Category / Literary Hipsters

by Edward Champion

The Literary Hipster’s Handbook — 2011 Q4 Edition

After five years, our quarterly installment of the Literary Hipster’s Handbook returns, featuring “Rowan job,” “Eugenides Vest,” and “woodwinked.”

It has been five years since we last published a quarterly installment of The Literary Hipster’s Handbook. But the literary hipsters are still chattering.

“Ames it up”: The act of abandoning all literary activity to write for a television series. Also known as selling out or washing up. Literary hipsters who Ames it up are generally in their late 30s and early 40s and have lost much of their desire to write fiction. They beseech HBO and Showtime to give them a deal, attending dull meetings that are often spearheaded by illiterates, and, more often than not, end up writing material that is of noticeably inferior quality to their fiction. Literary hipsters who Ames it up continue to be observed at cocktail parties, where they are pitied by those who value art and passion more than money and vacuity.

“Duncan donuts”: 1. A hastily written essay written by a marginal literary figure (often of snobbish and humorless temperament) that only serves to widen the chasm initially created by said marginal literary figure. 2. An undesirable meal that literary hipsters should avoid. It is believed that the term was coined by two inebriated literary hipsters attempting to sober up in Dunkin Donuts while discussing Glen Duncan’s review of Colson Whitehead’s Zone One, but has since been used as a way to discourage other literary hipsters from eating anything from Dunkin Donuts.

“Dyer Maker”: A tedious and annoying individual who urges literary hipsters to read the latest essay written by Geoff Dyer. Dyer Makers are considered to be more insufferable than the Bolaño dilettantes, who can be easily forgiven. After all, the Bolaño acolytes are reading actual novels. Dyer Makers, by contrast, are merely reading mean-spirited criticism that has nothing especially original or substantive to say. In response to the Dyer Maker epidemic, several independent bookstores have created 86 lists identifying Dyer Makers in their community. The Dyer Maker is removed from the list once she can demonstrate sufficient knowledge and enthusiasm for D.H. Lawrence’s fiction, rather than some limey asshole’s reductionist take on Lawrence.

“Eugenides Vest”: Inspired in part by the Twitter account, a Eugenides Vest is a garment that a literary hipster wears, but ultimately discards after other literary hipsters have called attention to it. Much as Jeffrey Eugenides has failed to wear a vest at any public appearance after the Times Square billboard, the literary hipster’s Eugenides Vest, which is sometimes identified as a sweater or a scarf, is often considered to be a source of profound shame. It never occurs to the literary hipster that wearing the vest may actually augment the literary hipster’s approval within the community. In DUMBO, the term has also become an alternative term for Dumbo’s Magic Feather.

“to Keith”: To seek publicity and/or media attention by getting arrested at Occupy Wall Street. Literary hipsters who are Keithed generally have little interest in the actual movement and more interest in fulfilling their narcissistic fantasies. Much like those who are woodwinked, literary hipsters opting to Keith seek any excuse to avoid doing work or creating something that is truly ambitious and revolutionary.

“Rowan job”: Inspired by the recent Quentin Rowan plagiarism scandal, some literary hipsters have started to mimic other people’s seduction techniques, attempting to pass these moves off as their own. When the source of these seduction techniques is discovered, the literary hipster is then asked to withdraw from the dating scene due to “legal reasons.” (Note: Not to be confused with rim job.)

“woodwinked”: A feeling of crippling inferiority or needless resentment, sometimes expressed in published form and often mimicking the tone of a drama queen, whereby a literary hipster blames other people for his failure to produce a new novel. When woodwinked, the literary hipster spends much of his spare energies fixating upon some past incident (for example, a review written by James Wood from eight years ago) instead of working on new material. (Ex. Yeah, I’d go bowling with Toby, but he’s been such a drag ever since he got woodwinked.)

by Edward Champion

The Literary Hipster’s Handbook, 2006 Q4 Edition

“bad beef”: A literary prize ostensibly designed to assist struggling writers that goes instead to writers who don’t need the cash or the praise. Recent examples of bad beef include Haruki Murakami winning the O’Connor Short Story Award and John Updike winning the Rea Award. The phrase “bad beef” has begun to shift to writers who have secured a considerable windfall and who feel the need to remind more impoverished writers of their affluence. (Ex. He got him the Park Slope digs, the nubile wife, and he can write any novel he wants. And he don’t talk of nothing else. He keep up this bad beef and I’ll kick his bitchy little vegetarian ass.)

“Discomfort Zone”: An area in a bar or cafe populated by whiny middle-aged dilletantes to be avoided at all costs. Discomfort Zones are sometimes cordoned off with a red velvet rope, suggesting to the dilletante that he is a VIP. However, the real intent of the rope is to protect a happening establishment from “novelists” too stiff, gushing, and self-absorbed to join the more friendly and fun-loving clientele. (Or.: Jonathan Franzen.)

“Doubting Thomas”: A literary hipster who wishes to cast doubt on a forthcoming autumn title, particularly those with a sizable page count and those written by a white male in good standing. The term was inspired shortly after news broke on Thomas Pynchon’s forthcoming novel, Against the Day, and several literary hipsters began to cast serious doubts amidst the hype, demanding that the hype be shifted to experimental novels that only a handful of people will actually read. Other titles that Doubting Thomases have publicly questioned: Norman Mailer’s The Castle in the Forest, Richard Powers’ The Echo Maker, and Richard Ford’s The Lay of the Land.

“This is/This is not…”: A rather curious conversational form has emerged among literary hipsters that is somewhere between a shit-flinging contest and a Socratic debate. Inspired by the two chicklit anthologies edited by Elizabeth Merrick and Lauren Baratz-Logsted, literary hipsters have begun to contradict each other, particularly in discussions involving misunderstood genres. The following conversation, for example, was overheard at a Greenwich Village pub:

HIPSTER 1: This is a novel.
HIPSTER 2: This is not a novel. It is a piece of shit.
HIPSTER 1: David Markson? This is wrong, cat. And I’ll kick your ass if you sully my man Markson’s name any further.
HIPSTER 2: This is not wrong. You haven’t read Hemingway, have you?
HIPSTER 1: This is a lie. (pause, hits HIPSTER 2 over the head with a beer bottle) How does that feel?
HIPSTER 2: This is not a lie. I am bleeding. Please take me to a hospital.
HIPSTER 1: This is your problem.
HIPSTER 2: This is not my problem. You hit me with the beer bottle. I expect you to pay my doctor’s bill.
HIPSTER 1: This is unreasonable. You’re the one contradicting me.
HIPSTER 2: This is not unreasonable. Will somebody call 911?

And so on.

As can be observed, this recent conversational trend can often end in horrible violence, leaving literary hipsters to pursue this vernacular as a last resort. Unfortunately, recent friction between the print media and the online media has resulted in more unnecessary head bashing and at least one stabbing, when two literary hipsters attempted to recreate the Lev Grossman/Edward Champion contretemps. (Fortunately, the stabbing hipster followed up by sending a fruit basket.)

It is advised by this lexicographer to avoid any conversations that play out along these lines.

“to Max out”: To use one’s questionable blogging abilities to secure a lucrative book deal, only to write a book so bad that not even a vaguely erudite leper will touch it. This euphemism came from the short-lived turn of phrase “to Cox out.” But since literary hipsters have no desire to remember or reference Ana Marie Cox’s dreadful novel, Dog Days in any way, and since, more importantly, Tucker Max is a douchebag, the term was changed to fit the ever-changing literary climate.

“to Wallace”: To write a generalization-laden essay over and over again, often employing a once fresh but now tired stylistic device such as footnotes. (Or.: “Federer as Religious Experience”)

by Edward Champion

The Literary Hipster’s Handbook — 2006 Q3 Edition

“ALK”: An unexpected career move by a literary person in a non-literary endeavor. (Ex. I saw Frank cutting the rug in a ballroom last night, man, but it turns out he was teaching a dancing class! Talk about an ALK!) (Apparent Origin of Term: A.L. Kennedy.)

“Booker nod”: A literary event with tiresome results, often producing soporific qualities in the participant. Named after the predictable nature of the 2006 Booker Award longlist, but recently expanded to include bookstore events, boardroom meetings, and drab cocktail parties. A legitimate Booker nod must involve someone falling asleep, thus signaling to other hipsters that the event should be avoided at all costs.

“to Liesl”: To heckle a writer or litblogger without identifying who they are. Literary hipsters have adopted this cowardly behavioral technique instead of resorting to snark. Liesling involves a hipster sneering down at an opponent, but often running away from the room when the target of his insults arrives. Also referred to as Freemaning (rare usage). (Or. Liesl Schillinger.)

“Otto Penzler”: A bitter person with nothing positive or rational to say; often a has-been. Otto Penzlers are frowned upon in current literary society and are secretly ridiculed, often in mixed company, when they cannot overhear the conversation.

“pass the Günter”: To reveal a past sin unexpectedly, often near the end of one’s life. Originated by Günter Grass’s unexpected revelations that he was a member of the SS. (Ex. I always thought Grandma was a kind and generous soul, but when she told the family that she gave head to a Cocker spaniel in her college days, I suspected that she had passed the Günter.”)

“Sittenfeld”: A rancorous outburst that causes unrelated parties to fight in a silly and protracted squabble. The first known Sittenfeld was initiated on June 5, 2005, which spawned a series of online battles pitting literary fiction writers against chick lit writers. The person who initiates the Sittenfeld often absolves herself of responsibility, waiting for karma to kick her in the ass one day.

by Edward Champion

The Literary Hipster’s Handbook, 2006 Q1 Edition

“Almond”: (n.) Generally, a talentless and paranoid midlist writer who believes in conspiracies and hallucinations. Almonds often have difficulty understanding eccentrics and are fond of convincing editors to pay them to spew embarrassing bile. (They may not be aware that the editors are using an Almond’s bluster to sell more issues and could care less about the Almond’s perspective.) Almonds are not to be confused with Ayelets, who are not aware of their embarassments. Indeed, an Almond revels in exposing his own shortcomings (while strangely concerned with mythical priapisms) and prefers bluster and TMI to craft and nuance.

“deco-op”: (v.) To not acknowledge the Litblog Co-Op in any way with the theory that the lack of attention will drive hardcore litbloggers insane. (Short answer: For hopeless cases, it does happen.) Literary hipsters might decide to deco-op when they learn that the Litblog Co-Op has picked a book considered “too popular.” Inevitably, most deco-opters, faced with the alternative of King Wenclas, generally return to the Litblog Co-Op’s pages for comfort or send hate mail to Mark Sarvas, blaming him for their problems.

“to dog out”: First overheard in a Brooklyn dive in reference to Ana Marie Cox’s move to nonfiction after Dog Days‘ terrible reviews, the term “to dog out” has now officially replaced “to dodge the issue.” Dogging out generally involves an author momentarily disappearing from the cocktail party scene and is particularly applicable to authors who are overhyped by the New York Times. There is very frequently heavy drinking and self-pity involved in “dogging out,” but, despite the term’s origins, sodomy is frowned upon during the healing process.

“frey up, to”: To betray readers in the most vile and self-serving manner. Hipsters should note that for extreme freyups, they should not say, “He really freyed up.” It is more common for hipsters to use “jamesfrey up” for extraordinary betrayals. (Ex. I always knew Caitlin Flanagan was a fuckup, but she jamesfreyed up her career after the Hustler spread. Now, not even the neocon soccer moms can take her seriously.)

“Leroy”: (n.) An unapproachable and socially maladjusted freak who attends author readings, often pretending to be the author. Leroys are mostly harmless. However, if you are a Hollywood actor or a literary figure, you may be pestered by a Leroy for attention, far more than a rabid fan. Literary hipsters are advised to disregard any and all Leroys. It’s really not worth it.

“Wickett, to” (v.) To seemingly occupy every known literary function. Alt. definition: To never rest or take a vacation. The term originated from the ongoing work of Dan Wickett and is generally used in a celebratory context. (Ex. William T. Vollmann Wicketted another 600 page novel while his family opened their Christmas presents.)

“Zadie”: (v.) To avoid interviews after saying something foolish or unfortunate to the press.

by Edward Champion

Wholphin, Eggers and Why I Can’t Believe

I picked up the January 2005 issue of The Believer, partly with the intention of seeing if the magazine was showing any signs of shedding its feel-good trappings (short answer: not really but not entirely worthless either) and partly because it included the first issue of Wholphin, a new quarterly “DVD Magazine of Unseen Things.” I like the idea behind Wholphin, which involves collecting a good deal of film shorts and assorted narratives that don’t really have a place outside of their initial small venues. But unfortunately, like almost anything that comes from the McSweeney’s Empire, the DVD carries the uncomfortable stamp of films that are just too safe to be innovative. In watching the material, I got the sense of holding an interesting object, but with the edges and the unique texture sanded down for non-offensive mass consumption. And in transposing the McSweeney’s watered down Barthelme voice to the film world, Wholphin offers a number of revelations which recall what Curtis White has identified as the Middle Mind. It is my sad duty to report that Wholphin is wholly disingenuous about its intent. It is neither explicitly intellectual nor explicitly for the masses. Sure, it’s a beautiful looking dinghy sailing with a directionless rudder. But unless it shakes off the Eggers yoke, it will be just another indistinct echo in the wind. A good idea that didn’t have to die.

Perhaps the problem with Wholphin (as with many McSweeney’s products) is its distressing inability to trust its readership. Indeed, the separation between the art offered and the marketing copy which accompanies it is entirely incongruous. It takes a hell of a conceit to tell an audience precisely how it should feel about something. And yet within Wholphin‘s accompanying booklet, this is exactly what goes down. “The House in the Middle” is described, “Your horror, shock, and rage at the country’s inability to help tax-paying citizens prepare for natural or man-made disaster will not be calmed by this film. But it is funny.” Note that it automatically assumes that its audience is composed entirely of good liberal thinkers who will automatically recontextualize the film within the framework of the Katrina fuckup. Note also the sanction to laugh, but whether the humor is directed at the film’s horrible depiction of how people should maintain their homes or presumably the now patented tone of the 1950s government-sponsored film, who can say? (And more anon on this tone when I get to the Spike Jonze film.)

Indeed, the interviews in the accompanying booklet make the reasons for spawning the art suspect. Scott Prendergast reveals that he made “The Delicious” because he wanted to “dress up in crazy costumes and act like a weirdo.” And indeed his film is nothing more than that: a paper-thin premise unfolding at a snail’s pace in which Prendergast, whose bemused expressions and wiry physicality aren’t entirely unlaudable, quickly wears out his welcome.

When you put the DVD into your player, you get a menu of the choices. One of three different films (two apparently by Jeroen Offerman) plays. And if, like me, you’re the kind of person who likes getting the DVD set up for viewing (due in large part to those irritating trailers you can’t skip through anymore that are put on most DVDs) while you go into the other room and grab a glass of wine (or two), you’re probably going to be as irritated as I was that a film starts playing if you’re not exactly trigger-happy with the remote. Meaning that instead of getting to experience a short film in its entirety, you walk in to your surprise and find that you’re midway through a guy singing “Stairway to Heaven” backwards. This forces you to hit the stop button and try to access the aforementioned film (“Stairway at Saint Paul”), only to find that there’s no option to go directly to the film (whose bright idea was that?) and that if you’re interested in the film, you will be subject to one of the three random films, who knows which one, playing from the beginning. If the idea here is that Wholphin is meant to be experienced without interruption, I have news for editor Brent Hoff. Understand that some of us out here don’ t need to be barraged by data at every minute and, in fact, we want to experience the art in toto.

The first offering is Miguel Arteta’s “Are You the Favorite Person of Anybody?,” a collaboration with filmmaker/Believer contributor Miranda July. (This is one of many suspicious Eggers connections that accompany the disc. It’s not so much celebrating innovation, but also keeping promoting the efforts of those “in the family.”) A man who looks suspiciously like Friend of Eggers Stephen Elliott can be seen in three quarters profile, until he turns around and we realize that it’s actually John C. Reilly. Whether this was intentional (and it’s certainly a thesis for an Auctorial Doppelganger that will likely never happen) or not remains a mystery. But the material itself, despite the presence of the always good Reilly, comes across as a tossed off and entirely insubstantial home movie. The titular question could have been used as a way to expose how shallow the process of introspection can be (apposite rhetoric for the 826 Valencia crowd, I think), but it becomes instead the basis for a vanity project that isn’t particularly penetrating. Heads talking insubstantially about insubstantial topics. The gimmick of Reilly with a clipboard. Ha ha. Perhaps the question was intended to be presented to the viewer with unintentional irony. Why else would it have been placed first on the menu? We’re all friends here, right? You’ll enjoy us without question, yes? Because we here are your favorite people in the world!

Lisa Chang and Newton Thomas Sigel’s “The Big Empty” shows more promise, both as an interesting way of producing filmed versions of McSweeney’s stories (it comes from Alison Smith’s “The Specialist,” which originally appeared in McSweeney’s #11) and as a way of profiling unusual material. Sadly, this too comes across as a vanity project, despite the fact that Selma Blair is utterly right for the part of a woman who has an arctic wasteland inside her that can only be accessed through her vagina. And if that premise sounds edgy or dangerous, let me assure you that it’s not. Or at least it doesn’t come across that way when it should. The film in general is seriously undermined by its Wes Anderson-style obsession with ostentatious perfection (books lined up meticulously in square piles with the camera dollying across as if the atmosphere is more important than the human moment), along with the distracting presence of Haskell Wexler as a bookstore customer and the uncomfortably carnal quid-pro-quo credit of “Executive Producers: George Clooney Steven Soderbergh.” This is clearly a film that values style over substance, a catastrophic emphasis given its high-concept premise. It has all the tricks that money will buy, but it is soulless even in its one modest moment of earnestness (a dorky guy asking Blair how she feels).

Another case of style killing pith is Brian Dewan‘s “The Death of the Hen,” which contextualizes a tale in the form of a filmstrip (complete with the beeps preceding the switch of the slide). Again, the stylistic idea here, presumably intended for those who remain mired by elementary school nostalgia from the late ’70’s and early ’80’s, is an interesting one. But the tale’s details are so digressive that it once again becomes difficult to get attuned to the story. At one point, a fox asks to hop into a carriage pulled by six mice. Agreement is made. And then without warning or explanation, the carriage is filled up with all manner of animals. Are we supposed to laugh at the fact that such a digressive detail is thrown into the mix? Yes, it fits into some of the inexplicable narratives featured in filmstrips. But wouldn’t it have been more interesting, indeed more audacious, if Dewan actually accepted the medium of the filmstrip on its own terms? What of a filmstrip that used the cheery tone and the formality to tell a bleak tale inside a crackhouse, an ironic metaphor on the failed drug wars of the time? Now that would be innovative!

One of the most problematic inclusions here is an episode of Talti Hayat, billed here as “the Turkish Jeffersons,” which is a specious comparison at best. For one thing, the couple of this series is not radically different in ethnicity, but are essentially an upper-class couple living “the sweet life,” surrounded by amicable maids and the goofy guy in a red sweater next door. In other words, what we’re dealing with here is a very banal and pretty run-of-the-mill sitcom, not terribly interesting, unless of course you’re one of those base humans who believes that all Asian women are bad rivers and thinks that listening to a Turkish sentence that you don’t understand is the most hilarious thing you’ve heard since the dead parrot sketch (or, failing that, a Jerky Boys routine).

What makes this exercise tasteless is the fact that the McSweeney’s people have hired various writers to provide alternative subtitle tracks. This might have been a good idea, but none of the translations hold a candle to MST3K and they are all designed to mock material which is simply too insubstantial to skewer. And even though the liner notes say, “No offense whatsoever is intended by the writers towards the actors, the Turkish people, Germans, Jews, Hindus, Muslims, Christians, fans of Gilmore Girls, or any other group,” the statement is suspect when the alternative subtitle tracks contain such racist lines as “Menskshe! Where did you hide my water pipe? I left it there on the dresser” (as penned by A.G. Pasquella), essentially implying that all Turks are bonged out scatterbrains. I suspect that this represents the dark underbelly of the so-called McSweeney’s feel-good beat. On one hand, don’t offer anything with edge. But when immersed within the exercise of groping for free associative humor, you can hide behind that comfy mask of irony, claiming that a particularly uncreative and racist line isn’t really racist. and that it was all in good fun.

The two strongest segments on Wholphin are, interestingly enough, the ones by major filmmakers. David O. Russell (a Friend of Spike, who is a Friend of Eggers) offers excerpts from his documentary Soldier’s Pay. I’ve had the good fortune of seeing the film in its entirety and can recommend it. While the excerpts here to some degree reflects the “good thoughtful liberal” audience impression frequently assumed by the McSweeney’s editorship, it’s still a welcome inclusion.

But Spike Jonze’s documentary on Al Gore demonstrates not only Wholphin‘s potential but its failings. The story was this: In 2000, Spike Jonze, hot off the success of Being John Malkovich, was commissioned by the Gore for President campaign to make a documentary to be shown at the National Democratic Convention, presumably because this would help Gore’s “stiff” image problem and get him down with the kids. Jonze, relatively stunned by all this (one gets the sense that he was a bit clueless actually), decided to simply drive up to the Gore family house with his tiny video camera and shoot whatever struck his fancy.

The result is a fascinating little film. One sees Gore remaining guarded even during private family moments. The film can be viewed as a stunning revelation (in hindsight, at least) about how a politician, constantly concerned with his image even while letting his guard down bodysurfing and selecting a VHS tape for family movie night, could never really loosen up. But it’s clear from the tape that he wants to loosen up. But he can’t. It’s impossible in the age of soundbytes. And because there are invisible antennae protruding from just behind Gore’s head, always cognizant of a camera or journalist in the room or from sixty miles away, Jonez’s film, perhaps unintentionally, is the study of what life must be like to have absolutely no privacy, to kiss your wife when you know there is somebody watching. I suppose in this sense, Gore’s stiffness actually made him more real than the competition. For how can any of us really remain true and spontaneous if there will be constant cameras and stenographers recording our every move?

Wholphin, however, catastrophically ignores this salient revelation (and perhaps this revelation is what kept the film from speculation; nobody wants a candidate that appears even remotely nervous) in favor of the following text in its booklet:

This film might have wiped away, in twenty-two minutes*, Gore’s reputation as a robot. If nothing else, it might have at least calmed a few jumpy liberals into reconsidering their protest vote. Unfortunately, for whatever reason, the film was shelved. (Dramatic pause.) Until now. It may seem like a sweet, simple study of a loving American family, but in our opinion, Jonze’s short film could have changed the world.

* — Nevermind that the film clocked in at sixteen minutes on my DVD player.

We’re now five years away from the damn Supreme Court decision and we’re still basking in this baffling, back-slapping “what the would could have been” liberal bullshit, in the same flag-wrapping manner that conservatives evoke September 11 to justify their latest fascist legislation. It is embarassing that such a jejune conclusion would accompany so fascinating a film. It is adolescent that such revolutionary claptrap would be uttered instead of sucking it up and facing the cold hard honesty: Al Gore wasn’t the one. So who might be the candidate for 2008? And what can we do to make the current situation better? (Not so subtle hint to those liberals clutching their blankets like Linus right now: Midterm elections are happening this year.)

Understand that for all of my criticisms of Eggers, McSweeney’s, The Believer and now Wholphin (and, for that matter, the n + 1 crowd), in my heart of hearts, I really want them to succeed. But if one wishes to remain truly independent, truly underground, and truly shake the foundations of intellectual thought, making assumptions about your audience, telling them exactly how they should think and exactly how they should feel and insisting that revolutionary zeal might have been in the air when the circumstances really can’t be proved is the kind of mentality I expect from a starry-eyed undergrad student clinging to his idealism, not the finest writers and editors of our time. It involves saying no to such bullshit as Snarkwatch, which places such restrictions on how one can think and how one should kvetch without considering that a little rant here and there isn’t entirely unhealthy. It involves actually listening to the “crazed maniacs” who denounce you and who disagree with you rather than keeping a Nixon-style Enemies List (various rumors have reported that Eggers keeps a list along these lines, but there is apparently nothing to corroborate this). And it involves considering dangerous topics, even pissing off a friend who disagrees with you on something. It involves considering all sides of the perspective, however difficult and painful. Nobody said thinking was easy.

Ask yourself this: wouldn’t the Believer, McSweeney’s and Wholphin be fantastic if they weren’t so afraid to walk on the wild side? If they took the 0bvious enthusiasm that’s there within its staffers and combined it with even the tinge of outrage?

So I publicly ask Heidi Julavits, Ed Park, Vendela Vida, Dave Eggers and Brent Hoff (and, for that matter, Ben Marcus) the following question: Why do you continue to commit hari-kari? Why can’t you be honest? Why must you steer the whims of your audience? Are you that insecure about the work in question? Why are you so terrified to express a few negative emotions from time to time? Were you all walked over as kids or something? Come on, you and I know that you’re better than these shaky presumptions and insular claptrap!

In short, why can’t I believe? Because I’d really like to.