The magic of reading

Jumble_02Can you make sense of those lines in the image to the right? Of course not. They’re deconstructed from the letters of a simple, one-syllable word and randomly re-arranged. It’s just four letters, but their component parts are not arranged in the proper order, so they seem like meaningless lines and squiggles. We’ve not been taught to assemble them into a structure that makes sense to our brains. Yet we’re quite capable of assigning meaning and context to abstract forms, if they’re assembled properly.

The order that we prefer those lines and curves to be in is arbitrary – the association of any particular line or curved with another piece is simply a convenience we all agree to use. Other cultures, other languages have a different agreement, equally arbitrary. The lines that form a lamed in the Hebrew alphabet don’t look anything like the lines we use to make an “L” but they get translated into that sound in the reader’s brain because that’s what the reader was raised to expect. Similarly, a Cyrillic “L” looks different from both English and Hebrew, yet performs the same function in the language. When a non-Hebrew or non-Cyrillic reader sees them, they recognize the lines, but there is no neurological association to tell that reader what they mean.*

Jumble_01When those lines and curves are again aligned differently, they offer a hint of order. English readers can more easily recognize some of the forms, even if they don’t always coalesce into specific letters. You might be able to guess at some of the letters, maybe even all., but most likely the word itself remains obscure unless you put a lot of cogitative effort into solving the puzzle.

Yet even if you can’t figure it out, our brains are remarkably agile in that they are eager to build associations from even the smallest clues. That’s how pareidolia happens – described on Wikipedia as, “…a psychological phenomenon in which the mind responds to a stimulus, usually an image or a sound, by perceiving a familiar pattern where none exists (e.g. in random data).” But while it makes for imagined faces of Jesus on grilled cheese sandwiches, it also helps us identify things that are not in the exact shape and form that we expect.
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Hypergraphia

HypergraphiaAn article in the September, 2016, issue of Doctor’s Review looks at the curious, compelling affliction called hypergraphia: the obsessive need to write. I never knew before this that there was an actual illness of this sort. As someone who is often driven by a deep compulsion to write, I am both curious and a little afraid to learn more. And of course, I turned to the internet.

Curious because I always want to learn, especially when it’s something that might touch me in some way. Afraid because I’ve always thought of my writing as a mere personality trait, a passion I’ve had as long as I can remember, and to discover it may be an actual illness is worrisome. But if I have it, mine is at least a mild form, in comparison with true sufferers.

Hypergraphia is incurable, too. Well, that might not be a big deal for some, since writing itself satisfies the afflicted. And in general writing doesn’t afflict life in a negative way that other ailments do. Hypergraphia is often associated with some of the latter: bipolar disorder, temporal lobe epilepsy and schizophrenia.

I enjoy writing immensely and the act is pleasant, not painful. Not writing isn’t painful either, but I often awaken at night thinking of what to write and how to say it best. Not writing feels like mental constipation; a sense that something has to be released. I don’t often suffer from actual ‘writer’s block’ except when struggling to produce fiction.

Yet if I actually had hypergraphia, I would be in the august company of Vincent van Gogh*, Fyodor Dostoevsky, Robert Burns, Danielle Steel, Edgar Allan Poe, Sylvia Plath, Joyce Carol Oates, Stephen King, Isaac Asimov and Lewis Carroll. Their illustrious presence, however does not confer talent, much to my chagrin.

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The Death of Handwriting?

I almost cried in pleasure when I watched this video; the handwriting is so beautiful. Apparently some viewers have, as Jesus Diaz writes. On Gizmodo he says that it’s:

…a video that caused many to discover autonomous sensory meridian response, a perceptual phenomenon that gives a pleasing tingling sensation. Some said they got it watching people writing. Well, put your headphones on, because this is the mother of all calligraphy ASMR videos.

Okay, maybe it is for me because I was raised with handwriting and still delight in it. Penmanship was taught in school at least for a few years when I was there. In fact, I was in Grade 9 penmanship class when the news of President Kennedy’s assassination was broadcast over the school’s PA system. It’s one reason I can still recall taking penmanship, although I think it was the last year of it for me.

Penmanship taught more than just basic cursive: it skirted the boundaries of calligraphy, trying to teach resistant and recalcitrant students how to craft beauty out of our splotchy letters scratched from ink with clumsy fingers. Control, frugality, grace; things adolescents seldom have in quantity. But somehow, some of it stuck, and even though I lack the grace of the calligrapher in the video, I can still thrill in making those swoops, the lines, to hear the scrape of the nib on the paper.

True, I fail in great part because my gel-point and ballpoint pens haven’t the aesthetic pleasantry of a real ink-and-nib pen.

Diaz also informs us:

It’s a demonstration of a fountain pen—a Namiki Falcon customized by nibmeister John Mottishaw—with crystal clear video and sound, writing with various inks (if you’re curious: Iroshizuku Tsuki-yo, Iroshizuku Yama Budo, Noodler’s Black, Noodler’s Apache Sunset) on Bristol board and Leuchtturm1917 dot grid notebook paper.

I don’t know about you, but even the sight of a well-crafted fountain pen makes my heart beat a little faster. And paper? I’ve been known to loiter in art and stationary shops, fondling the sheets in notebooks, searching for that perfect feel, the ultimate sensation of paper on fingertips that through some osmotic process will encourage me to pick up a pen and dip it in the inkwell.*

Details aside, I find the act of writing itself fulfilling – and watching a master calligrapher at his art even more so, like watching a ballet or listening to a symphony being performed live. And it reminds me that in handwriting there is an enormous cultural heritage we should never lose – can never lose without losing something of ourselves.

But if some muddle-headed educators and some dizzy-wth-digital trustees have their way, our whole culture may suffer from enforced dysgraphia – which Wikipedia tell us is a

…deficiency in the ability to write, primarily in terms of handwriting, but also in terms of coherence.

Call me old-fashioned, but I think that the death of handwriting would be to culture what the death of bees will be to agriculture.
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