A decade on, this autumn, Twitter co-founder Evan Williams registered his dismay at how social media platforms were helping to ‘dumb the entire world down’, lamenting specifically the role Twitter played in Donald Trump’s election victory. In the arena of politics, language has always been the slippery servant of self-promoting, truth-bending, popularity-seeking individuals. In the age of the sound bite, for which social media is the perfect vehicle, we no longer expect the statements politicians utter to convey any meaning whatsoever. From literature we have hitherto expected better – not least because endurance, rather than fleetingness, is one marker of its quality. As Pound put it, literature is ‘news which stays news’. Of all the literary forms, we might have predicted that poetry had the best chance of escaping social media’s dumbing effect; its project, after all, has typically been to rid language of cliché. Yet in the redefinition of poetry as ‘short-form communication’ the floodgates have been opened. The reader is dead: long live consumer-driven content and the ‘instant gratification’ this affords.
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