Dear Mr. Potter: An Open Letter on Cancel Culture

Mr. H. Potter
The Cupboard under the Stairs
4 Privet Drive
Little Whinging
Surrey

Dear Mr. Potter,

We at the Ministry of Magic are writing to inform you of a significant occurrence of which it is imperative that you be informed. To put it bluntly, you are now thrice-orphaned.

The passing of your heroic father and mother, Lily and James, is a loss we still mourn here at the Ministry; their deaths represent a sacrifice—a light which guided us through dark days and which continues to inspire us in the growing chaos of this new era.

Now, it is with great sympathy that we must inform you that not only are you parentless, but also author-less. Your single authoress, who so confidently created and raised you and, in so doing, broke ground for women, single parents, and abuse survivors, has been caught in the crossfire of a spell which we never expected to see used in our modern, educated era: the dreaded ignorare vim extermina curse.

While we are all no doubt aware of the evils of the banned avada kedavra curse—we apologise for even having penned it!—the ignorare vim extermina is even worse. While the former leads to bodily death, the latter enacts a sort of “cancellation,” in which the victim is erased from culture but not from existence. It is perhaps similar to the effect of dementors—those horrid soul-sucking beasts which are only unleashed on the worst of criminals. Worse, though, your Author is allowed to keep her soul and her body, she has been denied the exercise of her voice, mind, and pen; she has suffered the most devastating of vanishing spells.

Just think, Mr. Potter, how cruel the fate of an Author who is denied the freedom of her pen! It is worse than having your wand snapped and your tongue tied by a misused hex. You must accept our sincerest condolences.

Doubtless this is terrible news for you; we are assured, however, that although your Author is suffering the cancellation curse, you will be permitted to continue managing mischief as usual. The perpetrators of the ignorare vim extermina spell are, as of now, willing to spare you, though we advise you to exercise extreme caution. One ill-quilled Howler will no doubt send you into oblivion as well. As awful as it is to be thrice-orphaned, it would be undoubtedly worse to also be obliterated.

We want also to leave you with the final words of your dear Author, penned just before she was miraculously erased from societal recognition:

“It would be much easier to tweet the approved hashtags . . . scoop up the woke cookies and bask in a virtue-signalling afterglow. There’s joy, relief, and safety in conformity.”

Clearly, although conformity would be the easy choice, your dearly-disappeared Author is choosing to uphold the courage which she sought to imbue in her children, her characters, and her many beloved readers. Now, we at the Ministry are not entirely sure what “tweets” and “hashtags” are, but believe them to be similar to posting on the Hogwarts notice boards or sending messages via owl. Regardless, we hope that these words encourage you, restoring you to the moral of your own story: to be as courageous as a Gryffindor, as kind as a Hufflepuff, as discerning as a Ravenclaw, and as determined as a Slytherin.

We again express our deepest regrets for having to be the bearers of bad news, but we are choosing to trust that, as your dear Professor Dumbledore once said, “Happiness can be found in even the darkest of times, if you remember to turn on the light.”

Perhaps your Author will return. Perhaps her words will prove stronger than the magic erasers of a culture of cancellation. Until then, Harry, remember to turn on the light.

Yours Regretfully and Respectfully,

Ryanne McLaren

Literary Representative
Phoenix Division, Ministry of Magic
Ravenclaw Class of 2015

Just My Type and Fontly Yours

The title of this post is made of two puns, so I’d say it’s off to a good start.

Today I want to talk about fonts. I know, I sound like Brick Heck from The Middle, but I strongly believe that fonts and type style are crucial to the success of a piece of writing.

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The other day, a friend of mine and I found ourselves in a heated debate over which font is better: Georgia or Helvetica. I argued that Georgia is whimsical yet still professional. He countered that Helvetica is simple and easy on the eye.

We did, however, find common ground in our preference for 12 point font and 1.5 line spacing, as well as our hatred of boring, old Times New Roman.

But why do we as writers feel so strongly toward one font and type setting over another?

To answer that, I am afraid I will have to get a bit philosophical. Writing is both an abstract and concrete art form; it is abstract in the ideas it presents to the reader’s imagination, but concrete in that it does so using visual cues- that is, written words. A book, then, is a concrete collection of the abstract thoughts. Good books are works of visual art that seek to give the reader an impression of something invisible; visible words communicate invisible ideas.

Most importantly, a book (or any piece of writing) must be well-written. The concrete words absorbed by the reader’s eyes must flow naturally, make sense, and be beautiful in their individual phrases in order to construct an abstract thought in his or her mind. Just as no poorly-made sculpture leaves a lasting mental impression, no poorly-written book will inspire great thoughts.

However, there is an element to this process of concrete-abstract in writing that goes beyond the skill of the author; if words are beads, no matter how eloquently the author strings them together, the chain upon which they are strung must also be a thing of artistic merit. This “chain” must complement the beads without overshadowing them.

Just so, fonts and type settings must complement and support the writing itself. You’ve doubtless been told to “never judge a book by its cover” and I’d agree. But perhaps there is some truth to judging a book by its font.

Consider the Harry Potter books. Being a giant nerd, I own both the American and British editions. And, while I prefer the British colloquial to the American “translations,” I always opt for reading the American prints because of- you guessed it- the font. Take a look for yourself!

IMG_4921First of all, notice the adorable illustration! I hold to the belief that one never outgrows books with pictures. Second, I challenge anyone to glance at the font of the chapter title and not immediately associate it with the whimsy and adventure of Harry Potter. The font of the text itself is legible, yet not as stiff as, say, the font you might choose for a thesis.

Now consider the spacing; the margins are wide enough for a child to hold the book by its edges and the space between lines is enough to prevent the reader from feeling overwhelmed.

However, the spacing is not as wide as in some children’s books, making it feel less condescending and as if it is also intended for older audiences. Similarly, had the font been Comic Sans or some other outlandish style, the book would have been less desirable to anyone aside from early readers.

Overall, I’d say the American editions of Harry Potter are an ideal example of font and spacing being used to not only attract the reader, but make the story more accessible. It is easy to “fall behind” the printed words into the story itself because the spaces leave enough of a hole to fall through and the font is easy on the eyes without being distracting. Beautiful.

IMG_4922Now, consider the British editions.  They’re more compact, first of all, so naturally “superfluous” illustrations must be forgotten to save space. The title is lovely and, of course, consists of the same words as its American counterpart, but it lacks the quirkiness the so perfectly parallels the story. No fancy letter “M” for the first word in this edition. No wide margins or extra space between lines, thank you very much. If the American edition wonderfully represents and facilitates the magic of Harry, the British edition is more characteristic of businesslike muggles.

The words (aside from a few candy names and the Philosopher-Sorcerer switch) are the same and the story is thus the same. However, with more crowded words and a more mechanical font/spacing, this edition is not as open to being read by all. I can hardly imagine a child being drawn to this edition, despite the story not being changed, because the words are so packed together and the margins are not friendly to a child’s clumsy grasp. Sure, maybe an adult would read these, but said grownup might not be drawn into the childlike wonder of the HP books as he might be by the visible whimsy of the American editions.

Font matters.

Spacing matters.

Writing is a visual art.

The best writing transcends visuals because it inspires imagining and ideas beyond the printed word; however, this transcendence can be bolstered by a wise choice of type style. Choose a font that reflects your writing’s ideas and, from the first page, the reader will fall more easily into the abstract world you create.

In painting, the better the work, the more it says. Another painter might be inspired to create something with the same message, but if he does not do it with excellent presentation, the viewer will not understand the idea behind the work as well as he might when looking at the first, better painting. The idea is the same, but the presentation makes all the difference.

It is the same with writing.

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Which one, to you, communicates the idea of a “beautiful day”? To me, the first is too stoic to truly represent the beauty of a sunshiny day. The second is more welcoming and expressive.

I’ll say it again: Font matters and spacing matters. Abstract themes are reflected in and enhanced by the visible art of words.

So what do you think? Let me know in the comments! I’d love to hear your thoughts on this hypothesis. Do you  have a favorite font? Why Wing Dings? Why not Papyrus?

I look forward to hearing from you, readers!

Perhaps you’ll be more open to commenting, thought, if I write it this way:

I look forward to hearing from you, readers!