Since Angela Nagle, author of the Zero Books title Kill All Normies, has begun writing anti-immigration columns in pro-Trump publications, I thought it would be helpful to clarify my relationship with that imprint. Long story short, there was a complete and total turnover of editorial staff while Creepiness was in production. The new leadership obviously did not share the same values or editorial standards as the founders, as shown by the fact that they didn’t just publish Nagle’s deeply flawed, partially plagiarized book — they publicized it intensively. At the same time, they left “orphaned” authors like me to languish, even though I had already provided two of their previous bestsellers.
I had to do my own publicity for years, with very limited success, because I was told that they had no resources. So to see them finally put some effort into marketing for such a deeply questionable book was infuriating. Meanwhile, the New Yorker had requested a review copy of Creepiness and COULDN’T GET AN ANSWER from the publisher. They ignored a request from the New Yorker! I had to personally send them one of my author copies. When I complained about this situation, the new editor — who is now on record as saying that they don’t do editing and hence Nagle’s plagiarism is fine — offered to make it up to me by hooking me up with a podcast interview with a little-known Zero author. I declined.
So if anyone wants to paint me with a guilt-by-association brush here — you have your answer. They disowned me completely before I even realized what was happening.
Why We Love Sociopaths has been translated into Spanish. I like the cover image, complete with Walter White and his gas mask. Extract and TOC available at the link — it’s a strange sensation to read my own words in translation, after having spent so much time on the other direction. Thanks to Albert Fuentes for what I can only assume is excellent work.
Gerry Canavan has linked to a nice article on why Americans’ high school years seem to shape them so disproportionately. It’s worth a read, though I think it might still lean a bit toward the more sensationalistic and dystopian vision of high school that American culture fetishizes.
I recognize that the experience can be very difficult and even traumatic for some people, particularly those with non-normative sexual identities. Yet these dystopias are not about people with such obvious “problems” — they are precisely about what the culture at large regards as “normal” people. And this of course means mostly white people: all the mainstream cultural fantasies related to the black or Hispanic high school experience are fantasies of a white teacher swooping in to save them, and this includes even The Wire.
If those of us who are broadly “normal” look back honestly on our high school years, I imagine that most of us would find that it looks more like Freaks and Geeks or My So-Called Life than like the “classical” pop-culture high school with its clearly-defined groups, its ruthless status competitions, etc. — a time characterized above all by confusion and unusually intense emotions. What does it say, though, that those shows, universally regarded as truer and more realistic than standard high school fare, were lucky to make it through a single season?
In other words: Why is our cultural fantasy one that puts forward high school as a non-stop reality TV show? Continue reading “The dystopian vision of high school”
Over my visit home for Christmas, I saw snippets of several movies focusing on the theme of the workaholic dad who doesn’t understand the true spirit of Christmas. One widely-known example is Jingle All the Way, in which the former governor or California [sic] stars as a father seeking to find the hottest toy of the season on Christmas Eve, having shirked his duty to buy it earlier. The movie opens with him making sales calls and missing his son’s karate event as a result — simply part of a broader pattern, we are meant to understand. I didn’t wind up seeing the ending, but I assume that Arnold was ultimately made to submit to the totalitarian demands of Christmas.
What I’d like to see is a movie in which workaholic dad sits his son down and says, “You know what? I’m not really interested in your karate thing or what specific toy you’ve decided you want for Christmas. Continue reading “A proposed variation on the theme of the workaholic dad who doesn’t understand the true spirit of Christmas”
The experience of creepiness is, at its most fundamental, the experience of an excessive, asymmetrical demand — someone is demanding something of us that we cannot and do not want to reciprocate.
The privileged field of creepiness is of course sexuality. Continue reading “What is called creepy?”
A couple years ago, I wrote a piece called On Male Culture, wherein I proposed that one of the best things men could do as feminist allies was to become internal critics of male culture. As I have taught feminist texts this semester in my social sciences class, it increasingly strikes me how much awkwardness vs. sociopathy maps onto typical ways of talking about women’s way of relating vs. men’s — relationality vs. hierarchy, connection vs. separation, etc. — as well as onto queer theoretical notions of straight male identity as defined by its very unattainability and its continual vulnerability (hence making the identification with the overwhelmingly male “fantasy sociapath” a perpetual temptation).
From this perspective, the fact that I wrote Awkwardness using all male examples (most controversially, Judd Apatow films) seems to make more sense. Continue reading “A Rereading of Kotsko’s Pop Culture Writings”
[Note: This post talks about plot points in a television show you might be meaning to watch!!!]
Boardwalk Empire may turn out to be the last child of the classical era of the “high-quality cable drama.” Like Mad Men, it is a descendant of The Sopranos with an eye for period authenticity. Unlike Mad Men, however, Boardwalk Empire is just coming into its own — the ending of the last season announced a new ambition and daring, and the current season seems on pace to fulfill that promise.
Nevertheless, there are limits to the creative possibilities in a “high-quality cable drama,” particularly one saddled with the genre conventions of a mafia story. Continue reading “The Lesser Evil and the Eternal Irony of the Community: Or, Cable Dramas Urge You to Vote Democrat”