Tim starts reading and says you’re a dag. And smiles.
He finishes reading and says you’re so clever. And I smile.
Daggily clever? Cleverly daggy? Daggy and clever?
When I ask students to write a reflection or a statement of philosophy about teaching, I want to hear their voice. I dealt with a student this week who had found someone else’s philosophy statement on a blog and pasted it into her assignment. It wasn’t her voice. It was an easy pick-up. It happens way too often. I’m happily reading along and suddenly it is a truth universally acknowledged, that a single man in possession of a good fortune must be in want of a wife pops into the middle of the sentence. My ears prick up. Hang on, I say inside my heads, that’s not Student A, that’s Jane Austen.
I keep reading and lo and behold it seems increasingly likely that I really will undertake the expedition that has been preoccupying my imagination now for some days and I recognise the very distinct voice of Stevens. It seems strange that his voice would appear in the midst of a student assignment on the fundamentals of communication in the classroom. I pause, I puzzle, I shake my head to clear it, only to read on and discover that I remain transfixed by Stevens’ voice.
Stevens’ voice comes about through long sentences and parenthetical comments: An expedition, I should say, which I will undertake alone, in the comfort of Mr Farraday’s Ford; an expedition which, as I foresee it, will take me through much of the finest countryside of England to the West Country, and may keep me away from Darlington Hall for as much as five or six days. It’s a voice that takes me instantly into the complexity of the character and slows me down. I move to the couch to be more comfortable because this is one of my favourite books, but I read on only to discover that many years later, as he faced the firing squad, Colonel Aureliano Buendia was to remember that distant afternoon when his father took him to discover ice. I am transported into the magically real world Gabriel Garcia Marquez paints in One hundred years of solitude.
I am confused. Student A (let’s call her Anna and in that way flesh her out a little) is writing about communication in the classroom, but her voice is lost in the other voices that keep intruding on her paper. I would go so far as to say that Anna has not found or established her own voice yet. She has let herself be distracted by other readings, others’ thoughts, others’ voices. She has not done her own thinking (which, let’s face it, is difficult); rather she has relied on my mother is, like, a totally confirmed A-list [expletive riddled passage deleted] *** hole cretin [expletive riddled passage deleted] ***head of the highest order. Fact. In fact, I, of this moment, officially declare my entire doubt of the fact that she is in fact my actual real mother.
My head is spinning, I flick backwards and forwards through Anna’s paper wondering where that voice came from. There’s no acknowledgement of her source, but it really doesn’t sound like Anna. I do a Google search and find that it is the voice of Dora from Dawn French’s A tiny bit marvellous. Possibly not the best source Anna could find for her paper, but I suppose that all happy families are alike but an unhappy family is unhappy after its own fashion.
Voice. Use your own. I know, believe me I know, it can be hard to develop your own, but your audience wants to hear First the colours. Then the humans.
No, Marcus Zusack, now is not the time to intrude. I’m trying to establish my voice. A distinct voice. A voice that emerges from the snow in the mountains was melting and Bunny had been dead for several weeks … excuse me, Donna Tartt, please don’t do that. I’m trying to write in my own voice. A voice that is uniquely mine, a voice that is worth being heard, that emerges from this is Albion Gidley Singer at the pen, a man with a weakness for a good fact.
Kate Grenville, seriously, this is so not the time. I cannot finish on someone else’s words. I have to finish with my own because the war had ended as wars sometimes do, unexpectedly.
Tomorrow, the conclusion.