Next big thing in English: Knowing they know that you know

To illustrate what a growing number of literary scholars consider the most exciting area of new research, Lisa Zunshine, a professor of English at Kentucky University, refers to an episode from the TV series ‘Friends’.

(Follow closely now; this is about the science of English.) Phoebe and Rachel plot to play a joke on Monica and Chandler after they learn the two are secretly dating. The couple discover the prank and try to turn the tables, but Phoebe realises this turnabout and once again tries to outwit them.

As Phoebe tells Rachel, “They don’t know that we know they know we know.”

This layered process of figuring out what someone else is thinking — of mind reading — is both a common literary device and an essential survival skill. Why human beings are equipped with this capacity and what particular brain functions enable them to do it are questions that have occupied primarily cognitive psychologists.

Now English professors and graduate students are asking them too. They say they are convinced science not only offers unexpected insights into individual texts, but that it may help to answer fundamental questions about literature’s very existence: Why do we read fiction? Why do we care so passionately about nonexistent characters? What underlying mental processes are activated when we read?

Lisa, whose specialty is 18th-century British literature, became familiar with the work of evolutionary psychologists while she was a graduate student at Stanford in the 1990s. “I thought this could be the most exciting thing I could ever learn,” she said.

At a time when university literature departments are confronting painful budget cuts, a moribund job market and pointed scrutiny about the purpose and value of an education in the humanities, the cross-pollination of English and psychology is a providing a revitalising lift.

Jonathan Gottschall, who has written extensively about using evolutionary theory to explain fiction, said “it’s a new moment of hope” in an era when everyone is talking about “the death of the humanities.” To Gottschall a scientific approach can rescue literature departments from the malaise that has embraced them over the last decade and a half.

Zealous enthusiasm for the politically charged and frequently arcane theories that energised departments in the 1970s, ’80s and early ’90s — Marxism, structuralism, psychoanalysis — has faded. Since then a new generation of scholars have been casting about for The Next Big Thing.

The brain may be it. Getting to the root of people’s fascination with fiction and fantasy, Gottschall said, is like “mapping wonderland.” Literature, like other fields including history and political science, has looked to the technology of brain imaging and the principles of evolution to provide empirical evidence for unprovable theories.

Interest has bloomed during the last decade. Elaine Scarry, a professor of English at Harvard, has since 2000 hosted a seminar on cognitive theory and the arts. Over the years participants have explored, for example, how the visual cortex works in order to explain why Impressionist paintings give the appearance of shimmering.

Lisa said that in 1999 she and about 10 others won approval from the Modern Language Association to form a discussion group on cognitive approaches to literature. Last year their members numbered more than 1,200. Unlike Gottschall, however, Lisa sees cognitive approaches as building on other literary theories rather than replacing them.

The theory of mind

Lisa is particularly interested in what cognitive scientists call the theory of mind, which involves one person’s ability to interpret another person’s mental state and to pinpoint the source of a particular piece of information in order to assess its validity.

Jane Austen’s novels are frequently constructed around mistaken interpretations. In ‘Emma’ the eponymous heroine assumes Elton’s attentions signal a romantic interest in her friend Harriet, though he is actually intent on marrying Emma. She similarly misinterprets the behaviour of Frank Churchill and Knightly, and misses the true objects of their affections.

Humans can comfortably keep track of three different mental states at a time, Lisa said. For example, the proposition “Peter said that Paul believed that Mary liked chocolate” is not too hard to follow. Add a fourth level, though, and it’s suddenly much more difficult. Experiments have shown that understanding drops off by 60 per cent. Modernist authors like Virginia Woolf are especially challenging because she asks readers to keep up with six different mental states, or what the scholars call levels of intentionality.

Lisa is part of a research team composed of literary scholars and cognitive psychologists who are using snapshots of the brain at work to explore the mechanics of reading. The project, funded by the Teagle Foundation and hosted by the Haskins Laboratory in New Haven, is aimed at improving college-level reading skills.

“We begin by assuming that there is a difference between the kind of reading that people do when they read Marcel Proust or Henry James and a newspaper, that there is a value added cognitively when we read complex literary texts,” said Michael Holquist, professor emeritus of comparative literature at Yale, who is leading the project.

The team spent nearly a year figuring how one might test for complexity. What they came up with was mind reading — or how well an individual is able to track multiple sources.
The pilot study, which he hopes will start later this spring, will involve 12 subjects. “Each will be put into the magnet” — an MRI machine — “and given a set of texts of graduated complexity depending on the difficulty of source monitoring and we’ll watch what happens in the brain,” Holquist explained.

At the other end of the country Blakey Vermeule, an associate professor of English at Stanford, is examining theory of mind from a different perspective. She starts from the assumption that evolution had a hand in our love of fiction, and then goes on to examine the narrative technique known as ‘free indirect style,’ which mingles the character’s voice with the narrator’s. Indirect style enables readers to inhabit two or even three mind-sets at a time.

This style, which became the hallmark of the novel beginning in the 19th century with Jane Austen, evolved because it satisfies our “intense interest in other people’s secret thoughts and motivations,” Blakey said.

The road between the two cultures — science and literature — can go both ways. “Fiction provides a new perspective on what happens in evolution,” said William Flesch, a professor of English at Brandeis University.

To Flesch fictional accounts help explain how altruism evolved despite our selfish genes. Fictional heroes are what he calls ‘altruistic punishers,’ people who right wrongs even if they personally have nothing to gain. “To give us an incentive to monitor and ensure cooperation, nature endows us with a pleasing sense of outrage” at cheaters, and delight when they are punished, Flesch argues. We enjoy fiction because it is teeming with altruistic punishers: Odysseus, Don Quixote, Hamlet, Hercule Poirot.

“It’s not that evolution gives us insight into fiction,” Flesch said, “but that fiction gives us insight into evolution.”