How will it end? Boundedness, the satisfaction of completion, and never finishing the internet

After a short hiatus (I won't bore you with why*) I've had a chance to catch up with Michael Kowalski and review progress on the HayleyWorld zoeography app.

He's (hopefully) about to finish both implementing the algorithm and optimising the way the app works. And I'm going to continue writing commentaries, adding other content and thinking through the big question he asked me: How does it end?
 

When is a book a book?

Back in 2011 I interviewed Theodore Gray, author and co-founder of Touchpress, Wolfram Research and Wolfram Alpha for a feature in the Independent on Sunday about digital literature. Theo listed three characteristics that mark a book out as a book. If

"it’s bounded and user-paced and it’s narratively directed, then you can call it a book. Otherwise, it might be an encyclopaedia or it might be a website."

Theo Gray talking about books and apps back in 2011

By user-paced, he meant that it's not like a linear video,"that you are forced to watch at a certain rate. It’s a piece of text that you choose to read at whatever speed you want to read it at." He also states that the choice of navigation through the material should be entirely at the reader's discretion, while an author "takes you by the hand and shows you the things that [s/he thinks] you should read in a reasonable length of time, to get a good introduction, or a good overview, or a good in-depth analysis or whatever of this topic."

The boundedness of books is key to what I'm pondering in this post – and to how this digital biography of William Hayley will finish. Books, says Gray, "have a beginning and an ending and a discoverable way of knowing that you’ve read the whole thing. By which I mean that you can start, you can consume and finish it and say I’ve read this book.

This is typically not the case with websites. It’s an important and valuable and good thing about websites that they’re open-ended and they keep going. You don’t finish a website. You don’t finish the internet. That’s a wonderful thing. But it’s not a good thing in the case of a book. Because the valuable sense of accomplishment that you can have that I’ve read this book. And you can tell your friends. Part of it is the sense of satisfaction of completion."

Reading vs not reading endings

Tim Parks wrote a fab essay in The New York Review of Books on whether it's important for readers to read to the end of (good) books. One conclusion he reaches is

"even in these novels where plot is the central pleasure on offer, the end rarely gratifies, and if we like the book and recommend it to others, it is rarely for the end."

 And,

"it’s worth noting that stories were not always obliged to have an end, or to keep the same ending … It was only when myth became history, as it were, that we began to feel there should be just one “proper” version, and set about forgetting the alternatives."

A paradox?

Perhaps offering readers the opportunity to feel that "sense of satisfaction of completion" involves communicating the range of possible endings which would

a) explain my invarible dissatisfaction with forking path narrative
and
b) much more significantly, signal a paradox: to experience that a feeling of completeness, the work needs to we need a sense of incompleteness. Of potentials untapped, perspectives beyond the protagonists' storyworld…

 Tim Parks again:

"With novels, the endings I’m least disappointed with are those that encourage the reader to believe that the story might very easily have taken a completely different turn."

The conclusions Tim Parks draws concerning the relationships between reader, writer and text link neatly with a realisation Michael Kowalski's question provoked. The way we bound and/or end HayleyWorld needs to take into account not only how biographies finish, but also how, in general, relationships finish and, in particular, how William Hayley's key relationships finished.

How relationships end

While both his marriages ended badly, and his first love dumped him, most of Hayley's friendships either ended with the death of one party (his university friends), or with an illness that disabled communication – George Romney and William Cowper. A few others petered out over time. Only one or two – that with George Steevens, for example – terminated in high dudgeon. His professional relationships tended to follow similar patterns. Even though William Blake's three-year stay in Felpham ended in a colossal row, later communciations between the two men, if not overly intimate are courteous and amicable.

This also raises the question of how I want HayleyWorld's audience to feel when they finish – or finish with – the app. Overall, I'm aiming for engaged, amused and informed. But do I want them to feel about William Hayley and other key players in his story as I feel about them? Or do I want them to make up their own minds? What do I feel about William Hayley and co?

And how do I ensure that these questions – and all the others that pop up when I'm thinking about relationships between protagonists, narrative journeys and the user experience – inform both content and technical development rather than simply running along on a parallel track…


* oh, all right: work, ill teenager, divorce and building work demanding the Movement of Many Things. All on-going (although most of the Things have now been Appropriately Moved)…

Happy 270th birthday, William Hayley

As it's Hayley's 270th birthday today, I thought I'd write a quick celebratory post on why – despite his relative obscurity– he's both worth writing about, and an appropriate subject for the new approach to biography I'm attempting

Hayley…

• was the first person to publish any of Dante's work in English translation
• wrote one of the late eighteenth century’s bestselling self-help books: The Triumphs of Temper, advising young women on how to attract and keep a husband. Composed in rhyming couplets, it was modelled on Pope’s The Rape of the Lock
• supported and championed writing by women, reputedly praising Mary Wollstonecraft's A Vindication of the Rights of Woman and negotiating book deals for Charlotte Smith
• persuaded William Blake to leave London for Sussex, and probably saved his life by providing both financial and personal support before and during his trial for sedition – a capital offence. He also provided inspiration (but not in the way he hoped) for Blake's prophetic poetry
• turned down William Pitt's offer of the poet laureateship in 1790 because of "the absurd duties annex’d to the office" and "the very shattered state of my own Health & Faculties"
• was an amateur doctor with an active and practical interest in the relationship between creativity and mental illness, who provided medical assistance to the villagers around his home in Eartham and both supported and attempted to cure William Cowper, George Romney and Joseph Wright of Derby of their mental health problems. He had much less success with his wife Eliza's "marvellous mental infelicities".
• was an early adopter of medical technologies: particularly the "electrical machine" and the cold shower bath
• had an interesting personal life: whilst supportive of women professionally, his behaviour in his most intimate relationships with his wives Eliza and Mary (Wellford) and the mother of his child (Mary Cockerell) wasn't as blameless as his Memoirs show he'd like us to believe
• was a consumate networker who understood that by assisting and advancing the careers of his friends, he would also do no harm to his own
• was realistic about the extent and limitations of his own talents
• was probably instrumental in saving the manuscript of Christoper Smart's Jubilate Agno

It was this last  point that first sparked my interest in William Hayley: according to the first editor of Smart's poem – William Force Stead – Hayley and Thomas Carwardine, both friends of Cowper

"regarded this manuscript by the demented Smart as a fair specimen of the nature of poetic insanity, and therefore of some value when they were dealing with Cowper, who had been attacked by the same disease."

Some twenty years on, I'm still fascinated by him, his relationships and the way he worked.

Happy 270th birthday, William Hayley.

Relationship mapping, power and influence

I've finally got round to starting to map William Hayley's relationships. I realised fairly quickly that I'd drive myself nuts if I tried to do them all at the same time, so I've gone for three categories: family, friendships and work. So far I've had a bash at family and friendships

Naturally the different types of relationship overlap, so some people – including Hayley's first wife Eliza, his son Thomas Alphonso, and Tom's mother, Mary Cockerell appear in both.

Two issues troubled me during the mapping process: time and power/influence.

 Time, power and influence

The only nod I've made to the former is by putting the descriptors of relationships with William Hayley's father and brother – both of whom died while he was very young – in the past tense and in pink. More on time in a bit…

I've signalled the different degrees of power and/or influence in the relationships by using

• bi-directional straight arrows and reddish-brown text for relationships which seem/feel equal 
• uni-directional straight arrows coming from the individual with greater power/influence in the relationship plus blue text
• uni-directional curved arrows coming from the individual with lesser power/influence in the relationship, plus blue text.

I've only deviated from this is in the (family) relationship between Eliza Hayley and Mary Cockerell. Although Mary was Eliza's servant, it was William Hayley who, ultimately, had control over both women: control he exerted on at least one occasion, post-separation, when Eliza challenged his authority. There were also times when Eliza depended on Mary for care and companionship and, even – in once instance (also after the couple had separated) when both women were lodging together in Derby – for sourcing food.

The only other fact I want to highlight at this stage, is that there are, unsurprisingly, more asymmetric power/influence relationships amongs family than there are amongst friends, and that the distribution is – even less surprisingly – gendered.

But, as I've already indicated, the two masses of text and squiggles below don't show how relationships evolve, wax and wane over time.

A "Dislikes" arrow?

I need to do something more sophisticated and (almost certainly) animated to evoke these changes, to demonstrate the way marriages, deaths and fallings-out impact on friendships and family relationships: to highlight emnity as well as amity. I'm thinking here not only of William Blake's initial attraction to, and sympathy for Hayley crystallising into fury and frustration at the latter's attempts to direct his work, then, ultimately relaxing into gratitude at Hayley's successful efforts to ensure he was acquitted at his trial for sedition. I'm also wondering how to represent, say, the poet Anna Seward's disapproval and violent criticism of poet and novelist Charlotte Smith's work. Both women were close to Hayley at one time or another, with Hayley even negotiating on Smith's behalf with her publisher. Seward eventually, angered Hayley, by writing about Eliza in a way Hayley considered both unkind and – given her privileged knowledge of Eliza's mental health issues – a betrayal.

And I'm also thinking about how to represent the relationship between Hayley and Reverend John Johnson: Cowper's relation and carer. Although Hayley would have considered Johnson a "confidential" friend, a couple of comments in Johnson's letters to others, along with a few of his editorial markings on the manuscript

Finally, before I finish I'd like to critique the terms I've used to define the relationships. They are all possessive: hasWife; hasFriend; hasEmployer. I should have used isHusbandOf; isFriendOf; isEmployeeOf. But they are also too static for my liking. The next thing I need to understand is how to model flow.

Narrative flow, relationship flux and nuclear reactors

Think I need to ask my friend who used to design software for nuclear reactors… Meanwhile, here's where I've got to so far…

Introducing William Hayley

Although now – unless you’re a Blake aficionado or an 18th century specialist – you’re unlikely to have heard of William Hayley (1745-1820), in his time he was highly influential.

Alongside reams of poetry, a dozen or so unsuccessful plays, a slew of verse and prose essays (he was the first person to publish any of Dante’s work in English), and one novel, Hayley wrote one of the late eighteenth century’s bestselling self-help books: The Triumphs of Temper, advising young women on how to attract and keep a husband. It was written in rhyming couplets and modelled on Pope’s The Rape of the Lock.

Despite this success, his own marriages – he wed twice – were not happy. His first wife, who, in his memoirs he often describes as his “pitiable Eliza”, suffered from “marvellous mental infelicities”  which, in Hayley’s telling, led, ultimately, to their separation.

Little is known of his second marriage, except that it lasted under four years and ended with a case in the Doctors’ Commons. However, I’m in the process of trying to decipher a heavily redacted letter Hayley wrote to a friend in 1816 in which he describes himself as having been lured or tricked

into a calamitous marriage by a subtle plot between two beautiful sisters & a hypocritical Presbyterian all of whose artful machinations [illegible] I have lately discovered

More to follow when I’ve completed my detective work.

Hayley also functioned as an amateur doctor, treating the villagers around his home in Eartham, Sussex, where he was well loved, and was proud of never having killed anyone.

He also had a particular interest in the relationship between mental health issues and creativity, and took an active part in supporting, and attempting to cure, William Cowper, George Romney, Joseph Wright of Derby and Charlotte Smith amongst others (he also, on occasion, negotiated book deals for Smith).

Hayley coaxed William Blake to Sussex from London in 1800 and provided – as the antithetical element in Blake’s dialectical approach – inspiration for some of his prophetic poetry. It’s also likely that, in standing bail for Blake when he was tried for sedition in 1804, hiring a lawyer and speaking for him in court, he saved the visionary’s life. Sedition, after all, carried the death penalty.

For a combination of political and health reasons, in 1790 Hayley turned down Pitt’s offer of the poet laureateship. After his own, unpleasant experiences at school – he nearly died at Kingston Grammar and was bullied and beaten at Eton – he paid close personal attention to the education of his son Thomas Alphonso (whose mother was neither of Hayley’s wives), which was mostly undertaken at home in Eartham, West Sussex where he also tutored some of his friend and neighbour, Lord Egremont’s children.

He died aged 75 in 1820.