Guy Patrick Cunningham: Writing in a Digital Age
Cunningham explores the distractions and possibilities of fragmentary writing @ The Millions.
More and more, I read in pieces. So do you. Digital media, in all its forms, is fragmentary. Even the longest stretches of text online are broken up with hyperlinks or other interactive elements (or even ads). This is neither a good nor bad thing, necessarily — it is simply a part of modern reading. And because of that, works that deal with fragmentation, that eschew not only a traditional narrative structure but the very idea of a work comprising a single, linear whole — take on a special kind of relevance.
Fragmentary writing is (or at least feels) like the one avant-garde literary approach that best fits our particular moment. It’s not that it’s the only form of writing that matters of course, just that it captures the tension between “digital” and “analog” reading better than anything else out there. And that tension, in many ways, is the defining feature of the contemporary reading experience.
What is fragmentary writing? To answer that, it helps to first look at how writers wrestled with fragmentation in an earlier, pre-digital context. The approach played a major role in twentieth-century modernist literature, for example, and the very best modernists utilized fragments in particularly revealing ways. Few writers of the period, or any other, understood the nature of fragmentary writing better than Samuel Beckett, who experimented with short, nonlinear forms throughout his career. My favorite example of these fragmentary experiments is a series of thirteen nonlinear prose shorts he wrote called Texts for Nothing.
The Texts are not stories or essays, at least not in the traditional sense. They are instead focused on images/symbols and on the often-prevaricating “voice” (or is it “voices”?) behind each Text. Images and phrases appear in a particular context, and nearly every word is essential to understanding the Text. The voice of each Text often doubles back, contradicts itself, or moves from image to image in no discernible pattern, as in Text 2:
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