- Hardcover: 272 pages
- Publisher: Viking; First Edition First Printing edition (March 16 2010)
- Language: English
- ISBN-10: 0670069221
- ISBN-13: 978-0670069224
- Product Dimensions: 13.6 x 2.5 x 20.4 cm
- Shipping Weight: 408 g
- Average Customer Review: 3 customer reviews
- Amazon Bestsellers Rank: #293,916 in Books (See Top 100 in Books)
Extraordinary Canadians: Marshall Mcluhan Hardcover – Mar 16 2010
Customers who bought this item also bought
What other items do customers buy after viewing this item?
No Kindle device required. Download one of the Free Kindle apps to start reading Kindle books on your smartphone, tablet, and computer.
To get the free app, enter your mobile phone number.
Quill & Quire
Only Douglas Coupland could have written Marshall McLuhan. In his contribution to Penguin’s Extraordinary Canadians biography series, Coupland challenges the grandiose nationalistic poise of the series, and indeed the very nature of biography itself. Employing a typographical collage that combines aphorisms, YouTube commentary, computer-generated anagrams of McLuhan’s name, AbeBooks.com online book reviews, and snippets of Coupland’s own fiction, the celebrated novelist and cultural analyst paints an eclectic but reverent portrait of a man he considers first and foremost an artist.
Though McLuhan is known for popularizing the idea of communication across a global village, he was actually wary and distrustful of the potential impact of technological change. Despite his reputation as a seer and iconoclast, McLuhan was strikingly conservative. After converting to Catholicism as a young man, he attended Mass almost every day for the rest of his life. Despite his ascension in the free-thinking 1960s, McLuhan was prone to expressing anti-feminist and homophobic ideas. Coupland compares McLuhan to pop-art phenom Andy Warhol, because of the intense fervour of his devotees and his evident ability to recognize and capitalize on patterns in popular culture.
In Coupland’s assessment, McLuhan’s perspective and accomplishments are attributable not merely to his education or his upbringing, but to specific biological factors, including cerebral abnormalities that eventually led to a pair of debilitating strokes. Coupland argues that, in a sense, the observation that “the medium is the message” is directly applicable to McLuhan’s brain and nervous system.
Marshall McLuhan is a postmodern, unsentimental love letter from an appreciative and thoughtful heir to his intellectual legacy. The book raises deep questions but does so in Coupland’s trademark detached style, which is wry, amused, and conversational. Identifying parallels between his own life and that of his subject and including several McLuhanesque pieces of his own writing, the author reveals almost as much about himself as he does about his subject.
About the Author
Douglas Coupland's first novel, Generation X, was published in March 1991. Since then he has published nine novels and several non-fiction books in thirty-five languages and most countries on earth. He has presented as a visual artist, with exhibitions in spaces in North America, Europe, and Asia. 2006 marks the premiere of the feature film Everything's Gone Green, his first story written specifically for the screen and not adapted from any previous work. A TV series based on his novel jPod premiered on the CBC in January 2008. His most recent novel is The Gum Thief. He lives in Vancouver, B.C.
Top customer reviews
Having said that, it may very well be that Coupland's intent was that through his book we would experience McLuhan. To that end it may have been very successful.
Other reviewers have dwelt on how much Coupland’s writing owes to McLuhan’s ideas — Coupland, like McLuhan, is notorious for an iconic catchphrase, “Generation X” following on the heels of the “Global Village” — and reading Marshall McLuhan shows above all else how much Coupland appreciates and identifies with his subject;
"boy-oh-boy-boy, did he string together words in a way that now seems like dense, fabulous poetry!"
Coupland’s book is light on the analysis of McLuhan’s ideas and almost as light on the nitty-gritty details of the definitive biography. What it offers is an incisive and often fascinating insight into McLuhan the man, the walking contradiction, the Renaissance esthete with a fascination for the terminally banal.
It all makes for a quick and entertaining read. I didn’t realize how much I was enjoying the book until it was over, and I found myself wishing there were more still to read.
Coupland constantly emphasizes the irony that McLuhan, who hated the way that the world was changing around him, has been popularly misunderstood as the guru of the electronic age: “Society was absorbing too much technology too quickly, and he knew it. Did he like this? No! He hated, loathed, abhorred it.”
McLuhan’s personal tastes may have been thoroughly unmodern, but the way he expressed his analysis of the emerging mediaverse matched his subject, not his sensibilities: "For Marshall, the fun of ideas lay in crashing them together to see what emerged from the collision. (Dear God, he would have enjoyed using the internet.)"
Marshall’s Dagwood obsession foregrounded the fact that his critical writing only became truly fresh and alive when he fused formal academic knowledge with the observation of pop and media culture—when he used his words to span centuries and continents and knit them together.
Coupland expresses the disconnect between the private McLuhan and his public ideas with an insider’s insight: "You are witnessing the world, but you are not being affected by it. You are driven to a skyscraper where rich men are paying you thousands of dollars to say pretty much whatever passes through your mind."
Who’s the “you” here, McLuhan or Coupland?
While Coupland doesn’t spend much time on detailed analysis, when he does pause to summarize McLuhan’s ideas the result is usefully precise: "Marshall defined tribal societies as oral cultures whose members used emotionally laden speech to communicate. These non-literate societies were politically engaged, emotionally charged, tightly woven together, and unified. They lived in what Marshall called 'acoustic space.'”
Marshall believed the electronic media were extensions of the human nervous system, with TV being the most significant because it invokes multiple senses: "Discarnate man is happy to be asynchronous, as well as everywhere and nowhere—he is a pattern of information, inhabiting a cyberspace world of images and information patterns. Discarnate man prefers “a world between fantasy and a dream,” where barriers fall between consciousness and the unconscious. It is the dark underbelly of the global village— the total loss of identity."
In the last analysis, Coupland argues, the best way to look at McLuhan is not as a scholar, but as an artist, a proto-postmodernist, a writer whose breaching of the boundaries of his form of expression is itself an integral part of the content. You know, “the medium is the message,” that kind of thing.
Coupland writes, “Society had eclipsed the range of Marshall’s being. But there’s a different way of looking at it, through the lens of art.”
It’s art that Coupland is after throughout, and for that reason Marshall McLuhan is less than a biography, and more. And it’s the more that makes Douglas Copeland’s short book very much worth reading.
"It was an adventure, Marshall, and wasn’t it grand? You would have hated the way things turned out, sir, but you would also have found it oh so very, very interesting. Oh boy, oh boy, oh boy."
Most helpful customer reviews on Amazon.com
Look for similar items by category