The essay on which I have requested advice is creeping slowly up towards 1500 words again after being about 1000. The original from which that was condensed was 2000 or more words extracted at random from my usual book-length ambition. Sorry.
To revisit my point, which may be completely specious: The rapid demise of some traditions or ways of doing things comes as no surprise. We know from Eric Hobsbawm (The Invention of Tradition), Hugh Trevor-Roper (The Invention of Scotland), Ian Buruma (Inventing Japan) and Ronald Hutton (Inventing...no, The Triumph of the Moon et al.) that many Immemorial Traditions aren't immemorial at all. Beyond that, quite enough genuinely ancient traditions have had to be reinvented today as niche markets.
But today, the habits of mind being displaced by new apps and options aren't comparable to the carving of cane-bottomed rocking chairs or Palauan storyboards. They're more like the customs of widespread spontaneous storytelling that were displaced by the spread of movies and television, after earlier being threatened by the popularity of novels and weekly magazines.
And that, surely, deserves a bit of thought beyond such preliminary efforts as Douglas Coupland's Generation A. Which itself deserves more thought than the New York Times reviewer gave it, or that I have thus far devoted to discovering its incompletely worked out underlying assumptions.
To revisit my point, which may be completely specious: The rapid demise of some traditions or ways of doing things comes as no surprise. We know from Eric Hobsbawm (The Invention of Tradition), Hugh Trevor-Roper (The Invention of Scotland), Ian Buruma (Inventing Japan) and Ronald Hutton (Inventing...no, The Triumph of the Moon et al.) that many Immemorial Traditions aren't immemorial at all. Beyond that, quite enough genuinely ancient traditions have had to be reinvented today as niche markets.
But today, the habits of mind being displaced by new apps and options aren't comparable to the carving of cane-bottomed rocking chairs or Palauan storyboards. They're more like the customs of widespread spontaneous storytelling that were displaced by the spread of movies and television, after earlier being threatened by the popularity of novels and weekly magazines.
And that, surely, deserves a bit of thought beyond such preliminary efforts as Douglas Coupland's Generation A. Which itself deserves more thought than the New York Times reviewer gave it, or that I have thus far devoted to discovering its incompletely worked out underlying assumptions.