George Saunders - The Braindead Megaphone

1.

I find myself thinking of a guy standing in a field in the year 1200 doing whatever it is people in 1200 did while standing in fields. I’m thinking about his mind, wondering what’s in it. What’s he talking about in that tape-loop in his head? Who’s he arguing with? From whom is he defending himself, to whom is he rationalizing his actions?

I’m wondering, in other words, if his mental experience of life is different in any essential way from mine.

What I have in common with this guy, I suspect, is that a lot of our mental dialogue is with people we know: our parents, wives, kids, neighbors.

Where I suspect we part ways is in the number and nature of the conversations we have with people we’ve never met.

He probably does some talking to his gods, his ancestors, mythological beings, historical figures. So do I. But there is a category of people I mentally converse with that he does not: people from far away, who’ve arrived in the mind, with various agendas, via high-tech sources.

I suspect that you also have these people in your mind; in fact, as you read this (sorry, sorry) I am become one of them.

Is this difference between us and Mr. or Ms. 1200 a good thing or a bad thing? I’m not sure. For now, let’s just acknowledge it as a difference ; a change in what human beings are asking their minds to do on a daily basis.

2.

Imagine a party. The guests, from all walks of life, are not negligible. They’ve been around: they’ve lived, suffered, own businesses, have real areas of expertise. They’re talking about things that interest them, giving and taking subtle correction. Certain submerged concerns are coming to the surface and — surprise, pleasant surprise — being confirmed and seconded and assuaged by other people who’ve been feeling the same way.

Then a guy walks in with a megaphone. He’s not the smartest person at the party, or the most experienced, or the most articulate.

But he’s got that megaphone.

Say he starts talking about how much he loves early mornings in spring. What happens? Well, people turn to listen. It would be hard not to. It’s only polite. And soon, in their small groups, the guests may find themselves talking about early spring mornings. Or, more correctly, about the validity of Megaphone Guy’s ideas about early spring mornings. Some are agreeing with him, some disagreeing — but because he’s so loud, their conversations will begin to react to what he’s saying. As he changes topics, so do they. If he continually uses the phrase “at the end of the day,” they start using it too. If he weaves into his arguments the assumption that the west side of the room is preferable to the east, a slow westward drift will begin.

These responses are predicated not on his intelligence, his unique experience of the world, his powers of contemplation, or his ability with language, but on the volume and omnipresence of his narrating voice.

His main characteristic is his dominance. He crowds the other voices out. His rhetoric becomes the central rhetoric because of its unavoidability.

In time, Megaphone Guy will ruin the party. The guests will stop believing in their value as guests, and come to see their main role as reactors-to-the-Guy. They’ll stop doing what guests are supposed to do: keep the conversation going per their own interests and concerns. They’ll become passive, stop believing in the validity of their own impressions. They may not even notice they’ve started speaking in his diction, that their thoughts are being limned by his. What’s important to him will come to seem important to them.

We’ve said Megaphone Guy isn’t the smartest, or most articulate, or most experienced person at the party — but what if the situation is even worse than this?

Let’s say he hasn’t carefully considered the things he’s saying. He’s basically just blurting things out. And even with the megaphone, he has to shout a little to be heard, which limits the complexity of what he can say. Because he feels he has to be entertaining, he jumps from topic to topic, favoring the conceptual-general (“We’re eating more cheese cubes — and loving it!”), the anxiety-or controversy-provoking (“Wine running out due to shadowy conspiracy?”), the gossipy (“Quickie rumored in south bathroom!”), and the trivial (“Which quadrant of the party room do YOU prefer?”).

We consider speech to be the result of thought (we have a thought, then select a sentence with which to express it), but thought also results from speech (as we grope, in words, toward meaning, we discover what we think). This yammering guy has, by forcibly putting his restricted language into the heads of the guests, affected the quality and coloration of the thoughts going on in there.

He has, in effect, put an intelligence-ceiling on the party.

3.

A man sits in a room. Someone begins shouting through his window, informing him of conditions in the house next door. Our man’s mind inflects: that is, he begins imagining that house. What are the factors that might affect the quality of his imagining? That is, what factors affect his ability to imagine the next-door house as it actually is ?

(1)The clarity of the language being used by the Informant (the less muddled, inarticulate, or jargon-filled, the better);

(2)The agenda of the Informant ( no agenda preferable to agenda-rich );

(3)The time and care the Informant has spent constructing his narrative (i.e., the extent to which his account was revised and improved before being transmitted, with more time and care preferable to less );

(4)The time allowed for the communication (with more time preferable to less , on the assumption that more time grants the Informant a better opportunity to explain, explore, clarify, etc.).

So the best-case scenario for acquiring a truthful picture of that house next door might go something like this: Information arrives in the form of prose written and revised over a long period of time, in the interest of finding the truth, by a disinterested person with real-world experience in the subject area. The report can be as long, dense, nuanced, and complex as is necessary to portray the complexity of the situation.

The worst-case scenario might be: Information arrives in the form of prose written by a person with little or no firsthand experience in the subject area, who hasn’t had much time to revise what he’s written, working within narrow time constraints, in the service of an agenda that may be subtly or overtly distorting his ability to tell the truth.

Could we make this worst-case scenario even worse? Sure. Let it be understood that the Informant’s main job is to entertain and that, if he fails in this, he’s gone. Also, the man being informed? Make him too busy, ill-prepared, and distracted to properly assess what the Informant’s shouting at him.

Then propose invading the house next door.

Welcome to America, circa 2003.

4.

To my way of thinking, something latent in our news media became overt and catastrophic around the time of the O. J. Simpson trial. Because the premise of the crime’s national importance was obviously false, it had to be bolstered. A new style of presentation had to be invented. To wring thousands of hours of coverage from what could have been summarized in a couple of minutes every few weeks, a new rhetorical strategy was developed, or — let’s be generous — evolved.