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New Digital Audiobooks and Old Ways of Reading Rubery, M View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Queen Mary Research Online Play It Again, Sam Weller: New Digital Audiobooks and Old Ways of Reading Rubery, M For additional information about this publication click this link. http://qmro.qmul.ac.uk/jspui/handle/123456789/9127 Information about this research object was correct at the time of download; we occasionally make corrections to records, please therefore check the published record when citing. For more information contact [email protected] March 4, 2008 Time: 05:13pm 008.tex Play It Again, Sam Weller: New Digital Audiobooks and Old Ways of Reading Matthew Rubery Ahem. The speaker is about to read aloud Nancy’s murder, a brutal tableau from Oliver Twist (1837–39) ritually performed before the public since Dickens’ first recitation of this scene at St. James’s Hall as part of a Farewell Tour in 1869. The ‘Murder’, as the author preferred to call it, would soon become part of Dickens lore for the violence with which it ended the life not only of the novel’s heroine but also of the novelist himself.1 The ‘Sikes and Nancy’ episode begins with the narrator’s voice as one of the boy thieves is instructed to ‘dodge’ a young woman through the streets of London. The ensuing voices are those of Fagin (‘my dear’), Bolter (‘Oh Lor!’), and Sikes (‘Wot now?’), whose Cockney accents are performed in markedly different registers from that of the preceding narrator.2 In fact, each of the characters is set apart by a distinct sound to ensure that audiences can tell who is speaking without access to the written script. The prompt copy used by Dickens for this scene signals the building momentum toward Sikes’ terrible act of violence with the marginal stage direction ‘XX Murder coming XX’.3 This is the moment during the recitation when Dickens was said by spectators to have flung aside the script in order to perform the scene from memory.4 The audience for the performance has little choice but to sit back and wait for the impending murder since the pace of narration is controlled entirely by the speaker, not the auditor. It is a tense wait. The recitation of a scene that takes a mere ten minutes to read silently to one’s self can take upwards of forty minutes when read aloud before an audience. Although both experiences might make the flesh creep, reading the novel in silence is a very different experience from that of listening to Nancy’s murder. Now that Nancy’s murder has caught your ear, let me assure you that this is not another account from an ear-witness to one of the nearly 500 public readings given by Dickens to audiences across England and America.5 There is no lectern, maroon backcloth, or blaze of gaslamps 58 March 4, 2008 Time: 05:13pm 008.tex New Digital Audiobooks and Old Ways of Reading set up for this reading; no magisterial bearded figure in evening dress; and certainly no mesmerising eye contact between orator and audience. Instead, this is an account of listening to one of a dozen recordings of Dickens’ novel readily available to twenty-first-century audiences in the form of digital audiobooks – online ‘talking books’. At no point in history has it been so easy to listen to the reading aloud of Victorian literature. The reader for this particular performance is not Dickens but one of those inspired by him, from amateur enthusiasts to professional actors: Martin Jarvis, Anton Lesser, Alex Jennings, Nadia May, Fabio Camero, Miriam Margolyes, Flo Gibson, the St. Charles Players, and many other first-time readers. Whereas the majority of audio books marketed today continue to rely on promotional tools designed for print, the publisher’s blurb for this recording emphasises what is most distinctive about the audiobook format: ‘Hear Dickens’ gift for social commentary in this classic story of the poor orphan, Oliver’.6 This is a double invitation – ‘Hear Dickens’ gift’ – to listen to the tale being read aloud as well as to the latent aurality of a literary narrative itself designed as much for the ear as the eye. The growing popularity of audiobooks over the last decade means that literary critics may no longer be able to turn a blind eye – or a deaf ear, in this case – to the ways in which oral delivery influences the reception of literature. Digital audio may compel those of us accustomed to silent reading to heed recent calls to refine our skills in ‘close listening’.7 The following discussion will consider the potential impact new digital audio technology is having over the way we think about literature and its reception. To do so, this piece will introduce the latest audio innovations in as straightforward a manner as possible for those who may be unfamiliar with or even slightly anxious about technology. It will go on to suggest why recent improvements to the audiobook format should be of particular relevance to anyone interested in the nineteenth century. My intent will be to trace a number of continuities between today’s reading practices and the presumably outdated forms of reading aloud favoured by the Victorians. As the title of this piece indicates, one unexpected consequence of the new digital audio has been to bring back old ways of reading, specifically the practice of reading aloud associated in the popular imagination with the Victorian family. Whether or not it is true that the audiobook is the latest step in the long process of commodifying literature, this development presents us with an opportunity to reflect on how our own attitudes toward reading aloud have evolved since a nineteenth-century inventor first imagined a ‘talking book’ capable of preserving the voices of eminent Victorians. 59 March 4, 2008 Time: 05:13pm 008.tex Matthew Rubery This piece will conclude with a consideration of the ways in which practices of reading aloud yesterday and today differ from one another by comparing the changing roles of narrator, reader, and listener. In other words, this essay proposes that new digital audio does not simply enable us to hear literature – it enables us to hear it in new ways. The term ‘reading’ has never been a simple one when used to describe the behaviour of the Victorians. The persistent identification of reading with a speechless act of decipherment remains something of a reflex among today’s literary scholarship.8 The most familiar rendition of novel reading in Victorian England emphasises silence, solitude, and introspection, a model of the individual reader closest to our own antisocial experience of reading books. For obvious reasons, it is difficult to dislodge the modern conception of fiction as a predominantly solitary recreation as opposed to a communal pastime. Images of Jane Eyre encased in a window seat with a copy of Bewick’s History of British Birds or of David Copperfield on his bed reading as if life depends on it are far more likely to be evoked by today’s readers as analogues for their own experience than would equally iconic images of communal reading such as Dickens’ Mr. Sloppy, who can ‘do the police in different voices’ when reading aloud from the newspaper.9 Certainly interiorised acts of reading were a vital part of life in the nineteenth century, but to emphasise this reading experience to the exclusion of one better described as vocal, gestural, and spectacular would be to privilege our own reflection over a manner of reading distinctly Victorian. There is no shortage of anecdotes to challenge assumptions that reading was first and foremost a private experience for those living in the nineteenth century. One might recall the young Henry James hidden under a tablecloth to hear instalments of David Copperfield read aloud by a cousin until his sobs at the Murdstones’ abuse give away the hiding place.10 Notice how in this instance it is the adults rather than the children who gather together for a bedtime story. This was likewise the case with an illiterate charwoman who, despite not being able to read herself, attended monthly readings of Dombey and Son at a local snuff shop.11 Many novels, whether in instalments, serialization, or volume format, would have had listening audiences like the James family or the charwoman instead of reading audiences. To put it another way, there was a vast readership that would have heard rather than read these narratives. Although this may be the era during which Great Britain became a ‘reading nation’, we should not forget the extent to which it remains a ‘listening nation’ to this very day.12 60 March 4, 2008 Time: 05:13pm 008.tex New Digital Audiobooks and Old Ways of Reading More than any other field of inquiry, Dickens scholarship has contributed to our understanding of the oral recitation of literature through its meticulous efforts to document the public readings.13 Malcolm Andrews’ recent work on this topic, for example, uses dramatic reconstructions from eyewitness accounts to bring before our ears ‘audio-visual Dickens’, the virtuoso performer whose mesmerising recitals in front of live audiences elicited a wide range of physical responses, from fits of laughter to fainting spells.14 Andrews makes a distinction throughout the study between capitalised ‘Reading’, the act of public recitation, and lower-case ‘reading’, the private practice overwhelmingly taking place in silence today. The manoeuvre does as much to dispel confusion as to foreground the degree to which the former meaning has been superseded by the latter. Reviving this bygone ambience requires us not only to read aloud ourselves but to reconstruct as far as possible the public culture drawn upon by such performances.
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