Guest post by Kate Nesbit, PhD student in the Department of English.
How can we craft personae and build professional and intellectual communities in posts of 140 characters or less? On Tuesday, November 1 (BCSB 101), Ivan Kreilkamp joins us to discuss the genre of the tweet in our third Next Gen PhD symposium. Kreilkamp, co-editor of the journal Victorian Studies and professor of English at the University of Indiana-Bloomington, curates a lively Twitter account. His tweets engage in intellectual debate, promote others’ scholarship, link to his publications, and—of course—mourn the woes of the current election season. Young scholars and graduate students admiring Kreilkamp’s Twitter presence may wonder: How can I cultivate an online voice that feels authentic and conversational, but also scholarly and professional? How can I create a community of thinkers who take interest in what I have to say?
What we hope to accomplish through Twitter, Victorian authors like Benjamin Disraeli, Elizabeth Gaskell, and Charles Dickens hoped to accomplish through novels. For, as Kreilkamp argues in his book Voice and the Victorian Storyteller (2005), Victorian novelists tried to create in their fiction an “imaginary-voice-in-writing.” Victorians figured the novel as the utterance of an authentic, charismatic storyteller, he argues, in order to reconstitute isolated readers as a community of rapt listeners. Kreilkamp challenges characterizations of print culture as oppositional to oral culture. He reads Victorian fiction in relation to the phonograph, Victorian shorthand systems, and other attempts to represent the sounds of speech in writing.
So, how can we describe the “Voice of this Victorianist Tweeter”? Kreilkamp, too, is adept at crafting a personable and smart imaginary-voice-in-typing, a voice accessible and engaging to a community that extends beyond the academy. He has published scholarly articles on topics ranging from speech and voice in the nineteenth century to Victorian pet-keeping and animal studies. Yet he also publishes regularly in venues geared toward wider audiences—The New Yorker, Public Books, and The Los Angeles Review of Books—on issues literary, academic and otherwise. In short, his is a voice worth listening to, whether in the form of an article about dogs in Great Expectations, an opinion piece on pulp comics in Public Books, or a 140-character tweet about whether men should be pictured squashed under skillets instead of high heels.