Communicate! (Laphma's Quarterly 05-2, Means of Communication)

     LQ 05-2 Means of Communication (2012) A nice compilation of what people have

thought, understood, or thought they understood, about human communication. It’s a mixed bag. To me, this compilation is marked more by what it leaves out than what it includes. Its focus is on what is communicated rather than how.
     There is inevitably an over-dependence on writing. Writing is a technology, and like any technology, it changes both perception and expression. What’s interesting to me is how writing changes how people construct their language. Writing fosters a preference not only for speaking in complete sentences, but also for argumentative and expository speech – such as I’m engaging in now. Narrative becomes a mode retained mostly for entertainment and art.
     The collection has no selections by Marshall McLuhan and George Steiner (except in memic quotes inserted at random in the text). It is I think somewhat less than complete.
     OK, you can see where my biases lie. I’ve come to realise that we communicate both consciously and unconsciously via more means than language. “Body language” (a term that betrays a bias) is as powerful as spoken language, and sometimes more so. Observation shows that gesture is an unavoidable concomitant of speech. Cultures differ in how much gesturing they accept and expect, but all human beings gesture when they speak, and not only with their hands. Some gestures are learned, hence of arbitrary significance, which causes problems when people from different cultures use gestures deliberately as an alternative to speech.
     The bias towards literacy has also caused a scant selection of pieces that attempt to understand how media have changed what we communicate. Print was the first mass medium, expanding the audience of any given book ten- and a hundredfold compared to manuscripts, but also splintering that audience into mutually uncomprehending groups. It also created a sharp division between literal and symbolic understanding of sacred texts, a division hardly ever recognised in orality. The problem of idolatry differs for people who have no written record of their ancestor’s thoughts about their gods, and so have no need to figure out exactly what they meant. A hymn is a performance, not a text to be analysed.
     Newspapers, cheap enough to throw away after reading, completed the transition from selective to mass media. Radio enabled large-scale exploitation of the audience. TV did the same, while shifting from the explicit politics of the radio personality to the implicit politics of the huckster. Now the internet has created both the largest audience for remote communication ever, but has also shattered that audience into more and smaller enclaves than any other. Control has shifted from the creator and broadcaster to the consumer: we choose the terms of engagement on the web. Every post has a potential audience of billions, but almost none reach more than a few hundred, with a select few reaching more, often amplified by the legacy media. A moderately successful influencer commands the attention of several thousand followers, the size of a small town. Some have followers in the hundreds of thousands, a handful in the millions. There are now many famous people that almost no one has heard of.
     I’d have liked to read seem comments on fashion. Clothes communicate everything from social status to mood, therefore clothing is regulated both by custom and law, and by personal preferences within what limits custom and law prescribe. Fashion now goes well beyond clothes. When goods become cheap enough to discard, they become expressions of passing fancies and tastes.
     Overall, the collection tells us more about what people thought worth communicating than how they did it. But within these limits, it is as good as any Lapham and his team have produced. I enjoyed reading it, especially the ancient, pre-electronic excerpts. ****

Collage

 Marker and collage on tea-stained tissue 2023

Peanuts Forever (7 Peanuts compilations)

    

Charles Schulz. Good Ol’ Snoopy (1958), Let’s Face it, Charlie Brown (1960), This Is Your Life, Charlie Brown (1962), You’re Not For Real, Snoopy (1965), Snoopy and the Red Baron (1966), He’s Your Dog, Charlie Brown (1968), You’re in Love, Charlie Brown (1969)

     Had another look at the Charlie Brown paperbacks we accumulated when our children we little. I’m still a Peanuts fan. Schulz’s talent was to see the connection between children’s frustrations and adult ones. And he was a master of graphic expression. A wiggly line for a mouth, a drooping doggy head, a dot and curved line for raised or scrunched eyebrows - it’s

amazing how much emotion is conveyed by so little ink. Schulz also knows how to pace a joke. Many of the strips have the build-up and punch line of a stand-up comic’s joke, but are impossible without the graphic. Such as Snoopy lying on his back on the roof of his doghouse while the rain pours down. There’s only one thing wrong with this...The rain keeps running down my nose and eyes.

     Some of the strips have taken on a different resonance these days: Lucy to Linus: See that building there?... If you ever want to borrow a book, all you have to do is go in there and tell them which one you want, and They’ll let you take it home. Linus: Free? Lucy: Absolutely free! Linus: Sort of makes you wonder what they’re up to.

     I thoroughly enjoyed rereading these books. I’ve decided to keep them. ****

Drowning off Martha's Vinyard (Craig - Death in Vinyard Waters)

Philip R. Craig. Death in Vineyard Waters (1991) Originally The Man Who Walked Into The Sea. Ex-Boston cop J W Jackson doesn’t like the verdict of suicide pronounced over the body of Marjorie Summerharp, a 70-something academic whom he met at a party and liked. She’s made enemies, and we all know that academic feuds are among the most vicious on Earth. Jackson knows the tides and the currents, and the supposed time of death doesn’t fit where she was found many hours later. He tells his doubts to the sheriff, who decides to wait and see while Jackson does the sleuthing.
     The story unfolds slowly. Jackson is a likeable character, with a strong sense of honour. This interferes with both his love life and the investigation, when Ian McGregor, his rival for Zee Madeiras’s affections, may have a motive for removing Marjorie. There’s gentle satire of the summer denizens of the village, some sharp academic talks, and a send-up of some purveyors of expensive wellness. There’s what may be the slowest chase ever, involving two identical sailboats whose speed hardly differs. There’s also a lot of lore about fishing and clamming and other bucolic tasks and pastimes.
     A nicely done entertainment, second in the series. Above average for the genre. **½

Milo drifts into trouble and love (Milo Talon, 1981)

  Louis L’Amour. Milo Talon (1981) Milo drifts into town and takes on the job to find a missing heiress. At stake are not only a megabuck in gold but also ownership of mines and railroads. Talon is not the only one looking for a slice of the wealth. Tangled past family relationships create a nice mess of legalities and logistical problems. One of these problems is a nicely shaped, smart and hardworking young woman. Talon resists the inevitable slide into love and marriage until he succumbs immediately after the final showdown.
     From L’Amour we expect good writing, plausible characters, accurate settings, and enough mystery to keep us turning the pages. He delivers, again. ***

Shake Hands Forever (again)

Ruth Rendell. Shake Hands Forever (1975)  A re-read. I posted two earlier reviews. This time, it was (almost) new again. But the denouement, although expected, was still a nicely paced surprise. 

An escape from a dysfunctional marriage eventually leads to a murder arranged in hopes of complete escape from the past. Robert Hathall’s mother finds Angela Hathall strangled in her bedroom. Wexford’s convinced that Hathall did it, but he couldn’t have, because he was at his work in London and then with his mother on the train during the time Angela died. Wexford fumbles an interview, which prompts Hathall to complain to Chief Constable Griswold, who orders Wexford off the case. Lacking the usual resources, Wexford turns to family. With the help of his nephew (now Supt. Howard Fortune), and a bit of timely luck, Wexford cracks the case.

A nice variation on the impossible murder. Rendell is good at plausible psychology; it’s psychological insight that leads Wexford to the solution. Love, greed, and the yearning for respectability provide the impetus for murder. A few longeurs slow down the narrative, but  perhaps Rendell wants us to feel Wexford’s frustration at the slow pace of investigation. Another very good W Rendell mystery. I liked it even better than the first two times I read it, hence the higher rating. Maybe the trade paperback format, with its larger print, had that positive effect. ***½

Death Times Three (Rex Stout, 1985)

 Rex Stout. Death Times Three (1985) A posthumous collection: two previously published stories, and one thoroughly reworked one. Typical Stout puzzles, barely plausible, ingeniously plotted to make the solving appear difficult, a familiar ambience, etc. The real charm of the Nero Wolfe tales is Archie’s style. Stout gives him a mix of laconic brevity and subtle riffing on cliche and stereotype. We believe the story because Archie sounds like someone we’d enjoy knowing, having  drink with, and listening to. The pleasure is in the reading. I don’t know whether I’m like most readers, but I recall very little of the story itself – not the puzzle, not the perpetrators, not the innocent and not-so-innocent bystanders whose natural reticence or amour-propre interferes with the investigation, nor their names. I enjoyed reading these three tales as much as I’ve enjoyed any of Stout’s confections, which means a lot. ***½