The Intimate Hand
Response to Daily Prompt: Handwriting
In these days of digital communication, it is a rare and joyous occasion when I receive a hand-written letter. It is far more personal than a typed letter of cold, perfectly-formed characters lying inert on stark white paper with a signature scrawled at the end. But even these have more intimacy than an e-mail or—worse—a text message of ‘LOL’ or ‘OMG.’ No. Except for face-to-face, person-to-person conversation, handwriting is the only form of communicating that conveys the innate character of the other person as an integral part of the message.
I treat a hand-written letter, with its pen and ink, as a huge gift of someone’s time and affection. Such letters begin with someone’s desire to tell me something. Their heart’s desire becomes a thought, leading to an impulse to pick up a pen and sheet of paper. And then their fingers grasp the pen, their hand moves in obedience to the commands of their head and heart. Ink flows across the sheet of paper, across the watermarks, across time and space in distinctive cursive lines, a weaver’s tapestry embracing me in thoughts and emotions.
When the postman leaves the envelope in my box, I open it with feelings of expectation, of joy, a feeling of being chosen, special, because someone made the effort to write a message to me instead of banging it out hastily on a computer. Their fingerprints, their DNA, is on the paper, in the words as much as the ink. Handwriting is to the essence of personal communication what scent is to the identity of a flower.
Even without a signature, I know who wrote the letters in the family collection I curate for eventual donation to the historical society. My grandfather’s letters—hastily typed on cheap paper with two fingers of each hand—link skipped letters together with inked lines. His typed-over errors are interlaced with written corrections and annotations. Grandpa’s handwriting was as hasty as his typing because all must be done yesterday. He could never get to the mail box fast enough.
My Dad wrote the way he walked, worked, and swam in strong, graceful pen strokes slanted forward along even lines. His autography has a rhythm as visually distinctive as his walk. He wrote factually, reporting, narrating and describing the look of things, the course of the action. His extroversion shone through with nary a trace of personal reflection. It’s a writing style he learned from his father, a newspaper editor, and then honed as a sports stringer in high school and college.
Mom’s writing slanted back on itself in open loops. Her hand moved across the page in short bursts, pausing now and then to think, ponder, then back up and rephrase. She wasn’t given to reportage; she wrote repartee, playing with the ideas and words as if in direct conversation. That’s how her mind worked, that’s how she talked, that’s why people loved her. She often sprinkled French words and phrases here and there in letters to her brother and aunt. That’s the mark of an educated woman from an upper class family, ‘n’est pas?’
My uncle—Mom’s brother—seldom penned a letter but when he did, he drew his words more than wrote them. He was an artist who held his pen between his thumb and fingers as if it were a brush and then dabbed the words on the page with a idiosyncratic calligraphy in keeping with his other eccentricities. Like my mother’s letters, he wrote informally, as if living in the moment, writing for emotional effect rather than merely relay information.
Schools stopped teaching cursive penmanship several decades ago and contemporary college students don’t write cursive and many can’t read it. This is a problem for those who need to read handwritten documents. I learned to write cursive in grade school but my daughters didn’t. My eldest writes by printing in a distinctive style and so does my younger brother. My own writing has assumed a distinctive form and style over the years. Though distinctive it is legible—at least when I’m not in a hurry. Like my father’s hand, my writing slants forward, it’s patterns rhythmic but the letters are sharper and as much drawn as written.
In my work as a historian, I have read thousands of letters written by hundreds of people. No two scribblers have the same style. Each one has penmanship that reflects their personality—at least I associate the personality with the autography—which is how I know the deceased. And that brings me to what we are losing in the age of digital communication. (And you may say—oh, there he goes, talking about ‘the good old days.’) Communication written by hand conveys something that writing by a machine can never convey. When my Dad was a legislator, he often dictated personal letters out of convenience. The ‘personality; that came through dictation wasn’t the one I knew from handwritten letters.
When I want to express what is deepest inside, I must write in longhand. The kinetic connection of fingers, hand, arm, brain and heart releases whatever truth lies waiting to be told. Typing or writing on my laptop throws a veil over my feelings and my expression is weaker, more qualified, less true. Only in writing longhand can I write what is most true.
You may disagree but, before you do, try writing longhand and notice the difference in what you feel, and the power of the words you use to say it.