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Leading Edge<br />

T.S. Eliot’s original title for The Waste Land<br />

was “He Do <strong>the</strong> Police in Different Voices,”<br />

a line from a Charles Dickens novel<br />

THE BIG IDEA<br />

Words, by <strong>the</strong> Numbers<br />

What can a computer reveal<br />

about a work <strong>of</strong> fiction<br />

PEOPLE HAVE BEEN ANALYZING WRITTEN TEXTS for over a thousand<br />

years, dissecting sentences <strong>to</strong> reveal <strong>the</strong> hidden truths<br />

beneath. But while human readers are terrific at uncovering<br />

complex and subtle meanings, <strong>the</strong>y read slowly and have<br />

relatively short attention spans. Not so computers, which are<br />

increasingly being used <strong>to</strong> find interesting new patterns in<br />

texts undetected by mere mortals.<br />

By counting recurring word and phrase types, algorithms<br />

such as <strong>the</strong> “Gender Genie” purport <strong>to</strong> determine whe<strong>the</strong>r<br />

a given text was written by a male or female author. Computers<br />

have helped his<strong>to</strong>rians sort out questions <strong>of</strong> authorship<br />

in <strong>the</strong> Bible. And <strong>the</strong> work <strong>of</strong> U <strong>of</strong> T English pr<strong>of</strong>essor Ian<br />

Lancashire and computer scientist Graeme Hirst suggests<br />

that mystery writer Agatha Christie may have suffered from<br />

an undiagnosed case <strong>of</strong> Alzheimer’s disease. By comparing<br />

her earlier volumes with later ones, <strong>the</strong>ir research showed<br />

that <strong>the</strong> author’s vocabulary decreased significantly in her<br />

last two books.<br />

Now, in a course called “The Digital<br />

“That’s not <strong>to</strong> say Text,” English instruc<strong>to</strong>r Adam Hammond<br />

is using computers <strong>to</strong> undertake<br />

<strong>the</strong> computer is<br />

‘right.’ Works <strong>of</strong><br />

literature are so literary analysis; his work differs from<br />

human and none <strong>the</strong> aforementioned projects in that<br />

has a single correct<br />

he’s more interested in what a text is<br />

interpretation”<br />

saying than in determining attributes<br />

<strong>of</strong> <strong>the</strong> author.<br />

Last fall, Hammond began using computers <strong>to</strong> tease out<br />

<strong>the</strong> mystery behind T.S. Eliot’s The Waste Land. The poem is<br />

surely among <strong>the</strong> 20 th century’s most famous – it’s <strong>the</strong> one<br />

that begins by telling us that “April is <strong>the</strong> cruellest month.”<br />

But with its welter <strong>of</strong> disconnected voices, obscure allusions<br />

and steep plunges in<strong>to</strong> Latin, German and Sanskrit, many<br />

readers find <strong>the</strong> poem itself <strong>to</strong> be cruel.<br />

“Eliot wrote The Waste Land in 1922,” says Hammond.<br />

“From that point on he was actively trying <strong>to</strong> become a<br />

playwright; he actually did not want <strong>to</strong> be a poet anymore.”<br />

Consequently, Hammond believes <strong>the</strong> poem’s arbitrarily<br />

shifting lines make more sense if you think <strong>of</strong> <strong>the</strong>m as spoken<br />

by cast members in a play – albeit one lacking in stage directions<br />

or character names.<br />

To help <strong>the</strong> reader determine where one “character” ends<br />

and ano<strong>the</strong>r begins, Hammond and <strong>the</strong> students spent last<br />

fall going through <strong>the</strong> 434-line work and manually tagging<br />

significant features <strong>of</strong> <strong>the</strong> text (such as parts <strong>of</strong> speech, alliterations<br />

and foreign phrases). Hammond <strong>the</strong>n delivered <strong>the</strong><br />

heavily annotated result <strong>to</strong> U <strong>of</strong> T computer scientist Julian<br />

Brooke, who has generated a computer algorithm that will<br />

help future readers find <strong>the</strong> vocal switches within seconds.<br />

Human scholars have hit on this “vocal switching” <strong>the</strong>ory<br />

before (in fact, you can hear Eliot himself “acting” out <strong>the</strong><br />

poem on a new app for The Waste Land). But <strong>the</strong> computer<br />

identifies <strong>the</strong> voices much faster – not that it’s any more<br />

accurate, says Hammond. But <strong>the</strong>n, literary analysis always<br />

has been an imperfect science. “It’s exciting <strong>to</strong> see how a<br />

computer reader differs from a human reader, but that’s not<br />

<strong>to</strong> say <strong>the</strong> computer is ‘right.’ Works <strong>of</strong> literature are so<br />

human and none has a single ‘correct’ interpretation.”<br />

Even though he’s a newly minted PhD specializing in <strong>the</strong><br />

modernist movement <strong>of</strong> a century ago (in which Eliot was a<br />

key figure), Hammond sees clear links between <strong>the</strong> 100-yearold<br />

literature he loves and <strong>the</strong> challenging, technologically<br />

inspired work <strong>of</strong> <strong>to</strong>day. “Modernist literature is relevant <strong>to</strong>day<br />

because modernists faced so many <strong>of</strong> <strong>the</strong> same issues we’re<br />

facing. Just like us, <strong>the</strong>y were trying <strong>to</strong> come <strong>to</strong> grips with a<br />

world reshaped by rapid technological change. And just like<br />

us, <strong>the</strong>y were bravely attempting <strong>to</strong> use new technologies<br />

– <strong>the</strong> same ones that had made <strong>the</strong> world so unfamiliar – <strong>to</strong><br />

understand <strong>the</strong>ir new reality.” – CYNTHIA MACDONALD<br />

ILLUSTRATION: ISABEL FOO<br />

summer 2012 21

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