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Heavy heavy books: psychology update!

I was listening to the Guardian’s Science Weekly podcast, and I heard Mo Costandi mention that people’s perceptions of what they’re reading are affected by its physical characteristics, including weight. My ears pricked up at that because I was complaining about large-format paperbacks on this blog just the other day.

So I asked him for details over Twitter, and he pointed me to this article he wrote in June. It’s full of odd results, but the most relevant one is this. I’ll quote the whole paragraph, rather than trying to summarise it:

In the first experiment, 54 passersby were asked to evaluate a job candidate on the basis of a CV attached to either a light (0.34 kg) or a heavy (2 kg) clipboard. Those given the CV on the heavier clipboard generally rated the candidate as being better and having a more serious interest in the position than those given the lighter clipboard, even though the CVs used in both cases were identical. Those given the heavy clipboard also rated their accuracy on the task as more important than those given the lighter one, but did not report putting more effort into it. They did not, however, rate the candidate as more likely to get along with co-workers. This suggests that the weight cue affected their impressions of the candidate’s performance and seriousness, but not the irrelevant trait of social likeability, and that the observed effects were not due their perception of their own actions.

So physical weight is apparently makes the reader attribute seriousness and quality to what they’re reading — at least in a CV. You can see why a publisher might want to get some of that action. Particularly a university press publishing a literary novel which they are asserting deserves to be considered a classic.

But it makes you wonder what other effects the extra weight might have: does it make a novel more or less funny? Does it makes the characters more or less likeable? What does it do to the prose style? Or the plotting?

Such speculation aside… I actually wonder whether it’s unambiguously positive to be perceived as more serious, even for a literary novel about important subjects. I mean, I like novels to be more literary rather than less and I’m not intimidated by big fat books, but I still find that serious literature requires a degree of concentration and discipline, even for a book you’re enjoying and reading for pleasure. Anything that emphasises the literature-as-Serious-Business aspect is only going to make it more likely that reading starts to feel like a chore.

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Gee, Officer Krupke

Since the world’s financial system went into meltdown, there has been a certain amount of tooth-gnashing and mouth-frothing about the dreadful greed and recklessness of bankers — a lot of it from politicians who frankly aren’t in a position to lecture anyone about short-termism. I find it difficult to work up much righteous anger.

Firstly because complaining that bankers get too excited about money seems like complaining that gannets get too excited about fish. But also because we’re not talking about one or two individuals doing a Nick Leeson job on the world’s banks: as far as I can gather, most of the world’s bankers were making the same bad decisions at the same time. So I tend to think: there but for the grace of God go I. Of course it’s possible that I would have been one of the few bright sparks who spotted what was going on and tried to avoid it, but the odds are against it.

I suspect, ironically, that some of the very people who are most full of outrage at the excesses of global capitalism would be the first to excuse bad behaviour and reckless short-termism in the case of, say, the urban poor. It’s not that merchant bankers are bad people; they’ve been failed by the system.

» the video is of course from West Side Story; the actual song starts at about 1:50.

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The Stuff of Thought by Steven Pinker

This is the latest of Pinker’s books on various aspects of language and psychology. Specifically, it looks at what language can tell us about the ways the human mind understands the world. For example, the various tenses available to us might tell us something about the human brain’s inherent models for understanding time. Or different kinds of action verbs tell us something about the underlying concepts our minds use to understand the interaction of objects. All his examples are from English, but he assures us, on his honour as a linguist, that the points he makes are more broadly applicable.

weasel diorama

He sounds very plausible, but as so often with these things I don’t really have the expertise to judge. I daresay there may be other linguists/cognitive scientists/psychologists who strongly disagree with everything he says, but I have no idea what their arguments might be. What has a broad plausibility for me is that Pinker provides a layer of cognitive concepts that act as a framework to make language-acquisition easier without being too implausibly complex. In other words: I am persuaded that infants learn their mother tongue so quickly and easily that their must be some kind of (presumably innate) cognitive headstart. Pinker’s model requires really quite a lot of innate ideas, and I can imagine some people boggling at it, but it is at least an idea of what kind of explanation might be needed. So I found all that broad process interesting.

If anything, I sometimes found myself fighting the instinct to dismiss it because it seems too obvious. I read him arguing that the human mind understands something in such-and-such a way and there was a bit at the back of my head saying “well yes, obviously” even though there’s nothing inevitable about it. It might just be that these ways of thinking seem obvious because they are innate. On the other hand I’ve read books about psychology which have been full of surprising insights, so there’s no reason to assume that we have a clear idea of how our own minds work.

sad lion

So the project is an interesting one. And Pinker writes well, on the whole: it’s sometimes heavy going, because the subject requires lots of close attention to fine details of usage, but he writes clearly and, as far as possible, he keeps the book ticking over with peculiar facts, anecdotes and other sparkly objects designed to hold the attention of the magpie mind. If anything, I get the sense that he has slightly toned down that aspect of his style, though I haven’t done a direct comparison: I seem to remember that in The Language Instinct, which was the first of his books that I read, he could hardly go half a paragraph without some kind of popular culture reference or joke, and it sometimes came across as trying too hard. But there’s still enough there to help sugar the pill.

When I read The Language Instinct I was at university doing an English Literature degree, so I naturally read it with half an eye on whether it could tell me anything about literature. There are two observations I’d make about that: firstly, although many of the literary/critical theories I was introduced to were implicitly or explicitly theories about language, none of them bore any relationship whatever to the ways of analysing language I found in Pinker. Literary theorists, in trying to understand language, had not apparently felt any need to talk to any linguists. The only linguist whose name came up was Saussure; and while I don’t hold Saussure responsible for all the ridiculous things that have been said by the people who name-check him, I’d at least point out that he died in 1913, and linguistics has moved on since then.

bear and dog

The second observation is that, although I found this state of affairs irritating, I didn’t suddenly find I had lots of new and interesting insights on literature after reading the book. It’s only a popular treatment and I didn’t make any attempt to follow it up by reading other books, but still, I spent time thinking about it and didn’t get anywhere. The same goes for The Stuff Of Thought; it’s all quite interesting, but it doesn’t instantly give me any new way of thinking about the literary use of language. In the chapter about metaphor, there’s a short discussion about literary metaphor, which is fine but doesn’t offer anything that you wouldn’t find in a good book on how to write poetry.

Linguistics, cognitive science and other disciplines which examine language and the interface between language and thought don’t actually need to offer an insight into literature to justify their existence. We can’t claim to have a complete understanding of language until we can say how poetry works, but I guess that can wait; in the meantime, The Stuff Of Thought is an interesting read.

» I couldn’t think what pictures to use for this post, neither language nor thought being very visually striking, so I went with stuffed animals. The weasels are by dogseat; the lion is by cenzMounted bear and the hunting dog who found him, and was killed by him is by Curious Expeditions. All are used under a by-nc-sa licence.