Artists – or, in the local parlance, creatives – should no longer push any envelope, go to the dark side, explore taboos, make inappropriate jokes or offer contrarian opinions. We could, but not if we wanted to feed our families.
Not being able or willing to put yourself in someone else’s shoes – to view life differently from how you yourself experience it – is the first step toward being not empathic, and this is why so many progressive movements become as rigid and as authoritarian as the institutions they’re resisting.
What Kanye was championing in his Trump tweets was an idea of peace and unity, imagining a place where different sides could work together despite vicious ideological differences – that’s it. He wasn’t particularly interested in actual politics or literal policy, but it also seemed by the end of the summer of 2018 that no one else was, either.
American Psycho was about what it meant to be a person in a society you disagreed with and what happened when you attempted to accept and live with its values even if you knew they were wrong. Delusion and anxiety were the focal points.
No negativity allowed: we’re only asking to be admired in the display culture we were raised in.
Patrick’s obsession with his likes and dislikes and with detailing everything he owns, wears, eats, and watches has reached a new apotheosis. In many respects American Psycho is one man’s ultimate series of selfies.
It was clear that this had not been my best term; it was clear that I was losing it.
But maybe I was more like Lena Dunham on her TV series Girls, which examined her own generation with a caustic, withering eye yet also remained supportive. And this is crucial: you can be both. In order to be an artist, to raise yourself above the overreacting fear-based din in which criticism is considered elitist, you need to be both.
I’m having a sort of hard time paying attention because my automated teller has started speaking to me, sometimes actually leaving weird messages on the screen, in green lettering, like “Cause a Terrible Scene at Sotheby’s” or “Kill the President” or “Feed Me a Stray Cat,” and I was freaked out by the park bench that followed me for six blocks last Monday evening and it too spoke to me. Disintegration – I’m taking it in stride.
This widespread epidemic of self-victimization – defining yourself in essence by way of a bad thing, a trauma that happened in the past that you’ve let define you – is actually an illness.
The entertainment business forces you to become a gambler whether you like it or not, and the young men were rolling the dice against odds that were decidedly not in their favor.
Liberalism used to concern itself with freedoms I’d aligned myself with, but during the 2016 campaigns, it finally hardened into a warped authoritarian moral superiority movement that I didn’t want to have anything to do with.
Courtney, McDermott and I have just left a Morgan Stanley party that took place near the Seaport at the tip of Manhattan in a new club called Goldcard, which seemed like a vast city of its own and where I ran into Walter Rhodes, a total Canadian, whom I haven’t seen since Exeter and who also, like McDermott, reeked of Xeryus, and I actually told him, “Listen, I’m trying to stay away from people. I’m avoiding even speaking to them,” and then I asked to be excused.
The question for him now had become: Well, were any of them really his friends in the first place? If they could ditch him so completely over Trump, maybe they never had been. He’d often wondered: Was this really all it took? Was defending the president you had supported and voted for that immoral and outrageous? Apparently, for some on the Left this was reason enough to abandon a friend or a relative or even an acquaintance.
My friend also noted that it was harder to meet girls online here in blue-state California, where it seemed “Where do you stand politically?” had become the question most frequently asked by females, replacing the previous: “How tall are you?
Across the board, identity politics endorse the concept that people are essentially tribal, and our differences are irreconcilable, which of course makes diversity and inclusion impossible. This is the toxic dead-end of identity politics; it’s a trap.
Where are we going?” I asked “I don’t know,” he said. “Just driving.” “But this road doesn’t go anywhere,” I told him. “That doesn’t matter.” “What does?” I asked, after a little while. “Just that we’re on it, dude,” he said.
I told you, dude,” Van Patten says and then patiently restates his facts. “We can’t get that. It’s like zero zero zero point oh one percentage –.
And a new irony had entered the picture: I was now hearing about how irritating the Left had become from people on the Left. One evening over drinks someone sighed to me, “I don’t know how we got so annoying.” And at a dinner a middle-aged liberal scoffed, “Oh, I can’t deal with the Resistance anymore” – and this from a gay man who’d been a proud member of it.
On my way into the Chinese cleaners I brush past a crying bum, an old man, forty or fifty, fat and grizzled, and just as I’m opening the door I notice, to top it off, that he’s also blind and I step on his foot, which is actually a stump, causing him to drop his cup, scattering change all over the sidewalk. Did I do this on purpose? What do you think? Or did I do this accidentally?
I poked fun at rich friends growling about the unfairness of the Electoral College over a dinner at Spago that cost thousands of dollars, and took Meryl Streep to task for her outraged anti-Trump speech at the Golden Globes the same week she’d put her Greenwich Village townhouse on the market for thirty million dollars.