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Counterblast, his next book, is a manically graphic trip through the land of his theories.In order to provide our readers with a map of this labyrinthine terra incognita, Playboy assigned interviewer Eric Norden to visit Mc Luhan at his spacious new home in the wealthy Toronto suburb of Wychwood Park, where he lives with his wife, Corinne, and five of his six children.

Mc LUHAN: Any approach to environmental problems must be sufficiently flexible and adaptable to encompass the entire environmental matrix, which is in constant flux.

Prehistoric, or tribal, man existed in a harmonious balance of the senses, perceiving the world equally through hearing, smell, touch, sight and taste.

But technological innovations are extensions of human abilities and senses that alter this sensory balance — an alteration that, in turn, inexorably reshapes the society that created the technology.

(His eldest son lives in New York, where he is completing a book on James Joyce, one of his father’s heroes.) Norden reports: “Tall, gray and gangly, with a thin but mobile mouth and an otherwise eminently forgettable face, Mc Luhan was dressed in an ill-fitting brown tweed suit, black shoes and a clip-on necktie.

As we talked on into the night before a crackling fire, Mc Luhan expressed his reservations about the interview — indeed, about the printed word itself — as a means of communication, suggesting that the question-and-answer format might impede the in-depth flow of his ideas.

Apart from his teaching, lecturing and administrative duties, Mc Luhan has become a sort of minor communication industry unto himself.

Each month he issues to subscribers a mixed-media report called The Mc Luhan Dew-Line; and, punning on that title, he has also originated a series of recordings called “The Marshall Mc Luhan Dew-Line Plattertudes”.

Elliott as “deliberately antilogical, circular, repetitious, unqualified, gnomic, outrageous” and, even less charitably, by critic Christopher Ricks as “a viscous fog through which loom stumbling metaphors.” But other authorities contend that Mc Luhan’s stylistic medium is part and parcel of his message — that the tightly structured “linear” modes of traditional thought and discourse are obsolescent in the new “postliterate” age of the electric media. My work is designed for the pragmatic purpose of trying to understand our technological environment and its psychic and social consequences.

Norden began the interview with an allusion to Mc Luhan’s favorite electric medium: television. But my books constitute the process rather than the completed product of discovery; my purpose is to employ facts as tentative probes, as means of insight, of pattern recognition, rather than to use them in the traditional and sterile sense of classified data, categories, containers.

After all, my stuff is very difficult.” Despite his convoluted syntax, flashy metaphors and word-playful one-liners, however, Mc Luhan’s basic thesis is relatively simple.

Mc Luhan contends that all media — in and of themselves and regardless of the messages they communicate — exert a compelling influence on man and society.

They hit book length for the first time in 1951 with the publication of The Mechanical Bride — an analysis of the social and psychological pressures generated by the press, radio, movies and advertising — and Mc Luhan was on his way.

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