Fantasyland: Or, Rich Guy Slams America

THIS WEEK we highlight a new book trashing America by establishment trashmeister Kurt Andersen, Fantasyland: How America Went Haywire: A 500-Year History.

fantasyland

One doesn’t have to read the book– the text is in the title. The title is all you need to know about what’s contained in the pages.

Mr. Andersen is getting a splash of publicity c/o his publisher, with laudatory reviews.

“A frighteningly convincing and sometimes uproarious picture of a country in steep, perhaps terminal decline–”  -The Guardian

Kurt Andersen’s publisher is Penguin Random House, a multinational company, part of one of the “Big Five” publishing conglomerates which dominate the trade. Their headquarters is in New York City. They’d better hope the nation isn’t in terminal decline!

“Reading a great revisionist history of America is the bookish way to feel what it’s like to be born again.”  -Hanna Rosin, New York Times

Andersen himself, curiously, is an Insider’s Insider; a Capitalist’s Capitalist. One of the Elect: Harvard grad married to a Harvard grad. From his bio:

“He was named by New York magazine as one of the “100 People Who Changed New York,” and by Forbes as one of the “25 Most Influential Liberals in the U.S. Media.” And he was named the 2014 arts Medalist by Harvard College’s Signet Society.”

In his career Andersen has founded start-ups and sold them for huge sums of money. See the negotiations for one of his companies as related by Ken Auletta:

“”I don’t believe that anyone is going to give the company more money,’ Cramer remembers telling Andersen.”

He took the best deal. Cashed in. Sitting pretty. Yet Kurt Andersen isn’t happy. You would think he’d be kicking back smoking a big cigar saying, “Isn’t America great?” There’s no disdain for Harvard or venture capitalists (those he knows) in his book, one can wager. Instead, he takes aim at the American people themselves– for their populist ethos and political choices, all of which makes Kurt Andersen’s life, if not unprofitable, at least discomfiting. (2016 was the first time since 1984 that a Harvard-or-Yale grad was NOT elected to the Presidency, and in Andersen’s lofty milieu, that is simply outrageous.)

Yes, trash America’s 500-year history– and make yet more money in the process. Open the door for Dostoevsky’s Demons. Who cares? The French aristocrats who sparked revolution in 1789 were consumed by what they sparked. What does that have to do with aristocrats today?

Meanwhile, we have a question for our readers. How would you describe Kurt Andersen’s expression in the photograph below? Smug? Pompous? Arrogant? Or does the facial smirk represent something else? Indigestion? Complacency? Constipation?

Hatred of his own country?

Let us know. Thanks!

KurtAndersenconstipated

The Lit Scene Now

typewriter

All sides represent contradictions, as American literature is in a state of flux and objective(?) observers such as ourselves wait for things to sort themselves out. For the moment, intellectual thought about all matters literary is polarized.

THE RIGHT
We pass over long-time conservative journals like Commentary and National Review, which are adjuncts of an internationally focused intellectual establishment based in Washington D.C. and New York. We’re talking about the new Right.

What is it? Can it be defined? We wait for someone to define it. There is new thought, new energy coming from that end of the spectrum. To us it seems a badly put-together Frankenstein monster; a contradictory amalgam of Nietzschean paganism and tradition-leaning Catholicism. Its origins are found in intellectual journals like Taki Mag, with writers ranging from libertarian to libertine to anarchist to all things. Hardly conservative– many have opened Pandora’s Box. The aesthetic attitude is often snobbish and effete, and as such, out of synch with the mass of populists who voted for Trump. The impact to date on the literary world of these writers is small.

THE LEFT
The energy on the Left comes from a spate of journals like Jacobin Mag, The Baffler, and n+1— along with at least one interesting new one which we’ll discuss at a later time. All espouse some variety of Marxism. All editors, writers, and interns of these journals are from real privilege. Are they the Left? A curious form of it. Their common origin point is the Ivy League. What the publications present in their essays, editorials, poetry and prose is the skewed “View from Harvard Yard.” The tops-down acceptable narrative from cogs and creators of the established machine. Each individual has paid dues within the current literary system. They’re artistic conformists in every aspect.

Today’s nobility, representing a tiny sliver of America, peering at the Unknown from their Brooklyn/Manhattan fortress. Living a 2017 variation of Margaret Mitchell’s Plantation Madness.

overseer
(Former overseer Jonas Wilkerson and “white trash” Emmy Slattery getting thrown off the Tara estate.)
Well-bred aristocrats united with loyal retainers of color against the Enemy: white populists of sketchy background who carry the potential to upset their flimsy Potemkin facade. That high and narrow construction of paste and plywood labelled “LITERATURE,” which they present as the legitimate article– when it’s clearly NOT.

To understand these journals and editors and the role they play in literary culture, one first has to understand their predecessors. We’ll examine those in our next post.