I’m a great believer
in the impersonal “one”, and the editorial “we”. What the linguists call an
agent defocuser. However, as an editor of academic papers, I have found that neither
“one” nor the editorial “we” is in favour at the moment. It is the age of “I”
or the passive verb. The former I often find intrusive, and the latter
cowardly.
However, you can’t be American
and to the manner born without knowing, in your bones, that “one” is a
hopelessly upper class agent defocuser. To say: One doesn’t do such things, is
to mark oneself as the type of person who either goes to the Yale Club or wants
to go to the Yale Club.
I wonder why this
class aura hangs around the “one”? And why it has so little oral usage – in the
oral, one becomes, oh so fatally, you. In Benjamin’s essay, the Storyteller,
the oral nature of the story, as opposed to the novel, has to do with the space
of its performance. The storyteller in the village is face to face with the
audience, within touching distance. And that touching distance shines out in
the American “you”. There are novels written in the “you” form, and they seem
somehow to be wearing the wrong clothes – for the “you” is a barroom bark, and
perhaps should be paired with the “one” as bluecollar to blue blood. Myself, I
like to think of myself as a blue collar upstart, an imposter of sorts, and
perhaps this is the reason I am so fond of “one”. But I am also fond of “we” as
an editorial gesture. But there is “we” and there is “we”. The “we” that makes me cringe doesn’t
reference the text that both writer and supposed reader are inhabiting, but a
social space. In that bastard form of prose, the newspaper column, the we
bleeds all over the place. The we goes to fancy restaurants, worries about sending
the kids to prep school, and observes the other – which might even have its own
“we”! – as going to diners, beating the kids, and voting for Trump.
I am going to lose the
fight for the editorial “we”, a less snobby and more inclusive doll. One knows
this. But one tries, nonetheless.
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