Time: Control and Illusions of Order in Michel Tournier’s Friday by Leslie Hammer

“…he contrived a primitive clepsydra, or water clock, out of a glass demijohn in the bottom of which he pierced a very small hole through which the water escaped, drop by drop, into a brass bowl beneath it.  By trial and error he found the precise amount of water needed for it to empty itself in twenty-four hours, and he then marked the hours in rings round the jar, numbering them with Roman numerals.  This water clock was an immense comfort to him. Listening by day and night to the regular “plop” of water dropping into the bowl, he had the feeling that time could no longer slip away from him, that he had regulated and mastered time in a word, tamed it, just as the whole island was gradually to be tamed by the strength and resolution of a single man.” –From Chapter Three of Michel Tournier’s Friday (65)

Michel Tournier uses the agency of time in Friday to reveal the absurdity and delusiveness of absolute assumptions.  As the bedrock of Western science, our concept of time suggests progress, order, and controlled measurability—the very notions Tournier despises and thus seeks to debunk.  Time, as an axiom, unquestionably moves forward linearly with calculable precision; that is, a day always equals twenty-four hours, an hour 60 minutes, a year 365 days,  a week seven days, and so on.  Nature is assumedly systematized with calendars, dates, watches, and predictable equations.  Moreover, the clock—the master of the work schedule—traditionally plays a pivotal role in the colonizer controlling the Other.  In short, time is the quintessential ordering agent of the West.  As a product of his European culture, Robinson then predictably surmises a calendar, clock, and work schedule are necessary to keep himself “sane” and “civilized” during his enduring solitariness on the deserted Speranza.  Yet through Robinson’s unusual and changing relationship with time, Tournier effectively reveals that the arrogant Western male notion of ordering his world is only an illusion—a manmade construct, a flimsy theory, at best.

Robinson, upon discovering he is unable to precisely calculate how long he has been stranded on Speranza, becomes alarmed and discombobulated.  Tournier illustrates it is significantly Robinson’s cognizance to his inability to tell time—not the actual length of his duration on the island—that engenders Robinson’s frazzled, instable mental state.  The anxious Robinson contemplates, “How long was it since the shipwreck?  How many days, weeks, months, even years, had passed?  He was assailed of dizziness when he asked the question, as though he had dropped a stone into a well and were listening in vain for it to reach the bottom” (35).  Robinson’s incapability to assign calendared titles—days, weeks, years—to his time spent on the island makes him dizzy because as a man of the Enlightenment, his sense of order is inextricably wedded to constructed notions of time.  Knowing the precise number of calendar days since being shipwrecked significantly does not improve or alter Robinson’s solitary state; in fact, it offers no apparent benefit to him on Speranza.  Yet Robinson mistakenly perceives it as such. Tournier demonstrates how deeply engrained the colonizer’s need to control is, so much so that it ironically causes Robinson to become irrationally disordered to the point of dizziness when he finds he cannot calendar his days, despite the virtual uselessness of such “rational” information on a deserted island.

In the same vein, Robinson senselessly feels secure and regains his supposed sanity after building a water clock and discovering writing tools that enable him to maintain his purported much-needed calendar.  He records in his journal, “When I began a calendar I regained possession of myself,” suggesting his situation on the island has somehow improved by him being able to keep a calendar (60).  Likewise, he later notes how the water clock brings him an enormous amount of solace.  Tournier demonstrates, however, that Robinson’s false sense of comfort, as common of the presumptuous Western colonizing mentality, is mutually based upon arrogance and illusion.  He presumes he can win control over even the most uncontrollable of forces—time:  “Robinson’s omnipotence over the island, born of his solitude, extended even to the mastery of time!  He reflected with delight that he had only to plug the hole in the water clock and he could suspend the passing of time whenever he chose!” (89).  That Robinson could use the rising and setting of the sun instead of a water clock to tell time is insignificant to him because of his egotistical need to order the world—his right to play God—inculcated into him by his Western culture.  The clock deceptively implies he commands time.  Yet in revealing that the manmade device does not provide any additional insight into time that Robinson could not already attain from nature, Tournier deftly demonstrates not only how increasingly divorced from the environment man is, but more profoundly, he exposes the pernicious purpose of the clock: to master.

Indeed, Robinson attempts to dominate Speranza, Friday, and oddly even himself through the inane laws he draws up, all based upon dates, specific times, and work schedules.  His Charter, for instance, specifically shows in capital letters it is has been inaugurated on the “100th day of the local calendar” (69). Robinson, moreover, meticulously designates specific times for work to begin and end, writing in Article V, “Sunday is a day of rest.  At seven o’clock on Saturday evening all work on the island will cease […]. On Sunday morning at ten they will gather in the Meeting House…” (70).  His careful attention to days and hours—him creating, in essence, a Western work schedule—is ridiculously laughable and one of the most humorous aspects of the novel, since he, at this point, is the sole inhabitant on the island and has no reason to follow such a rigid plan.  By showing the extremity of Robinson’s behavior, Tournier seduces his readers into questioning Robinson’s sanity and thus the general saneness of any time enslaved system.  He shows that Robinson purposefully imposes and constructs these time dominated laws, calling attention to the fact that that is all they are: manmade and absurd.  Furthermore, Tournier mutually reveals not only how Robinson uses time to govern his “community,” but he also disturbingly demonstrates how blindly dominated Western man is by time.  The time-enslaved Robinson is so controlled by the illusion that time, as an entity, somehow brings order into chaos that he enforces it on the isolated Speranza where his Western chronometers—calendars, clocks, and schedules—serve absolutely no purpose.  Tournier forces his readers to recognize the nonsensicalness and pernicious power behind the manmade clock; a power problematically left so unquestioned that it deludes a man stranded on a deserted island to indulgently revel that “he was on holiday!” when his water clock stops, despite the fact that he could choose to not work at anytime or sleep in whenever he feels like it (89).

It is not surprising, therefore, that Tournier most blatantly calls attention to the Puritan work ethic by opening Chapter Seven with Benjamin Franklin’s epigram, “Do not waste time, it is the stuff of life” (131).  It is in chapter seven, ironically, that Robinson “saves” and enslaves Friday, who is remarkably free from time constraints.  Tournier purposefully uses the epigram to strategically demonstrate the astonishingly vast difference in how Robinson and Friday treat time.  Of Friday, Robinson records in his journal, “I must fit my slave into the system which I have perfected over the years” (138-39).  As a master, Robinson wants to control Friday with the clock—his time-based work schedule; he intentionally manipulates time to shackle his subject to labor.  He even names his “South American Indian crossed with Negro” after a workday, “Friday.” Yet Friday, to the chagrin of Robinson, is a complete foreigner to the Western time-based work schedule.  Friday feels entirely comfortable lounging in his hammock all day, not diligently working towards the future as Robinson feels so compelled to do.  Robinson, in his Eurocentrism, assumes he is lazily wasting away precious time, complaining that “Friday was utterly docile” (139).  But, Tournier shows it is Friday who reveals to Robinson that “the stuff of life” is not related to time, and that it is Franklin’s epigram that is nonsensical and illusory.

It is significantly when Friday intentionally stops the clock in Robinson’s absence that he “breaks the established order” and hence blows up the cave (154).  This explosion is the catalyst for Robinson’s epiphany wherein he is released from his Western time constraints and embraces Friday’s uncontrolled lifestyle.  He accepts Friday’s perception of time as not necessarily being a linear motion in progress, noting that “at the heart of Friday’s way of life there was an underlying wholeness, an implicit principal.  Friday never worked in any real sense of the word.  Unconcerned with past or future, he lived wholly in the present” (182).  Robinson’s relationship with time changes significantly from when he, as the European colonizing explorer, first arrives on the island. Robinson now tries to mimic Friday’s lifestyle of what he perceives as living in the present, only for the moment.  Early in the novel, Robinson believes, “Only the past had any worth or existence deserving of note.  The present was valueless except as the repository of memories accumulated in the past, and to add to that increasing fund was the only reason for living.  In the end came death” (41).  This linear notion of time as constantly moving forward is destroyed with the destruction of his precious cave, jolting him into recognizing that his cherished clock is only an illusion of order.  Robinson realizes, as Tournier hopes his readers understand, that only the present reliably reveals “truth,” so to speak.  He no longer is fixated, as he once was, on drawing from the past and working towards the future.  Rather, the present, like the out-of-mind timelessness he experiences in the mire and cave, become legitimized and his only reality.  That there are no truths—past knowledge to draw from and future progress—is in a sense the only “reality.”

Furthermore, Robinson actually illustrates through his personal “aging” experience that the linearity promised in the time axiom is a fallacy.  That is, he grows younger as his years stack up, escaping the purported inevitability of getting older.  Following his “astonishing metamorphosis,” the narrator notes, “the first thing to be affected was Robinson’s appearance […] it also made him look ten years younger” (182).  That he becomes younger, not older, demonstrates the abstract complexity and unreliability of how time operates, and that it is far from being a simple predictable progression that can easily be measured.  Robinson becomes, in a sense, liberated when he accepts he cannot understand or control time, as the rationality of the Enlightenment promises. Didactically, he records in his journal:

What has most changed in my life is the passing of time, its speed and even its direction.  Formerly every day, hour, and minute leaned in a sense toward the day, hour, and minute that was to follow, and all were drawn into the pattern of the moment, whose transience created a kind of vacuum.  So time passed rapidly and usefully, the more quickly because it was usefully employed, leaving behind it an accumulation of achievement and wastage which was my history.  […] For me the cycle has now shrunk until it is merged in the moment. […] Since the explosion destroyed my calendar mast I have felt no need to record the passing of time.  The memory of that accident and the events leading to it is imprinted on my mind with a vividness which in itself reveals that time stopped when the water clock was shattered.  (204)

Robinson indeed indicates in his journal excerpt to no longer be the all-knowing, controlling European colonizer he once was.

Yet what is perplexing is that, despite Robinson’s “astonishing metamorphosis,” Tournier ends the novel with Robinson gaining another “slave” named ironically after a Western calendar day, “Sunday.”  Sunday certainly is, as Robinson notes earlier in the text, the “day of rest” (70).  However, that Robinson feels the need to name him after a day at all suggests that perhaps Robinson has not matured as “linearly” as we might surmise.  In addition, Robinson does not seem, at the end of the novel, to be as unfettered as his earlier journal entry implies.  Though Robinson  claims he is free of recording time, he notes, “December 22, 1787.  Twenty-eight years, two months, and some twenty days.  The figure still amazed him.  If he had not been cast ashore on Speranza he would now be in his fifties, a graybeard with creaking bones. […]  The truth was that that he was younger today than the pious and self-seeking young man who had set sail in the Virginia” (226).  Robinson’s excerpt is noticeably dominated by details of time and dates, not much different than the style of the Charter he draws up when he first arrives on Speranza.  That he claims he has found “truth,” furthermore, is perhaps evidence that he is still deluded and not as free from his Enlightenment Age mentality as he believes. True to Tournier’s philosophical narrative style of challenging his reader to question all assumptions, he significantly ends the text by posing more unanswered—and perhaps intentionally unanswerable—questions.  He beseeches us to not hastily attempt to bring closure to his text by casting a conclusive assumption of progress—a narrative that leads us to “truth.” Rather,   Tournier’s fragmented nonlinear novel asks us to ponder whether Robinson truly freed himself from the constraints of time or whether his purported growth is yet another illusion of false progress.

Works Cited

Tournier, Michel.  Friday. (1967) John Hopkins UP: 1997.

Review – Good Reasons by Elaine L. Jones

For those students who have no idea what an argument is, why they should learn to write an argument, or how to go about writing an argument, they can find the answers to all of these questions in Good Reasons.  While this book is geared for the novice argument writer, the text still has enough information to be of interest to the more experienced writer.  The suggested tasks are innovative and inspiring for students and teachers alike.

Good Reasons is a compact, attractive book that contains pertinent information, readings and assignment suggestions, and it is divided into three main sections. The first section explains what an argument is and the many uses for argument. The second section has professional and student examples of various types of arguments with suggestions for writing assignments.  The third section focuses on visual aspects of argument.  A useful appendix and a complete index are also included.

The authors, Lester Faigley and Jack Selzer, begin Good Reasons with a definition of “argument,” which is, of course, a very good place to start; then, they continue by giving examples of subjects for argumentation.  One of the exercises encourages students to read arguments with a pencil in hand, making notations in the margins for later analysis.  This form of exercise helps students understand the structure of argument and builds writing power.  While proceeding through the next chapter, I discovered what constitutes a good argument and what is not an argument.  The important features of argument writing are placed on a gray background and tips are set off with icons, making the book user friendly.

Next, Faigley and Selzer remind the readers to consider their audience.  At this point, some students may ask, “Why would anyone want to hear an argument, much less, read one?”  Most likely, they have not read the first chapter where “argument” is defined because if they had, they probably wouldn’t be trying to argue this point.  However, to calm these student’s anxieties, Faigley and Selzer give examples of the many instances where the ability to write an argument is invaluable, and they even provide blueprints with instructions of how to build the proper argument for numerous purposes.  They give examples by including Leslie Marmon Silko’s narrative argument,  “The Border Patrol State,” and a student’s evaluation argument, “The Diet Zone: A Dangerous Place.”  They have even included a definition comic strip, “Setting the Record Straight,” by Scott McCloud, illustrating there is more than one way to present an argument. By using Good Reasons, the students will discover many uses for argument and also the different types of argument.  Again, important features are placed on a gray background.

After explaining how to write an argument for any occasion, Good Reasonsoffers many suggestions for effective visual designs: photo placement, graphs, layout, visual theme, and directing the viewer’s eyes.  Additional information is given on how to form an effective web page so the students can ‘argue’ with the world.  These techniques are useful for all students, no matter what their major or intended line of work.

For students unfamiliar with research, documentation, and revision, Good Reasons has instructions on how to accomplish these tasks effectively.  The chapter on research explains how to find books, journal and trade articles, and other print sources; it also explains how to do research on the internet.  It includes a section that tells how to evaluate print and web sources, which is very important for the serious researcher.  The chapter on documentation discusses plagiarism and MLA documentation.  The chapter on revision leads the student through effective revision.  The appendix includes the rules for APA documentation, making the book applicable for students who may be in a field of studies that requires the APA documentation.  Finally, it contains a very complete index.

Before I leave you with the impression that I whole-heartedly endorse the reasoning behind Good Reasons, I want you to know I do not give the book my complete stamp of approval.  In the preface, Faigley and Selzer write they will not use the words “warrant,” “fallacy,” “syllogism,” or “enthymemes” (Toulmin’s terminology) in their book; instead, they use pathos, ethos, and logos, terms they feel are easier to understand.  I am not sure these terms would be any easier to remember than warrant, fallacy, syllogism, or ethymemes, the terms that are used more often in academia.  Besides, Good Reasons is crammed full of other terms that are used in relation to argumentation, so I don’t see a reason to make this change.  It seems this change in terminology could be very confusing for students if they continues taking writing classes and the next teacher is not privy to Faigley and Selzer’s terminology.

Overall, Good Reasons is a useful book because it is easy to understand, and it has concise instructions, marvelous photos and visuals, and text and pictures relating to current issues.  The book contains an added bonus: photos of many of the articles’ authors, which allow the reading audience to ‘see’ who is talking.  This, along with all the other unique features, is a good reason to giveGood Reasons  a thumbs up!

Review – Rereading America: Cultural Contexts for Critical Thinking and Writing by Lisa Stahl

A lot has changed in the last 25 years.  In 1976, Richard Ohmann reviewed 14 textbooks typical of those used for teaching freshman composition (as referenced in Lester Faigley’s Fragments of Rationality: Postmodernity and the Subject of Composition).   Ohmann found these textbooks instructed students exclusively on writing skills and techniques to the exclusion of any analysis of culture.  He wrote that “these textbooks teach writing in ways that reproduce the status quo…divorce writing from society, need and conflict, and break writing down into a series of routines” (132).

The textbooks produced in the last 10 years arise as a seeming backlash to Ohmann’s criticism.  It appears we have swung to the other extreme with books that teach critical thinking without mentioning any writing strategies.  An example of this extreme is Rereading America: Cultural Contexts for Critical Thinking and Writing.  In its 5th edition, this “best selling thematic reader” is organized around 6 dominant myths of American society: family, education, the American Dream, gender, the melting pot, and the frontier.  Its aim is to explode these myths and encourage students to interact with society’s assumptions and embrace the inherent conflict contained in questioning these assumptions.  Each section offers a selection that represents the traditional myth being explored (for example, Horace Mann discussing education, Horatio Alger from Ragged Dick on success, Alexis de Tocqueville on gender equality issues).  Then, by contrast, it offers powerful stories and essays that undermine these myths (for example, E.J. Graff, “What Makes a Family”, Susan Faludi, “Girls Have All the Power: What’s Troubling Troubled Boys”, and N. Scott Momaday, “The American West and the Burden of Belief”).  This juxtaposition is useful because it grounds the student in the text that support the myth before offering alternative views.

In its preface for instructors, the authors indicate that the book contains issues that “speak directly to student’s experience and concerns.  Every college student has had some brush with prejudice, and most have something to say about education, the family, or gender stereotypes they see in films and television.”  While I’m not convinced every student has had

some brush with prejudice, after reading the selections these authors provide in this reader, I am confident that every student should read the selections it offers and ponder the questions it raises.

Another effective strategy of this textbook is its use of visual images that ask the students to “read” the visual texts and incorporate the messages represented into their thinking about each of the 6 myths.  The authors effectively integrate comic strips, recent advertisements and even Norman Rockwell paintings.

In the introductory essay to the student entitled, “Thinking Critically, Challenging Cultural Myths: Becoming a College Student” the authors define a critical thinker as “an active learner, someone with the ability to shape, not merely absorb, knowledge” (2).  This new definition sets the course apart from their high school experience where most students were simply asked to read and regurgitate content on exams.  The essay suggests that the students pre-read and pre-write before each assignment because “writing about what you’ve read will give you a deeper understanding of your reading.” (11)   This instruction about writing as a heuristic is a hopeful beginning, but alas, is not developed further.  The authors also suggest the students mark the text and take notes as “the best readers read recursively” (15).  Again, this is good advice, but the connection to writing recursively is not made.  Finally, the authors suggest that the student keep a journal whether or not the teacher requires one, because a journal “is a place to free write without worrying about correctness.”  These examples from the textbook illustrate the authors’ approach to reading but never draw the connection to writing for the students.

In fact, the main problem I have with this reader is the fundamental lack of writing instruction in its text.  Although it purports to be “designed for first year writing and critical thinking

courses”, it only accomplishes the first half of that claim.  The readings offered and the questions it asks the students to explore about American myths and cultural concepts are structured for in-depth critical thinking, an important part of a solid college education.  It is the absence of actual writing strategies that is discouraging.  In the backlash to rhetorical textbooks which focused on process, like The St. Martin’s Guide to Writing (second edition, 1988), composition readers have swung completely in the other direction.  Even in the instructor’s guide contained within Rereading America, teachers are guided on topics such as building trust within the classroom and how to handle “hot topic” issues.  There is no instruction on how to incorporate rhetorical writing skills, how to design titles, lead sentences, build cohesive paragraphs, utilize appropriate evidence, etc.  If we are to teach our students both critical thinking and writing skills, we are left with two choices: writing a new textbook which incorporates writing skills instruction utilizing challenging reading material, or accept that whichever textbook we choose for our classrooms will have to be supplemented with other sources.