An introduction

This is a semi-public place to dump text too flimsy to even become a blog post. I wouldn't recommend reading it unless you have a lot of time to waste. You'd be better off at my livejournal. I also have another blog, and write most of the French journal summaries at the Eurozine Review.

Why do I clutter up the internet with this stuff at all? Mainly because I'm trying to get into the habit of displaying as much as possible of what I'm doing in public. Also, Blogger is a decent interface for a notebook

Saturday, May 15, 2010

Book: Generation X

Douglas Coupland, Generation X. An often uncomfortable book to read, because it's a good one. Simultaneous identification with, loathing for and jealousy of the characters doesn't make for a pleasant reading experience.

Like all his books, it's set in an all-too-real world. The cast are young Americans, raised on marketing and branded aspiration, with every possible gestrue of rejection, independence or individuality already anticipated and commodified by the marketing industry. The plot developments are incidental; the action is in the stories and fantasies of the Generation Xers, mostly of where they find love and beauty within small moments of their lives:

"inspired by my meetings of the Alcoholics Anonymous organization, I instigated a policy of storytelling in my own life, a policy of "bedtime stories," which Dag, Claire and I share among ourselves. It's simple: we come up with stories and we tell them to each other. The only rule is that we're not allowed to interrupt, just like in AA, and at the end we're not allowed to criticize. This noncritical atmosphere works for us because the three of us are so tight assed about revealing our emotions. A clause like this was the only way we could feel secure with each other."

Coupland's happy-ever-after endpoint, here as elsewhere, is for this circle of friends to find a shared language, a common aesthetic in their savviness and semi-rejection of the world, and so an ability to share their perfect moments. The problem is that they aren't really "tight assed about revealing [their] emotions". Once the storytelling device clicks into place, they're all able to talk in the style that is Coupland's trademark, cannily picking apart the brands and marketed aspirations from which they've built their inner lives. The emotional fluency isn't developed over the book; it's present from the start, as plot device.

Not only is the endpoint present from the start, it's also deeply unsatisfying in itself. We can't leave any mark on the world, he seems to be saying, so should content ourselves with occasional brief moments of beauty and communication. This is both accurate, and sufficient reason to fling yourself off the nearest cliff.

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