In classical studies in the Renaissance the number of texts which were popular and considered expected/required reading for a “learned” person were a relatively set number and generally completely consumable and completely known by those with an education. Thus a writer could make a reference to the old testament or to Cato and the vast majority of the audience would get that reference (without footnotes or explicit references) having read these same texts.
Sadly the depth and breadth of available literature has exploded since Gutenberg making it nearly impossible for anyone in a modern audience to have read and know what the author may presume them to know. As an example, in Shakespeare’s day many of his side references would be known by even the uneducated, while most modern students have to rely on Cliff’s Notes or annotated editions to understand those cultural references. The modern day equivalent is that most avid fans of the Simpsons television show are also generally well educated on popular film since the 1940s, otherwise they’re missing 90% of the jokes.
Things become much more stilted within the blogging arena, particularly when a writer may cover a dozen areas or more in which they may have significant experience, but which will likely be completely unknown to some of their regular readers, much less new readers who aren’t specialists in these fields themselves. This may turn away readers at worst, but will destroy the conversation at best. (Though I will admit it doesn’t seem deter some of the lookie-loos from taking at shot at interacting on the lowest levels at Terry Tao’s blog.)
In some sense, in knowing their audience, writers have to have some grasp of what they do or don’t know, otherwise it becomes difficult to communicate those progressively more expanding thoughts. Having hyperlinks certainly helps within a piece, much the way academics footnote journal articles, but it can be just as painful for the writer to constantly be referring back to the same handful of articles constantly. In this sense, having a recommended/required reading section may be useful, particularly if it were ubiquitous, but I suspect that the casual drive-by reader may not notice or care very much. However, for that rare <5% it may be just the primer they’re looking for to better understand you and what you’re writing about.
One of the most difficult things to do in a new job or when entering a new field is to become aware of the understood culture and history of the company or the field itself. One must learn the jargon and history to contextualize the overarching conversation. Jumping into Dave Winer’s blog without knowing his background and history is certainly a more painful thing than starting to read someone whose blog is less than a year old and could thus be consumed in a short time versus thousands upon thousands of posts since the literal start of blogging on the internet. It’s somewhat reminiscent of David Shanske’s problem of distilling down a bio for an h-card from the rest of his site and his resume. What do you want someone you’ve just met to know about you to more quickly put you into a broader context, especially when you want them to get to know you better?
I think we’re all in the same boat as David in figuring out the painful path of distilling all this down in a sensible and straightforward manner. I’m curious to see what you come up with and how it evolves over time.
An infinite number of things happen; we bring structure and meaning to the world by making art and telling stories about it. Every work of literature created by human beings comes out of an historical and cultural context, and drawing connections between art and its context can be illuminating for both. Today’s guest, Stephen Greenblatt, is one of the world’s most celebrated literary scholars, famous for helping to establish the New Historicism school of criticism, which he also refers to as “cultural poetics.” We talk about how art becomes entangled with the politics of its day, and how we can learn about ourselves and other cultures by engaging with stories and their milieu.
