People of a certain age will remember the great educational obsession with joined-up writing. Or, to give it its proper grandiose title, cursive script. Schools treated it as though civilisation itself rested upon the ability to turn the alphabet into a sort of continuous decorative hosepipe.
An astonishing amount of time was devoted to it. Sheets of lined paper. Endless loops. Pen licences awarded with all the solemnity of a military decoration. Children who could barely explain basic grammar were nevertheless expected to produce handwriting resembling a peace treaty signed aboard a battleship in 1919.
What always strikes me is that nobody actually reads joined-up writing voluntarily.
Books are printed. Newspapers are printed. Shakespeare is printed. Even medieval monks, sitting in freezing stone rooms inhaling candle fumes for thirty years, generally tried to make individual letters distinguishable from one another. Humanity did not spend centuries developing printing presses only for schools to decide that the pinnacle of communication was making every word resemble a set of cursive hieroglyphs discovered inside a damp pyramid.
I did a little research into the history of cursive script recently, which illuminated me somewhat. Not, obviously, in the sense of illuminated script, involving gold leaf, decorated capitals and monks slowly going blind beside candles, but intellectually.
The strange thing is that cursive script originally had a perfectly sensible purpose. If you were writing with a quill or dip pen in 1720, constantly lifting the nib from the page interrupted the ink flow, caught the paper and increased blotting. Keeping the pen moving in one flowing motion was quicker and smoother. Fine. Entirely rational.
The problem is that schools carried on teaching it with near-religious intensity long after the world that created it had vanished.
By the time we were all painstakingly joining our letters in the 1970s and 80s, the country was watching colour television, flying in jumbo jets and listening to music recorded electronically, yet children were still being trained in a handwriting system optimised for a man in a powdered wig writing shipping invoices by candlelight with a feather.
Nobody ever seemed to pause and ask whether this made any sense.
Mind you, I am not entirely innocent here. In my 30s I became mildly obsessed with calligraphy and used to write entries in ship's logbooks in perfect Gothic script, which probably made routine navigational observations look as though they had been copied from a 14th century monastery shortly before the arrival of the plague.
But Gothic script, importantly, is not cursive. Quite the opposite. Gothic lettering positively revels in separating everything into sharp, formal, individually constructed characters. It takes ages to write and was never pretending otherwise. Decorative, ceremonial and faintly intimidating, certainly, but at least honest about the fact it belonged to another age.
My father, meanwhile, fully embraced cursive script. Besides owning a typewriter that produced it, he also used peacock blue ink in a fountain pen for his logbook entries. It was his mark. Beautiful flowing cursive handwriting in vivid blue ink, looking faintly as though a Victorian shipping clerk had somehow wandered into the late twentieth century and been handed radar and diesel engines.
In fact, before going to sea, he had briefly been a bank clerk and had been taught copperplate writing properly. That was still considered a serious commercial skill then. A neat hand implied reliability, competence and trustworthiness. Banks, after all, were places where one badly written figure could accidentally move the equivalent of a semi-detached house from one ledger to another.
I rather inherited that tendency myself. Until I nearly ripped my right thumb off in a motorcycle accident, my handwriting was genuinely rather beautiful. Not elegant in the copperplate sense perhaps, but neat, controlled and readable. Afterwards it deteriorated into something that looks as though a startled chicken has walked through wet ink during a minor electrical incident.
Which perhaps rather undermines the old moral assumptions surrounding handwriting. Schools treated penmanship almost as a reflection of character. Yet in reality, good handwriting often comes down to mechanics, muscle control and whether your thumb remains broadly attached to your hand.
And perhaps that is partly why the whole thing lingered for so long. There is something undeniably elegant, personal and individual about good handwriting. Mechanical printing may be clearer, but it carries none of the fingerprints of the person behind it. You can almost tell the era and character of somebody from the way they wrote.
The original technical problem behind cursive script had nevertheless been solved decades earlier. The biro existed. The typewriter existed. Photocopiers existed. Word processors were already appearing. Yet the educational system clung to cursive script with astonishing determination, as though the collapse of joined-up handwriting would somehow lead directly to barbarism.
And schools became oddly moralistic about it. Good handwriting implied discipline, intelligence and upright character. Bad handwriting suggested idleness and possible future criminality. Meanwhile the medical profession had already evolved a written language entirely incomprehensible to the human eye. Prescriptions written by hand probably accounted for a measurable percentage of accidental drug-induced deaths over the years, with pharmacists effectively working as part-time cryptographers.
That, in many ways, summarises the entire joined-up writing obsession. A society becoming so attached to the appearance of effort and tradition that it starts deliberately reintroducing the very problems technology had just solved.
Most adults eventually drift into a compromise anyway. Half print, half scribble. The natural human equilibrium between speed and legibility. Nobody, outside perhaps wedding invitations and threatening letters from solicitors, actually writes in full cursive script anymore.
And now, of course, children type.
Which means future generations will probably regard joined-up writing the same way we regard deportment lessons, hat etiquette and ceremonial sword drills. One of those strange rituals people defended fiercely long after its original purpose had quietly died.
Still, somewhere in Britain there is probably a retired headmistress who firmly believes society began collapsing the moment children stopped joining their letters properly. She almost certainly writes Christmas cards in green ink using a fountain pen that leaks slightly, and regards the self-checkout at Tesco as the first stage of civilisational breakdown.


















