And so the question of the desirability of adopting any technological innovation is a question with two possible answers – not one, as has been commonly assumed. If one’s motives are money, ease, and haste to arrive in a technologically determined future, then the answer is foregone, and there is, in fact, no question, and no thought. If one’s motive is the love of family, community, country, and God, then one will have to think, and one may have to decide that the proposed innovation is undesirable.
The question of how to end or reduce dependence on some of the technological innovations already adopted is a baffling one. At least, it baffles me. I have not been able to see, for example, how people living in the country, where there is no public transportation, can give up their automobiles without becoming less useful to each other. And this is because, owing largely to the influence of the automobile, we live too far from each other, and from the things we need, to be able to get about by any other means. Of course, you could do without an automobile, but to do so you would have to disconnect yourself from many obligations. Nothing I have so far been able to think about this problem has satisfied me.
But if we have paid attention to the influence of the automobile on country communities, we know that the desirability of technological innovation is an issue that requires thinking about, and we should have acquired some ability to think about it. Thus if I am partly a writer, and I am offered an expensive machine to help me write, I ought to ask whether or not such a machine is desirable.
I should ask, in the first place, whether or not I wish to purchase a solution to a problem that I do not have. I acknowledge that, as a writer, I need a lot of help. And I have received an abundance of the best of help from my wife, from other members of my family, from friends, from teachers, from editors, and sometimes from readers. These people have helped me out of love or friendship, and perhaps in exchange for some help that I have given them. I suppose I should leave open the possibility that I need more help than I am getting, but I would certainly be ungrateful and greedy to think so.
But a computer, I am told, offers a kind of help that you can’t get from other humans; a computer will help you to write faster, easier, and more. For a while, it seemed to me that every university professor I met told me this. Do I, then, want to write faster, easier, and more? No. My standards are not speed, ease, and quantity. I have already left behind too much evidence that, writing with a pencil, I have written too fast, too easily, and too much. I would like to be a better writer, and for that I need help from other humans, not a machine.
The professors who recommended speed, ease, and quantity to me were, of course, quoting the standards of their universities. The chief concern of the industrial system, which is to say the present university system, is to cheapen work by increasing volume. But implicit in the professors’ recommendation was the idea that one needs to be up with the times. The pace-setting academic intellectuals have lately had a great hankering to be up with the times. They don’t worry about keeping up with the Joneses: as intellectuals, they know that they are supposed to be Nonconformists and Independent Thinkers living at the Cutting Edge of Human Thought. And so they are all a-dither to keep up with the times – which means adopting the latest technological innovations as soon as the Joneses do.
Do I wish to keep up with the times? No.
My wish simply is to live my life as fully as I can. In both our work and our leisure, I think, we should be so employed. And in our time this means that we must save ourselves from the products that we are asked to buy in order, ultimately, to replace ourselves.
The danger most immediately to be feared in ‘technological progress’ is the degradation and obsolescence of the body. Implicit in the technological revolution from the beginning has been a new version of an old dualism, one always destructive, and now more destructive than ever. For many centuries there have been people who looked upon the body, as upon the natural world, as an encumbrance of the soul, and so have hated the body, as they have hated the natural world, and longed to be free of it. They have seen the body as intolerably imperfect by spiritual standards. More recently, since the beginning of the technological revolution, more and more people have looked upon the body, along with the rest of the natural creation, as intolerably imperfect by mechanical standards. They see the body as an encumbrance of the mind – the mind, that is, as reduced to a set of mechanical ideas that can be implemented in machines – and so they hate it and long to be free of it. The body has limits that the machine does not have; therefore, remove the body from the machine so that the machine can continue as an unlimited idea.
It is odd that simply because of its ‘sexual freedom’ our time should be considered extraordinarily physical. In fact, our ‘sexual revolution’ is mostly an industrial phenomenon, in which the body is used as an idea of pleasure or a pleasure machine with the aim of ‘freeing’ natural pleasure from natural consequence. Like any other industrial enterprise, industrial sexuality seeks to conquer nature by exploiting it and ignoring the consequences, by denying any connection between nature and spirit or body and soul, and by evading social responsibility. The spiritual, physical, and economic costs of this ‘freedom’ are immense, and are characteristically belittled or ignored. The diseases of sexual irresponsibility are regarded as a technological problem and an affront to liberty. Industrial sex, characteristically, establishes its freeness and goodness by an industrial accounting, dutifully toting up numbers of ‘sexual partners,’ orgasms, and so on, with the inevitable industrial implication that the body is somehow a limit on the idea of sex, which will be a great deal more abundant as soon as it can be done by robots.
This hatred of the body and of the body’s life in the natural world, always inherent in the technological revolution (and sometimes explicitly and vengefully so), is of concern to an artist because art, like sexual love, is of the body. Like sexual love, art is of the mind and spirit also, but it is made with the body and it appeals to the senses. To reduce or shortcut the intimacy of the body’s involvement in the making of a work of art (that is, of any artifice, anything made by art) inevitably risks reducing the work of art and the art itself. In addition to the reasons I gave previously, which I still believe are good reasons, I am not going to use a computer because I don’t want to diminish or distort my bodily involvement in my work. I don’t want to deny myself the pleasure of bodily involvement in my work, for that pleasure seems to me to be the sign of an indispensable integrity.
At first glance, writing may seem not nearly so much an art of the body as, say, dancing or gardening or carpentry. And yet language is the most intimately physical of all the artistic means. We have it palpably in our mouths; it is our langue, our tongue. Writing it, we shape it with our hands. Reading aloud what we have written – as we must do, if we are writing carefully – our language passes in at the eyes, out at the mouth, in at the ears; the words are immersed and steeped in the senses of the body before they make sense in the mind. They cannot make sense in the mind until they have made sense in the body. Does shaping one’s words with one’s own hand impart character and quality to them, as does speaking them with one’s own tongue to the satisfaction of one’s own ear? There is no way to prove that it does. On the other hand, there is no way to prove that it does not, and I believe that it does.
The act of writing language down is not so insistently tangible an act as the act of building a house or playing the violin. But to the extent that it is tangible, I love the tangibility of it. The computer apologists, it seems to me, have greatly underrated the value of the handwritten manuscript as an artifact. I don’t mean that a writer should be a fine calligrapher and write for exhibition, but rather that handwriting has a valuable influence on the work so written. I am certainly no calligrapher, but my handwritten pages have a homemade, handmade look to them that both pleases me in itself and suggests the possibility of ready correction. It looks hospitable to improvement. As the longhand is transformed into typescript and
then into galley proofs and the printed page, it seems increasingly to resist improvement. More and more spunk is required to mar the clean, final-looking lines of type. I have the notion – again not provable – that the longer I keep a piece of work in longhand, the better it will be.
To me, also, there is a significant difference between ready correction and easy correction. Much is made of the ease of correction in computer work, owing to the insubstantiality of the light-image on the screen; one presses a button and the old version disappears, to be replaced by the new. But because of the substantiality of paper and the consequent difficulty involved, one does not handwrite or typewrite a new page every time a correction is made. A handwritten or typewritten page therefore is usually to some degree a palimpsest; it contains parts and relics of its own history – erasures, passages crossed out, interlineations – suggesting that there is something to go back to as well as something to go forward to. The light-text on the computer screen, by contrast, is an artifact typical of what can only be called the industrial present, a present absolute. A computer destroys the sense of historical succession, just as do other forms of mechanization. The well-crafted table or cabinet embodies the memory of (because it embodies respect for) the tree it was made of and the forest in which the tree stood. The work of certain potters embodies the memory that the clay was dug from the earth. Certain farms contain hospitably the remnants and reminders of the forest or prairie that preceded them. It is possible even for towns and cities to remember farms and forests or prairies. All good human work remembers its history. The best writing, even when printed, is full of intimations that it is the present version of earlier versions of itself, and that its maker inherited the work and the ways of earlier makers. It thus keeps, even in print, a suggestion of the quality of the handwritten page; it is a palimpsest.
Something of this undoubtedly carries over into industrial products. The plastic Clorox jug has a shape and a loop for the forefinger that recalls the stoneware jug that went before it. But something vital is missing. It embodies no memory of its source or sources in the earth or of any human hand involved in its shaping. Or look at a large factory or a power plant or an airport, and see if you can imagine – even if you know – what was there before. In such things the materials of the world have entered a kind of orphanhood.
It would be uncharitable and foolish of me to suggest that nothing good will ever be written on a computer. Some of my best friends have computers. I have only said that a computer cannot help you to write better, and I stand by that. (In fact, I know a publisher who says that under the influence of computers – or of the immaculate copy that computers produce – many writers are now writing worse.) But I do say that in using computers writers are flirting with a radical separation of mind and body, the elimination of the work of the body from the work of the mind. The text on the computer screen, and the computer printout too, has a sterile, untouched, factorymade look, like that of a plastic whistle or a new car. The body does not do work like that. The body characterizes everything it touches. What it makes it traces over with the marks of its pulses and breathings, its excitements, hesitations, flaws, and mistakes. On its good work, it leaves the marks of skill, care, and love persisting through hesitations, flaws, and mistakes. And to those of us who love and honor the life of the body in this world, these marks are precious things, necessities of life.
But writing is of the body in yet another way. It is pre-eminently a walker’s art. It can be done on foot and at large. The beauty of its traditional equipment is simplicity. And cheapness. Going off to the woods, I take a pencil and some paper (any paper – a small notebook, an old envelope, a piece of a feed sack), and I am as well equipped for my work as the president of IBM. I am also free, for the time being at least, of everything that IBM is hooked to. My thoughts will not be coming to me from the power structure or the power grid, but from another direction and way entirely. My mind is free to go with my feet.
I know that there are some people, perhaps many, to whom you cannot appeal on behalf of the body. To them, disembodiment is a goal, and they long for the realm of pure mind – or pure machine; the difference is negligible. Their departure from their bodies, obviously, is much to be desired, but the rest of us had better be warned: they are going to cause a lot of dangerous commotion on their way out.
Some of my critics were happy to say that my refusal to use a computer would not do any good. I have argued, and am convinced, that it will at least do me some good, and that it may involve me in the preservation of some cultural goods. But what they meant was real, practical, public good. They meant that the materials and energy I save by not buying a computer will not be ‘significant.’ They meant that no individual’s restraint in the use of technology or energy will be ‘significant.’ That is true.
But each one of us, by ‘insignificant’ individual abuse of the world, contributes to a general abuse that is devastating. And if I were one of thousands or millions of people who could afford a piece of equipment, even one for which they had a conceivable ‘need,’ and yet did not buy it, that would be ‘significant.’ Why, then, should I hesitate for even a moment to be one, even the first one, of that ‘significant’ number? Thoreau gave the definitive reply to the folly of ‘significant numbers’ a long time ago: Why should anybody wait to do what is right until everybody does it? It is not ‘significant’ to love your own children or to eat your own dinner, either. But normal humans will not wait to love or eat until it is mandated by an act of Congress.
One of my correspondents asked where one is to draw the line. That question returns me to the bewilderment I mentioned earlier: I am unsure where the line ought to be drawn, or how to draw it. But it is an intelligent question, worth losing some sleep over.
I know how to draw the line only where it is easy to draw. It is easy – it is even a luxury – to deny oneself the use of a television set, and I zealously practice that form of self-denial. Every time I see television (at other people’s houses), I am more inclined to congratulate myself on my deprivation. I have no doubt, as I have said, that I am better off without a computer. I joyfully deny myself a motorboat, a camping van, an off-road vehicle, and every other kind of recreational machinery. I have, and want, no ‘second home.’ I suffer very comfortably the lack of colas, TV dinners, and other counterfeit foods and beverages.
I am, however, still in bondage to the automobile industry and the energy companies, which have nothing to recommend them except our dependence on them. I still fly on airplanes, which have nothing to recommend them but speed; they are inconvenient, uncomfortable, undependable, ugly, stinky, and scary. I still cut my wood with a chainsaw, which has nothing to recommend it but speed, and has all the faults of an airplane, except it does not fly.
It is plain to me that the line ought to be drawn without fail wherever it can be drawn easily. And it ought to be easy (though many do not find it so) to refuse to buy what one does not need. If you are already solving your problem with the equipment you have – a pencil, say – why solve it with something more expensive and more damaging? If you don’t have a problem, why pay for a solution? If you love the freedom and elegance of simple tools, why encumber yourself with something complicated?
And yet, if we are ever again to have a world fit and pleasant for little children, we are surely going to have to draw the line where it is not easily drawn. We are going to have to learn to give up things that we have learned (in only a few years, after all) to ‘need.’ I am not an optimist; I am afraid that I won’t live long enough to escape my bondage to the machines. Nevertheless, on every day left to me I will search my mind and circumstances for the means of escape. And I am not without hope. I knew a man who, in the age of chainsaws, went right on cutting his wood with a handsaw and an axe. He was a healthier and a saner man than I am. I shall let his memory trouble my thoughts.
(1989)
MARTIN LUTHER KING, JR. · Letter from Birmingham Jail
ALLEN GINSBERG
· Television Was a Baby Crawling Toward That Deathchamber
DAPHNE DU MAURIER · The Breakthrough
DOROTHY PARKER · The Custard Heart
Three Japanese Short Stories
ANAÏS NIN · The Veiled Woman
GEORGE ORWELL · Notes on Nationalism
GERTRUDE STEIN · Food
STANISLAW LEM · The Three Electroknights
PATRICK KAVANAGH · The Great Hunger
DANILO KIŠ · The Legend of the Sleepers
RALPH ELLISON · The Black Ball
JEAN RHYS · Till September Petronella
FRANZ KAFKA · Investigations of a Dog
CLARICE LISPECTOR · Daydream and Drunkenness of a Young Lady
RYSZARD KAPUŚCIŃSKI · An Advertisement for Toothpaste
ALBERT CAMUS · Create Dangerously
JOHN STEINBECK · The Vigilante
FERNANDO PESSOA · I Have More Souls Than One
SHIRLEY JACKSON · The Missing Girl
Four Russian Short Stories
ITALO CALVINO · The Distance of the Moon
AUDRE LORDE · The Master’s Tools Will Never Dismantle the Master’s House
LEONORA CARRINGTON · The Skeleton’s Holiday
WILLIAM S. BURROUGHS · The Finger
SAMUEL BECKETT · The End
KATHY ACKER · New York City in 1979
CHINUA ACHEBE · Africa’s Tarnished Name
SUSAN SONTAG · Notes on ‘Camp’
JOHN BERGER · The Red Tenda of Bologna
FRANÇOISE SAGAN · The Gigolo
CYPRIAN EKWENSI · Glittering City
JACK KEROUAC · Piers of the Homeless Night
HANS FALLADA · Why Do You Wear a Cheap Watch?
TRUMAN CAPOTE · The Duke in His Domain
SAUL BELLOW · Leaving the Yellow House
KATHERINE ANNE PORTER · The Cracked Looking-Glass
JAMES BALDWIN · Dark Days
GEORGES SIMENON · Letter to My Mother