In 1961, the name of Marshall McLuhan was unknown to everyone but his English students at the University of Toronto--and a coterie of academic admirers who followed his abstruse articles in small-circulation quarterlies. But then came two remarkable books-- "The Gutenberg Galaxy" (1962) and "Understanding Media" (1964)--and the graying professor from Canada's western hinterlands soon found himself characterized by the San Francisco Chronicle as "the hottest academic property around." He has since won a world-wide following for his brilliant--and frequently baffling--theories about the impact of the media on man; and his name has entered the French language as mucluhanisme, a synonym for the world of pop culture.

Though his books are written in a difficult style--at once enigmatic, epigrammatic and overgrown with arcane literary and historic allusions--the revolutionary ideas lurking in them have made McLuhan a best-selling author. Despite protests from a legion of outraged scholastics and old-guard humanists who claim that McLuhan's ideas range from demented to dangerous, his free-for-all theorizing has attracted the attention of top executives at General Motors (who paid him a handsome fee to inform them that automobiles were a thing of the past), Bell Telephone (to whom he explained that they didn't really understand the function of the telephone) and a leading package-design house (which was told that packages will soon be obsolete). Anteing up $5000, another huge corporation asked him to predict--via closed-circuit television--what their own products will be used for in the future; and Canada's turned-on Prime Minister Pierre Trudeau engages him in monthly bull sessions designed to improve his television image.

McLuhan's observations--"probes," he prefers to call them--are riddled with such flamboyantly undecipherable aphorisms as "The electric light is pure information" and "People don't actually read newspapers--they get into them every morning like a hot bath." Of his own work, McLuhan has remarked: "I don't pretend to understand it. After all, my stuff is very difficult." Despite his convoluted syntax, flashy metaphors and word-playful one-liners, however, McLuhan's basic thesis is relatively simple.

McLuhan contends that all media--in and of themselves and regardless of the messages they communicate--exert a compelling influence on man and society. 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. According to McLuhan, there have been three basic technological innovations: the invention of the phonetic alphabet, which jolted tribal man out of his sensory balance and gave dominance to the eye; the introduction of movable type in the 16th Century, which accelerated this process; and the invention of the telegraph in 1844, which heralded an electronics revolution that will ultimately retribalize man by restoring his sensory balance. McLuhan has made it his business to explain and extrapolate the repercussions of this electronic revolution.

For his efforts, critics have dubbed him "the Dr. Spock of pop culture," "the guru of the boob tube," a "Canadian Nkrumah who has joined the assault on reason," a "metaphysical wizard possessed by a spatial sense of madness," and "the high priest of popthink who conducts a Black Mass for dilettantes before the altar of historical determinism." Amherst professor Benjamin De-Mott observed: "He's swinging, switched on, with it and NOW. And wrong."

But as Tom Wolfe has aptly inquired, "What if he is right? Suppose he is what he sounds like--the most important thinker since Newton, Darwin, Freud, Einstein and Pavlov?" Social historian Richard Kostelanetz contends that "the most extraordinary quality of McLuhan's mind is that it discerns significance where others see only data, or nothing; he tells us how to measure phenomena previously unmeasurable."

The unperturbed subject of this controversy was born in Edmonton, Alberta, on July 21, 1911. The son of a former actress and a real-estate salesman, McLuhan entered the University of Manitoba intending to become an engineer, but matriculated in 1934 with an M.A. in English literature. Next came a stint as an oarsman and graduate student at Cambridge, followed by McLuhan's first teaching job--at the University of Wisconsin. It was a pivotal experience. "I was confronted with young Americans 'I was incapable of understanding," he has since remarked. "I felt an urgent need to study their popular culture in order to get through." With the seeds sown, McLuhan let them germinate while earning a Ph.D., then taught at Catholic universities. (He is a devout Roman Catholic convert.)

His publishing career began with a number of articles on standard academic fare; but by the mid-Forties, his interest in popular culture surfaced, and true McLuhan efforts such as "The Psychopathology of Time and Life" began to appear. 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 McLuhan was on his way. Though the book attracted little public notice, it won him the chairmanship of a Ford Foundation seminar on culture and communications and a $40,000 grant, with part of which he started "Explorations," a small periodical outlet for the seminar's findings. By the late Fifties, his reputation had trickled down to Washington: In 1959, he became director of the Media Project of the National Association of Educational Broadcasters and the United States Office of Education, and the report resulting from this post became the first draft of "Understanding Media." Since 1963, McLuhan has headed the University of Toronto's Center for Culture and Technology, which until recently consisted entirely of McLuhan's office, but now includes a six-room campus building.

Apart from his teaching, lecturing and administrative duties, McLuhan has become a sort of minor communication industry unto himself. Each month he issues to subscribers a mixed-media report called "The McLuhan Dew-Line"; and, punning on that title, he has also originated a series of recordings called "The Marshall McLuhan Dew-Line Plattertudes." McLuhan contributed a characteristically mind-expanding essay about the media--"The Reversal of the Overheated-Image"--to our December 1968 issue. Also a compulsive collaborator, his literary efforts in tandem with colleagues have included a high school textbook and an analysis of the function of space in poetry and painting. "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 McLuhan 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. (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, McLuhan 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, McLuhan 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. I assured him that he would have as much time--and space--as he wished to develop his thoughts."

The result has considerably more lucidity and clarity than McLuhan's readers are accustomed to--perhaps because the Q. and A. format serves to pin him down by counteracting his habit of mercurially changing the subject in mid-stream of consciousness. It is also, we think, a protean and provocative distillation not only of McLuhan's original theories about human progress and social institutions but of his almost immobilizingly intricate style--described by novelist George P. 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 McLuhan'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. Norden began the interview with an allusion to McLuhan's favorite electric medium: television.

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