Stanley Fish-Anonymity and the Dark Side of the Internet

Professor Stanley Fish in the New York Times...

In McIntyre v. Ohio Elections Commission (1995) the Supreme Court overturned a statute requiring any person who prints a notice or flyer promoting a candidate or an issue to identify the communication’s author by name. Justice John Paul Stevens, writing for the majority, grounded his opinion in an account of meaning he takes from an earlier case (First National Bank of Boston v. Bellotti): “The inherent worth of . . . speech in terms of its capacity for informing the public does not depend upon the identity of its source, whether corporation, association, union, or individual.” Or, in other words, a writing or utterance says what it says independently of who happens to say it; the information conveyed does not vary with the identification of the speaker.

There are at least two problems with this reasoning. First, it is not true that a text’s meaning is the same whether or not its source is known. Suppose I receive an anonymous note asserting that I have been betrayed by a friend. I will not know what to make of it — is it a cruel joke, a slander, a warning, a test? But if I manage to identify the note’s author — it’s a friend or an enemy or a known gossip — I will be able to reason about its meaning because I will know what kind of person composed it and what motives that person might have had.

Read more at the NY Times

His book..."How To Write a Sentence"

An entertaining, erudite celebration of language and rhetoric drawing on a wide range of examples from Hobbes to Scalia to Elmore Leonard, by the New York Times columnist

Read More at Harper Collins

(Amazon) New York Times columnist and college professor Fish appreciates fine sentences the way some people appreciate fine wine. In 10 short chapters, Fish takes readers through a cogent analysis of how to craft a sentence. He talks about form, content, and style, always taking care to illustrate his points with an ample selection of judicously chosen quotations from virtuoso writers, from Milton and Shakepeare to Anton Scalia and Elmore Leonard. He then proceeds to drill down into the quotations, zeroing in on the tense, parts of speech, or precise phrasing that make the sentences sing. He also discusses famous first and last lines, always keeping in the forefront the extraordinary power of language to shape reality. And, befitting his subject matter, he does all this in the most luminous prose. He fluidly conveys the nitty-gritty details of crafting sentences, but, even more impressive, he communicates and instills in readers a deep appreciation for beautiful sentences that “do things the language you use every day would not have seemed capable of doing.” Language lovers will flock to this homage to great writing. --Joanne Wilkinson