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The following passage considers the experience of listening to
recorded books. The passage is from a 1998 essay by a teacher of
writing and literature of who is legally blind.


For better or worse, listening to an audiobook almost always feels
like a shared experience. I feel myself not merely a passive audience
but engaged in a kind of exchange. Readers are not reading to me; we
a re reading together. I have a sense of continuous back-and-forth
commentary, where I bounce my ideas off the readers' ideas, or what I
perceive as their ideas from the intonations, mistakes, involuntary
grunts, and sighs. This is precisely what alarms the sighted reader
who thinks of reading as a private and intensely personal act, a solo
flight with no copilot to look over your shoulder, make snide
comments, or gush about the view. But I can't help myself. This way
of thinking about reading comes from the habit of listening to people
I know read aloud to me. When my husband reads to me, usually a big
novel or epic, the text becomes a topic of conversation throughout
the day. The initial impressions one has during the course of
reading, the ideas one revises or rejects as reading continues,
become our mutual property. We share the process of reading, a real-
time event in the intimate space where ideas take shape.


I require my writing students to turn in taped readings of their
work. This is not only a convenience that allows me to return their
work as quickly as a sighted teacher would. But reading their work
aloud also makes the students more conscious of flaws in their prose.
Frequently, I notice, they feel compelled to speak to me at the end
of the tape, particularly after reading a longer piece of work. "I
tried to do it another way first, but I think this works better,"
they say. "Reading it over, I see the ending is kind of abrupt." I
don't discount the possibility that these outpourings are staged
pleas for me to go easy on them. But I also think there is something
about having just read aloud for an extended time that makes them
drop their guard. I sense they are not so much speaking to me as
thinking aloud. I feel myself briefly invited into the mysterious
space between the writer and the text. I imagine them sitting alone,
in the circle of light cast by a solitary reading lamp. The text lies
in their laps. Or they read it off the computer screen, their reading
punctuated by an occasional tap-tap-tap of the scroll command.
Outside the circle of light, in the general darkness, I hover, a
receiving presence.

The following passage considers the experience of listening to
recorded books. The passage is from a 1994 collection of essays on
reading in the electronic age.

When we read with our eyes, we hear the wods in the theater of our
auditory inwardness. The voice we conjure up is our own -- it is the
sound-print of the self. Bringing this voice to life via the book is
one of the subtler aspects of the reading magic, but hearing a book in
the voice of another amounts to a silencing of that self -- it is an
act of vocal tyranny. The listener is powerless against the taped
voice, not at all in the position of my five-year-old daughter, who
admonishes me continually, "Don't read it like that, dad." With the
audio book, everything -- pace, timbre, inflection -- is determined
for the captive listener. The collaborative component is gone; one
simply receives.

Both the reader's inner voice and the writer's literary or stylistic
voice are, obviously, sexed. When I read a male writer, I siply adjust
my vocalization to the tone of the text; when I read a woman, I don't
attempt to impersonation, but I am aware that my voicing is a form of
translation. But when I listened to a cassette of John Cheever's
stories read by an expressive female voice, I just couldn't take it.
Midway through "The Enormous Radio" I had to pop the tape from the
machine to keep her from wreaking havoc on my sense of Cheever.
Cheever's prose is a imprinted with his gender as Virginia Woolf's is
with hers. Nor could I get past the bright vigor of the performing
voice; I missed the dark notes, the sense of pooling shadows that has
always accompanied my readings of the man.

Sometimes, to be sure, the fit is excellent -- either because the
reader achieves the right neutrality, allowing the voice to become a
clear medium for the text, or because the interpretation somehow
accords with my own expectations. Then, too, I have had the pleasure
of hearing an author rendering his or her own work. Indeed, listening
to certain re-mastered recordings of the "greats," I have experienced
the skin-prickling illusion of proximity (I am actually listening to
James Joyce...). The author can open up a work in ways that no other
reader can. At moments like these, I find myself wavering, questioning
the fixity of my assumptions.

Aoccdrnig to rscheearch at Cmabrigde uinervtisy, it deosn't mttaer
waht oredr the ltteers in a wrod are, the olny iprmoetnt tihng is taht
the frist and lsat ltteres are at the rghit pclae. The rset can be a
tatol mses and you can sitll raed it wouthit a porbelm. Tihs is
bcuseae we do not raed ervey lteter by it slef but the wrod as a wlohe.

RFB&D is a non-profit organization aimed to assist people (mostly
kindergarten to graduate school stuents) with a documented disability
(either dyslexia, visual impairment, learning disability, etc.) that
keeps them from reading printed text effectively. RFB&D helps these
students with their homework by narrating textbooks and needed books
that they need for school. Some students send in to us their syllabi
so we know when their textbooks and other required books are needed.
(Sometimes we get books with an early due date that we have to cram in
narrating sessions to meet deadlines.) And if a book is not in our
catalog (also available online at www.rfbd.org) then a member may
request a title.

Since we read many books of nonfiction, we look for volunteers who
have vast knowledge. In the Washington, DC unit, their is a new
volunteer who has a Ph.D. in mathematics. We look for people who can
speak and read foreign languages and who are very knowledgeable in
vast areas. On average, volunteers are asked to come in to the
recording studio at least once a week for at least one hour to record
these books.

Besides narrating books, volunteers can also "bookmark" books. That is
when a pencil is used to mark designated symbols in books to guide the
narrator through the book. If there is a book that has a graph in a
box, the bookmarker's pencil path guides the reader through the graph,
when to read the graph, when to return to text, when to announce the
next page, etc.

All books that are read, the reader announces the page number and this
indicates that a new track is made on the CD.
Directors help the reader, unless the reader prefers self-directing.
The directors help the readers spot errors, press the mouse to
digitally mark the next page, and to help the reader understand and
assist in the reading of the book. (If a reader is self-directing,
then they will have to be extra careful with their errors.)


Depending on how big the book is, a reader will usually only read a
certain chunk(s). Then when the next volunteer recording session
begins, a new reader will pick up where the last reader left off,
indicated on the reading log for that book.


RFB&D began in the 1940s when Anne T. Macdonald began as Recording for
the Blind in the attic of the New York Public Library. She believed in
helping the returning soldiers from WW2to get their education under
the G.I. Act. Most of these soldiers were blinded in action and lost
their vision. Later in the 1950's the company began spreading its name
and business. And the company changed its name to Recording for the
Blind and Dyslexic to serve people with documented print disabilities,
learning disabilites, physical disabilites, and another documented
disability that keeps students from reading text effectively.
"Education is a right, not a privilege," was Ane T. Macdonald's
convction. (Mine too.) Many people to today who suffer from Dyslexia
do not know about this great organization that they can benefit.

Recently, my unit had their volunteer appreciation party, for all
volunteers who have served at least 300 hours. One of our
spokespersons was Dale Booth, an American University graduate who is
on the campus's police force. When he had to go through police
training, RFB&D read his training books for him, and he aced all of
his tests because the recorded textbooks he had from RFB&D helped him
study. He also did a research for his thesis paper on how recorded
text can help those with certain learning disabilities/difficulties.
Those who were not dyslexic had a test read to them, and those who
were dyslexic had the test read to them. The results came in clear:
Those who did not have dyslexia and had the test read to them flunked,
and those who had dyslexia with the test being read to them, scores
went up.

From reading success stories of members, I have come to understand
what Anne T. Macdonald meant when she said that "Education is a right
not a privilege." RFB&D is an organization everyone ought to volunteer
for. I feel deeply honored to be volunteering for RFB&D. I will do my
best to help RFB&D and Ms. Macdonald carry on.

On behalf of the Volunteers of RFB&D I invite you volunteer. Visit
www.rfbd.org for more information.