Beyond Argument. Sarah Addison Allen

in Heaven,’” Gusdorf argues that speech “is what constitutes the real and what founds identity” (113). He continues, saying that speech “initiate[s] being” (113). In the context of his larger work, I understand this claim to mean that speaking has the power to create a living, breathing entity, and that in the process of speaking, one can shape that being into an identity… but not just any identity. According to Gusdorf, the initiated being is an extension of the living, coherent, original speaker. This extension is possible because, according to Gusdorf, written or spoken language is consciousness, itself—“inner speech” made external, “expos[ing] the innermost human recesses to inspection and judgment” (113).

      In Gusdorf’s model, after speaking, writing becomes “a second incarnation…” of the utterance of the speaker. He states, “[Writing] is the memory and the commemoration of spoken utterances, which thus will be able to confront the very one who, having spoken them, might very well have forgotten them” (114). So, in writing, the writer has the opportunity to study a finite form of the initiated being—which, in the case of creative nonfiction, is his/her self. To put this in phenomenological terms, in writing autobiographically, one discovers the self by making an observable object of it, but an object that is an extension of the original self. The key pay-off for Gusdorf in such a writing exercise is that it is only through the work of autobiography, in which he includes the essay (127), that we are able to search out our true selves, not in comparison to an other that is not us (like Adam does with Eve) but according to an other that is us.

      This objectification of the self onto the page (the making of the flesh-and-blood writer into an “I” or “me” on the page) is important, key in fact, to the concept of voice. It is also responsible, as I will show in the coming pages, for voice’s failure to do what it is supposed to do—to express and empower the self of the writer. To explain how voice is supposed to empower writers, I turn now to some of Peter Elbow’s work on voice. In it, Elbow relies on a theory of language similar to Gusdorf’s (though he does not map it out explicitly, like Gusdorf does), and it is through that theory of language that Elbow argues that by writing—by making our inner speech (i.e., life force) external—we externalize the self. If this externalization is done adequately in writing, then the externalization is of the writer’s life source, which Elbow calls “resonant voice.”

      Elbow states that resonant voice consists of words that “seem to resonate with or have behind them the unconscious as well as conscious” writer’s mind. As a result, the reader feels “a sense of presence with the writer” (“About Voice” xxxiv, emphasis in text), and that is where its power lies. Elbow is careful in his phrasing here. He says “a sense of presence,” as if to suggest that the experience is sensory, not necessarily scientific—i.e., predictable, objective, the inevitable consequence of a cause-effect relation. This carefulness in phrasing, tentativeness even, is typical of Elbow’s work on voice. It suggests that he is experimenting with the concept, that he is testing out an idea, practicing, perhaps, the very practices he teaches in his writing textbooks (e.g., the believing/doubting game). I note this in order to clarify the fact that Elbow’s investigations into and experiments with the concept of voice have yet to come to an end. He continually revises them. Thus, his work makes for a difficult object of study, as the object, itself, is often shifting and is still being revised. In this part of his ever-evolving exploration of voice, however, in the claim about words seeming “to resonate with or have behind them the unconscious as well as conscious” writer’s mind, one finds, again and obviously, an emphasis on the writer’s mind somehow being captured and made present in the text.13

      This emphasis is interesting to the effort in this chapter to investigate the relation between the personal essay and the concept of voice in writing because it demonstrates the sometimes obvious (but often complicated) relationship between the ways in which one Expressivist, Peter Elbow, is emphasizing the writer’s mind-page relation and the ways in which personal essayists, too, have emphasized the same relation. In Elbow’s work and in the arguments about personal essays, this essential part of the writer (his/her mind) may be made present like an image in a mirror or made present in the aural qualities (the resonance) of the text, but the important point here is that the presenting of the mind on the page should be powerful enough that it impacts the reader: s/he sees it, feels it, and is affected by it, when s/he reads. To encourage that impact, Elbow advises writers to make careful choices about what kind of language they use. This advice is meant to help the student express the “invisible self”—a deeper self that exists behind or hidden within the apparent self, one that is full of power, that can extend itself beyond the physical boundaries of the flesh-and-blood writer, that can manifest in, for example, black squiggles on white pages. This self is, if framed in the discourse of and about the personal essay, the natural state of being that is so essential to the relationship between essayist and essay on which this chapter centers.

      Resonant Voice: What it is and What it is not

      In Writing With Power, Elbow states, “[Some people’s] speech sounds wooden, dead, fake. Some people who have sold their soul to a bureaucracy come to talk this way. Some people speak without voice who have immersed themselves in a life-long effort to think logically or scientifically […]. Some people lack voice in their speech who are simply very frightened […] ” (290). Here, voice is somehow bound to a person’s essence, his/her soul, for in the lines above, it is in selling his/her “soul to bureaucracy” that one might find oneself without a voice. That is, though, only one example of lost voice. The voiceless might be, instead of soul-selling bureaucrats, logically or scientifically-minded. The afraid may also find themselves voiceless.14 According to this passage, then, it is bureaucracy, logic, science, and/or fear that may steal (or to which one relinquishes) a writer’s voice.

      In opposition to this theft or sacrifice, Elbow states, “Writing with voice is writing into which someone has breathed” and “[w]riting with real voice has the power to make you pay attention and understand—the words go deep.” He continues, “I want to say that it has nothing to do with the words on the page, only with the relationship of the words to the writer—and therefore that the same words could have real voice when written by one person and lack it when written by someone else” (299, emphasis added). In other words, the power of a text hinges on the proximity of the relationship between writer and page, and Elbow takes this relationship very seriously, suggesting a proximity that is similar to the magical acts described in the Old Testament.

      To explain, if one takes seriously Gusdorf’s assertion that language is “not simply designation, but an immanent reality by virtue of which it is possible for man to repeat the denominative and at the same time creative act of God” (Speaking 12), then one sees how voice works as a divine act. The “first word” of God works like a text that has voice and vice versa. The speaker/writer is able to call into being a self, his/her self, the same self or part of the same self that exists outside of words into words. Adam is created “in the image of God”… “from the word of God.” In the voice on the page one finds a reflection of the creator, the writer, but most importantly to my point here, one that is alive; some essential, life-giving, life-sustaining force remains.

      Following this lineage and applying it to prior discussions about freedom and walking (the return to nature) in the essay, for voice to be breathed into the words on the page and for it to call into being the self that is the writer, the voice and its source must be in its natural state. They cannot be contaminated, diluted, or deadened by bureaucracy, logic, science, or fear. These are important requirements, for it seems that what is driving them is the assumption that such influences impede the expression of the natural (and the most potent) self. If the natural self is impeded, then the power of voice fails, for in voice theory, words not only issue from my essence, but generate power in issuing from and carrying the force of that essence.

      According to Elbow, there is evidence of that power in the writer’s words, if they impact the reader’s center. He states, “[…T]he words somehow issue from the writer’s center—even if in a slippery way—and produce resonance which gets the words more powerfully to a reader’s center” (Writing With Power 298). To enact resonant voice, then, the words of a text should “somehow issue from the writer’s center,” from his/her essence, resonating powerfully enough to effect a thrust into “the reader’s