The role tautologies play in writing; or saying the same thing a different way when making a story or a poem
AKA, "the wordy guys"
So far in this series, we’ve been looking at Viktor Shklovsky’s early book Theory of Prose (1925/9), asking what insights it might have for us as writers today. In Parts 1 and 2 I provided an overview of Russian Formalism and Shklovsky’s concepts of “device” and “defamiliarization.” Then, in Part 3, we started applying those ideas to writing, looking at how repetition allows artists to both build patterns and deviate from them. We also saw how repetition can be used to decelerate a pattern’s advancement—how repeating text delays the work’s inevitable conclusion.
Today, I want to examine another “rule” that Shklovsky identifies: tautologies, which are essentially repetitions, but repetitions using synonymous language. And I want to demonstrate this principle, and some of its potential effects, with examples taken from Donald Barthelme and Raymond Carver. (I chose them because it’s in their stories that I first learned to see this.)
Let’s start with Donald Barthelme’s well-known short story “Me and Miss Mandible” (c. 1964), examining how much language Barthelme devotes to tautological constructions: