Humanistic Writing

The best end result of writing

I asked my freshman writing students today what the best possible outcome would be for their research papers. Most of their responses had to do with the practical benefits they might gain:

“We’ll be better writers.”

“We’ll figure out how to apply our writing skills to other situations.”

“We’ll know how to do research.”

All true, but the response I was hoping for was, “I learned something about myself.” The practical ends of writing instruction are important.  We need to communicate clearly and effectively if we expect to relate to others. And yet, when I am reading student papers, I always search for moments of insight that can only come from deep contemplation.

My students are writing about Malcolm Gladwell’s theory of the Power of Context, which proposes that our behavior is dictated by our environment. Gladwell suggests that positive surroundings create positive human behaviors; conversely, negative environments engender unsavory behaviors, including crime.

It’s a liberating idea, Gladwell argues, because it means that changing things for the better is within our control.  We do not have to shrug our shoulders and passively attribute crime to sociopathic personality or genetic predisposition.  We are not at the mercy of someone else’s inherent destructive tendencies.

As my students do their research and apply these ideas to different kinds of environments—schools, nursing homes, urban areas, workplaces—they are energized by how right Gladwell is.

At the same time, I ask them to consider what Gladwell is also saying about human nature: “Character isn’t what we think it is or, rather, what we want it to be.  It isn’t a stable, easily identifiable set of closely related traits . . . Character is more like a bundle of habits and tendencies and interests, loosely bound together and dependent, at certain times, on circumstances and context.” (The Tipping Point).

I posed this question to the class: “What if I tell you that your thoughts are irrelevant, that the feelings in your heart don’t matter, that everything about you is only shaped by your surroundings? How do you feel?”

After a silence, one student replied, “Helpless.”

This is not a piece of wisdom that we find through research. It only comes from the effort of meditating on the research and articulating how our minds respond to it. If my students are digging deeply enough into the topic as they write, and struggling to make sense of it in clear language, I think they will feel a natural resistance to the idea that our character is just a bundle of habits that can be dismantled in chaotic circumstances.  They may discover that there is something intangible, and perhaps ineffable, about being a person. And maybe—just maybe—they will take note of such insights in their papers.

That is what I want them to learn through their writing. Not how to write a topic sentence or to integrate a quotation, but to struggle through the structure of the paper to reach the best possible outcome: to discover in themselves their own original view of human nature.

writing habits

Walking, Thinking, Writing

Writers’ habits have always intrigued me—not superstitious ones that are unique to the individual, but ones that have an actual impact on the creative process.  One of the greatest writer’s habits of all time is walking.

When Agatha Christie had gotten halfway through her first detective novel, The Mysterious Affair at Styles (1920), she seemed stuck, so her mother encouraged her to go away for a couple of weeks to finish it off.  It was the middle of World War I, and she went to Dartmoor, a ragged, wild stretch of moorland in the south of England. She stayed in a dreary, old hotel that was sparsely occupied. She spoke to no one and spent her time three ways: writing, sleeping, and walking.

Here is how she describes her routine:

“I used to write laboriously all morning till my hand ached. Then I would have lunch, reading a book. Afterwards I would go out for a good walk on the moor, perhaps for a couple of hours.”

A couple of hours?  This is some serious walking, and I cannot think of one person I know who does such a thing today.  But in another era, it was commonplace.  James Joyce used to walk 8 miles at a clip, sometimes as a way to spend time in conversation with friends.

On her walks, Christie had conversations with herself, in the guise of her characters:

“As I walked I muttered to myself, enacting the chapter that I was next going to write; speaking as John to Mary, and as Mary to John; as Evelyn to her employer, and so on.  I would become quite excited by this. I would come home, have dinner, fall into bed and sleep for about twelve hours. Then I would get up and write passionately again all morning.”*

Walking improves cognitive function, working memory, and reasoning ability. It’s no wonder that writers find it a great release and a boon to creativity.

As for me, I’m a runner. The benefits of walking accrue to me as well (I hope), even if I am moving at a swifter pace. Many times, I must choose between writing or running, simply because the day is short and my plans are long.  But on a good day, I accomplish both.  On a great day, the two complement one another.  I will write for a while, and then put on my running shoes and hit the pavement while I work out a snag in the process.

Whether I am in the middle of a writing project or not, running calms my mind. When I leave for a run, I am thinking about a million things, all battling against each other. When I return, perhaps three of them are left, floating around in peaceful co-existence.  And everything else seems manageable.pen small

*Agatha Christie, An Autobiography (New York: Dodd, Mead, & Co., 1977): 245.