Each of us is a multitude. There is no single unified self. Our thoughts are a conversation. The voices of family echo in our minds when we first leave home and long after our loved ones have died. Then there are all the television, movie, and commercial characters that invade our consciousness with their catchphrases, slogans, and taglines. And we can’t forget how songs get stuck on cognitive repeat or emerge as a compulsion to sing.
Yet another example are the intimate voices imagined as you read novels, a form of inner speech that can carry on after you have put down a book. These can be the most powerful voices. There is nothing that compares to the long periods of time spent with compelling fiction. The voice of characters in a novel are heard within your own head as you read. You can return to this experience again and again, until the characters have become internalized and their words inscribed upon your psyche. Their voices becomes your own voices.
This chorus of voices is constantly playing in the background, a caucophony of thoughts vying for your attention. But occasionally they rise into the spotlight of your consciousness. Even then, it rarely occurs to any of us how strange those voices are, except when some particular voice insistently refuses to go away and maybe even seems to have a mind of its own. Then we might begin to question the distinction between them and us and question what kind of being we are that can contain both.
There is an argument that novels help us develop theory of mind. But maybe in the process novels, along with certain other modern media, result in a particular kind of mind or minds. We come to identify or otherwise incorporate what we empathize with. The worlds we inhabit long enough eventually inhabit us. And what we’ve heard through out our lives can have a way of continuing to speak to us, layers upon layers of voices that for some of can speak clearly.
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It’s a cliche to claim that a novel can change your life, but a recent study suggests almost a fifth of readers report that fiction seeps into their daily existence.
Researchers at Durham University conducted a survey of more than 1,500 readers, with about 400 providing detailed descriptions of their experiences with book. Nineteen per cent of those respondents said the voices of fictional characters stayed with them even when they weren’t reading, influencing the style and tone of their thoughts – or even speaking to them directly. For some participants it was as if a character “had started to narrate my world”, while others heard characters talking, or imagined them reacting to things going on in everyday life.
The study, which was carried out in collaboration with the Guardian at the 2014 Edinburgh international book festival, also found that more than half of the 1,500 respondents said that they heard the voices of characters while reading most or all of the time, while 48% reported a similar frequency of visual or other sensory experiences during reading.
According to one of the paper’s authors, the writer and psychologist Charles Fernyhough, the survey illustrates how readers of fiction are doing more than just processing words for meaning – they are actively recreating the worlds and characters being described.
“For many of us, this can involve experiencing the characters in a novel as people we can interact with,” Fernyhough said. “One in seven of our respondents, for example, said they heard the voices of fictional characters as clearly as if there was someone in the room with them.”
When they asked readers to describe what was happening in detail, the researchers found people who described fictional characters remaining active in their minds after they had put the book down, and influencing their thoughts as they went about their daily business – a phenomenon Fernyhough called “experiential crossing”.
The term covers a wide range of experiences, from hearing a character’s voice to feeling one’s own thoughts shaped by a character’s ideas, sensibility or presence, he continued. “One respondent, for example, described ‘feeling enveloped’ by [Virginia Woolf’s] character Clarissa Dalloway – hearing her voice and imagining her response to particular situations, such as walking into a Starbucks. Sometimes the experience seemed to be triggered by entering a real-world setting similar to one in the novel; in other situations, it felt like seeing the world through a particular character’s eyes, and judging events as the character would.”
The characters who make the leap into readers’ lives are typically “powerful, vivid characters and narrators”, Fernyhough added, “but this will presumably vary hugely from person to person”.
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