By publishing The Anxiety of Influence in 1973, Harold Bloom invited both critics and authors to re-read centuries of literary creation as a reactionary act against the haunting shadow of precursors; a reactionary act from the new author’s side to establish his own voice, already influenced by forerunners, as an original one. Bloom’s theory places a historical anxiety, caused by dead poets, in the centre of both tensions and aspirations of living poets. Each new author is a late-comer shadowed by the whole history of literary creation, haunted by all canonical works, and encircled by gigantic names that have already proved their originality. There is an endless war going on. Driven by the hidden forces of anxiety, a few late-comers succeed in establishing their authorship to become the great precursors for the next generation of late-comers, the rest would be forgotten.
Being the new late-comers of the world of words, we seem to be lucky enough to be the forerunners of an updated version of Anxiety of Influence which does not draw any chronological, linear, or hierarchical lines between subjects and objects. Fitzpatrick in Planned Obsolescence: Publishing, Technology, and the Future of the Academy contemplates on the metamorphosed sense of being an author in the digital world while bearing a hidden fear of losing one’s individuality, one’s identity, and one’s distinguished voice. Interestingly enough, this new anxiety is not caused by the precursors any more, as it is the anxiety of being influenced by the contemporary fellows who are suffering from the same anxiety at the same time. This anxiety, according to Fitzpatrick, is partially caused by the fear that “someone else’s opinions might interfere with” the second author’s opinions before letting the second author establish his/her position fully (51). This is not really a pure peculiarity of digital age, even the authors of RW culture could receive influential feedbacks on their serialized or unfinished works before establishing their own intellectual position. The peculiarity of the digital in this case is the crazy speed by which millions of ideas and words are randomly undercutting each other without establishing any enduring hierarchical orders.
I wonder if the authors’ of digital age are not suffering the historical Anxiety of Influence, described in Bloom’s theory, any more as they are all busy dealing with new fears and challenges of immediate publications and instantaneous responses. Are the shadows of great precursors, those who have been following new-comers for centuries, going to be replaced by the virtual attendance of contemporary rivals who are haunting each other in a collective anxiety? Fitzpatrick’s ideas, along with my personal experiences, imply that a digital author expects to be compared with other digital fellows rather than any non-digital precursors and wishes to establish a distinguished voice in comparison with other digital publications rather than any old canonical works. Fitzpatrick suggests that “we no longer inhabit a world in which originality reigns unchallenged” (78). According to Bloom originality is a distorted offspring of non-original ideas that truly suffered the Anxiety of Influence and tried to get rid of the haunting shadows of the past. I’m thinking about the offspring of our digital anxiety when shadows and authors are coexisting in the same circle without any hierarchical relations in between. Could Harold Bloom, a contemporary and a precursor, be a haunting figure for a blogger who is writing about literary criticism? Or other bloggers, even unknown ones, play a more intimidating role? The new medium seems to be altering the ancient nature of anxiety.