Malls on My Mind

There’s something incredibly monstrous and yet incredibly soothing about strip malls.

There’s one Midwestern strip mall in particular that I like. Like many others, it’s quite a large strip mall–large enough to require its own street signs, and it’s located near other shopping plazas, making the entire area around it a sort of shrine to capitalism. In any one direction, looking out at the horizon, all a person can see are shops.

So it’s quite ironic that all of the times that I’ve been to this particular mall, I’ve had no money. The first time I was there was on a weekend during the summer. The mall was packed with people and I was overwhelmed with the size and architecture of the place. I’ve been to lots of strip malls. I’ve even been to strip malls larger than this particular one, but I’d never been to a strip mall built to resemble small-town America. Or, rather, built to resemble someone’s idea of small town America. In my four years as an undergraduate, I lived in small-town America, and it left me with a strong impression of just how poor people can really be and just how difficult getting a job with barely a high school education can be. In fact, I was living in that small town over the summer and making a small amount of money as a tutor at a program for international students. I’d gotten a year-round taste of just how poor small-town America can be. There was none of the opulence of this mall. None of the wealth. I was overcome with the crowds of people rushing in and out of stores and restaurants. All around me there were Things To Buy: Calvin Klein, Michael Kors, Chanel, Gucci, Coach, Prada. I was also captivated by the ambiance. The stores were all designed to resemble old houses, the streets were lined with street lamps, and there was a mural of white people in Victorian dress riding a trolley. Red telephone boxes sat on the street corners between shops. There were speakers hidden in trees that played music! I felt like I was in a grown-up’s Disney World.

The second time I was at this mall, I was again a broke undergraduate. I was there briefly with a couple of friends when we stopped to pick up some dinner at the Cheesecake Factory nearby. We had come from a Renaissance Festival and were dressed in corsets, long skirts, and boots. We were dressing up in a dressed up town, playing pretend in a pretend town. We were a modern day idea of the Renaissance in a modern day idea of some nostalgic past between the Victorian era and the 1950s. At the time we attracted a lot of stares and strange looks, (a group of tourists was even trying to covertly take out picture) but looking back, we fit right in.

On my third and most recent trip to to this mall, I stopped on my way from a job fair in the area. The job fair had an air of desperation about it. I arrived half an hour early and already a crowd of people had formed around the convention center doors. Some people were wearing suits and ties. Others had on khaki and sneakers. Some had on a strange mix of both casual wear and business attire. I saw button-up shirts and vests mixed with jeans and tennis shoes. People clutched their resumes and carefully checked and double-checked their applications for cashier and food service jobs. Some of them couldn’t have been more than sixteen years old. Others could have been my grandparents. No one smiled or chit-chatted. Instead, they scurried from booth to booth with their eyebrows furrowed and their jaws clenched. Everyone was there because they needed a job–any job!

As soon as I set foot in the mall, however, I felt the mixture of grim determination and despair fade away. There were Things to Buy. How bad could the world be? Even though I couldn’t afford any of the beautiful clothes or cookware that beckoned to me from the windows, I felt comforted to see them. Someday, I thought, someday I will be able to afford all of this. I’ll have my own kitchen that I can stock with ceramic pots and I’ll have a walk-in closet that I can fill with designer suits. I’ll have the money to buy a car and drive out to a place like this for lunch and cocktails with friends. Never mind that I’m planning to make a pittance in non-profit communications. Never mind that I don’t even really care about designer brands. Never mind that I have my own perfectly serviceable cookware.

The mall offered up a dream, and it was a dream that I wanted to live in for a while. I walked up and down the streets. I watched a young man wash the hot pink walls of a Victoria Secret store, which featured large posters of busty, skinny, blond models with flawless skin. I marveled at the neo-Classical fountains, featuring cherubs and Greek god figures, and wondered how they looked so at home next to the Tiffany’s store, designed to resemble a 1950’s-era bank. I saw the local police and the mall security circling the center fountain and felt secure, knowing that I was being watched over. At the mall edge, dwarfed by an enormous XXI Forever store, was a small, nondescript building labeled “Community Center Room.” It seemed so bland in comparison to the colorful, bright ads that surrounded it that I hardly noticed it. I enjoyed the perfectly cultivated trees and flowers, especially the exotic palm trees. Everything looked beautiful and bright and pleasant. It’s fake, but it’s lovely, just like the Photoshopped Victoria Secret model’s poster. I almost forgot about the job fair.

Unfortunately, the job fair is far more real than the manicured streets of the mall. It’s been a couple years since I read Baudrillard, but the word hyperreality kept flitting through my mind as I wandered around the mall.Calvin Klein, Michael Kors, Chanel, Gucci, Coach, Prada.  Simulacra. A simulacrum is, if I’m remembering my postmodernism correctly, a sign without a referent. It harkens back to an original that never existed. The rosy glow of an American small town that never was is being invoked in the mall’s nostalgic streets. Hyperreality is a reality that is so mediated by technology–radio, television, the Internet–that people can no longer distinguish between what is real and what is mediated to them. A walk through mall is a tightly controlled, mediated experience. The street signs point to shops. Hints at anything to disrupt the illusion are hidden. (I spied a mess of gas pipes hidden behind a black screen painted to look like a garden wall.)

The dream of the mall, is ultimately a lie, I know. The endless luxury, endless leisure, and endless wealth–none of them exist. Its promise is ultimately unrealistic. The merchandise at the mall can only be sold because workers in developing nations are underpaid and overworked, not to mention the underpaid cashiers and sales clerks who work in the mall shops. The location of the mall, accessible only from interstate highways, is also unfeasible. As we approach peak oil and the price of gas rises, driving to such locations, not to mention sending merchandise there by truck, will become increasingly costly. This is not to mention the carbon emissions of these vehicles that increase greenhouse gases in the atmosphere, driving up the temperature of earth’s atmosphere and radically altering the planet’s weather patterns, destroying coastal towns with hurricanes and floods. The visions of endless Things to Buy encourage conspicuous consumption, buying certain products only because they make one seem richer or more sophisticated and not because these products are inherently useful. It also encourages planned obsolescence, creating products only meant to last a few years, only to be thrown away and replaced by new products. The “free market” isn’t free, and the cost will be paid in an unhealthy environment and shrinking middle class by the poorest and those least able to pay those prices.

Logically, I know all of this. I’m critical of the inequalities that capitalism perpetuates. I shun designer brands. I try to use and reuse and recycle. I take public transportation whenever I can. A part of me feels as though I should be disturbed by the mall. It broadcasts cultural messages that I’ve chosen to deconstruct and expose. It upholds outdated ideologies that, I believe, are crushing common people under their teetering weight. But I’m not immune to the messages. I’ve grown up with the ideologies. I’m just as taken in by the simulacra as the next person. Sometimes, I’d like to ignore reality and exist in a space of hyperreality, in which money is endless, resources are endless, and the past was always perfect. So I find the streets of the mall peaceful and calming. I enjoy walking up and down them, staring into the windows, imagining what I would do with new furniture or a stationary set, and for a couple hours, ignoring reality and living in a dream.

Synergia: What is Creative Writing? Part 2

Part 1 appears here.

I flopped onto the red, paisley hotel bedspread and opened my laptop. “Thank god, free wi-fi!” I muttered. The hotel in Washington, D.C., had not provided free  Internet connection. My friend Erinne, Dr. Smith, I, and assorted other students and professors from the English department had been there for the past four days at the Associated Writing Programs conference (AWP), one of the biggest and most prestigious conferences in the creative writing field. Now I was itching to check Facebook and my email.

We’d been held up in Baltimore because of a snowstorm and couldn’t fly back to Detroit until the following morning. So we’d found a hotel—paid for by Dr. Smith’s English department credit card—and were getting ready for dinner, which Dr. Smith and her partner, another professor, had offered to buy. I was planning to enjoy as much of the free food and accomodations as I could before returning to campus, where I would find myself touching up final papers and studying for exams. At least, I thought, I have my capstone out of the way.

“Hey, our grades for our capstones are up!” my friend, Erinne, said, looking up at me from her spot on the other bed, where she sat with her laptop. I watched her scroll for a moment before her face broke into a grin. “Hey! I got an A!”

“Nice! You were great, though. You deserve it,” I said as I waited for my email to load. At the top of my inbox, starred and marked “important,” was an email from our capstone advisor with the subject line “Final Grades.” I eagarly clicked on it.

Dear Em, I wanted to mention this to you in an email so it didn’t surprise you when you read the attached comments from your graders…

What? What’s that? That didn’t sound good. That didn’t sound like the comments I usually got on papers. I was a straight-A student. I didn’t get comments like that!

…I wanted to let you know that I don’t think Dr. Smith meant her comments in a hurtful or negative way. I think she was only making an observation about your creative work and your presentation….

Hurtful or negative? What did that mean, “hurtful or negative”? What did Dr. Smith say?

…It was a pleasure having you in the class and you did a fine job on your project and presentation…

I skimmed the rest of the email and then downloaded the attachment. I couldn’t move, couldn’t blink, couldn’t breath. What did Dr. Smith say?! I’d always thought Dr. Smith had liked me and my writing. Why would her comments be so ambiguous that they could be construed as hurtful or negative?  I didn’t have to wonder long. The attachment opened and I bit my lip as I read Dr. Smith’s comments.

I believe that, in her heart, Em is not truly a creative writer. I think she is a theorist and an activist who uses her writing to draw attention to issues of social justice.

Not truly a creative writer? Not truly a creative writer?! Since when were creative writers not allowed to write about social issues? I scrolled down the attachment to see what my grade was, but a part of me already knew: seventeen points out of twenty, an eighty-five percent, a solid B.

To many students, this news would be a relief. To me, it was devestating. For three and a half years I’d cultivated my GPA of four-point-oh like a rare rosebush. I’d monitored it constantly, ensuring that it always received just the right amount of care and work. I pruned out imperfections before they festered into problems and prided myself on its beauty and perfection. It was my everything, my best thing. It defined me. And now, like a rot that sank deep into the root, this one missing point had ruined everything. Sure, my GPA was still good, but it was no longer perfect, and for three and half years, perfection had been all that mattered to me.

“That bitch!” I snarled, loudly enough for Erinne to hear. Even though I was still in shock, I wanted some sympathy.

“Huh?” Erinne asked, taking out her earphones.

“That bitch, Smith! She said about my capstone that I’m not a real creative writer!”

Erinne narrowed her eyes. “That’s crazy! Your presentation was so good!”

“Thanks,” I spat. “God, I hate her!”

Erinne nodded.

“And I got a B!”

“Really? But your presentation was better than mine.”

“My GPA is ruined!”

Erinne sighed. “Wow, that sucks. But we’re graduating in a few months, anyway. It’s really not going to matter in the long run.”

“I just…I can’t believe she did that!”

Erinne shrugged and put one of her earphones back in. “Just remember, soon it won’t matter.”

Erinne seemed uninterested in commiserating with me further, so I planned to spend the rest of the evening sulking privately.

However, my self-pity was quickly interrupted by a knock at the door.

“Hey, guys! It’s Alex!” a friend of Erinne’s and mine called. “Dr. Smith and the rest of us are ready to go to dinner. You coming?”

Erinne took out her earphones and hopped off her bed. “You coming?”

I sighed.

“It’s free,” Erinne reminded me.

“I guess…”

* * *

What is creative writing? To a roommate who was a brilliant writer but who claimed she was  uncreative, I used to say that all writing is creative. And in a way, it is. All writing, from the worst fan-fiction story to Shakespeare’s masterpieces is creative in the sense that it is choosing words and putting them in an order that has never before been formed. From there, these sentences are arranged in a way in which they are unlikely to ever be arranged again. In the sense that all writing is forming something new, all writing is creative.

There is also, I would argue, a creativity in critical and analytical writing, particularly in the fields of poststructuralism and deconstruction, fields that I learned to love from my old professor, Dr. Smith. Say what you want about Derrida. He’s esoteric, dense, reflexive, and performative. But he is also creative. No one wrote theory like Derrida, and those that have tried it since usually just end up copying him instead of forging new ground. Derrida was a theorist, yes, but there’s also something poetic about his theory. He was—dare I say it!—a creative writer.

There is also, again I would argue, an element of social justice in many creative works in the so-called “canon.” Toni Morrison is praised for her rich characters and lyrical prose, but her stories also often center around the plight of African-American girls growing up in a culture that snubs their beauty and their minds. Is Toni Morrison a creative writer? You’d be hard-pressed to find a critic who’d say she isn’t. Is she an activist for social justice? Of course! She’s been very open, both in her novels and her public speeches, about her fight against racism. Does categorizing her as one—an author or an activist—negate the other? Of course not!

I often find myself drawn to writers who straddle the line, if there is any line to begin with, between social critics and creative writers. David Sedaris might make his readers laugh out loud, but he also subtly draws our attention to the U.S.’s class pretentions and cultural insensitivity. Judith “Jack” Halberstam, a professor of cultural studies who has written many books about the intersections between homophobia and capitalism, writes in a critical style that has been described as “playful,” but which I find poetic. Ani DiFranco plays guitar and sings lyrics about gender and class inequalities. The creativity, for this diverse array of people, is in how they compose their message through well-placed words and well-formed sentences. The subject matter, at worst, certainly does not detract from the superior writing. At best, it enhances the writing, allowing the writing itself to perform the message of the text. The reader isn’t merely told the message through a direct statement—“homophobia is bad”—or through the actions of a main character—Sedaris goes to France and doesn’t find the stereotypes he expected. The writing itself becomes an element of the message. (Ani DiFranco places her message within the legacy of a folk tradition, which her musical style and lyrics reflect.)

This isn’t an idea that I came up with myself. I actually learned it in my four years as an undergraduate creative writing major at a small, Midwestern university. I idolized my creative writing professors, and in doing so, I not only absorbed their wisdom regarding the craft of writing but also their social and political awareness. They wrote poems and novels and short stories, but they also read Foucault and were just as likely to talk about power and the panopticon in class as they were punctuation. They loved writing and words but they also had a sense of responsibility to the broader culture of which they were a part. One of my professors wrote creative nonfiction pieces about the impoverished American Indian reservation where he’d previously taught. Another professor was very open about her role in exposing a serial date rapist after a number of her female students had come to her for guidance and compassion after being assaulted. These were people who’s teaching I loved, whose creative works I respected, and whose social awareness I wanted to emmulate. I didn’t see any conflict between their creative writing and their activism.

Honestly, I still don’t.

The third and final installment of this piece appears here.

Why Did the Chicken Cross the Road?: Hyper-Irony in Robot Chicken, Part 1

“Why did the chicken cross the road?”

“I don’t know. Why did the chicken cross the road?”

“To get to the other side!”

Everyone knows this joke, so much so that it is no longer funny. And yet, is has become a sort of symbol for comedy. Though no one laughs at it, it has almost become synonymous with the word “joke.”

It is also the beginning of Cartoon Network’s Adult Swim show Robot Chicken (RC) created by Seth Green and Mathew Senreich. In the opening, a mad scientist (we know he’s mad because his hair is messy and he has a maniacal grin on his face) finds a chicken, presumably dead, in the middle of the road. The opening obviously references the classic joke that no one finds humorous anymore. However, in this version of the joke, the chicken has failed to complete its passage across the road. In fact, it is lying dead in the middle of the road. The old joke has been left incomplete, perhaps even died itself. The mad scientist takes the chicken back to his laboratory and rebuilds it as a cyborg that is half machine and half organic. A melodramatic voice announces, “It’s alive!” Then the scientist forces his resurrected creation, a la A Clockwork Orange, to watch the comedy sketches that comprise the show.

In just the opening, we see exactly what RC’s take on comedy is, as well as what it sets out to do to with comedy.

Just like the robot chicken, the show itself is a combination of the new and the old. Despite their crude humor and ever-current pop culture references, in many ways, the RC sketches are no different than previous forms of comedy. They are incredibly brief, some lasting merely a second or two, but comedy, unlike drama, is a fast-paced medium. A joke can’t have a long lead-up, otherwise the audience will become bored. Stand-up comics often offer jokes that are one-liners before moving on to new material. Sketch comedy is also not new in television. The Ed Sullivan show and others like it offered their viewers a wide variety of entertainment, and if audience members found one act boring, well, another, more interesting one would soon follow it. Monty Python’s Flying Circus also bombarded its viewers with comedy sketch after comedy sketch, some sketchs being very brief and others weaving themselves throughout the show. Saturday Night Liveoften focuses on short sketches that parody some form of popular cutlture. RC uses this same technique. Its humor is quick, with little build-up or introduction. As soon as we’ve seen the joke, we’re on to the next one, and if one sketch fails to satisfy, well, a new one will be on shortly. The humor itself would probably have shocked and disgusted Ed Sullivanviewers and may be too risque for even Monty Python or the not-yet-read-for-Prime-Time players, but the style in which it is presented is not unlike old-time variety or sketch comedy shows.

The humor itself often relies on parody, either by stretching the object of ridicule to its ludicrous extreme, such as the militarism of George W. Bush or the violence present in U.S. television, or by inverting a well-known pop culture phenomenon. (The kind and loving Care Bears become racists promoting ethnic cleansing.) The show, like most comedy, also often relies on stereotypes, such as the recurring nerd character, who may be brilliant but cannot overcome his social awkwardness to find a girlfriend. Parody, in any of these forms, is nothing new. Even the ancient Greeks used parody to critique their social institutions, so parody is nothing new to comedy.

Though RC is not completely new, it is also different from any show that has come before it. And in the opening, the mad scientists does not remake the chicken only to have it complete its road-crossing journey. Instead, the old seems to be thrown out in favor of a new one. The chicken may be resurrected, but the joke itself is not. As John Cleese might say, “And now, it’s time for something completely different.”

In many ways, RC is a response to our postmodern, technology-driven lives. The chicken itself is half biological, half machine, just as we have built our lives around our machines. We carry phones with us everywhere that can connect us to the internet in a matter of seconds. We check our emails daily, if not hourly. Cars, buses, and airplanes carry us to our destinations. Our homes can be heated or cooled, regardless of the temperatures outside. We are a sort of cybog, a robot human that is so reliant on technology that it might as well be physically attached to us. RC is responding to that change. Our lives are fast-paced, and require a fast-paced television show. After all, one RC episode only lasts fifteen minutes, while other shows are at least half an hour long. We expect web pages to download in seconds, we express ourselves through 140 characters on Twitter, and we want our entertainment to be as immediate and brief. RC delivers with bite (or byte?) sized humor.

However, to say that RC is merely pandering to an audience whose attention spans are stretched thin is to miss the show’s full significance in the evolution of comedy. Specifically, the show relies almost entirely on what Carl Matheson called “hyper-irony.” In his article “The Simpsons, Hyper-Irony, and the Meaning of Life,” Matheson tracks the changes in American comedy up until The Simpsons, which he cites as the first show to make use of hyper-irony, often through quotationalism, a “rapid-fire sequence of [pop culture] allusions” used in “a constant process of under-cutting.” One cannot understand the humor of The Simpsons, he asserts, unless one has a thorough background in popular culture.

For those of you who don’t have the time to read Matheson’s argument, I will summarize it thus (Although, seriously, go read it. It’s entertaining, well-written, and academic. A rare combination, indeed!): What makes The Simpsons different from the shows that came before it that referenced popular culture is that The Simpsons lacks any sort of moral agenda. It does not parody or allude to popular culture in order to promote any sort of values, be they liberal or conservative, but instead merely references for the sake of referencing. Matheson’s explanaition for the continuous use of allusions is that in our postmodern society, all authority is in question and we lack a solid place in which to put our faith. In such a social climate, Matheson asserts, contemporary artists often go back to the past for inspiration. However, because even history if one of the forms of authority in question, this inspiration from the past is often under-cut. What results is a constant flow of references, and those who can catch the most references are lucky enough to be “in the know.” They are members of what Matheson calls “the cult of knowingness.” This cult is built, Matheson claims, by the idea that even though there may be no ultimate truth, one can demonstrate one’s superior understanding of a set of intellectual rules. The point is not to have a depth of knowledge, but to have a broad understanding of a variety of ideological positions…and popular culture. One then proceeds to tear down any sort of ideological ediface that claims to have an understanding of ultimate knowledge. In other words, anything and everything is up for grabs as an object of parody. However, in the process of tearing down every source of ultimate truth, the show itself lacks any sort of ideological ground to stand on.

The Simpsons may have begun to maximize quotationalism and hyper-irony in comedy, but the show has since stalled. Both society and The Simpsons have changed since Matheson’s essay, and the show is now something of family-values comedy with liberal-leaning politics. While it paved the way for many of the popular comedy shows today and has had a huge influence on American entertainment, it has not been able to uphold its hyper-ironic stance for twenty-two seasons. I believe that the nature of The Simpsons as a situation comedy prevents it from being able to uphold a hyper-ironic worldview indefinitely, and that shows in sketch comedy form, like RC, are the natural progression of hyper-ironic comedy.

Stay Tuned for Part 2!