Monday, October 10, 2011

Blind squirrel finds nut

Sady Doyle on class consciousness:
So I was in New York, and I was twenty, and as far as I was concerned, I had no father. I’d made a mistake, loving him; I’d corrected it; I was done, ready to forget. Which was hard, because the streets were filled with men dressed exactly like him.

The boys were growing their hair long, that year. They were wearing what they called “trucker hats,” sometimes with the John Deere logo, sometimes without. They wore the tough-guy polyester vests, the puffy zip-up kind. They wore t-shirts for metal bands; the understanding was that you didn’t wear those shirts because you listened to the bands, you wore them because they were funny. In a magazine called Vice, I could see that the daring boys were going for the jean jackets. I was puzzled, thrown off; I’d come here to get away from my father, to get away from the world he lived in, and everyone worth knowing wore that world around, laughing at it. And as little as I loved my father, I couldn’t bring myself to laugh.

Because those boys, and the girls they knew, sounded nothing like my Dad. They talked about their time in Prague, their time touring Europe; they talked about bands they’d hung out with, and those bands were The Walkmen and The Strokes and some of the girls had fucked some of them; one of my roommates was one of the girls, and when she saw that I had a Juliana Hatfield CD, she smiled and said, “yeah, I’ve partied with her a bit, she’s awesome.” I try to remember that these boys and girls were children, some of them only eighteen years old; I try to remember that I was stupid too, unbelievably stupid, that I also had bad politics that make me shudder to recall. It still doesn’t take away the way they made me fee. I still remember the way I felt, standing in a grocery store, trying to pick out beer with the Juliana Hatfield roommate. I pointed to a beer that I thought was suitably exotic, something city people would drink (feeling guilty, dirty somehow, because nice people didn’t drink beer at all, my father drank beer, nice people only drank wine or cocktails) and she laughed at me, picked up some PBR. “I only drink domestic beer,” she said, in a voice I’d come to realize denoted “irony.” Feeling sick and weird there, in that moment, because if drinking domestic beer was ironic, then drinking it unironically was bad and funny, and I’d only ever drunk it unironically, only ever knew people who did, which meant we were bad and funny; if I drank the PBR it wouldn’t be a joke somehow, they would know. Or: Going to a bar, with my boyfriend, with the activist friends he’d made through Greenpeace; it was called “Trailer.” It was decorated to look like somebody’s idea of what you’d see in a trailer person’s home. To be precise, it was decorated to look like my home; it was decorated to look like the houses I’d visited growing up. We sat on a couch that had also belonged to my grandmother. And to my mother, during the bad years, right after she left my father; it was a hand-me-down. I traced the pattern of fruit in the print and thought about how I’d chipped my brother’s tooth, bouncing with him on the cushions.

“That whole white-trash chic thing,” said the girl who’d invited us there.

That was when I figured it out, the name for what we were. Our name was trash.
She captures this moment so well: the realization that even your aspirations were just further testament to your social inferiority. After you get what you want, you don't want what you wanted at all.

In other news: Winter's Bone is all the movie the critics said it was, and not nearly as depressing as expected. I was anticipating Precious-level poverty porn, and was surprised.
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