{"id":96105,"date":"2016-03-25T09:33:05","date_gmt":"2016-03-25T13:33:05","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=96105"},"modified":"2016-03-25T10:16:49","modified_gmt":"2016-03-25T14:16:49","slug":"bring-on-the-batemans-and-other-news","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2016\/03\/25\/bring-on-the-batemans-and-other-news\/","title":{"rendered":"Bring on the Batemans, and Other News"},"content":{"rendered":"<div id=\"attachment_96107\" style=\"width: 610px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/03\/american-psycho-patrick-bateman.jpg\" rel=\"attachment wp-att-96107\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-96107\" class=\"wp-image-96107\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/03\/american-psycho-patrick-bateman.jpg\" alt=\"\" width=\"600\" height=\"442\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/03\/american-psycho-patrick-bateman.jpg 678w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/03\/american-psycho-patrick-bateman-300x221.jpg 300w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-96107\" class=\"wp-caption-text\">Christian Bale as Patrick Bateman in a still from <i>American Psycho<\/i>.<\/p><\/div>\n<ul>\n<li>John Jeremiah Sullivan on <em>Shuffle Along<\/em>, one of the first all-black musicals on Broadway: \u201c<a href=\"http:\/\/www.nytimes.com\/2016\/03\/27\/magazine\/shuffle-along-and-the-painful-history-of-black-performance-in-america.html?\" target=\"_blank\">The blacks-\u00adin-blackface tradition, which lasted more than a century in this country, strikes most people, on first hearing of its existence, as deeply bizarre, and it was. But it emerged from a single crude reality: African \u00adAmerican people were not allowed to perform onstage for much of the nineteenth century. They could not, that is, appear as themselves<\/a> \u2026 In <em>Shuffle Along<\/em>, two black people fell in love onstage, and [the journalist Les] Walton wanted to see how a white audience would handle this \u2026 What he expected to see was not rage or revolt but something more ambiguous, an occasional discomfort passing through the room, and perhaps at certain moments a holding-\u00adback too, on the part of the cast. \u2018White audiences, for some reason,\u2019 Walton wrote, \u2018do not want colored people to indulge in too much lovemaking.\u2019 \u201d<\/li>\n<li>Speaking of musicals: <em>American Psycho <\/em>is one now. When Bret Easton Ellis\u2019s novel came out, in 1991, some bookstores refused to stock it. Times have changed. As Dwight Garner writes, \u201c<a href=\"http:\/\/www.nytimes.com\/2016\/03\/27\/theater\/in-hindsight-an-american-psycho-looks-a-lot-like-us.html\" target=\"_blank\">This novel was ahead of its time. The culture has shifted to make room for Bateman. We\u2019ve developed a taste for barbaric libertines with twinkling eyes and some zing in their tortured souls<\/a> \u2026 Reading Mr. Ellis\u2019s novel today, the hysteria of 1991 is almost inexplicable to me. It\u2019s apparent from the start that Patrick Bateman is a sendup of a blank Wall Street generation. He\u2019s a male mannequin, the ultimate soulless product of a soulless time \u2026 Something has happened since 1991 to our response to violence, especially when it is seasoned with a shake of wet or, especially, dry humor. Increasingly inured to the mess, we\u2019ve learned to savor the wit.\u201d<\/li>\n<li>What about Helen Fielding\u2019s <em>Bridget Jones\u2019s Diary<\/em>? Was it, too, ahead of its time? Though its observations about youth and work have long been dismissed as pedestrian, the economy has made them radically prescient, as Daniel Wenger writes: \u201cTwo years before <em>Sex and the City<\/em>, Fielding offered a third-wave route around the battleground between love and power \u2026 Today, <em><a href=\"http:\/\/www.newyorker.com\/culture\/cultural-comment\/bridget-jones-and-the-millennial-workplace\">Bridget Jones<\/a><\/em><a href=\"http:\/\/www.newyorker.com\/culture\/cultural-comment\/bridget-jones-and-the-millennial-workplace\" target=\"_blank\"> needn\u2019t be limited to the confines of its chick-lit designation. The notion that the equations of life do not add up is still a particular problem for women of all ages, but many young people, no matter their gender, will find some of Bridget\u2019s story familiar<\/a>. Within a couple of years of graduating college, Bridget would have found her job prospects threatened by the global recession of the late eighties and early nineties; even when we first meet her, she\u2019s flitting from position to position. Millennials began joining the workforce in the wake of the Great Recession, and according to a 2014 Council of Economic Advisers report, the consequence is an almost epigenetic stain on professional lives.\u201d<\/li>\n<li>Sometimes people talk about fiction and nonfiction, and I\u2019m like, What\u2019s <em>really<\/em> the difference, you know? And they sort of phumpher and mumble a bit before they throw their hands up. But a lot of us feel this way: \u201c<a href=\"http:\/\/www.theguardian.com\/books\/2016\/mar\/24\/fiction-nonfiction-english-literature-culture-writers-other-languages-stories\" target=\"_blank\">According to Geoff Dyer, who says his next book is \u2018a mixture of both fiction and non- but will be published as non-,\u2019 the strength of the distinction in anglophone culture has waxed and waned<\/a> \u2026 The nonfiction novels of Truman Capote and Norman Mailer blurred the lines again in the 1960s, he continues, and the boundary is \u2018perhaps going through another porous phase right now\u2019 \u2026 \u2018You\u2019d have to go back to the early nineteenth century or earlier to a time when \u201cliterature\u201d referred to fiction and nonfiction rather than to a particular, highly regarded form of imaginative writing,\u2019 he adds. Dyer cites Raymond Williams, who suggested that \u2018the special regard in which fiction comes to be held \u2026 is probably connected to romanticism and the emphasis put on the imagination\u2014which is itself a response to the rise of industrialization: a very fact-based process as Dickens emphasizes later in <em>Hard Times<\/em>.\u2019 \u201d<\/li>\n<li>But why stop there? Why knock down the walls between genres when you can mount an assault on the separation between language and culture? On Charles Taylor\u2019s <em>The Language Animal<\/em>: \u201c<a href=\"http:\/\/www.prospectmagazine.co.uk\/arts-and-books\/how-words-shape-our-world\" target=\"_blank\">He argues that language, like everything else that matters to human beings, cannot be understood as a kind of semantic Lego, where we acquire individual words with firm, clear shapes and string them together to form sentences, paragraphs, essays, and books<\/a>. Language is shaped by the culture that has produced it, which means that it, in turn, shapes those who go on to use it. Hence: \u2018The basic thesis of this book is that language can only be understood if we understand its constitutive role in human life\u2019 \u2026 He agrees that \u2018speech is the expression of thought,\u2019 but insists \u2018it isn\u2019t simply an outer clothing for what could exist independently.\u2019 The broadly Wittgensteinian alternative he offers to this reductionism is a kind of holism, in which the meanings of words hang together in complex webs in which culture and semantics cannot be disentangled.\u201d<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"<p>John Jeremiah Sullivan on Shuffle Along, one of the first all-black musicals on Broadway: \u201cThe blacks-\u00adin-blackface tradition, which lasted more than a century in this country, strikes most people, on first hearing of its existence, as deeply bizarre, and it was. But it emerged from a single crude reality: African \u00adAmerican people were not allowed [&hellip;]<\/p>\n","protected":false},"author":38,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[2512],"tags":[21666,7275,21667,828,11944,21668,17820,5785,2814,71,9105,7286,1577,687,1277,5335,2165,2471,6542],"class_list":["post-96105","post","type-post","status-publish","format-standard","hentry","category-on-the-shelf","tag-african-american-musicals","tag-american-psycho","tag-blackface","tag-bret-easton-ellis","tag-bridget-jones","tag-bridget-joness-diary","tag-broadway","tag-charles-taylor","tag-dwight-garner","tag-fiction","tag-genre","tag-helen-fielding","tag-john-jeremiah-sullivan","tag-language","tag-linguistics","tag-musicals","tag-nonfiction","tag-semantics","tag-shuffle-along"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium 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