“What do you mean?”
“What do you mean, ‘what do I mean?’?”
“What do you mean ‘what do I mean what do you mean?’?”
I don’t remember how we started this, but I once had a friend with whom this conversation happened more than once. With this same friend, we sometimes conversed in dialog from the Firesign Theatre. Life was an inside joke. [I knew him as “my old pal Ovaltine.”]
What is that? A blogging friend was writing about communication and about Artificial Intelligence. Blame her for this tangent.
Have you ever read a book (in English), in which the writer suddenly switches to French and provides no translation? I have. When it happens, I think that sophisticated people speak French. I feel left out. I think the writer is looking down at me. When I was a kid, we had a choice of taking French or Spanish in school. The sophisticated kids took French. I took Spanish.
Or a line in a book is obviously a canonical literary reference. If I don’t know the reference, but realize that’s what it is, I realize again that I’m unsophisticated, not of the “in crowd”. I haven’t read the canon…and that’s a whole other post that I’ll leave to someone else to write. I’ve read a few essays on the topic [that the literary canon is dominated by dead white men].
I’m decidedly not highbrow. In fact, when I hear the word, I think of Sippie Wallace –
“Your best girlfriend, she might be a highbrow, she changes clothes 3 times a day.
What do you think she’s doing now, while you’re so far away.
She’s loving your man in your own damn bed.
You better call for the doctor, mama, try to investigate your head
Women be wise, keep your mouth shut, don’t advertise your man.”
(“Women Be Wise” by Sippie Wallace, 1966. Though she began recording in 1923, I don’t think she recorded the song before 1966. Maybe she sang the original back then. Adapted from “Don’t Advertise Your Man” by Jimmie Foster and recorded by Clara Smith in 1924.) And I’m lowbrow enough that I learned the song from Bonnie Raitt, not Sippie Wallace or the Clara Smith original.
My literary references are decidedly unsophisticated. If I’m having a bad day, I might say, “I picked the wrong week to quit sniffing glue.” (This comes from a running joke in the movie “Airplane!”. The joke starts with the cliche “I picked the wrong week to quit smoking”. We’ve probably all seen a movie in which a character lights up and someone else remarks that they thought the person had quit.)
Then I realize the very thought “we’ve probably all seen…” makes certain assumptions about you. You have been exposed to American films, including films from back when most characters smoked cigarettes.
So what’s going on, and what are we communicating? I post a lot of YouTube links, often to a song that popped into my head while riding. (Or writing, like the song above.) Can I just not help myself? Am I trying to show you how my mind works? Do I think I’m clever? Am I trying to connect with you via a shared cultural touchstone? Do I think it will lend additional meaning to what I’m trying to say, providing clarity?
By its very nature, an in-joke makes an instant connection with some, makes others scratch their head (knowing they know something about this but they’re not immediately sure what), makes some feel like an outsider, and goes totally over the heads of others, such that it is irrelevant or confusing.
In a TV show I watched last night, one character said, “You can have two different reasons for doing the right thing.” The other retorts, “No. If it’s the wrong reason it corrupts everything.” How does this play out in terms of what we say and how we say it? Is an inside joke different if it is said to exclude rather than include? Can it be said for more than one reason? Does it make a difference if it is spontaneous rather than carefully thought out? Cartoonist Stephan Pastis loves puns. Some are elaborately constructed. His characters break the fourth wall and make all sorts of threats to harm him for his bad puns. Is a pun good if it is spontaneous but bad if it is scripted?
Is the value of an in-joke lost if it is explained? I would argue “yes”. Does the person you’ve explained it to now feel a connection, or more disconnected than ever? Then again, if they hear the reference some time in the future, will it hold meaning for them that next time? (Am I wrong? Did you know the line from “Airplane”? If so, did explaining it ruin it? If not, did explaining it help?) At any rate, if a person asks for an explanation, it might be rude not to provide it. If they don’t ask, the opposite might be true.
The entire film “Airplane” is an inside joke. It is a parody remake of the 1957 drama “Zero Hour” [which has nothing to do with the poem of the same title by Ernesto Cardenal]. That doesn’t really matter. While knowing the inside joke deepens the humor, the film is hilarious even if you don’t know that. The jokes fly so fast that, if one falls flat, there is another to take its place before you can get bogged down…unless you are more highbrow than I and think it is simply sophomoric. But you’re wrong. 😉
Where is the line between making unwarranted assumptions and mansplaining? Can both be seen as condescending?
On another level, what is conversation? As children we (some of us) learn turn-taking in conversation. Do we learn to listen, or do we just learn to bide our time, waiting for that momentary lapse that allows us to pounce? Do different cultures and different individuals have different clocks that tell them the difference between interrupting and waiting your turn? Do we talk in order to listen to ourselves, or to communicate? (Link to a prior rumination on this topic. Another one is here.)
Of course, another possibility here is that, since retirement, I have entirely too much time on my hands. Perhaps I should follow the advice once given (is this apocryphal?) to Frank Zappa, “Shut Up ‘N Play Yer Guitar” – or, in my case, “…’n go ride yer bike.”