“Dr. Kristin M. Barton is seeking proposals for an edited volume … which will explore Arrested Development from a scholarly perspective,” reads a call for submissions on H-Net. I can see the titles of these essays now. Can’t you? “Desperation Economics: There’s Always Money in the Banana Stand” or “I Don’t Know What I Was Expecting: An Exploration of Dead Doves and Tragicomedy.”
Last month, The Millions entered the e-book publishing business with Epic Fail: Bad Art, Viral Fame, and the History of the Worst Thing Ever. Staff writer Mark O'Connell has hitherto produced delightful work on, among other things, an obscure video game enthusiast named Martin Amis and "the Proust of pencil sharpeners." In Epic Fail, he traces the origins of viral fame to a pre-Internet age, squiring the reader effortlessly from Shakespeare to the Insane Clown Posse. Mark was kind enough to correspond with me for a Millions Conversation about his new book and early life as a middle school film critic. Lydia: You and I are colleagues who have never met but maintain an infrequent friendly chatting over the Twitter and the emails. It's enough distance that I didn't know this project was in the works until C. Max Magee's general announcement to the group, but close enough that upon hearing the news I felt the special kind of chuffed you only feel over a friend's achievement. Epic Fail has the distinction of bringing The Millions into a new phase of its existence, as a purveyor of e-books, which is already very exciting. And then I read Epic Fail and felt even more chuffed. I really enjoyed it. So now that I've buttered you up, I want to ask you about how this endeavor came about. Was this something you were working as a Millions or other piece that took on a life of its own? How long have you been thinking about the project? Our own Garth Risk Hallberg was your editor, I believe. When did he come on board? Mark: Actually, I have to think quite hard to formulate a coherent answer to the straightforward question of how it came about. Max got in touch early last year, February or March I think, to say that he'd been talking to Byliner about partnering on an e-book series, and to ask whether I had any ideas I thought might work for such a piece. I'd read something somewhere about this Irish schoolteacher called Amanda McKittrick Ros, who'd become widely known around the turn of the 20th century as the worst novelist of all time. I was fascinated not so much by the novels themselves – which are truly atrocious, obviously, but mostly just incredibly dull to read – as by the ironic way they were celebrated by this cultural elite in London and Oxford - C.S. Lewis and J.R.R. Tolkien and Aldous Huxley and all those guys. I thought this was really interesting in itself, but also felt that it was a kind of fame or notoriety that we tend to think of as more or less uniquely contemporary. So I thought maybe this eccentric old Irish schoolteacher and amateur novelist might provide sort of a sneaky back door into a discussion of Internet culture, and of the whole ostensibly contemporary phenomenon of the Epic Fail. I'd been thinking about Ros as a possible topic for quite a while, but then this thing, because of the scope and length that the e-book allowed for, forced me to actually try and connect her to some wider and more contemporary cultural currents. Garth came on board very early on - at the outline stage, in fact. He was really instrumental in helping to broaden it out conceptually in the beginning; and then, when it came to writing the thing, in sharpening actual arguments, and sort of forcing me to come out into the open and say things in a very unequivocal way. Like yourself, I come from an academic background, where things like concision and having a solid "takeaway" are, or are supposed to be, paramount; but I think, constitutionally, I'm the type of writer who only figures out what I'm trying to say – or if indeed I have anything to say at all – by blindly writing my way into it. I'm not naturally a bottom-line type of person who goes in with an argument in mind, is what I think I might be saying here (see?), but Garth really stepped in and sort of forced me to be that when I needed to be. Lydia: That was what I found most enlightening about the essay -- in terms of information I did not have before -- that these literary lights of the early twentieth century went into ironic ecstasies over Amanda McKittrick Ros, held readings, formed clubs. I knew that they were elitist dicks (not a value statement) but it's funny to think that they did something so, I guess, unproductive and time-wastey, as read these awful, awful novels, like looking at lots of YouTube videos (shouldn't C.S. Lewis have been communing with the Lord?). But then, that's one takeaway of Epic Fail -- the thing with Ros and all the Worst Thing Evers to have followed, is that they either rise into some ethereal, sublime level of badness, or are so unheimlich in their nearness to regular mediocrity (or a combination of both), that it makes them special. (I loved, incidentally, your point about the virulent, absurd badness that actually infects the entirety of literature and art -- let's come back to that.) I see now there are two untrue things about my first sentence above, the first being that this was the best new information I gleaned from this piece. Because that was actually the song "Miracles," and also the song "Friday," which I had in fact made it this far without ever hearing in its entirety. I had sort of willfully not clicked on it, because I kept seeing it everywhere and I guess that was my way of keeping my own ironic distance. So, um, thank you for those things. You do realize you kind of wrote a hypertext book, because you can't read it and not go digging for, er, miracles, on the internet? And, truly, the most enlightening thing was learning about Mark O'Connell's rap phase. Although you're a tease -- first you talk about washing the lemon juice from your face (buy the book, get the reference) and lifting the veil from your readers' eyes, then you talk about the Irish rap scene, and I was in a fever of anticipation that the next thing coming was the revelation that you had done your own Worst Thing Ever, and that it was a rap, and that possibly there were bootleg tapes about. But it turns out that the secret shame -- which was a transcendent bit of prose, incidentally -- is actually that you once did something really dickish yourself to an aspiring rapper. A different kind of worst thing ever. In the beginning of the piece, your compare Cecilia Jimenez, the perpetrator of the Ecce Homo Christ fresco fiasco, to your grandmother, and you invoke the term "mortify" in the Catholic sense. Another Catholic word occurred to me when I got to this last bit of the book: penance. Sorry in advance for sounding like Geraldo, but had this been eating away Was your ebook, dare I say, an exorcism? Mark: I can't believe you'd never actually heard "Friday." That is hugely impressive to me. Although I can see how you'd want to avoid that stuff, or just never end up actually giving it the time of day. I don't think I've watched more than a few seconds of Gangnam Style, actually (although that's a whole other cultural ball of wax, obviously). That's interesting what you said about it being a kind of hypertext ebook. I don't think it really occurred to me when I was writing it, which seems completely idiotic now. But then after I finished it, I wrote this essay about unboxing videos for The Dublin Review, and the editor, Brendan Barrington, pointed out that having it on ink and paper actually made a lot of sense, because if it was online, the temptation for the reader -- even if the text itself wasn't full of links -- would be to just keep going away from the actual text to watch the videos being discussed. I wound up putting in a perhaps overly-cute footnote asking readers to just bear with me and watch the videos after finishing the essay, rather than whipping out their iPhones there and then. And then a couple of my friends who read Epic Fail said exactly what you've just said: that they kept having to put it down to go online and watch the stuff I was writing about. I suppose that would be even more pronounced if you happen to be reading it on an iPad, where you're just swiping away the text to check out some awful YouTube video. Maybe a major flaw of the book, in that sense, is that it keeps suggesting things to the reader that are more entertaining than itself. That's another thing that never occurred to me at all -- that a reader might think that the revelation at the end would be that I myself was a Worst Thing Ever. (Although of course I've done embarrassing stuff. Just probably nothing that would be entertaining for anyone who didn't know me.) But it's an interesting question, about the idea of penance. It's a concept I don't really understand. I didn't have a Catholic upbringing, so maybe it's a difficult thing to get your head around if it hasn't been part of your psycho-cultural make-up. Personally, I didn't feel any kind of relief from writing about the dickishness you mention. It actually just made me feel really awful about it all over again. In that sense, it's probably the opposite of penance; my writing about it actually exacerbated my guilt about it. I mean, obviously we're not exactly talking about an Augustinian level of moral self-disburdening here, but I do think that that's the sort of niggling, more or less banal guilt that a lot of people walk around with, and that makes them wince when they think about it. Some really shabby thing they did when they were a teenager, or whatever. But to answer your question about whether the book was an exorcism, the answer, I suppose, would be definitely not. Or at least it would be a spectacularly ineffective exorcism, seeing as I felt more possessed by it after writing about it than before. I just felt it would have been dishonest and sort of morally shifty not to talk about myself, and my own personal complicity in this culture of ridicule, in terms of the context I was writing in. Although I'm not convinced there's not something morally shifty about it anyway. Writing is a morally shifty thing to be doing, a lot of the time. What would Geraldo say to that? Lydia: Well, I didn't imagine you sitting at your carrel in a hair shirt. But I think the thrust of the book does invite everyone to put on at least a moderately hairy shirt and do a bit of reflection. I confess when I did watch "Friday," and thought uncharitable thoughts, I was brought a bit low by the gallantry, or I guess basic human decency, you extend to Ms. Black. And while I had hitherto missed the "Friday" phenomenon, I had seen, and laughed the proverbial tits off while seeing, monkey Jesus. I found your comparison of Cecilia Jimenez to your own grandmother, your touching description of the latter as "a constitutionally private, reserved, and serious person," and your remark that "if something like this were to happen to her, I'm afraid it might literally kill her," sobering. The dicks of the early twentieth century argued, probably on the way home from their Amanda McKittrick Ros fan club meetings, about whether art could be good without a moral component. And I'm stodgy and I feel that's the case, so what I perceived as a slight bit of moralizing on your part made the piece resonate with me. But since you have a sense of humor, (number-one most desirable quality in a writer), you don't try to act as though these things aren't hilariously bad. You just provide a friendly reminder that the road of the Worst Thing Ever in the technological age is one hundred percent of the time going to lead to a YouTube comment saying "I hope you die/get raped/etc." I was probably projecting about the rap stuff. In my experience the only thing that approaches the shame of shabby teenage things done is the shame of ludicrous teenage things written. And when I think about "Friday" and then some of the horrible things I wrote in high school or college, I offer a prayer or thanks to the monkey Jesus that I did not have to bear that particular cross at a time in my development when I would have been constitutionally disinclined to survive sustained mockery. Having managed to turn your interview into my personal feelings time, let's go back to Epic Fail. You mentioned Gangnam Style, and I thought of that phenomenon while reading. The same way that truly terrible efforts can, as you write, infect the whole of art with their badness, good writing invites the mind to romp. Epic Fail caused me to spend a Saturday afternoon sort of furiously taxonomizing, trying to sort through the spiritual differential of something like the film The Room, or something that seems well-produced and self-consciously zany (and thus, I think, unexciting) like Gangnam Style, or terrible Eurovision-style songs, or Susan Boyle, or the (brilliant) show Arrested Development. It sounds like faint praise to call something "tidy," but I really admire how you (with Garth's careful shepherding, it sounds like) avoided getting bogged down in trying to explain the whole landscape of viral fame, and list all the sort of subspecies and things that are not x but are y and so on. Your examples seemed really exemplary, and the whole effort was very clean. That said, it's such a vast field of inquiry, with many tributaries (I think I have like 200 metaphors in here so far). Do you feel finished thinking about it? You said in your last response that you feel more possessed by the subject than before. Would you consider a long-long-form on this topic? Mark: Can I just start by saying that the phrase "laugh the proverbial tits off" is itself a phrase that makes me laugh the proverbial tits off? But, to swiftly resume an attitude of moral seriousness – before no doubt just as swiftly relinquishing it – your point about things you did as a kid in high school is an important one, I think. Because part of what's so fascinating and troubling about this stuff is the almost complete randomness of it. You get the sense that this kind of viral celebrity could befall almost anyone. (Which is maybe, actually, another way of thinking about what the term "viral" actually means in that formulation.) We've all done stuff to some extent that could make us a source of amusement to a large number of people. I was just thinking the other day of this notebook I used to keep when I was about eleven or so, where I used to write in little reviews of films I'd watched on video. My sister found it in a drawer a few years back, and it had these hilariously po-faced reviews of movies where I'd give star ratings and list cast members and stuff like that. But the combination of wrongness and priggishness was kind of fantastic. Like there was a review of Glengarry Glen Ross (and I'm laughing just thinking about this) where I took grave umbrage at the unnecessary level of swearing in the film – "the characters seem to use f-words instead of punctuation" – and gave it 2 stars, memorably dismissing it as "a waste of an all-star cast." And then you turn the page and there's a five star review of Sister Act 2 that is just enraptured with the whole thing. I mean, if I was an 11 year-old kid nowadays, that would probably be a Tumblr or something, and those reviews could have wound up being a source of amusement to a lot of people outside my family, which would be a whole other story. Like that lady who reviewed an Olive Garden for her local paper last year and briefly became the Internet's woman of the hour. It's just very weird how randomly that stuff can happen. She seemed fine with it; she ultimately seemed not to give a rat's ass, but not all octogenarians would be so cool about something like that happening. I kind of love that woman actually. Her whole reaction was basically "What the hell is wrong with you people? Get back to work." Yes, I know what you mean about that taxonomizing urge. (If it weren't too aggressively meta, the whole human species might have been taxonomized as Homo Taxonomiens.) It was definitely a temptation for me, but I don't think it would have been all that helpful for the reader. Although I do talk at one point about the difference between "organic" or "free-range" epic fails and genetically engineered weirdness like Tim and Eric and that sort of stuff. I don't know that I'd want to write a whole book on it, because I feel like I'd like to move on to something else, but you never know. I do seem to be preoccupied by Internet weirdness. That unboxing video essay consumed me for a long time - and to be honest the essay became a sort of cover story for indulging that compulsion - and I've just finished writing a thing about ASMR videos for Slate. You're welcome. But who isn't fascinated by that stuff, really? (The answer to that rhetorical question is actually, no doubt, lots of normal people.) Lydia: The juxtaposition of Glengarry Glen Ross and Sister Act 2 in the notebook of Mark O'Connell, aged 11, the toughest critic on the block, is such pure comedy that I think the writers of Arrested Development would really struggle to find something as home-grown and delightful (local, organic, free-range fails, if you will). All the better because this was probably just before (or concurrent with) the moment when, according to your book, you yourself became hip to the joys of "entertaining ineptitude" and found nothing funnier than the vast distance between ambition and execution. Which brings me to the Dunning-Kruger Effect, a part of your book that I found really fascinating. Brutally paraphrasing, Science has proven that the more of an idiot you are, the greater your confidence that you aren't an idiot. It occurs to me that in a sense being a kid is one sustained exercise in Dunning-Krugerism. In fact, arguably to be a proper kid you need those moments of total unselfconscious and total commitment -- it's hateful to think of a child having to posit his or her movie reviews or, ahem, paeans to exotic cats and cars, in some ironic, self-conscious frame. Once you get to middle and high school and college, where there are strange and multifarious forces at work -- your teachers try to nurture your better instincts and squelch your worse ones, while you and your peers spend much of your time trying feel one another up whilst putting one another down -- slowly you learn to think about your output (artistic or otherwise) in a different way. In terms or raw artistic ability, the wheat and the chaff alike have to go through this process of maturation. But your A. M. Ros, your Tommy Wiseau (of The Room), somehow come through it all with a really majestic, unshakable belief in their own ability that certainly exceeds that of people who really make great art. (When I read Epic Fail I was in the middle of re-reading Of Human Bondage -- have you read it? -- which has a whole section on artistic toils. Everything synced together beautifully at the moment when Philip the protagonist asks a professional painter to look over his work and give an opinion: "Don't you know if you have talent?" the painter asks, and Philip says, "All my friends know they have talent, but I am aware some of them are mistaken.") Okay, so you don't want to write a book about YouTube comments. I will forgive you. But according to your bio in Epic Fail you have a book on the horizon -- about John Banville? Please to explain. Mark: I have read it, but it was years ago. Actually, it was one of the first bits of "proper/serious" literature I ever really connected with - as in it wasn't about dragons or aliens or what have you. I don't remember all that much about it, but I do remember the business with the club foot, and that Mildred girl being a total bitch. (Am I somehow wrong in remembering it this way?) (Ed.: No.) I do remember being really impressed with myself for finishing it, though. I should probably read it again, through not-15-year-old eyes. I almost certainly didn't get it at all. But yeah, the Dunning-Krueger effect is a good one, isn't it? The ironic thing about it, of course, is how primed for misuse it seems to be. The last people who would ever see it applying to themselves are probably the people most affected by it. It's a usefully scientific-seeming way of explaining why other people are such idiots. Why "The best lack all conviction while the worst/ Are full of passionate intensity", as Yeats put (it in a context so different as to make even bringing it up here wildly inappropriate). I do think most writers - most people, really - could probably do with a touch of the William McGonagall or Amanda McKittrick Ros or Tommy Wiseau unshakable self-belief. If you could somehow combine that with actual talent, you could do a very brisk artistic trade. That's possibly some kind of formula for genius: major talent combined with the self-belief that's more often associated with talentlessness. I do have a book on Banville on the horizon. Last I heard it's due to come out in July or thereabouts. It's based on my PhD thesis, which I finished a couple of years ago now. It looks at Banville's novels from the point of view of various psychoanalytic understandings of what narcissism means. It sounds quite narrow, but narcissism is so variously and broadly interpreted by theorists from Freud onwards that it's actually become almost like a kind of synonym for psychoanalysis itself. Even though it contains no quips about Trapped in the Closet, it will nonetheless be tremendous fun to read, I assure you. Lydia: Well, two things are clear. Number one, I must pray for "major talent combined with the self-belief that's more often associated with talentlessness." Number two, I must read John Banville. Mark, I can't thank you enough for chatting with me about yourself and your wonderful book. Any parting thoughts or, better yet, YouTube videos? Mark: It's unacceptable that you haven't read Banville. That needs to be redressed straight away. Unfortunately none of his books are set in Turkey, but there are parts of The Book of Evidence and Shroud that are set in a kind of warped version of San Francisco, if that's any good to you. Thanks for the back-and-forth, Lydia. It was a lot of fun. Like a proper old-fashioned epistolary set-up. Plus this whole thing has been a textbook example of vertical integration, when you think about it. Lydia: I hate that I just had to google vertical integration, but am also grateful to now know what that means. Ye olde one-stoppe shoppe, that's us.
Downton Abbey, meet Arrested Development: Arrested Downton. Speaking of the stunningly popular Downton, The Missouri Review is having a "non-contest;" enter by channeling the voice of your favorite author to describe the world of the show. Our own Garth Risk Halberg might be able to help you out, with his essay on Downton's literary pedigree.
The current issue of McSweeney's includes a short story by Michael Cera, whose contributor's bio informs us that he was "born in Brampton, Ontario and now lives in Los Angeles," and, inevitably, that "This is his first published story." Yes, this becomingly modest debut author is that Michael Cera, co-star of Arrested Development and Superbad and avatar of skinny-geek chic (for which at least one Millions contributor owes him a debt of gratitude). For those keeping score at home, this makes Cera at least the fourth movie star in the last two years to turn his talents to the only marginally less glamorous and remunerative field of short fiction. (Others include Miranda July, James Franco, and Sharon Stone.)The forthcoming 106th issue of Granta suggests that even the World's Most Serious Literary Magazine is not immune to the trend. Through our vast network of informants, we've obtained page proofs, and the "Contributors' Notes" include one or two names you may recognize, behind their veneer of careful self-effacement:M. Louise Ciccone is a media professional who divides time between the New York Kabbalah Center and the Miami Kabbalah Center. This is her first published story.Washington-based R.I. Emmanuel spends weekends in Chicago with his wife and beloved children. He promised to shove Granta's head so far up Granta's f*&^ing a^% we'd be able to see our &^%[email protected] if we didn't get his first published story published.Julius Erving, a retired physician, lives in the metro Philadelphia area. This is his first published story.Phillipa Longstocking is one of world literature's most beloved characters. For more information, you may contact the Wylie Agency.P.R. Nelson is a Minneapolis-based composer and erotic acoustician. His work has appeared widely, under a variety of names. His 4thcoming memoir, All of My Purple Life will B published by Farrar, Straus and Giroux this fall.Joaquin Phoenix, an obscure itinerant musician, scribbled this, his first published story, on the back of a New Jersey Turnpike exit ticket.Julia Roberts is Julia Roberts.Borat Sagdiyev is making the literature sexy sexy for much enjoyment of Kazakh people. His story "My Goat, She is Not Breathing" (translated here by Richard Pevear and Larissa Volokhonsky) appeared in The Atlantic Monthly, and was selected for Best Central Asian Short Stories 2007.Schmary Schmate and Schmashley Schmolsen, whose first published story this is, are sometime undergraduates in NYU's make-your-own major program. They are majoring in Undeclared, and also this is their first published story, because what, do you think they have time to be writing stories all the time, or something?The late Dave Thomas (1932-2002) was the founder of Wendy's and creator of the internationally acclaimed Chicken Cordon Bleu. This is his final published story. The Chicken Cordon Bleu is back for a limited time.All your base are belong to Carnie Wilson.
There's something about an ensemble cast. And oh, the pastoral charms of a country house. Though I'd say this cinematic genre is English is certain fundamental ways, it works just as well elsewhere, a demonstrated by the list below (Italy, France, Greece, Los Angeles, Spain, Canada, the O.C.). One of the other interests of this genre is that some of its finest examples (Gosford Park, The Big Chill, Peter's Friends, and The Anniversary Party), work according to the classical unities (unity of time, unity of place, unity of action). Call them antiquated and fussy if you will, there is a certain satisfaction in a movie that stays put and, in something approximating "real time," resolves the troubles it introduces.Howard's EndGosford ParkMargot at the WeddingStealing BeautyThe Anniversary Party (Gwenynth Paltrow, John C. Reilly, Alan Cumming, Jennifer Jason Leigh, Parker Posey, Jennifer Beals and more - fab LA house)Peter's Friends (The Big Chill, across the pond: Emma Thompson, Kenneth Brannagh, Stephen Fry, Hugh Laurie, Imelda Staunton, Phyllida Law)The Big ChillSwimming Pool (Ludivigne Sangier avant nosejob)My Family and Other Animals (the inimitable Imelda Staunton and others - set in Greece, a must for animal lovers)"Arrested Development" (the dystopian take on the "country house"/ensemble cast)Mansfield ParkSense and Sensibility (Ang Lee's)Loaded (early Thandie Newton - a dark take on the genre)Belle Epoque (a young Penelope Cruz and a bevy of others easy on the eyes)"Jeeves and Wooster" (country estates-agogo, plus young Stephen Fry and Hugh Laurie)Jules et JimThe Barbarian Invasions (Canadian Big Chill)My Summer of Love (Emily Blunt and Natalie Press - a gorgeous, disturbing watch - a little Swimming Pool-ish)Match Point (from Woody Allen's recent spasm of Anglophilia)"Brideshead Revisited" (I think they're remaking it, but a little Jeremy Irons never hurt anyone)Coming Home (a very young Kiera Knightly, Emily Mortimer, Paul Bettany, Peter O'Toole, Joanna Lumley - very "Brideshead")My Mother's Castle (ah, Provence)Happy Memorial Day.