It’s not fair to blame television’s shortage of originality on any lack of creativity among network talent. The truth is that we seldom get a chance to know whether anybody behind any TV show is creative, or more accurately that they seldom get a chance to show us. Despite the unquestioned assumption on the part of pop-culture critics that television’s poor old Audience, deep down, “craves novelty,” all available evidence suggests, rather, that the Audience really craves sameness but thinks, deep down, that it ought to crave novelty. Hence the mixture of devotion and sneer on so many viewerly faces. Hence also the weird viewer complicity behind TV’s sham “breakthrough programs”: Joe Briefcase needs that PR-patina of “freshness” and “outrageousness” to quiet his conscience while he goes about getting from television what we’ve all been trained to want from it: some strangely American, profoundly shallow, and eternally temporary reassurance.
Particularly in the last decade, this tension in the Audience between what we do want and what we think we ought to want has been television’s breath and bread. TV’s self-mocking invitation to itself as indulgence, transgression, a glorious “giving in” (again, not exactly foreign to addictive cycles) is one of two ingenious ways it’s consolidated its six-hour hold on my generation’s cojones. The other is postmodern irony. The commercials for Alf’s Boston debut in a syndicated package feature the fat, cynical, gloriously decadent puppet (so much like Snoopy, like Garfield, like Bart, like Butt-Head) advising me to “Eat a whole lot of food and stare at the TV.” His pitch is an ironic permission-slip to do what I do best whenever I feel confused and guilty: assume, inside, a sort of fetal position, a pose of passive reception to comfort, escape, reassurance. The cycle is self-nourishing.
guilty fictions
Not, again, that the cycle’s root conflict is new. You can trace the opposition between what persons do and ought to desire at least as far back as Plato’s chariot or the Prodigal’s return. But the way entertainments appeal to and work within this conflict has been transformed in televisual culture. This culture-of-watching’s relation to the cycle of indulgence, guilt, and reassurance has important consequences for U.S. art, and though the parallels are easiest to see w/r/t Warhol’s Pop or Elvis’s Rock, the most interesting intercourse is between television and American literature.
One of the most recognizable things about this century’s postmodern fiction has always been the movement’s strategic deployment of pop-cultural references—brand names, celebrities, television programs—in even its loftiest High Art projects. Think of just about any example of avant-garde U.S. fiction in the last twenty-five years, from Slothrop’s passion for Slippery Elm throat lozenges and his weird encounter with Micky Rooney in Gravity’s Rainbow, to “You” ’s fetish for the New York Post’s COMA BABY feature in Bright Lights, Big City, to Don DeLillo’s pop-hip characters saying stuff to each other like “Elvis fulfilled the terms of the contract. Excess, deterioration, self-destructiveness, grotesque behavior, a physical bloating and a series of insults to the brain, self-delivered.” 11 The apotheosis of the pop in postwar art marked a whole new marriage between High and Low culture. For the artistic viability of postmodernism was a direct consequence, again, not of any new facts about art, but of facts about the new importance of mass commercial culture. Americans seemed no longer united so much by common beliefs as by common images: what binds us became what we stand witness to. Nobody sees this as a good change. In fact, pop-cultural references have become such potent metaphors in U.S. fiction not only because of how united Americans are in our exposure to mass images but also because of our guilty indulgent psychology with respect to that exposure. Put simply, the pop reference works so well in contemporary fiction because (1) we all recognize such a reference, and (2) we’re all a little uneasy about how we all recognize such a reference.
The status of Low-cultural images in postmodern and contemporary fiction is very different from those images’ place in postmodernism’s artistic ancestors, e.g. the “dirty realism” of a Joyce or the ur-Dadaism of something like Duchamp’s toilet sculpture. Duchamp’s aesthetic display of that vulgarest of appliances served an exclusively theoretical end: it was making statements like “The Museum is the Mausoleum is the Men’s Room,” etc. It was an example of what Octavio Paz calls “Meta-irony,” 12 an attempt to reveal that categories we divide into superior/arty and inferior/vulgar are in fact so interdependent as to be coextensive. The use of Low references in a lot of today’s High literary fiction, on the other hand, serves a less abstract agenda. It is meant (1) to help create a mood of irony and irreverence, (2) to make us uneasy and so “comment” on the vapidity of U.S. culture, and (3) most important, these days, to be just plain realistic.
Pynchon and DeLillo were ahead of their time. Today, the belief that pop images are basically just mimetic devices is one of the attitudes that separates most U.S. fiction writers under c. 40 from the writerly generation that precedes us, reviews us, and designs our grad-school curricula. This generation gap in conceptions of realism is, again, TV-dependent. The U.S. generation born after 1950 is the first for whom television was something to be lived with instead of just looked at. Our elders tend to regard the set rather as the flapper did the automobile: a curiosity turned treat turned seduction. For younger writers, TV’s as much a part of reality as Toyotas and gridlock. We literally cannot imagine life without it. We’re not different from our fathers in that television presents and defines our contemporary world. Where we are different is that we have no memory of a world without such electric definition. This is why the derision so many older fictionists heap on a “Brat Pack” generation they see as insufficiently critical of mass culture is at once understandable and misguided. It’s true that there’s something sad about the fact that David Leavitt’s short stories’ sole description of some characters is that their T-shirts have certain brand names on them. But the fact is that, for most of Leavitt’s educated young readership, members of a generation raised and nourished on messages equating what one consumes with who one is, Leavitt’s descriptions really do do the job. In our post-1950s, inseparable-from-TV association pool, brand loyalty really is synecdochic of character; this is simply a fact.
For those U.S. writers whose ganglia were formed pre-TV, those who are big on neither Duchamp nor Paz and who lack the oracular foresight of a DeLillo, the mimetic deployment of pop-culture icons seems at best an annoying tic and at worst a dangerous vapidity that compromises fiction’s seriousness by dating it out of the Platonic Always where it ought to reside. In one of the graduate workshops I went through, a certain gray eminence kept trying to convince us that a literary story or novel should always eschew “any feature which serves to date it” 13 because “serious fiction must be Timeless.” When we protested that, in his own well-known work, characters moved about electrically lit rooms, drove cars, spoke not Anglo-Saxon but postwar English, and inhabited a North America already separated from Africa by continental drift, he impatiently amended his proscription to those explicit references that would date a story in the “frivolous Now.” When pressed for just what stuff evoked this F.N., he said of course he meant the “trendy mass-popular-media” reference. And here, at just this point, transgenerational discourse broke down. We looked at him blankly. We scratched our little heads. We didn’t get it. This guy and his students simply did not conceive the “serious” world the same way. His automobiled Timeless and our MTV’d own were different.
If you read the big literary supplements, you’ve doubtless seen the intergenerational squabble this sort of scene typifies. 14 The plain fact is that certain things having to do with fiction production are different for young U.S. writers now. And television is at the vortex of most of the flux. Because younger writers are not only Artists probing for the nobler interstices in what Stanley Cavell calls the reader’s “willingness to be pleased”; we are also, now, self-defined parts of the great U.S. Audience, and have our own aesthetic pleasure-centers; and television has formed an
d trained us. It won’t do, then, for the literary establishment simply to complain that, for instance, young-written characters don’t have very interesting dialogues with each other, that young writers’ ears seem “tinny.” Tinny they may be, but the truth is that, in younger Americans’ experience, people in the same room don’t do all that much direct conversing with each other. What most of the people I know do is they all sit and face the same direction and stare at the same thing and then structure commercial-length conversations around the sorts of questions that myopic car-crash witnesses might ask each other—“Did you just see what I just saw?” Plus, if we’re going to talk about the virtues of “realism,” the paucity of profound conversation in younger fiction seems accurately to reflect more than just our own generation—I mean six hours a day, in average households young and old, just how much conversation can really be going on? So now whose literary aesthetic seems “dated”?
In terms of literary history, it’s important to recognize the distinction between pop and televisual references, on the one hand, and the mere use of TV-like techniques, on the other. The latter have been around in fiction forever. The Voltaire of Candide, for instance, uses a bisensuous irony that would do Ed Rabel proud, having Candide and Pangloss run around smiling and saying “All for the best, the best of all worlds” amid war-dead, pogroms, rampant nastiness, etc. Even the stream-of-consciousness guys who fathered Modernism were, on a very high level, constructing the same sorts of illusions about privacy-puncturing and espial on the forbidden that television has found so effective. And let’s not even talk about Balzac.
It was in post-atomic America that pop influences on literature became something more than technical. About the time television first gasped and sucked air, mass popular U.S. culture seemed to become High-Art-viable as a collection of symbols and myth. The episcopate of this pop-reference movement were the post-Nabokovian Black Humorists, the Metafictionists and assorted franc-and latinophiles only later comprised by “postmodern.” The erudite, sardonic fictions of the Black Humorists introduced a generation of new fiction writers who saw themselves as sort of avant-avant-garde, not only cosmopolitan and polyglot but also technologically literate, products of more than just one region, heritage, and theory, and citizens of a culture that said its most important stuff about itself via mass media. In this regard one thinks particularly of the Gaddis of The Recognitions and JR, the Barth of The End of the Road and The Sot-Weed Factor, and the Pynchon of The Crying of Lot 49. But the movement toward treating of the pop as its own reservoir of mythopeia gathered momentum and quickly transcended both school and genre. Plucking from my shelves almost at random, I find poet James Cummins’s 1986 The Whole Truth, a cycle of sestinas deconstructing Perry Mason. Here’s Robert Coover’s 1977 A Public Burning, in which Eisenhower buggers Nixon on-air, and his 1968 A Political Fable, in which the Cat in the Hat runs for president. I find Max Apple’s 1986 The Propheteers, a novel-length imagining of Walt Disney’s travails. Or here’s part of poet Bill Knott’s 1974 “And Other Travels”:
… in my hand a cat o nine tails on every tip of which was Clearasil
I was worried because Dick Clark had told the cameraman
not to put the camera on me during the dance parts of the show because my skirts were too tight 15
which serves as a great example because, even though this stanza appears in the poem without anything you d normally call context or support, it is in fact self-supported by a reference we all, each of us, immediately get, conjuring as it does with Bandstand ritualized vanity, teenage insecurity, the management of spontaneous moments. It is the perfect pop image, at once slight and universal, soothing and discomfiting.
Recall that the phenomena of watching and consciousness of watching are by nature expansive. What distinguishes another, later wave of postmodern literature is a further shift from television-images as valid objects of literary allusion to television and metawatching as themselves valid subjects. By this I mean certain literature beginning to locate its raison in its commentary on/response to a U.S. culture more and more of and for watching, illusion, and the video image. This involution of attention was first observable in academic poetry. See for instance Stephen Dobyns’s 1980 “Arrested Saturday Night”:
This is how it happened: Peg and Bob had invited Jack and Roxanne over to their house to watch the TV, and on the big screen they saw Peg and Bob, Jack and Roxanne watching themselves watch themselves on progressively smaller TVs…16
or Knott’s 1983 “Crash Course”:
I strap a TV monitor on my chest so that all who approach can see themselves and respond appropriately. 17
The true prophet of this shift in U.S. fiction, though, was the aforementioned Don DeLillo, a long-underrated conceptual novelist who has made signal and image his unifying topoi the same way Barth and Pynchon had sculpted in paralysis and paranoia a decade earlier. DeLillo’s 1985 White Noise sounded, to fledgling fictionists, a kind of televisual clarion-call. Scenelets like the following seemed especially important:
Several days later Murray asked me about a tourist attraction known as the most photographed barn in America. We drove twenty-two miles into the country around. Farmington. There were meadows and apple orchards. White fences trailed through the rolling fields. Soon the signs started appearing. THE MOST PHOTOGRAPHED BARN IN AMERICA. We counted five signs before we reached the site…. We walked along a cowpath to the slightly elevated spot set aside for viewing and photographing. All the people had cameras; some had tripods, telephoto lenses, filter kits. A man in a booth sold postcards and slides—pictures of the barn taken from the elevated spot. We stood near a grove of trees and watched the photographers. Murray maintained a prolonged silence, occasionally scrawling some notes in a little book.
“No one sees the barn,” he said finally.
A long silence followed.
“Once you’ve seen the signs about the barn, it becomes impossible to see the barn.”
He fell silent once more. People with cameras left the elevated site, replaced at once by others.
“We’re not here to capture an image. We’re here to maintain one. Can you feel it, Jack? An accumulation of nameless energies.”
There was an extended silence. The man in the booth sold postcards and slides.
“Being here is a kind of spiritual surrender. We see only what the others see. The thousands who were here in the past, those who will come in the future. We’ve agreed to be part of a collective perception. This literally colors our vision. A religious experience in a way, like all tourism.”
Another silence ensued.
“They are taking pictures of taking pictures,” he said.18
I quote this at such length not only because it’s too good to edit but also to draw your attention to two relevant features. One is the Dobyns-esque message here about the metastasis of watching. For not only are people watching a barn whose only claim to fame is being an object of watching, but the pop-culture scholar Murray is watching people watch a barn, and his friend Jack is watching Murray watch the watching, and we readers are pretty obviously watching Jack the narrator watch Murray watching, etc. If you leave out the reader, there’s a similar regress of recordings of barn and barn-watching.
But more important are the complicated ironies at work in the scene. The scene itself is obviously absurd and absurdist. But most of the writing’s parodic force is directed at Murray, the would-be transcender of spectation. Murray, by watching and analyzing, would try to figure out the how and whys of giving in to collective visions of mass images that have themselves become mass images only because they’ve been made the objects of collective vision. The narrator’s “extended silence” in response to Murray’s blather speaks volumes. But it’s not to be taken as implying sympathy with the sheeplike photograph-hungry crowd. These poor Joe Briefcases are no less objects of ridicule for the fact that their “scientific” critic is himself being ridiculed. The narrative tone throughout is a kind of deadpan snee
r, irony’s special straight face, w/ Jack himself mute during Murray’s dialogue—since to speak out loud in the scene would render the narrator a part of the farce (instead of a detached, transcendent “observer and recorder”) and so himself vulnerable to ridicule. With his silence, DeLillo’s alter ego Jack eloquently diagnoses the very disease from which he, Murray, barn-watchers, and readers all suffer.
i do have a thesis
I want to persuade you that irony, poker-faced silence, and fear of ridicule are distinctive of those features of contemporary U.S. culture (of which cutting-edge fiction is a part) that enjoy any significant relation to the television whose weird pretty hand has my generation by the throat. I’m going to argue that irony and ridicule are entertaining and effective, and that at the same time they are agents of a great despair and stasis in U.S. culture, and that for aspiring fiction writers they pose especially terrible problems.
My two big premises are that, on the one hand, a certain subgenre of pop-conscious postmodern fiction, written mostly by young Americans, has lately arisen and made a real attempt to transfigure a world of and for appearance, mass appeal, and television; and that, on the other hand, televisual culture has somehow evolved to a point where it seems invulnerable to any such transfiguring assault. Television, in other words, has become able to capture and neutralize any attempt to change or even protest the attitudes of passive unease and cynicism that television requires of Audience in order to be commercially and psychologically viable at doses of several hours per day.
A Supposedly Fun Thing I'll Never Do Again Page 9