What’s caused this quick reversal in mood? Is it capricious and unfair, or overdue? Most interesting: what does it imply?
In my own opinion, the honeymoon’s end between the literary Establishment and the C.Y. writer was an inevitable and foreseeable consequence of the same shameless hype that led to many journeyman writers’ premature elevation in the first place: condescending critical indulgence and condescending critical dismissal inhabit the same coin. It’s true that some cringingly bad fiction gets written by C.Y.s. But this is hardly an explanation for anything, since the same is true of lots of older artists, many of whom have clearly shot their bolts and now hang by name and fashion alone.
More germane is the frequent charge of a certain numbing sameness about much contemporary young writing. To a certain? ITo a ce extent anyone who reads widely must agree with it. The vast bulk of the vast amount of recently published C.Y. fiction reinforces the stereotype that has all young literary enterprises falling into one or more of the following three dreary camps:
(1) Neiman-Marcus Nihilism, declaimed via six-figure Uppies and their salon-tanned, morally vacant offspring, none of whom seem to be able to make it from limo door to analyst’s couch without several grams of chemical encouragement;
(2) Catatonic Realism, a.k.a. Ultraminimalism, a.k.a. Bad Carver, in which suburbs are wastelands, adults automata, and narrators blank perceptual engines, intoning in run-on monosyllables the artificial ingredients of breakfast cereal and the new human non-soul;
(3) Workshop Hermeticism, fiction for which the highest praise involves the words “competent,” “finished,” “problem-free,” fiction over which Writing-Program pre-and proscriptions loom with the enclosing force of horizons: no character without Freudian trauma in accessible past, without near-diagnostic physical description; no image undissolved into regulation Updikean metaphor; no overture without a dramatized scene to “show” what’s “told”; no denouement prior to an epiphany whose approach can be charted by any Freitag on any Macintosh.
Mean, but unfortunately fair — except for the fact that, like most generalizations, these apply validly only to the inferior examples of the work at hand. Ironically for the critic who wants both to bemoan invasions and pigeonhole the invaders, the very proliferation of C.Y. fiction, with its attendant variety, raises the generation’s cream above stereotype. The preternatural smarts with which a Simpson or Leavitt can render complex parental machinations through the eyes of thoroughly believable children; the gritty white-trash lyricism of Pinckney Benedict’s Town Smokes; the wry, bitchy humor of a good Lorrie Moore or Amy Hempel or Debra Spark story; the political vision of William Vollmann’s You Bright and Risen Angels; the conscientious exploration of motive behind Yuppie dissolution in McInerney’s Bright Lights—these transcend Camp-following and, more important, merit neither head-patting nor sneers. See for yourself. Among the C.Y. writers who do, yes, seem to crowd the last half of this decade, there are some unique and worthy talents. Yes, all are raw, some more or less mature, some more or less apt at transcending the hype the hype-mills crank out daily. But more than a couple are originals.
But it’s weird: all we C.Y. writers get consistently lumped together. Both lauds and pans invariably invoke a Generation that is both New and, in some odd way, One. Unfamiliar with the critical fashions of past decades, I don’t know whether this perception has precedent, but I do think in certain ways it’s not inappropriate. As of now, C.Y. writers, the good and the lousy, are in my opinion A Generation, conjoined less by chronology (Benedict is twenty-three, Janowitz over thirty) than by the new and singular environment in and about which we try to write fiction. This, that we are agnate, also goes a long way toward explaining the violent and conflicting critical reactions New Voices are provoking.
The argument, then, is that certain key things having to do with literary production are radically different for young American writers now; and that, fashion-flux aside, the fact that these key things affect our aesthetic values and literary choices serves at once to bind us together and to distance us from much of an Establishment — literary, intellectual, political — that reads and judges our stuff from their side of a… well, generation gap. There are, of course, uncountable differences between the formative experiences ofoinperienc consecutive generations, and to exhaust and explain all the ones relevant here would require both objective distance and a battalion of social historians. Having neither at hand, I propose to invite consideration of just three specific contemporary American phenomena, viz. the impacts of television, of academic Creative Writing Programs, and of a revolution in the way educated people understand the function and possibility of literary narrative. These three because they seem at once powerfully affective and normatively complex. Great and grim, tonic and insidious, they are (I claim) undeniable and cohesive influences on this country’s “New Voices.”
Stats on the percentage of the average American day spent before small screens are well known. But the American generation born after, say, 1955 is the first for whom television is something to be lived with, not just looked at. Our parents regard the set rather as the Flapper did the automobile: a curiosity turned treat turned seduction. For us, their children, TV’s as much a part of reality as Toyotas and gridlock. We quite literally cannot “imagine” life without it. As it does for so much of today’s developed world, it presents and so defines our common experience; but we, unlike any elders, have no memory of a world without such electronic definition. It’s built in. In my own childhood, late sixties, rural downstate Illinois, miles and megahertz from any center of entertainment production, familiarity with the latest developments on Batman or The Wild Wild West was the medium of social exchange. Much of our original play was a simple reenactment of what we’d witnessed the night before, and verisimilitude was taken very seriously. The ability to do a passable Howard Cosell, Barney Rubble, Cocoa Puffs bird, or Gomer Pyle was a measure of status, a determination of stature.
Surely television-as-lifestyle influences the modes by which C.Y. writers understand and represent lived life. A recent issue of Arrival saw critic Bruce Bawer lampoon many Brat-Packers’ habit of delineating characters according to the commercial slogans that appear on their T-shirts. He had a scary number of examples. It’s true that there’s something sad in the fact that Leavitt’s sole description of some characters in, say, “Danny in Transit” consists of the fact that their shirts say “Coca-Cola” in a foreign language — yet maybe more sad is that, for most of his reading contemporaries, this description does the job. Bawer’s distaste seems to me misplaced: it’s more properly directed at a young culture so willingly bombarded with messages equating what one consumes with who one is that brand loyalty is now an acceptable synecdoche of identity, of character.
This schism between young writers and their older critics probably extends to the whole issue of strategic reference to “popular culture” in literary fiction. The artistic deployment of pop icons — brand names, television programs, celebrities, commercial film and music — strikes those intellectuals whose consciousness was formed before the genuine Television Age as at best frivolous tics and at worst dangerous vapidities that compromise fiction’s “seriousness” by dating it out of the Platonic Always where it properly resides. A fine and conscientious writing professor once proclaimed to our class that a serious story or novel always eschews “any feature that serves to date it,” to fix it in history, because “literary fiction is always timeless.” When we protested that, in his own well-known work, characters moved about in electrically lit rooms, propelled themselves in autos, spoke not Anglo-Saxon but post-WWII English, inhabited a North America already separated from Africa by continental drift, he amended his ruling’s application to those explicit references that would date a story in the transient Now. Pressed by further quibbling into real precision, his interdiction turned out really to be against what he called the “mass-commercial-media” reference. At this point, I think, trans-generational discourse breaks down. For this gentleman’s automobiled Timeless and our F.C.C.’d own were different. Time had changed Always.