More than One Way to Read The Da Vinci Code
When I first “read�” The Da Vinci Code, I didn’t read it at all. I listened to it on audiobook (on my iPod, downloaded from Audible). I only later read the book when some of my students wanted to do an informal discussion group on it. It was an interesting thing to see how different the experiences with the text were.
A little background here. I was a reluctant user of Audiobooks in the first place. I have always loved the feel of book in hand, eyes moving across the page, and the silent spaces in which my mind could be captured by the story at hand. My dad started listening to audiobooks long before I did, and often said how great it was. I was still reluctant to try, feeling it would not be as engaging, and a sort of “cop-out�” as opposed to “real” reading.
The first time I tried listening to an audiobook was on a long roadtrip with my two best friends. We had all been following the Harry Potter series, and the fourth book was coming out just as we were beginning an 20-hour road trip. We listened to the book together, and were delighted by the experience. It was so much fun. You can listen to a book together in a way that you can’t possibly read together. The three of us still (about five years and two Harry Potter books later) often joke about the way Voldemort hisses “Nagiiiini….�” each time he calls to the massive snake.
So, I developed an appreciation for listening in at least one situation — on a long trip with friends. Oh, and only with the caveat that the book should be “fun,�” and something that would provide for plenty of material for chatting over stops for lunch, etc. And so I signed up for an account at Audible (where audiobooks can be quite affordable), and began listening to books I considered “lightweight.�”
Over time, I listened to heavier stuff too — The Iliad was one of my favorite listens. And I began to realize how valuable listening is for certain sorts of texts, especially poetry and plays. I have since listened to a great deal of Shakespeare’s plays, and a great number of poetry collections too.
But it was my experience with The Da Vinci Code that really surprised me. I didn’t expect to find listening to be in any way a more rigorous form of engaging a text than reading. I still considered it secondary, except perhaps for poetry and plays where the aural aspect of language is so important. But I was surprised. In listening to The Da Vinci Code, I didn’t have a choice. I couldn’t skim over Teabing’s lectures, and I couldn’t cheat and look ahead (or back even). It required a different sort of attention, I realized, to hear a book instead of to read it.
I was even more surprised by another discovery when I read the book. In reading, the breakdown I find in the narrative, when Teabing begins his lecture, was covered over. It was something I could skim over quickly, and move on to the more important parts of the narrative. But this was not true when listening. The text was fully exposed, and it moved at a pace not of my choosing. The listening experience is not controlled by the listener, but by the reader and the text. It seems obvious to me now, but I had to experience it to realize it. In this sense, I was a more careful and engaged listener than reader. And that has helped me reevaluate my opinion about the two means of engaging a text.
