Drugs Unlimited: The Web Revolution That’s Changing How the World Gets High — Mike Power

Drugs Unlimited is an excellent companion to Daniel Okrent’s Last Call, since both are about the madness of the laws that forbid or restrict mind-altering substances. But Drugs Unlimited shares a flaw and strength with Last Call, too: both books are repetitive, with tons of minute historical detail that feels easy to skip. Unless you wish to become an expert in the subject both are better checked out of libraries than bought.

Drugs Unlimited follows a pattern and cites many, many examples of that pattern: Chemist or enthusiast comes up with a novel drug or drug variation; people try and like it; governments eventually ban it (there are chapters devoted to “LSD in the 1960s, heroin in the 1980s and Ecstasy in the 1980s and 1990s”). The process then repeats, though we’re now in a stage in which it’s difficult for governments to ban or regulate every conceivable substance, leading to an online free-for-all.

Drugs_unlimitedShould you wish to enter the free-for-all Drugs Unlimited provides an introduction and useful guidance. Drugs have become more widely available than ever in the last ten years, and perhaps the most interesting thing about their availability has been their lack of impact on society, which continues to function. Nonetheless we get a chronicle of the new drug world: “Widely available and hugely popular, mephedrone was the first mass-market ‘downloadable’ drug, in the sense that it was, uniquely for the mass market, originally only available online.” That I’ve never heard of mephedrone makes me feel uncool.

It’s appropriate that I’m discussing this book on a blog, since Power writes:

Conventional academic research and government-sponsored investigations into attitudes and use patterns are being supplanted in their authority by the unmediated voices of users themselves, as social networks become central to the daily experience of a new generation of drug users.

He doesn’t cite Scott Rosenberg’s Say Everything: How Blogging Began, What It’s Becoming, and Why It Matters but he might as well: one could take out the word “drug” and replace it with “readers” or “listeners” or any number of other verbs. Still, there is a persistent feeling that “the unmediated voices of users” are better informed than the highly mediated voices of the media, or of academics.

Drugs Unlimited is also a media critique: “Saunders also detailed [Ecstasy's] darker, more negative sides in an honest appraisal that was sorely lacking in mainstream coverage.” Or: “My responses to [Ecstasy] and its surrounding culture, and those of everyone I knew, were markedly different from the media’s representation of them.” Or: “hysterical media coverage of the perceive threats of new drugs and corresponding knee-jerk government action seem to be [. . .] guaranteed.”

Power likes drugs: he’s taken them, and he writes sensuously of the way “drugs can send users into bizarre internal spaces, imaginary realms where mind and body are dissociated from each other, and where the only limits to the experience are those of the imagination.” He should perhaps more strongly emphasize the dangers of mixing different drugs, since that along with poorly manufactured drugs is how people die. The extent to which schools, the “responsible” media, and other authority figures systematically lie about drugs is shocking. Although “Most People With Addiction Simply Grow Out of It. Why Is This Widely Denied?” came out after Drugs Unlimited, it would fit into Power’s narrative.

Drugs Unlimited is lightly technical, and you’ll find sentences like these: “PIHKAL reveals in practical detail the chemical synthesis and human dosage of hundreds of psychoactive substances, each of which are in the phenethylamine class.” The book is neither well nor poorly written. It would not surprise me, however, were copies to travel to many unexpected places and inspired many unexpected people. Perhaps you’re one.

Tyler Cowen on Paul Krugman on Amazon on the buzz

In “What is the welfare cost of Amazon supply restrictions on books?” Tyler Cowen writes on whether Amazon’s much-publicized recent maneuvers against publishers are welfare-enhancing or welfare-destroying; most of the former answers tend to come from readers indie publishers and most of the latter answers tend to come from publishers and established authors. I however was compelled to comment on a separate and to my mind under-discussed issue: the lack of any sense of history in most of these discussions.

I’m most amazed at the way the same class of writers who five years ago were aghast at the lack of support for literary fiction among publishers are now the ones decrying Amazon and supporting the same publishers who were until recently the cravenly commercial forces destroying quality literary fiction.

Tangentially, I’m also amazed that, in rereading the preceding sentence, it seems to make sense and flow nicely without any commas. Perhaps it is the influence of Steven Pinker’s The Sense of Style, which I bought naturally from Amazon and which has me thinking about nesting and recursion more than any time since CS 102.

The link in the preceding paragraph also goes to Amazon.

Sexual Personae — Camille Paglia

It is shocking to me that I have gone for my entire adult life without anyone recommending Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson. The book is marvelously full of ideas, making it easy to find ludicrous assertions next to brilliant ones. Rarely have I read a book so full of life yet with so much that is wrong. For example she writes that “Female tragic protagonists are rare. Tragedy is a male paradigm of rise and fall, a graph in which dramatic and sexual climax are shadowy analogy.” The analogy might be “shadowy,” but it is also strained and dubious: there is no reason why sexuality has to be connected to tragedy. But Pagilia also writes from a different underlying philosophical perspective than most of her academic peers:

This book takes the point of view of Sade, the most unread major writer in Western literature. Sade’s work is a comprehensive satiric critique of Rousseau, written in the decade after the first failed Rousseauist experiment, the French Revolution, which ended not in political paradise but the Reign of Terror. [. . .] For Sade, getting back to nature [. . .] would be to give free rein to violence and lust. I agree. Society is not the criminal but the force which keeps crime in check.

sexual_personaeYet few modern sophisticates realize as much. Some contemporary fiction reflects the Paglian-Sadean view—Donna Tartt’s The Secret History is a sterling example—but for the most part it is absent. This passage is also admirable for being comprehensible; compare it to, for example, the passage quotes in “What happened with Deconstruction? And why is there so much bad writing in academia?
Paglia has an important virtue not common to contemporary English professors: she writes clearly and therefore what she says can be evaluated.

The excerpt above is included to give a flavor for Paglia’s writing, but Sexual Personae is impossible to effectively excerpt from, since the book moves from analyses of ancient times up to the late 19th Century, and although common threads bind various sections together it is easy to lose sight of how exactly someone like, say, Emily Dickinson is related to Goethe. I can’t imagine many people will read or want to read the whole book from beginning to end; it covers a fabulous number of artists and periods, and for me the 19th Century and Romantic artists were the least interesting, though you may of course differ. The long introduction and the strongest chapters more than make up for the weakest ones. Even if I had or wanted to develop the knowledge necessary to write such a book I doubt I’d be able to sustain sufficient interest.

Contemporary humanities scholarship has become too focused on pedantry and minutia at the expense of being interesting. Perhaps humanities scholarship has always been like this but the problems are especially evident in an era when relatively few scholars appear to even believe that such a thing as “good writing” can exist. Still, I would like to see a stronger emphasis on “being interesting” and personal experience in most humanities journals. In talking with English professors at conferences about Harold Bloom, I’m struck by their high, level of hostility.

Not all sections are equally strong; the sections on Shakespeare, Sade, and Spencer are amazing, but the closer Paglia draws to the present the less plausible her interpretations become. But her attention to myth, to pattern, and to the ways art and life draw on each other excuse other flaws, which may be the flipside of strengths. As noted above, however, the number of fascinating moments is high:

Theatrical self-transformation, a seductive principle of our time, can never be reconciled with our time. From antiquity on, professional theater has been under a moral cloud. Autocrat, artist, actor: freedom of persona is magical but destabilizing. [. . .] Art remains an avenue of escape from morality. Actors live in illusions; they are skittish shamans, drenched in being.

and one senses that Sexual Personae is a virtuosic display that needs more attention. Hence this post.

Zero to One — Peter Thiel and Blake Masters

Zero to One: Notes on Startups, or How to Build the Future is out and you, like everyone, should read it; the book is of course about startups but its deeper themes are philosophical in nature: how we should think about and relate to the world. The writing is elegant and clear without having a distinctive style that can be easily labeled by calling attention to itself. It is Robertson Davies’s plain style, used well here.

Those who have already read Blake Masters’s CS 183 classnotes—I have—may be disappointed, since they form the core of the book. Nonetheless those notes have been cleaned up, organized, and updated with more recent examples. The thrust Zero to One is also beautiful and optimistic: the future is important, it can be shaped and improved, and individual choices matter. In believing those three things, and especially the second two, Thiel and Masters are swimming upstream against much of contemporary culture.

zero to oneOthers can no doubt comment on the technical aspects of the book, but I will note that much of what Thiel and Masters write sounds like an artists’ manifesto: “The act of creation is singular, as is the moment of creation, and the result is something fresh and strange.” I very rarely read about business as “strange,” and yet the word is apt: all things are strange before they become domesticated by time and ubiquity. Artists usually focus directly on creating new things, but Zero to One describes “how to build companies that create new things.” More people extend the reach of what a single individual can do, but though Thiel has “noticed many patterns [. . .] this book offers no formula for success.” There is none, because innovation is by definition strange and new. He is trying to “help my students see beyond the tracks laid down by academic specialties to the broader future that is theirs to create.”

Academia has many problems and he notices them; I don’t think he uses this as a specific example, but one issue is treating school like a job or primary occupation. It shouldn’t in most cases be. It should be a day job that enables and ideally complements the other things one does. Teachers and professors rarely inculcate this attitude, however, because they themselves have been selected by the school system and have bought into its prejudices and cultures. Charter schools are important for many reasons, one being that they give an opportunity to create new schooling cultures. Montessori is specifically attempting to do that, and it is striking how many successful tech guys went through Montessori schools.

They note that “The business version of our contrarian question is: what valuable company is nobody building?” This question is harder than it looks” (23). The novelists’ version is, “What valuable novel is nobody writing?” One challenge, of course, is that different people have different values for “valuable:” I find most “thrillers” to be boring and un-thrilling, and most thriller readers probably find literary fiction the same.

This could be a description of most narrative fiction: “Our ancestors lived in static, zero-sum societies where success meant seizing things from others. They created new sources of wealth only rarely, and in the long run they could never create enough to save the average person from an extremely hard life.” Romance, the driver of so much fiction, is usually zero-sum: if the protagonist wins the guy or girl, no one else can; if the rival wins the guy or girl, no one else can, while in the real world there are a de facto infinite number of good guys or girls, provided the protagonist—that is, you—are willing to find and attract them. There are an infinite number of jobs, too, and one person getting a job doesn’t prevent someone else from getting another, or making another. Much narrative fiction taps into the zero-sum dynamic. Maybe it shouldn’t, or should more often explicitly question that dynamic.

Thiel and Masters are writing about everything, though they write specifically about startups. They discuss the nature of mass delusion (“Usually, it’s considered weird to be a 40-year-old graduate student. Usually, it’s considered insane to start a half-dozen companies at once. But int he late ’90s, people could believe that this was a winning combination”) and the psychology of founders (“Of the six people who started PayPal, four had built bombs in high school” and “We alternately worship and despise technology founders just as we do celebrities”); there is a hint of a Paglian reading of myth here, and such readings are too rare in a de-mythologized, de-ritualized society. There is more of the journey of the mythic hero in tech startups than is commonly supposed.

Psychology and cultural criticism have a long border; Thiel and Masters write that “competition is an ideology—the ideology—that pervades our society and distorts our thinking” (35). The opposite of competition, which may be something like cooperation or stasis, could be even worse: static societies and companies do not appear to do well or even exist in a world of competitive societies. But I don’t think Thiel and Masters are going in this direction: they are rather reminding us that it is useful to remember that we don’t live in a zero-sum world, largely because of technology and specialization. Most of human existence probably was zero sum, however, and that may explain some psychological quirks that aren’t terribly adaptive in contemporary information and industrial societies.

Competitive ideology has another problem too: it encourages us to compete with everyone, all the time. Picking good competitors is probably almost as important as picking good friends. Most competitive arenas are pointless. People often fight for control, and against other people like them:

Consider the opening line from Romeo and Juliet: “Two houses, both alike in dignity.” The two houses are alike, yet they hate each other. They grow even more similar as the feud escalates. Eventually, they lose sight of why they started fighting in the first place.

I’ve noticed this continually among professors, often specialists in the same area, who are from the outside identical and yet bash each other over minor differences. People more generally seem to seek fights for the sake of fighting, and without realizing that direct fighting is usually a terrible way to change minds—as has been known for decades. It’s often better to not respond to critics and instead to make something new. As Thiel and Masters write: “Rivalry causes us to overemphasize old opportunities and slavishly copy what has worked in the past.” One can see this at an individual level or even a national level: think of the petro-states that exist as they do primarily because they can sell oil to innovation states.

I mentioned psychology already; here is another passage on that theme that also applies to artists, who are often skilled at ignoring or repudiating group beliefs / delusions:

The hazards of imitative competition may partially explain why individuals with an Asperger’s-like social ineptitude seem to be at an advantage in Silicon Valley today. If you’re less sensitive to social cues, you’re less likely to do the same thing as everyone else around you. If you’re interested in making things or programming computers, you’ll be less afraid to pursue those activities single-mindedly and thereby become incredibly good at them. Then when you apply your skills, you’re a little less likely than others to give up your own convictions: this can save you from getting caught up in crowds competing for obvious prizes.

“Making things:” properly read, Zero to One is a recipe book for makers across disciplines. And “getting caught up in crowds competing for obvious prizes:” I remember talking about college sexual adventures with a friend who went to an Ivy-League school and who lamented that so many of the girls were, in his view though not in his words, neurotic achievement-obsessed basket cases. Maybe he misunderstood what those girls were seeking, but maybe he chose the wrong environment for that part of life.

Making things happens at large and small scales. Though we are still somewhat good at making things happen at small scales—as, say, the iPhone shows, or many Kickstarter projects show—we have become less ambitious and too obsessed with vetoes on large projects. Launching the Innovation Renaissance discusses this; so too does Thiel, in a cultural-political context: In the 1950s, people welcome big plans and asked whether they would work. Today, a grant plan coming from a schoolteacher would be dismissed as crankery, and a long-range vision coming from anyone more powerful would be derided as hubris.” We are collectively unable to even muster the political will to build denser cities and reasonable public transportation systems, let alone next-generation nuclear plants and systems for getting cheaply into space. This is a dark problem too rarely discussed by anyone.

It is also a tremendous and tremendously dangerous problem: “Without new technology to relieve competitive pressures, stagnation is likely to erupt into conflict. In case of conflict on a global scale, stagnation collapses into extinction.” There is a direct, underappreciated link between novelty, innovation, and survival. Artist and scientists are arguably at the forefront of ideas, though not always good ideas. Still, there is a brilliant statement at the end, which I’ve read more often in books targeted at novelists:

Only by seeing our world anew, as fresh and strange as it was to the ancients who saw it first, can we both re-create it and preserve it for the future.

This is not an ordinary book about “business.” It is a book about everything, as the best books always are.

Almost every human endeavor is also about relationships, whether we want it to be or not:

The lawyers I worked with ran a valuable business, and they were impressive individuals one by one. But the relationships between them were oddly thin. They spent all day together, but few of them seemed to have much to say to each other outside the office. Why work with a group of people who don’t even like each other? Many seem to think it’s a sacrifice necessary for making money. But taking a merely professional view of the workplace, in which free agents check in and out on a transactional basis, is worse than cold: it’s not even rational. Since time is your most valuable asset, it’s odd to spend it working with people who don’t envision any long-term future together. If you can’t count durable relationships among the fruits of your time at work, you haven’t invested your time well—even in purely financial terms.

This is again a good description of academia, and it’s also a restatement of the Coase theorem, which I wrote about in similar terms at the link. In most life domains a purely transactional model makes everyone poorer in the ways that count.

Thiel and Masters note that in school “Students who don’t learn best by sitting still at a desk are made to feel somehow inferior, while children who end up defining their identities in terms of this weirdly contrived academic parallel reality.” If you’re awake and paying attention to the school system, it’s hard not to notice its many bizarre perversities—and its problems harm not only the low achieving students but also the high achieving students. Although I spent years being a dumbass, I mostly got tracked to the high-achieving parts of school, and as an adult discussions with others who were stuck on the high-achieving track involve the ways the value system of that track warps those on it. But no one or almost no one tells students that at the time, and parents, teachers, and administrators are in on the conspiracy. Maybe that’s why so many Silicon Valley bigwigs want their kids in Montessori or similar schools.

Moreover, the prestige / rivalry system reinforces a zero-sum mindset, at least for those who buy in, as Thiel did (and only barley escaped):

Higher education is the place where people who had big plans in high school get stuck in fierce rivalries with equally smart peers over conventional careers like management consulting and investment banking. For the privilege of being turned into conformists, students (or their families) pay hundreds of thousands of dollars in skyrocketing tuition that continues to outpace inflation. Why are we doing this to ourselves?

I wonder if Thiel and Masters have read Excellent Sheep yet. Deresiewicz has similarly scalding views, though he comes from a different vantage point and throws some pointless, ill-formed bombs at startup culture. Thiel and Masters, however, ask the deep questions, and give major structural advice that one rarely hears from professors: “You should focus relentlessly on something you’re good at doing, but before that you must think hard about whether it will be valuable in the future.” I have focused relentlessly on writing better novels, but so far it has not proven valuable in a financial sense. If it weren’t for other ways of monetizing my skills, I would be doing something else, and probably not even writing this post.

Let me return, for a moment, to relationships, since your friends and surroundings count, as Tolkien knew and many others know: “it’s hard to develop new things in big organizations, and it’s even harder to do it by yourself. Bureaucratic hierarchies move slowly, and entrenched interests shy away from risks.” This is another, accurate, critique of academia, and a reminder to attend to our environment. Thiel does say that “a lone genius might create a classic work of art or literature, but he could never create an entire industry.” Even the lone-genius model appears less true than is often imagined: reaching into the biographies of famous artists tends to reveal an ecosystem of friends, rivals, mentors, and helpers. Hemingway famously derided creative writing classes, but he spent much of his early working life showing drafts of his work to Gertrude Stein and Sherwood Anderson. Few of us succeed fully in art or business without helpers along the way: hence, perhaps, the Joseph Campbell model that calls for such helpers in The Hero With a Thousand Faces. Even in myth the hero does not succeed alone: Frodo and Aragorn need Gandalf. Luke Skywalker needs Han and Obi-Wan. In His Dark Materials Lyra finds an array of helpers.

There are sections I think wrong, like the one on page 78 when Thiel and Masters criticize contemporary Silicon Valley buzzwords, which may reflect generations of learning about startups and the startup environment. Thiel and Masters say that “Secrets about people are relatively underappreciated,” while the opposite is true: we call secrets about people “gossip,” and most narrative art is relentlessly focused on personality, competitive, and “secrets” about people that almost always turn out to be about sex, money, and death. The supposed “secrets” that people hold tend to be more uniform than not. That pattern has persisted in Western art for millennia: the ultimate “secret” at the heart of Oedipus the King (first written circa 400 BC) and Game of Thrones is the same. The only human secret that matters is that one shouldn’t be surprised by human secrets.

These are quibbles about an otherwise great book. Great books do not have to be long. This one isn’t. They have to pack a lot of ideas in the space they h ave. This one does.

To reiterate the first paragraph of this post, you need to read this book. The less you think you need to read it, the more you do. It is in some ways similar to Rework, another anti-conventional-business business book written by nerds. Zero to One is a tremendously important book; although I admire and appreciate trivial books, particularly because most books including my own are, find one that is important—which does not mean “pompous” or “serious”—matters. You should read it. Your friends should read it. Its ideas should be common currency, readily known whether accepted or rejected. It is possible that the future of the world depends on Zero to One finding the right person at the right time, which is true of few other books.

The physical book is itself nicely made; though the binding appears to be glue rather than thread, the paper quality is high, and much higher than most books in its class and most contemporary books, period. The physical book reflects their emphasis on long-term thinking, as too few physical books do. One can read publishers’s opinions on their own works in the ways they choose to manufacture books. Those opinions do not appear to be high. If publishers have a low opinion of their own products, what should investors think?


Here is a good Fortune profile of Thiel. And

“All American fiction is young adult fiction: Discuss”

Via Twitter Hollis Robbins offers a prompt: “‘[A]ll American fiction is young-adult fiction.’ Discuss.” Her takeoff is A. O. Scott’s excellent “The Death of Adulthood in American Culture,” which you should go read; oddly, it does not mention the show Entourage, which may be the best contemporary narrative artifact / fantasy about the perpetual party.*

American fiction tends toward comedy more than “young-adult” because comedy = tragedy – consequences. AIDS fiction is tragic because people die. Most contemporary heterosexual love stories are comedy because the STIs tend to be curable or not that important; people who are diligent with birth control rarely get pregnant. Facing death, starvation, or other privations have always been the adult’s lot, and adults who made sufficiently bad choices regarding resource allocation or politics died. Think of the numerous adults who could have done everything they could to flee the area between Russia and Germany in 1914 and didn’t, or the ones who didn’t after 1918 and before the Holocaust. The example is extreme but it illustrates the principle. Frontier and farm life was relentlessly difficult and perilous.

Today by contrast we live in the a world of second chances. America is a “victim,” although that is the wrong word, of its own success. If you color more or less inside the lines and don’t do anything horrendous, life can be awesome. People with an agreeable and conscientious disposition can experience intense pleasures and avoid serious pain for decades; not everyone takes to this (see for example the works of Michel Houellebecq) but many do. The literary can write essays, the scientists can do science, the philosophers can argue with each other, the business guys have a fecund environment, and the world’s major problems are usually over “there” somewhere, across the oceans. If we ever get around to legalizing drugs we’ll immediately stabilize every country from Mexico to Chile.**

What are the serious challenges that Americans face as a whole? In the larger world there is no real or serious—”serious” being a word associated with adulthood—ideological alternatives to democracy or capitalism. Dictatorships still exist but politics are on the whole progressing instead of regressing, Russia and parts of the Middle East excepted.

One could reframe the question of all American fiction being young adult fiction to: “Why not young adult fiction?” Adults send young people to war to die; adulthood is World War II, us against them, thinking that if we don’t fight them in Saigon we’ll have to fight them in Seattle. Adults brought us Vietnam. Young people brought us rock ‘n’ roll, rap, and EDM. Adults want to be dictators, whether politically or religiously, and the young want to party and snag the girl(s) or guy(s) of their dreams.

Adulthood is associated with boredom, stagnation, suburbs, and death. Responsibility is for someone else, if possible, and those who voluntarily assume responsibility rarely seem to be rewarded for it in the ways that really count (I will be deliberately ambiguous on what those ways are). Gender politics and incentives in the U.S. and arguably Western Europe are more screwed up than many of us would want to admit, and in ways that current chat among the clerisy and intellectual class do not reflect or discuss. If adulthood means responsibility, steady jobs, and intense fidelity, then we’ve been dis-incentivizing it for decades, though we rarely want to confront that.

Many people are so wealthy and safe that they are bored. In the absence of real threats they invent fake ones (vaccines) or worry disproportionately about extremely unlikely events (kidnapping). Being a steady person in a steady (seeming) world is often thus perceived as being dull. In contemporary dating, does the stolid guy or girl win, or does hot funny and unreliable guy or girl win?

A lot of guys have read the tea leaves: divorce can be a dangerous gamble while marriage offers few relationship rewards that can’t be achieved without involving the legal establishment or the state more generally. A shockingly large number of women are willing to bear the children of men they aren’t married to: 40.7%$ of births now occur to unmarried women, and that number has been rising for decades.

Why take on responsibility when no one punishes you for evading it and arguably active irresponsibility is rewarded in many ways, while safety nets exist to catch those who are hurt by the consequences of their actions? That’s our world, and it’s often the world of young adulthood; in fiction we can give ourselves monsters to fight and true enduring love that lasts forever, doesn’t have bad breath in the morning, and doesn’t get bored of us in four years. Young adult fiction gives us the structure lacking in the rest of our lives.

Moreover, there has always been something childlike in the greatest scientists and artists. Children feel unconstrained by boundaries, and as they grow older they feel boundaries more and more acutely. I’m not about to argue that no one should have boundaries, but I am going to argue that retaining an adult version of the curiosity children have and the freedom they have is useful today and in many cases has always been useful.

The world has gotten so efficient that vast pools of money are available for venture capitalists to fund the future and tech guys to build or make it. The biggest “problem” may be that so many of us want to watch TV instead of writing code, but that may be a totally bunk argument because consumption has probably always been more common and easier than production.

In this world fiction should tend towards comedy, not the seriousness too typically associated with Literature.

If American fiction is young adult fiction, that may be a sign of progress.***


* Another show, Californication, mines similar themes but with (even weaker) plots and total implausibility. Here is an essay disagreeing with Scott: Adulthood Isn’t Dead.

** Breaking Bad and innumerable crime novels would have no driving impetus without drug prohibition. The entire crime sector would be drastically smaller almost overnight were we to legalize drugs and prostitution. That would be a huge win for society but harmful to fiction writers.

*** Usually I eschew polemics but today I make an exception.

Life: Do it for the pleasure edition

“A man rarely succeeds at anything unless he has fun doing it.”

—Dale Carnegie, How to Win Friends and Influence People, a book I’m shocked not to have read yet and that ought to be mandatory reading for academics, who are very bad at applying its lessons. Not everything in the book I buy but overall it is much more interesting than I expected and much better written. Note that this is the pre-1981 version, which means some references to gangsters and “popular” figures are dated, but as often happens with very old books it is revealing about its own time in ways not intended by its author.

I often see the point quoted above said regarding writing, coding, and any number of other activities. Yet I rarely see it said regarding, say, tax law, or accounting, or proctology, or garbage hauling.

Erving Goffman’s “The Presentation of Self in Everyday Life” for novelists

The Presentation for Self in Everyday Life endures because while it is nominally about sociology, its observations fit into other fields too: One could read it as a work of literary criticism but without literature, or a novelist’s handbook about how people behave around other people. It is filled interesting observations, like “not a few psychotherapists find employment in [. . .] making their living by telling individuals the facts of other people’s lives.” Or, colloquially, one reason people like fiction, memoirs, and blogs is to figure out how fucked up other people’s lives are. Few of us wish to advertise the fucked up parts of our lives and so in everyday experience those parts are hidden. I for one wish that I’d realized as much when I was younger.

Goffman gets the game theory aspect of punishing defectors from collective norms:

Similarly, a girl at a party who is flagrantly accessible may be shunned by the other girls who are present, but in certain matters she is part of their team and cannot fail to threaten the definition they are collectively maintaining that girls are difficult sexual prizes. Thus [. . .] teammates are often persons who agree informally to guide their efforts in a certain way as a means of self-protection and by doing so constitute an informal group.

Goffman selfThe sexual double standard is maintained more by women than by men, which Goffman got in 1959. He describes the way “teammates everywhere employ an informally and often unconsciously learned vocabulary of gestures and looks by which collusive staging cues can be conveyed.” Novelists should attend to that vocabulary and those clues when they discuss characters in specific worlds. One’s cultural world and coworkers color one’s viewpoint. A professional photographer cannot help but seeing the world partially through photography terms, and lawyers see cases waiting to happen everywhere. In the underworld this is most obvious, which is one reason why The Friends of Eddie Coyle works.

Goffman gets the way that people are groupish and feel conflicting loyalties towards their groups and towards outsiders who may be taken advantage of. In my own life, I feel more loyalty to readers than to the nonprofits and governments I write about in Grant Writing Confidential. The same is true of many bloggers in many fields who choose to pull back the curtain, so to speak; doctors and lawyers have scads of blogs devoted to that topic, as do hookers like Belle de Jour (whose Diary of an Unlikely Call Girl is good).

The Presentation of Self in Everyday Life is also a defense of privacy, and novels are generally experienced in private.

There are sections that are dated or dubious, as when Goffman writes that

we may have some sympathy for those who have but one fatal flaw and who attempt to conceal the fact that they are, for example, ex-convicts, deflowered, epileptic, or racially impure.

By now being “deflowered” is generally a positive, being epileptic is a medical condition, and racial purity is itself a bogus concept. Nonetheless the number of abstract lessons is large and Goffman’s observations are sharp. I haven’t exhausted the book based on a first reading. Much of human life is about politics. Human life will always have a strong political component because everyone learns from everyone else and there is no way to be as effective acting alone as one can act in groups.

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