There’s no evidence for a link between a decline in writing standards and texting. Photo: Olivier Morin/AFP/Getty
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No, the internet is not destroying our ability to read and spell

If anything, we are living in an age of unprecedented literacy – in the Western world, at least. The internet just makes our pre-existing mistakes far more visible.

Immediacy is the attribute that most defines the internet. Everything, from shopping to films to pornography, lies, as the cliché has it, just a click away. Online life also brings us into close proximity with the opinions of others – friends, family and total strangers alike. It’s not always pretty of course, generally a reminder that people have a tendency to stupidity, that is often amplified by its appearing in black and white; what would ordinarily be laughed off down the pub as benign ignorance and quickly forgotten is taken a great deal more seriously when couched in the discursive context of an online debate, however inane that debate might be. (And one needn’t throw the first stone either – given the proliferation of opinion online it is likely we have all at least once in our life posted a comment on an internet forum that we wouldn’t care to stand over.)

Officialdom (and its officious henchmen) has long afforded the written word greater importance than the spoken variety, partly out of social prestige but often out of practicality – people, businesses and bureaucracies request something “in writing” to have a documented record of a commitment or an attestation. And not everyone, to be sure, writes to the same degree of elegance or ability. Texting (and, to a lesser extent, Twitter) has been the main bugbear of those Jeremiahs, who bewail falling standards in spelling, grammar and literacy. The reality is, however, that successive studies in various cultural contexts around the world have shown there to be no correlation between a decline in writing standards and SMS use. Standards have remained fairly constant. It is simply that the internet and social media have made what errors there are in spelling and punctuation far more visible these days. If anything, we are living in an age of unprecedented literacy – in the Western world, at least. Until two decades ago, the majority of people, once their formal schooling was over, rarely wrote anything longer than a shopping list or a Christmas card, and rarely was what they wrote intended for a readership of more than a handful of people. That has all changed, and the information revolution affords people greater opportunity to write on a regular basis, and, of course to expose what they write, good and bad, to a greater audience. Minority languages like Irish have found new life in written form online and Cantonese, previously thought of as beneath literary use even by its native speakers, who opted for written Putonghua instead, has, thanks to social media, blossomed into a living written language, and has been emblematic of the current protests in Hong Kong. If the internet has made people their own bureaucrats, it has also made them, in however fanciful a way, their own poets, journalists and chroniclers. 

Illiteracy is a different thing entirely. If you want a gauge for how reading and writing standards are falling or rising, the internet is not really the place to look, because the truly functionally illiterate are not present there. They are generally hidden, in official statistics as well as in society – wealthy countries usually trumpet 99 per cen literacy rates, but the sole metric used, by the CIA handbook, for instance, is people aged 15 or over having completed five or more years of schooling (UNESCO’s yardstick for youth literacy is slightly more demanding). The estimates for adult illiteracy in industrialised societies tend to be as high as 20 per cent (the National Literacy Trust puts the figure for England at 16 per cent). Many of these are people who slipped through the net of the education system and others whose reading and writing ability has declined through disuse – more than half of adult illiterates in France are over the age of 45. Two thirds of those adult illiterates are men, which is itself a direct inversion of the worldwide gender imbalance in illiteracy rates, where two thirds of those that cannot read or write are women. 

One is rarely exposed to illiteracy in everyday life – many of those who genuinely struggle manage to keep it a secret to all but family and close friends. In my bartending days, I once checked myself when a customer asked, during a particularly busy rush what beers we served (there were no brand logos on the taps to help him out) and I impatiently pointed to the chalkboards overhead. It quickly became clear that he wasn’t able to read them and, embarrassed, I made time to run through them with him. Occasionally I will be stopped by someone on the streets of Paris, pointing to an address on a computer print-out they are looking for but which they are not able to make out. They are invariably sub-Saharan Africans perfectly fluent in French, but this doesn’t mean that that social group are the most likely to be unlettered – at least 75 per cent of adult illiterates in France are native-born, having grown up speaking French alone. It is just that an immigrant’s straitened circumstances mean he or she cannot afford to go to lengths to hide his or her inability to read in the same way a native can. 

France’s economy minister Emmanuel Macron recently caused an uproar when, in his first media interview after taking the job, he remarked that workers facing lay-offs in a factory in Brittany would have trouble finding other jobs because of illiteracy. Macron was not wrong (some 20 per cent of the workers in the factory were believed to have reading difficulties) but the blitheness of his comments was understandably wounding. The insensitivity of his remarks are symptomatic of the difficulty any educated person would have empathising with an illiterate person’s predicament. 

Most people these days agree that raising literacy standards can only be a good thing – though there are, of course, those of an authoritarian bent who disagree, like former Portuguese dictator Salazar, who saw a literate peasantry as a threat to his rule, and the Taliban, who take violent exception to girls being educated. Still, even in countries as unfree as North Korea, Saudi Arabia and Iran, literacy, if not always part of a fully rounded education, is certainly taken seriously. In China, Mao even simplified the alphabet to make it easier for the peasantry to learn how to read, albeit depriving the written language of much of its richness. Traditional Chinese now survives only in the spheres which were then out of the PRC’s control – Taiwan, Macao and Hong Kong. It certainly doesn’t follow that literacy will, in of itself, bring about freer societies, nor, as we have seen, does it have comprehensive reach even in wealthy liberal democracies. It does, of course, make economic sense, both for individuals and societies, for people to be able to read and write. It is for this reason that “benefit of clergy” existed in times past, where someone would be spared the death penalty if they could read – a valuable economic commodity. Playwright Ben Jonson was one such beneficiary, escaping hanging for manslaughter in 1598 because of his education. This benefit had originally come about to give clerics the right to be tried by an ecclesiastical court but it was later modified to benefit anyone who could prove their literacy, reflective of the gradual “democratisation” of the educational franchise. 

Increased literacy, no doubt, ultimately has its cultural impact, as Richard Hoggart’s most famous work attested (as did the success of the very Pelican imprint which published it), and, as Dickens observed in Our Mutual Friend, “no one who can read, ever looks at a book, even unopened on a shelf, like one who cannot”. Still, literacy, once again, will not necessarily lead to cultural bounty – there are plenty of places in the world where most people can read or write but remain largely unmoved by things cultural. Literacy is not even a prerequisite for culture, as much of it predates mass literacy. The great Malian guitarist Ali Farka Touré never learned to read or write yet he was a tireless campaigner for education as mayor of his native village – in developing countries, it is often illiterate parents who are the most eager for their children to learn to read and write. But even literate parents in Western countries worry about their offspring – the older generation hail Harry Potter and the Twilight books as the cavalry rescuing teenagers from certain ignorance fostered by TV, video games and the internet. I tend to agree with Tim Parks that such books aren’t really a gateway drug for weightier literature, and neither do I think that reading would all of a sudden die out among younger people if it weren’t for J K Rowling or Stephanie Meyer. Illiteracy is a real problem for many adults (and children too) but it is engendered mostly by being locked into an environment where reading or the encouragement of it is absent. If your children are getting anywhere near books without having to step into a schoolroom, you need not worry too much, any more than that texting will destroy their ability to spell.

Oliver Farry is an Irish writer, journalist and translator living in Paris.

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Shell-shock symphony: Berg’s Wozzeck – opera’s take on post-traumatic stress disorder

Begun in 1914 and premiered in 1925, Wozzeck has class struggle, poverty and mental health problems as its principal subjects.

When I was 12 years old, I made a devastating discovery. The arias from my favourite operas – Rigoletto, Turandot, The Barber of Seville – which I played over and over again, winding and rewinding the cassettes ­until they ceased to work, did not ­necessarily have words that matched the beauty of the music. Intense study of a book I had received for Christmas called Stories from Opera taught me that although some of the soaring melodies I adored carried words about love, death, horror and tragedy, other lyrics, in translation, proved to be people agreeing where to meet later, or misremembering each other’s names.

This crushing disappointment came to mind again recently while I was listening to an edition of Radio 3’s Building a Library, a segment of its regular Saturday-morning CD review, in which new releases are compared and contrasted with archive recordings to find the best listening experience. The reviewer Gillian Moore was surveying the available recordings of Alban Berg’s Wozzeck. She gave credit to several English-language recordings for the clarity they offer newcomers to this work, but eventually concluded that she must recommend a version using the original German, because there were crucial aural elements that could not be reproduced without it.

Moore, now director of music at the Southbank Centre, chose to kick off a series of semi-staged concert performances of operas with Wozzeck. Although undoubtedly an opera, it was a far cry from the fairy stories and doomed romances that filled my pre-teen ears, but it worked surprisingly well stripped of scenery, costumes and other theatrical accoutrements.

Zurich Opera’s presentation placed importance on the orchestral score above all else, allowing its jagged and insistent lines to remind us that this is music born of the dark years between the world wars. Begun in 1914, but delayed while Berg served in the Austro-Hungarian army (it premiered in 1925), it has class struggle, poverty and mental health problems as its principal subjects. The score owes much to Berg’s fellow Viennese composers Gustav Mahler and Arnold Schoenberg (Mahler’s widow put up the money for the initial publication of the score). At times in this production, the orchestra was so utterly central that it felt like a symphony with singing, rather than vocal melodies with accompaniment.

The Wozzeck of the title is a poor soldier, flawed and dogged by madness and visions we would probably now see as signs of post-traumatic stress disorder. He scrapes a living for his girlfriend, Marie, and their son by humiliating himself before his military and class superiors (the Captain, the Doctor, the Drum Major) and by participating in degrading medical “experiments”. The star of the show, the German baritone Christian Gerhaher, had to withdraw at the last minute for health reasons, so the British singer Leigh Melrose stepped in to reprise his Wozzeck from the widely acclaimed 2013 ENO production. Despite performing from behind a music stand, Melrose acquitted himself well, handling the transitions between Berg’s three singing styles: “half-singing”, Sprechgesang (or “spoken singing”) and full vocalisation to great effect.

Gun-Brit Barkmin, with a severe Twenties bob and a flowing scarlet dress, was a superb Marie – alternately harsh and soft as the music demanded it, flirting destructively with the Drum Major while conveying how little choice she had in the matter. Of the ensemble, Lars Woldt’s Doctor particularly stood out, using the German libretto to drag every ounce of black comedy out of his character’s fascination with Wozzeck’s bodily functions. The high vocal standard proved Moore’s point about the necessity of the original German libretto – it is a difficult language to sing, because of all the harsh consonants and modified vowels, but when used expertly can be unendingly expressive. We hear this in the way the double “zz” of the title character’s name becomes a derisory bitten-off “tz” in the mouth of the Captain; and Wozzeck’s exclamation in Act I that “Du, der Platz ist verflucht!” sounds so much more accursed and deranged with all those consonants in such close proximity.

The German sociologist Theodor Adorno once called Berg “the foreign minister of the land of his dreams”, much to the composer’s amusement; but, hearing the score for Wozzeck laid so bare, you understand what Adorno meant. The incredible double crescendo on a single B from the orchestra after Wozzeck murders Marie – raised by the conductor Fabio Luisi in this performance to an unbearable volume before being allowed to die away – feels like music from an other-worldly nightmare. Yet, for the war-battered men who inspired Wozzeck, his tragic half-life was all too real.

Caroline Crampton is web editor of the New Statesman.

This article first appeared in the 08 October 2015 issue of the New Statesman, Putin vs Isis