Forests of symbols

I’ve been reading Steven Fischer’s A History of Writing ever since Christmas and finally finished it. It’s sort of hard to follow (I think he could have used a more systematic editor), but it has prompted much reflection on the nature of writing.

Writing fascinates me. Learning new alphabets is fun; handwriting is important enough to experiment with and remodel from time to time. Letters are exciting. Living in another era, I would have been temperamentally inclined to credit the myths that described writing as a sacred gift from the gods.

In truth writing probably began with accountants, who made knots in ropes, scratched notches on sticks, or inscribed clay tokens to symbolize unwieldy animals. It was when the marks they made assumed a phonological significance apart from the objects they represented that this became complete writing. Fischer emphasizes that this was a groundbreaking technological innovation, not an evolutionary process. He suggests that complete writing was invented only once in all history: a rare idea indeed. All the diverse instances of it around the world, from the most awkward to the most ingenious, are variations on the unique idea of complete writing that popped up in Sumer around 3700 BC:

1. Its purpose is communication.
2. It consists of artificial graphic marks on a durable surface (or electronic medium).
3. It uses marks that relate conventionally to articulate speech.

It is not that unromantic that we owe accountants for the concoction of letter magic. After all, what is a story but an account? In French, a compte rendu is a summary of something you’ve heard. And a conte is a pure fairy tale.

To populate our tales (a word that used to mean counts, just like tallies,) we need all the races of letters―gothics and grotesques, romans and moderns and humanists, capitals and uncials and minuscules. We delight in their anatomy of bowls and crossbars, ears and crotches, legs, arms, apices, vertices, tails, terminals, hairlines, stems, spurs, and spines. Not to mention heng, shu, and the other limbs I haven’t learned yet, to make beautiful creatures I mentioned earlier.

With picayune pecunia we assemble the words that form our armies of arguments. We can take nothing for granted in our accounting. The tale of writing is rich.