary liberties for the nurturance of female literary talent, I believe Woolf is unconsciously integrating the female workplace of the time – the kitchen – with the locus of literary production. The omnipresence of the shelf for Woolf may also be a suppressed echo of the taunt commonly flung at bluestockings such as her at a time when marriage was still considered the apotheosis of women’s lives: You’ll be left on the shelf.

The arrival of the Victrola with its heavy 10-inch shellac discs requiring storage; the inception, shortly afterwards, of the radiogram as a distinct item of furniture; the spread of full-colour printing and the long-playing record after the Second World War – by the mid-twentieth century the full integration of the decorative and the informational within the home, and the fullest expression of this symbiosis is the multi-platform shelving unit, a combination of flat open surfaces, racks, containers and niches that can hold everything from pot plants to television sets, with a few books – possibly a set of leather-bound encyclopaedias – providing a weighty, traditional ballast. It is these shelving units that dominated the reception rooms of homes for the next four decades; sometimes they were denser, more modular and glass-fronted, pressed into the corners and pinioned to the walls – as carpets are to floors – so as to provide a total coverage. At other times the units became airily insubstantial, seemingly positioning their contents in mid-air, so creating a sort of net, from either side of which the guests at Abigail’s party could volley the shuttlecock of their pretensions. And when the shelf first, as it were, began to ail, it was these shelving units that started to appear on the pavements outside the houses and blocks of flats in my neighbourhood: pathetic outcasts, like objectified old Inuit, thrust from the tribe of chattels so its other members may move on into the future unencumbered.

This would’ve been, I think, in the late 1990s or early 2000s, but I was finding it difficult to let go of the shelf. My father, having emigrated to Australia twenty years previously, died in 1998, and although he left his books to the university where he taught, I went to the trouble of shipping a selection of his shelving all the way back to London: two enormous freestanding oaken bookshelves, and an equally vast rotating library shelf. It was at around this time that my wife cried: Ça suffit! My own principle when it came to acquisition of books was, bring ’em on: Give me your tattered old Pelicans, your dog-eared copies of Rosemary Conley’s Hip and Thigh Diet, your bound back numbers of Popular Mechanics – for me there was no volume too lowly or unreadable to be unworthy of shelving. Her view, by contrast, was robustly practical: There isn’t any more space in the house to put up more shelves.

I understand where my own passionate involvement with the shelf originates – and it isn’t altogether in a love of literature. In our three-bedroom semi-detached family home, mine was the back bedroom that had once been my much older half-brother’s, and when he went to university (and my other brother and I still shared a room), my father’s study. It had ended up as a repository of books and all sorts of other impedimenta, spread over a series of mismatched shelving units. I spent my time between the ages of eight and seventeen either staring at these shelves or rearranging them: interspersing books with things and things with books. When I was little I set up complicated string pulley systems linking one shelf with another, so my toys could zip-wire from Herbert Marcuse’s One-Dimensional Man to John Updike’s Couples. I also lay on my bed and read and reread Alice’s Adventures in Wonderland, particularly taken by her long, safe fall down the shelf-lined well: ‘First, she tried to look down and make out what she was coming to, but it was too dark to see anything; then she looked at the sides of the well, and noticed that they were filled with cupboards and book-shelves; here and there she saw maps and pictures hung upon pegs. She took down a jar from one of the shelves as she passed; it was labelled ‘ORANGE MARMALADE’, but to her great disappointment it was empty: she did not like to drop the jar for fear of killing somebody, so managed to put it into one of the cupboards as she fell past it.’

In a very important sense I think I’m still falling down that well; the shelves in the room where I’m writing this piece conform – at least in my imagination – to the ones Alice fell past: a higgledy-piggledy assemblage of objects, pictures and books overflowing from a series of wooden compartments and surfaces. It helps, I think, that the measurements I gave to the joiner who built the desk-cum-shelving unit were woefully inadequate: the actual bookshelves are too low for hardbacks and too deep for paperbacks, so they tend to be stacked horizontally two piles deep, or pushed to the back leaving plenty of room for clutter to accumulate at the front. The very idea that I should be able to put up a shelf myself is of course preposterous; and when I look back to the shelving of my youth, the intersection between bourgeois bricolage and bien-pensant revolutionary dreaming is probably best exemplified by the pseudoartisanal functionalism of brick-and-board shelving. By the same token, the Ikea flat-pack is the three-dimensional analogue of a planned social democracy. But anyway, I digress – back to the clutter! There are mobile phone chargers and bottles of mouthwash, tobacco pouches and azimuth compasses, reading glasses and plastic bags of tea; old photographs and postcards are propped up here and there, while glass paperweights, little metal skeletons and a small Tinguelyesque machine given me by my children (featuring a severed arm that hammers a bit of tin when you crank a handle) all have their place. I could go on – and on. To realistically inventory the shelves would take days, and one time a celebrated mnemonist visited me here, and helped me learn the then forty-three US presidents using as an aide-memoire the objects ranged on a single shelf.

There has never really been any justification for the small clay bust of an ape, or the plaster one of Robert Schumann with a speech bubble attached to it reading ‘Take me to the bridge!’ But now I’m beginning to realise there’s less and less requirement for the shelves at all. It may well be that the shelf is alive and well chez Self, but the new kitchen one is the shape of shelves to come: in the future they may support either objets d’art, those that have use value, or those that mix the two categories together, but what they won’t do is integrate these modes with the third and most crucial one: the informational. The old shelving units in the road were followed in the early 2000s by still more pathetic cast-offs: CD towers and the occasional forlorn magazine rack. Neither the cassette nor the VHS tape ever really aspired to its own specialised shelving (except, it has to be said, in our shelf-mad domain, where we had a whole wall of VHS shelves built that were later repurposed for DVDs and are now moribund); but the CD was adopted with sufficient zeal, and was of a significantly different format to require a whole range of alternative housings. Now they’re in the gutter, leaning lopsidedly, pathetic stained-wood menhirs marking the sites of the old religion of recorded sound, while overhead scuds the great crackling, emphatically digital cloud.

By rights there should be a fair number of bookshelves out there on the pavement as well, but while we do see these being discarded there doesn’t appear to be the same mortality rate. In part this must be because of the sheer social and cultural embedding of the codex: half a millennium as against the CD’s mere twenty years. In part it’s due to architectural considerations: the bookcases are often inbuilt – they’re bulkier, and will require more in the way of killing off. But there are also the haptic, tactile and other sensory aspects of the codex: for people who read, the book is something they have held on to for a very large portion of their lives; letting go of it will be a wrench. It’s been a wrench for me, but perhaps five years ago when my wife deemed that total shelf coverage had been reached in our fairly large house, she began a book pogrom. At first only duplicate titles and obvious clunkers were got rid of, but soon enough perfectly good books were being consigned to the oblivion of the local Mind charity shop.

Having fought hard against the purges, once they were underway I became if not a willing accomplice, at any rate a functional one. I suspect I’m like quite a few people reading this piece: the onset of digital reading coincided with my own very analogue intimations of mortality. On the one hand there was the superabundance of books available via the web, on the other there was the chilly apprehension I had – looking about me at volumes I’d shelved a decade or more before, and promised myself annually that I’d read one day – that I already owned more than enough physical books to last me out three, four, even five score and ten. As for the delusion of legacy that had caused me to drag around aged copies of Herbert Marcuse’s One-Dimensional Man and John Updike’s Couples from habitation to habitation for a lifetime, as if they were my own meagre version of a presidential library, well, my four children are all very lovely in their ways, but none of them is what I would call a voracious reader.

I remain a voracious reader, but again, like many of us, with the advent of bi-directional digital media, I’ve become more of a snacker than someone on a hearty literary diet. I still read codices, but a tendency to read multiple texts concurrently that was well advanced before e-books, has now become near-pathological: I really am reading about a hundred books at the same time. Of the two digital reading apps I have on my phone (yes, phone – it really doesn’t bother me), I favour the Kindle – I now realise – because it doesn’t feature a skeuomorphic representation of a bookshelf. When you click on a book in the iBooks application, the ‘volume’ shoots towards you from this ‘shelf’, seemingly ‘opening’ in mid-air to reveal the text. Every time it does this I give a little shudder – it’s as if I can feel angry out-of-work librarians walking over my grave; and I also shudder when I look about me at the overflowing shelves of my writing room, sensing that I have fully metamorphosed into an Alice who’s falling past them slowly enough to pluck something from one, but that there’s really very little point, because after all: I’m falling.

I’m dying and the shelf is dying with me. As I say, I don’t doubt that shelves of the mosaic-encrusted bog-boy variety will continue to be put up: an exhibition this year at the Serpentine Gallery in London featured shelves of just this decorative kind. But the shelf as an omni-potential cultural platform is a thing of the past: the digital library is upon us, and whatever the nostalgic, the conservative and the downright reactionary Luddite may say, there’s no turning back a clock that doesn’t even have hands. I do mourn the passing of the shelf, because I think that the spatial and aestheticised arrangement of the informational is a physical analogue of the canon itself. To reach up and get a volume down from a shelf is to see, smell and touch the form of collective understanding, an apprehension that has no equivalent in the virtual realm. The great Argentinean fabulist Jorge Luis Borges anticipated the digitisation of all knowledge in his story ‘The Library of Babel’, which hypothesises a universe that is itself an illimitable library. Borges is quite particular about the physicality of the library, the infinite range of hexagonal galleries are comprised of: ‘Twenty shelves, five long shelves per side, cover all the sides except two; their height, which is the distance from floor to ceiling, scarcely exceeds that of a normal bookcase.’ As to the shelves themselves: ‘There are five for each of the hexagon’s walls; each shelf contains thirty-five books of uniform format; each book is of four hundred and ten pages; each page, of forty lines, each line, of some eighty letters which are black in colour. There are also letters on the spine of each book; these letters do not indicate or prefigure what the pages will say.’

This is information decoupled from anything but the most functionalist aesthetic, and ordered by no architectonic save that of the silicon chip. Needless to say, the contents of the infinite volumes are randomised: a few make sense, but the great majority are gobbledegook. And of course, there’s nothing on this heaving multiplicity of shelves but information – no tobacco pouches, no little metal skeletons, and no propped-up postcards. There is this consolation for those of us who are dying in tandem with the shelf: we will meet our fitting apotheosis when the urn containing our ashes is carefully inserted into one of the columbarium’s shelves.

22 May 2014Prospect Magazine