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Humans like to say things like ‘the human spirit’. They like to think it means something, that it’s what’s special about them. That it separates them from other animals. There’s that new movie out, 127 Hours, starring James Fracno, about that guy, Aron Ralston, who got his arm caught under a big rock when he fell into a canyon, and he had to cut the arm off with a really dull multi-purpose knife. The movie’s about, like, ‘the human spirit’.
The last time I participated in a cyber-discussion on TNB in the comments section, I expressed my gratitude that authors, unlike actors or singers, don’t rely on appearances, and thus don’t have the same pressures—particularly those of needing plastic surgery to further their careers, specifically boob jobs. Besides, I offered, most writers aren’t that good looking.
A commenter disagreed, suggesting that plastic surgery might possibly help sell books. An author should do everything in his or her means to promote, including looking his or her best, whether through surgical enhancement or other means. Besides, boob jobs and plastic surgery are akin to braces and tattoos and teeth whitening and hair dye. A personal choice. Not a political one.
It got me thinking: If I got a breast lift, would I sell more books? If I lost ten pounds, would I be a better writer?
Recently I was on a panel titled “Getting Published” at the UCLA Writers’ Faire. My fellow panelist talked quite extensively about having a “platform.” A blog, Twitter, Facebook. A presence. These, she seemed to suggest, were more important than the writing itself. At the very least, without a platform, the writing, no matter how great, would remain unpublished.
It got me thinking: Do I need a blog, Twitter, and Facebook to be a better writer?
In other words, if I became more of a narcissist, and if my vanity increased, would my writing improve?
I’ll probably gain ten pounds, let myself go, and stay off Facebook and Twitter.
June 24, 2010
In a scenario reminiscent of My Dinner With Andre, only with way less creepy background music and little or no Wallace Shawn, two Nervous Breakdown newcomers utilize the cold war-era concept of the “face to face chat” in a likely misguided effort to push beyond the personal essay format. Daly, already a TNB darling due to his heavily reported dust-up with Wally Lamb, and Beaudoin, still reeling from the announcement of David Coverdale’s defamation lawsuit, come together for a wide-ranging discussion on a number of subjects. They each arrived armed with three pre-prepared questions in case things hopelessly flagged, but the idea was to wing it as much as possible. No topics were off limits and no feelings were spared. So here it is: unedited, unexpurgated, and without a single national security redaction:
Sean Beaudoin: (sliding into a booth in which Joe Daly is already comfortably ensconced. An awkward male-bonding slap-five handshake-y thing follows) So, this diner is a little on the sleazy side. Just the way I like it. But I’m guessing you took a pass on the eggs benedict.
Joe Daly: Food poisoning changes your perspective on everything.
SB: Our waitress looks exactly like Endora from Bewitched. If you don’t get that reference, I’m even older than I thought.
JD: You’re barking up the right tree, brother. I remember both Darrins. And they were both Dicks.
SB: They were, weren’t they? Dick Sargent and…
JD: Dick York.
SB: There used to be a bar in San Francisco called Doctor Bombay’s.
SB: Actually, it was good place to get punched in the neck by some guy who decided you stole his bar change.
JD: Yanno, the last time I was in San Francisco, some guy tried to pick a fight with me. Has it always been a big fighting town, or was it just me?
SB: I think there are just certain places where it’s unwise to stare at the expensive vodkas, mostly because they’re full of people who see your back as an opportunity.
JD: Have you ever been in the mafia?
SB: Lipstick or Trenchcoat?
JD: Either. Your comment about sitting with your back facing people made me wonder. That’s the thing about TNB- we really don’t know much about each other. That’s the royal “we” by the way.
SB: It’s true. I sort of feel like I know you through post-osmosis. But in reality, I know absolutely nothing about you. I guess that’s why we’re sitting here. I’m going to take out my folded piece of paper with three questions on it now.
JD: I’m keeping mine in my pocket until the last possible second. My list of questions, that is.
SB: Okay, here’s the first one: let’s talk about the ubiquity of Joe. It seems like every post I read, you’ve already commented on it. Which I mostly take to mean you’re really conscientious about participating in the TNB model, as opposed to just slinging your own work up and basking in the glory. Do you feel an obligation to make the rounds, or do you just really dig the give and take?
JD: (pulling fake pencil from behind ear and leaning over napkin) Hold on-I need to write down “The Ubiquity of Joe.” If I ever record a folk album, I now have a title. I just need the Irish sweater and kinky hair.
SB: I can see the cover. You’re on a stool in a pirate’s jacket with a banjo, doing tunes from David Crosby’s solo album. Which I’ve actually listened to, by the way. Every single song is called something like Ecology, Ecology, Mustache, Drugs. Or Morocco, Booze, Mustache, Freedom.
SB: Anyway, I know “ubiquity” might sound sort of negative, but I’m trying to say I think it’s kind of an excellent thing.
JD: How so?
SB: Just that there’s a certain sort of “writerly cool” that requires being all enigmatic and not putting yourself out too much, trading ironic for earnest, not being willing to say things if they’re not always “brilliant”… I see you out there sort of just being supportive and I like it. It’s anti-cool. It’s zero-hipster.
JD: (chuckling) I’m like the Hootie of TNB. No, I mean, I realize some people might think it’s sort of a yahoo thing to do-to consistently comment. But I really appreciate the feedback when I publish something, so I want make sure I’m supporting other writers in the same way. Personally, I find virtually all comments on my pieces to be enormously helpful-at the very least it brings my attention to what caught their eye, good or bad, and what they related to on some level. And you?
SB: At first I felt weird commenting beneath my own pieces, like I was fluffing the totals. But I got over it. And I really like the dialogue. It forced me to think about the entire process in a different way. That whole dynamic of “I am the writer, you are the reader, there will remain a wall of silent genius between us.” Totally subverting that.
JD: I hear you. My first thought on commenting on my pieces was that it was a pretty slavish way of pimping yourself out. Then some other writers suggested to me that actively commenting on your pieces was a good thing because it drives discussion and brings readers deeper into the piece, as well as the TNB community. Let’s face it-the Bible is online, the complete works of Shakespeare, most of the Garfield cartoon strips. There are some pretty good options for readers looking to kill time on the internet. I think that for people to spend their time reading a piece on TNB is deserving of some grateful acknowledgment, in my opinion. Oh, and yes-I just implied that I’m bigger than Jesus.
SB: You are. My oatmeal is bathed in loving light.
JD: I wish I ordered oatmeal. Maybe I’ll try to multiply yours.
SB: Can you multiply me a coffee refill, too? Okay, here’s my second prepared question: Writing about music is easy in a way, because almost all of us have spent our lives immersed in it, and also pretty impossible, since almost all of us have spent our lives immersed in it.
SB: So there’s pretty much not a single thing you can say-“I love Rush, I hate Rush”-that won’t be considered by someone to be not only ill-informed, but actively offensive. So why take that whole package on?
JD: (briefly considering) Writing about music isn’t the most original endeavor. We music obsessives all suffer from the delusion that our passion is unique in intensity and/or variety. In reality, the only thing unique is probably our album collections, which are like snowflakes-no two are exactly the same. When I crawl into an album or a band’s catalog, sometimes a theme pops up, or I find myself struggling with the question of “what it is about THIS music that makes me feel this way, when this other music doesn’t?” And next thing I know, I’m writing about it. Know what I mean?
SB: I do. Except I tend to ignore that compulsion. To write about it. To me it’s like covering a Pro Choice rally. There’s two groups of people with signs and bullhorns, a bunch of nervous cops, and no possibility of convincing anyone of anything.
JD: Speaking of convincing, you used to write for The Onion. How in the world did that happen?
SB: I pitched the SF city editor an idea and he liked it. Never thought I’d hear back from him. They were desperate, obviously.
JD: Did you just come up with an individual story idea and send it to him, or was your idea to write a regular column?
SB: I pitched him “How to Spend Christmas Day Alone” which was essentially about being that guy who doesn’t have the cash to fly back to his parents’ in Cleveland like the rest of his roommates. The idea being, okay, here’s a list of places you can go to stag in hopes of warding off the crippling depression.
JD: So what’s open?
SB: Um, not much. The Avis rental car counter. Walgreens. I advised stealing lots of candy, getting caught, and spending the day with friends in jail. Also, David Brenner does a comedy night at this Chinese restaurant in North Beach every year. Which sounds almost like jail. After that I kept pitching the idea that SF really needed a sarcastic weekly sports column. And they finally agreed. As it turns out, it wasn’t at all what SF needed.
JD: What happened?
SB: I got canned.
JD: Sexual harassment?
SB: I wish. No, like two days after Lehman Brothers ate it, the SF and LA offices were shuttered. I’d just finished my column and the editor calls and says “don’t bother to send it in this week.” That’s more or less the last I heard from them.
JD: (reaching into pocket for notebook) I guess this brings me to my first pre-prepared question: In the cultural juggernaut Road House, Patrick Swayze’s character Dalton imparts nuggets of wisdom to friends and enemies like “Pain don’t hurt,” and “Go fuck yourself,” to name a few. Ok, in one of Buddhism-lite lectures, he tells the battle-weary staff of the Double Deuce, “I want you to remember that it’s a job. It’s nothing personal.” Is it possible for a writer to follow this advice?
SB: (Crossing fingers over chin in a Zen manner) Well, you probably remember that just before the climactic fight scene, the bad guy tells Swayze “I used to fuck guys like you for breakfast in prison.“ That’s pretty much my writing motto.
JD: It’s all starting to fall into place.
SB: Not to mention the 26-point Helvetica banner I have tattooed across my back…
JD: I’m sorry, but I’m going to need to see that.
SB: Obviously you’ve done a little research, and I appreciate you slyly bringing up Road House. Yeah, the lead character in my next book is named “Dalton.” And, yes, it’s an homage to Swayze.
JD: People are going to think you’re kidding. But you’re not, are you?
SB: Nope. It’s called You Killed Wesley Payne. But let’s talk about how Brad Listi called you and me onto the carpet of his mahogany-lined Fifth Avenue office last week.
JD: Good idea. We haven’t had a chance to break it down yet.
SB: So, after the usual niceties, he essentially told us-
JD: -to shape the fuck up.
SB: Yes, but also, if we did get our act together, we had the potential to be the Doc Gooden and Darryl Strawberry of this year’s TNB freshman class.
SB: You seemed to think he was warning us not to stay up all night doing coke with Lenny Dykstra/Greg Olear anymore. I sort of thought he was trying to tell us to enjoy this time of innocence, because it doesn’t last.
JD: Seriously? I’ve been having a blast at TNB. It’s like a literary Lollapalooza. But without the eight dollar bottles of water and overflowing port-a-potties.
SB: You’ve mentioned you’re working on a book.
JD: (tenses up) Wait, is it bad luck to talk about a book that you’re still writing?
SB: Yes, and now the thing is doomed. Even so, what’s it about? What are your wildest expectations for it?
JD: The book is a direct consequence of TNB. I know it sounds trite, but the author community really inspired me to give it a shot. Being outside the literary world, I always had the idea that all novelists were pretentious and unapproachable-
SB: Aren’t they?
JD:-and riddled with fear and sarcasm. But most of the authors at TNB seem down to earth, passionate about the writing process, and sincere in participating in a community vibe. I realized I could either keep doing the one-off pieces and being a hired gun for other artists, or I could take on the challenge and see what I’m all about…the book will deal with music, which means that any expectations I have for it are hellaciously modest. In a genre populated with Nick Hornby, Chuck Klosterman, and Michael Azerrad, I have no pretensions that I’m going to burst onto the scene.
SB: The scene could use some bursting. You could be the new Klosterchuck.
JD: I’ll just be happy to get it published and read by a few people whose opinions I respect….(suddenly laughing) um, excuse me, Miss? Yes, waitress? Did we really order all these cliches?
SB: She’s like, “fuck off and tip me already, you guys are camping at my best table.“
JD: Here’s my next written question, while we’re on the subject: You’re quite a music aficionado, seemingly across a number of genres. One of which is apparently jazz, which is sort of like the absinthe of music-few dare to sample it for fear that they won’t understand the experience. Even established musicians can be intimidated by the unfamiliar scales and chord progressions. What does jazz do for you and is it possible to discuss it without sounding pretentious?
SB: It’s unfortunate but true that you pretty much can’t talk about jazz without sounding like an asshole. Unless I meet someone who’s as much of a twitchy stalker about it as I am, I usually play dumb. There’s definitely this sense that, if you’re into Charles Mingus or Sun Ra, it must just be a bid for hipster credibility. It’s like, “there’s no way you actually listen to that for pleasure!”
JD: Right, right.
SB: But, you know, I will cop to the fact that there have been times in my life when I claimed to like things that I was actually not that into-Foucault comes to mind-because I thought it might impress people. One of the great things about getting older is completely not giving a shit anymore. I mean, if I want to waltz into Starbucks and order a triple caramel whipped cream enema, I’m going to do it and not worry what the cute barista thinks, you know?
JD: It depends how cute.
SB: And I would say that the “intimidation” aspect of jazz is probably more about the fear of looking dumb at a party than the complexity of chord changes. Even the name is sort of meaningless, because it encompasses so many different styles of music. You mean your grandma’s Artie Shaw collection? Cake walks? Hard bop? The fifteen incarnations of Miles Davis? Machito? Free Jazz? B-3 funk? Fusion-y shit?
JD: So then what’s the appeal? Does it relax you, inspire you, make you want to lay with a woman?
SB: A long time ago, and this was back in the cassette days, I worked the overnight desk shift at a hotel, and I had this one TDK of Coltrane’s Ascension which is, you know, a challenging piece of music. Seriously dissonant. People would walk into the lobby, hear it, pick up their suitcases and walk right back out again. I wore that tape down to the felt.
JD: It’s like you’re a conundrum, inside of a mystery, served next to some potato croquettes.
SB: I get bored easy. Verse, verse, chorus, solo. Turn on the radio, here’s another song about a girl you like. Here’s another song about how it sucks to be twenty and have no idea how your life will turn out. Here’s an ironic song about a toy we all grew up with. Did you really order the croquettes?
JD: I did. Out of all the world’s vegetarians, I have the worst diet by far. (gripping non-existent tofu gut). And I’m ok with that.
SB: A bunch of people I know got into a massive pixellated conflagration about Lady Gaga on Facebook last week. One side loves her, mostly for campy reasons, but still some true acolytes. The other loathes her, mostly because she doesn’t sound anything like ZZ Top. And the middle thinks arguments about musical preference need to be left in the dorm room, so grow the fuck up already. But I thought it was interesting that the main sticking point seemed to be that while some people admitted to finding her entertaining, they weren’t willing to concede she had any actual talent. Well, Joe Daly, does she?
JD: Wow. I do have a theory on Lady Gaga, which may or may not impact this question. The theory is that there are at least five Lady Gagas.
SB: Good, I like it….keep going…
JD: If you look at any series of pictures of her, she looks wildly different across all of them. Basically, you’ll see that her body and facial structure aren’t particularly unique-just the outfits, makeup, and hair. It occurred to me that if she got really blown out at a party, and was too hungover to make an appearance the next morning, she could easily send a similarly-shaped friend to do the gig, and no one would ever be the wiser. Plus, the way she sings has been auto tuned up to the max, so really there’s probably a legion of women who could pass themselves off as LGG in the studio. You see where I’m heading?
SB: Completely. And I do think she’s incredibly talented. It may just be that her incredible talent does not lay in the musical arena. I mean, she and some very smart people got together, came up with a character to inflame the pop fires, and every day they deposit truckloads of cash into various accounts. They’re just really bald about it, which I sort of admire more than bands or singers who pretend they’re not all about business.
JD: Dead on! You do have to respect an artist who plays it straight like that. So it’s my own personal conspiracy theory that Lady Gaga is like Lassie in that she’s played by a number of different actors/singers.
SB: And also that she can bark and claw the dirt in a way that tells you there’s a little boy who’s been kidnapped by Apaches and it’s time to run and get the sheriff?
JD: She would also probably be really handy if someone got caught in a bear trap. “What’s that Lady Gaga? It’s Timmy? Timmy needs help?”
SB: Seems like a good time to introduce a pretty clichéd scenario that was asked of me last week, mostly cause I got no more good material on Gaga…
JD: Bring it on.
SB: Okay, you’re going to the typical theoretical deserted island and can bring the entire recordings of only one artist to play on your coconut-fueled iPod. The caveat is, you don’t get any bootlegs or re-issues, just the studio albums. To listen to over and over, for the rest of your life. So, even if Working for the Weekend is your favorite song ever, choosing Loverboy limits you to a tiny pool of recordings. Who do you pick and why?
JD: Well, if it were one album, I was going to go with the Best of the Stone Roses, but as they only have two studio albums of original stuff, they don’t make the island.
SB: The smart move would probably be to snag Mozart, not only for the volume of material, but because you could while away the years studying him. If only to keep yourself from talking to a volleyball. Unfortunately I’m not that smart, so I’m going with Slayer.
SB: Because only Slayer will keep me and my new monkey-wife sane.
JD: I’m going to have to go with The Who then.
JD: I’ve just always related to them on a very deep level. I got into them in high school, when I was starting to feel my oats, and that was the same general age that Townshend was when he began writing some of his best stuff. I’ve always thought Daltrey was money. Great rage. Plus, end to end, they have a great legacy that includes anthems, punk, heavy riffing, and very melodic, stripped-down stuff.
SB: Supposedly Hendrix hated Pete Townshend. So, by extension, I am obliged to hate Pete Townshend, too. But I dig Live at Leeds. Total early punk.
JD: And one of the best motherfucking live albums ever! (waitress walks by, glares, shakes head.) Whoops-sorry for the profanity, miss. (In a quieter voice) Didn’t realize she was right behind us.
SB: We’re totally getting 86’d. I better do my final question.
JD: Good idea.
SB: (composing mentally, taking deep breath) Okay, so yesterday I was thinking about how, as a society, we process things in tiny increments-
JD: I agree. Next.
SB: (laughs)…we spend all our time like, what do I have to get done by noon? Who am I hanging out with this weekend? It’s pretty amazing how much has changed just in the last year alone, but we don’t really acknowledge it. For instance, Tiger Woods. He’s a punch-line. His iconography is permanently shot. But eight months ago he was a walking brand, one of the most revered, most reliable money-machines of the last century. Pretty much a god, at least to people who find their gods in someone else’s backswing. Okay, so….sorry this is so long-winded….so I was just reading that David Shields self-interview where for the third time he more or less said “literature is dead” and I was thinking how that was like saying “Tiger fucks waitresses at Waffle House.” Bang! Hit the defibrillator, lock your kids in the rec room, start selling off all those valuable first editions. But golf goes on. Tiger’s still playing. People still watch and care. It’s just different now. It seems to me that saying “literature is dead” is really “here’s a contentious generalized statement with which to drum up interest in my $25.95 hardback.” You know what I mean?
JD: I think I do. I mean, does anyone really think literature is dead? In fact, it’s more alive than ever-look at the growing list of contributors to the TNB, many of whom have their own books out. Maybe print is dying, but the fact that it’s easier than ever to get people to read your thoughts, via book, blog, or social networking site, shows that literature is very much alive, it’s just diluted. But for the record, I think the “contentious generalization” tool is about as original as the serial killer not being dead at the end of the movie.
SB: Right. You gutshot Michael Meyers. He gets up. Light him on fire. He gets up. But I do like that Shields is really confident about staking out his position. He’s like, “here’s what I think, here’s what my book is about, buy it or don’t, I’m not trying to make any friends.” He’s obviously spent years thinking through this stuff while the rest of us were running with scissors. I guess in the end I just feel protective of the old model. Which is dumb, since I mostly get screwed in the old model.
JD: Speaking of which, you just posted this thing called Read My Finger: How Not to Get Published…
SB: I did. Which will probably guarantee I never get published again…
JD: All the TNB literary critics, editors, and very serious writers knocked each other over to effusively praise the thing. It felt like it was Christmas Eve and someone said there was only one Cabbage Patch Kid left, and it was in your article. Being an outsider in the literary world, I found the piece to be thoroughly entertaining, and at the same time, quite humbling. Not only did you name check a legion of authors I’ve never heard of, but you revealed the submission and acceptance process to be tired, saturated, and impersonal.
SB: Actually, once it was done I considered scrapping the thing. Even though most of it was intended to be comical, in the end I don’t want to genuinely discourage anybody. Writing is just too hard as it is. But, you know, it was all true. The truth cannot be denied. On the other hand, my mother called me up and was like, “that’s the last time I write anything but XXOO on your birthday card.”
JD: Nice one, mom.
SB: Since we’re at the end here, it does seem like I should mention that, even on a telepathic level, we seem to have agreed not to speak of the Steve Almond contretemps. Maybe if for no other reason than that we’re both bored to tears by ever single facet of it. But it occurred to me to ask you one thing, and maybe with this question put it all to bed, permanently, next to Hoffa in a layer of quicklime…
JD: (nodding warily)
SB: Did that experience give you, in even the most fractional way, a glimpse of what it’s like to be pinned down in the public eye like a Lindsay Lohan? By which I mean, caught up in some “spat” that was probably bullshit to begin with, but for whatever reason becomes a cultural snowball, conducted through headlines and discussed by third parties and generally taking on a life of its own, so that it goes way past really being about you, and you sort of end up standing by watching it happen?
JD: Yeah, it was really strange to watch things spin out so quickly. My thinking is that Steve had every right to say what he wanted to say, and I responded to him accordingly as a comment to his piece. My involvement ended there. I wasn’t going to get baited into some internet feud. As the saying goes, “never pass up an opportunity to keep your mouth shut.” But next thing I knew, people began weighing in and a very different debate arose. Greg Olear’s piece, “Something Nice,” was awesome because it set off a very thoughtful and sometimes animated discussion about what the TNB culture means to different people and what their expectations are for the site. Apparently it was time for that discussion to happen at TNB. But as you say, the debate had little to do with me or my writing.
SB: I feel compelled to mention that I do admire pretty much any willingness to leap into the fray brandishing unpopular sentences. To not worry if your opinion is going to keep people from being gentle with your own pieces. To toss it out there like a raw steak and deal with how it effects your Amazon ranking later. I mean, essentially, the internet is nothing but a massive binary excuse to be righteously pissed about stuff. So the guy with the pointy stick, in the long run, is sort of doing everyone a favor.
JD: When the TNB dust up was still pretty new, one of the more veteran authors told me that when you put something out there, some people will like it and some won’t, and to realize that none of them are right. The important thing is to just keep writing because that’s all I can control. I’m not going to say that I don’t care what people think about my writing, but I think that as long as I’m writing about topics that mean something to me, and not for other people’s approval or feedback, I can be happy with my process.
SB: Listen, people who say ‘I don’t care what anyone thinks about my work’ are either lying or Thomas Pynchon. I mean, everyone cares. Deeply. The locus of writing is showing off. It’s narcissistic just by definition to imply “my deepest thoughts are worth your investment in time.” So I think it’s how much of that ego you can deflate, you know, that makes certain writing rise above. How much can you ignore your nature and access your true feelings without censoring them, or tailoring them to a specific audience. No matter what the genre, guns and spies or Jane Austen, that’s the kind of writing that, to me, never feels disposable. So, you know, I guess I’m trying to say, if you feel like you’ve written something artfully, but with a minimum percentage of bullshit, you can pretty much get away with anything. You can call anyone out, or reveal things that are totally ugly and not be condemned for it. But if you’re going to attack someone for the intellectual rigor of their distaste for Dave Matthews, man, you better have a pretty solid handle on your own failings.
JD: Ok, they’re turning the lights out in here. I need to ask one more question though, if that’s cool. When I was researching your works, I found out that your first book, Going Nowhere Faster, was just translated into Polish. Polish!
SB: I know, right? Now it’s called Donikad Byle Szybciej. I’m embarrassed to admit how pleased I am with how entirely random that is.
JD: Why Poland over say, France? Is there a big Young Adult market in Krakow?
SB: No clue. But I intend for my empire to span from Budapest to Helsinki by 2012. And by 2112, I intend for it to span from Spirit in The Radio to Tom Sawyer.
JD: Ha! In a perfect world, where would you like to see your writing take you? If you could decide your own fate, what does the future look like?
SB: Totally honestly? If I can sell just enough to not worry about checks or agents or self-promotion, to be able to sit in my little office with my laptop and concentrate on whatever project I’ve got going that day, I would be extremely happy. Anything beyond that is frosting.
JD: What does that mean?
SB: I’m not entirely sure. Hunter Thompson used to say it all the time. Something like let those with eyes see, and those with ears hear.
JD: It doesn’t get any more profound than that.
SB: No, sir. It really doesn’t.
“Visiting London, I always have the sense of a city devised as an instrument of political control, like the class system that preserves England from revolution. The labyrinth of districts and boroughs, the endless columned porticos that once guarded the modest terraced cottages of Victorian clerks, together make clear that London is a place where everyone knows his place.
As in every big city, perhaps in every large concentration of human beings, London regards itself as quite considerably more important than everywhere else. Areas within London even posture themselves as somehow superior to their closest bordering neighbours. The same ‘narcissism of minor difference’ is expressed clearly by the amplified hatred of one obscure group of sports fans for their closest neighbouring rivals eg. Liverpool vs. Manchester, New York vs. Boston etc. etc. It’s just another reminder of what a bunch of witless, retrograde animals we actually are, despite all the protestations of highly-evolved, right-brain thinking.
People talk about tiny areas of London as if they’ve magically earned as much a right to a place in the collective consciousness as Sparta or Crete simply by being within the boundaries of the North Circular road. Londoners tend to assume in the listener a detailed geographical grasp of the city, regardless of where they might be from, just as New Yorkers refer to esoteric distinctions in ‘uptown’, ‘midtown’, and ‘downtown’ culture as if they are as intrinsic to human development as the Out of Africa migration patterns of Pleistocene man.
How have the supercilious people of a cold, rainy conurbation in an isolated corner of Northern Europe come to such licence to lord the relative merits of either side of a grey, begrimed river over the rest of the world.
Especially now, it seems that London didn’t get the memo that the system it developed and propagated across the globe has almost no ethical, spiritual or economic currency anymore, anywhere. It’s a situation that makes the half-mast-drainpipe-red-jean brigades look extra-specially ridiculous
Like the revival of the cravat in the early nineteenth century, in the 1980s, and then again in the early 2000s, the choice of that hat looks very much like a ‘top of the economic bell curve’ decision.
It’s very hard to avoid making them. It’s a rare individual that manages to transcend economic determinism, and avoids falling into the trap of thinking that things might be even remotely similar to how they were five, or even three, years ago.
I never thought I’d say this, but I’m with this guy, and therefore, with Nicholas Sarkozy:
“That a head of state should allow Eros to plot the trajectory of his life, rather than the travails of the global credit crunch, is so life-affirming it moves me to tears.