My problem with ‘We’ – an exchange of views with Newsnight’s Evan Davis

 

The use of the pronoun ‘we’ has always been a bit of a problem for me in the broadcasting business; so much so that it is one of the main reasons I stopped listening to Today on Radio 4 (main culprit John Humphrys) and, after watching Newsnight last week I decided to contact presenter Evan Davis about it. He very graciously wrote me a thoughtful reply and a copy of our exchange is published below – with Davis’s permission.

And here is one of the more egregious recent examples of Humphrys’ use of ‘we’, as spotted by Twitter user James Melville.

 

 

 

Kevin Telfer wrote:

Hi Evan,

You may think this a small thing; and in some ways it is – just a word
with two letters: ‘we’; but I think that the use of this word has
significant implications and its overuse on the Today programme in
particular is one of the reasons why I stopped listening to that show.
Did I overreact? Well, maybe, but I don’t think so.

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Lincoln in the Bardo – a very funny and brilliant novel

 

 

Who knew that experimental literary fiction could give you belly laughs?  Well, Lincoln in the Bardo is one of the funniest and most raucous books I have ever read, of any genre.  I didn’t expect it to be funny. It is also many other things as well – but I think that its humour was the greatest surprise for me, especially given that the principle focus of the novel, outwardly at least, is death. Yet on reflection I don’t think that I should have been so surprised because this book does not provide a type of artistic experimentation that feels academic and ultimately alienating; instead it offers a carnivalesque celebration in the finest traditions of the novel, which has it its heart Bhaktinian dialogism and heteroglossia.

Do you see what I did there? I explained how a novel that you might think would be artistically elitist actually turns out not to be using academically elitist language. That deserves a bit more explanation.

Mikhail Bakhtin was a Russian theorist who wrote extensively about the novel using slightly obscure terminology. But beyond the terminology, he offers a compelling analysis. Let’s go back to what the word ‘novel’ means – new and original. Bhaktin’s view of true novels is that they always seeking to be new and original by being an ‘anti-form’ that undermines the idea of single, authoritative truth in texts. He argues that the thing that makes novels distinct is the way that they incorporate a range of different speech types – or ‘discourses’ – that compete against one another within the text in a way that never fully resolves itself. This is something that Bhaktin called ‘dialogics’. David Lodge explained it by saying that ‘As soon as you allow a variety of discourses into a textual space…you establish a resistance… to the dominance of any one discourse.’ So rather than a unified, homogenous form of language, the novel presents a heteroglossic variety of language types.

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