Think, for a moment, of Third World rebels and coups. Third World rebels are great at exposing and overthrowing corrupt hypocritical regimes, but they seem noticeably less great at the mundane, non-negative task of then establishing a superior governing alternative. Victorious rebels, in fact, seem best at using their tough, cynical rebel-skills to avoid being rebelled against themselves — in other words, they just become better tyrants.
And make no mistake: irony tyrannizes us. The reason why our pervasive cultural irony is at once so powerful and so unsatisfying is that an ironist is impossible to pin down. All U.S. irony is based on an implicit “I don’t really mean what I’m saying.” So what does irony as a cultural norm mean to say? That it’s impossible to mean what you say? That maybe it’s too bad it’s impossible, but wake up and smell the coffee already? Most likely, I think, today’s irony ends up saying: “How totally banal of you to ask what I really mean.” Anyone with the heretical gall to ask an ironist what he actually stands for ends up looking like an hysteric or a prig. And herein lies the oppressiveness of institutionalized irony, the too-successful rebeclass="underline" the ability to interdict the question without attending to its subject is, when exercised, tyranny. It is the new junta, using the very tool that exposed its enemy to insulate itself.
This is why our educated teleholic friends’ use of weary cynicism to try to seem superior to TV is so pathetic. And this is why the fiction-writing citizen of our televisual culture is in such very deep shit. What do you do when postmodern rebellion becomes a pop-cultural institution? For this of course is the second answer to why avant-garde irony and rebellion have become dilute and malign. They have been absorbed, emptied, and redeployed by the very televisual establishment they had originally set themselves athwart.
Not that television is culpable for any evil here. Just for immoderate success. This is, after all, what TV does: it discerns, decocts, and re-presents what it thinks U.S. culture wants to see and hear about itself. No one and everyone is at fault for the fact that television started gleaning rebellion and cynicism as the hip upscale Baby-Boomer imago populi. But the harvest has been dark: the forms of our best rebellious art have become mere gestures, schticks, not only sterile but perversely enslaving. How can even the idea of rebellion against corporate culture stay meaningful when Chrysler Inc. advertises trucks by invoking “The Dodge Rebellion”? How is one to be a bona fide iconoclast when Burger King sells onion rings with “Sometimes You Gotta Break the Rules”? How can an Image-Fiction writer hope to make people more critical of televisual culture by parodying television as a self-serving commercial enterprise when Pepsi and Subaru and FedEx parodies of self-serving commercials are already doing big business? It’s almost a history lesson: I’m starting to see just why turn-of-the-last-century Americans’ biggest fear was of anarchists and anarchy. For if anarchy actually wins, if rulelessness become the rule, then protest and change become not just impossible but incoherent. It’d be like casting a ballot for Stalin: you are voting for an end to all voting.
So here’s the stumper for the U.S. writer who both breathes our cultural atmosphere and sees himself heir to whatever was neat and valuable in avant-garde literature: how to rebel against TV’s aesthetic of rebellion, how to snap readers awake to the fact that our televisual culture has become a cynical, narcissistic, essentially empty phenomenon, when television regularly celebrates just these features in itself and its viewers? These are the very questions DeLillo’s poor schmuck of a popologist was asking back in ’85 about America, that most photographed of barns:
“What was the barn like before it was photographed?” he said. “What did it look like, how was it different from other barns, how was it similar to other barns? We can’t answer these questions because we’ve read the signs, seen the people snapping the pictures. We can t get outside the aura. We’re part of the aura. We’re here, we’re now.”
He seemed immensely pleased by this. 33
end of the end of the line
What responses to television’s commercialization of the modes of literary protest seem possible, then, today? One obvious option is for the fiction writer to become reactionary, fundamentalist. Declare contemporary television evil and contemporary culture evil and turn one’s back on the whole spandexed mess and invoke instead good old pre1960s Hugh Beaumontish virtues and literal readings of the Testaments and be pro-Life, anti-Fluoride, antediluvian. The problem with this is that Americans who’ve opted for this tack seem to have one eyebrow straight across their forehead and knuckles that drag on the ground and really tall hair and in general just seem like an excellent crowd to want to transcend. Besides, the rise of Reagan/Bush/Gingrich showed that hypocritical nostalgia for a kinder, gentler, more Christian pseudo-past is no less susceptible to manipulation in the interests of corporate commercialism and PR image. Most of us will still take nihilism over neanderthalism.
Another option would be to adopt a somewhat more enlightened political conservatism that exempts viewer and networks alike from any complicity in the bitter stasis of televisual culture and which instead blames all TV-related problems on certain correctable defects in technology. Enter media futurologist George Gilder, a Hudson Institute senior fellow and author of Life After Television: The Coming Transformation of Media and American Life. The single most fascinating thing about Life After Television is that it’s a book with commercials. Published in something called The Larger Agenda Series by one “Whittle Direct Books” in Federal Express Inc.’s Knoxville headquarters, the book sells for only $11.00 hard including postage, is big and thin enough to look great on executive coffee tables, and has very pretty full-page ads for Federal Express on every fifth page. The book’s also largely a work of fiction, plus it’s a heartrending dramatization of why anti-TV conservatives, motivated by simple convictions like “Television is at heart a totalitarian medium” whose “system is an alien and corrosive force in democratic capitalism,” are going to be of little help with our ultraradical-TV problems, attached as conservative intellectuals are to their twin tired remedies for all U.S. ills, viz. the beliefs that (1) the discerning consumer-instincts of the Little Guy will correct all imbalances if only Big Systems will quit stifling his Freedom to Choose, and that (2) technology-bred problems can be resolved technologically.
Gilder’s basic diagnosis runs thus. Television as we know and suffer it is “a technology with supreme powers but deadly flaws.” The really fatal flaw is that the whole structure of television programming, broadcasting, and reception is still informed by the technological limitations of the old vacuum tubes that first enabled TV. The
expense and complexity of these tubes used in television sets meant that most of the processing of signals would have to be done at the [networks],
a state of affairs which
dictated that television would be a top-down system — in electronic terms, a “master-slave” architecture. A few broad-casting centers would originate programs for millions of passive receivers, or “dumb terminals.”