Lynda Barry

Two new young adult novels are smarter, better-written and more emotionally complex than most adult fiction

By Laura Miller

Topics:What to Read, Books, The Fault in Our Stars, John Green, Fiction, Young Adult Books, Editor's Picks

Why should you, an adult, bother with a novel intended for an audience aged 14 to 18? If you’re among the ever-growing adult readership for YA (young adult) fiction, you’re probably not even asking that question anymore. And no doubt John Green, whose most recent YA novel, “The Fault in Our Stars,” became a bestseller on Amazon even before he finished writing it (pre-orders were enabled when he settled on a title), doesn’t especially need readers with the legal right to vote. But if you were to skip “The Fault in Our Stars” — or another new novel, by YA luminary Meg Rosoff, “There Is No Dog” — because you assume that such books are less intelligent, well-written or emotionally complex than their adult counterparts, you would be most miserably mistaken.

Both of these novels ask questions as difficult as those posed by any serious writer: Why do we suffer, why must we die, and what meaning can be found in any of it? More important, they are not afraid to respond to these questions unflinchingly. These books are often — very often — funny, but they aren’t frivolous. I can think of a dozen acclaimed contemporary adult novelists who blunder through this territory, wallowing in sinkholes of sentiment, tangling their narratives in thickets of saccharine fabulism. It makes no sense that the maudlin goo that is “Extremely Loud and Incredibly Close” should be classified as a work for adults, when “The Fault in Our Stars,” a far more mature rumination on the same themes, is regarded as a children’s book. Likewise, why should grown-ups be subjected to the cutesy “The Life of Pi” while teenagers get to revel in an astringent fable like “There Is No Dog”?

“The Fault in Our Stars” is told in the first person, with the sort of fresh, irreverent voice that inevitably gets compared to Salinger’s Holden Caulfield. This story, however, comes from a character infinitely more appealing than Holden. Her name is Hazel Lancaster, and she is dying. The thyroid cancer that will eventually kill her is being held in abeyance by an experimental drug, but she still needs an oxygen tank, and she spends a lot of time worrying that she’s an emotional “grenade” for her parents. “There is only one thing shittier than biting it from cancer when you’re 16,” she observes, “and that’s having a kid who bites it from cancer.” She’d prefer to limit the damage.

And yet, who could help but love her? Certainly not Augustus Waters, a survivor of osteosarcoma with a replacement leg he calls Old Prosty. The two meet at a support group, where they are suitably skeptical about the inspirational mottoes and the covert competition to end up among the 20 percent who’ll still be alive in five years. A tender, bookish, wisecracking romance ensues, fueled in part by the couple’s shared enthusiasm for a novel, “An Imperial Affliction,” Hazel’s favorite, yet something she mostly “can’t tell people about, one of those books so special and rare and yours that advertising your affection feels like a betrayal.”

“An Imperial Affliction” ends in the middle of a sentence, and while Hazel thinks she knows why, she still wishes she could find out what happens to its characters. The author, who has written nothing else, lives reclusively in Amsterdam. The two young people hatch a plan to visit him and extract the answers to Hazel’s questions. It’s a quest complicated by the difficulty of traveling with oxygen tanks and prosthetics, but enabled by the sort of favors Hazel sardonically refers to as “cancer perks.” There will be grenades, but not in the places where you expect them.

The sparkling, satirical “There Is No Dog” extrapolates from a clever premise: If this world — “not just full of suffering” but “full of perversity, of things that go horribly wrong more or less at random. For the hell of it” — has a creator, the only deity messed up enough to have made it must be a teenage boy. His name is Bob, and he’s petulant, self-absorbed and hormone-addled. Most of the actual work gets done by the middle-aged Mr. B, a put-upon administrative second banana who spends his time frantically trying to limit the damage caused by Bob’s moods and negligence.

Bob got punted this job (“miles off the beaten track in a lonely and somewhat run-down part of the universe”) by his feckless mother, Mona, who won it in a celestial poker game. His initial efforts at creating light consisted of “fireworks, sparklers and neon tubes that circled the globe like weird tangled rainbows,” all of which Bob regarded as “very cool” even though they didn’t work. (The functional aspects of the solar system were executed by Mr. B while Bob napped.) Creating humanity in his own image (“one big fat recipe for disaster”) is this creator’s crowning misdeed and results in a long history of Bob falling in love with mortal women, an emotion whose agonizing ups and downs trigger bizarre weather and other natural disasters. “There is No Dog” begins just as a lovely assistant zookeeper named Lucy comes to Bob’s amorous and catastrophic attention.

Rosoff gets an impressive amount of mileage out of what might otherwise seem like a joke. This is largely due to a lively extended cast of characters who include Lucy’s mother, the dispirited vicar who pines for her, Mona’s terrifying poker buddy and his thoughtful daughter, Estelle. There’s also Bob’s neglected pet (“I don’t ignore him! Just last night I made him bring me some food!”) the Eck, an endearingly hapless “penguiny” creature, the last of his kind, in danger of being eaten by Estelle’s father.

It’s debatable whether Rosoff’s shrewd, trim prose might not occasionally fly just over the heads of teen readers. (Lucy’s mother is memorably described as “having the air of an expensive pony — sturdy, alert and well-groomed.”) But it’s rather thrilling to know that stylists of her caliber have dedicated themselves to writing for young readers, and that it doesn’t even seem to occur to her to pander to them. Not much in today’s culture inspires hope for the future — or at least not credibly so — but I count the knowledge that so many teenagers read and love books like “The Fault in Our Stars” and “There Is No Dog” as one of the bright spots.

: Laura Miller is a senior writer for Salon. She is the author of "The Magician's Book: A Skeptic's Adventures in Narnia" and has a Web site, magiciansbook.com. More Laura Miller

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Ricky Gervais: My conscience never takes a day off

In a Salon exclusive, the comedian answers critics, explains his hilarious new HBO show, and talks "Office" sequels

By David Daley

Warwick Davis and Ricky Gervias in "Life's Too Short"

Topics:Interviews, Ricky Gervais, TV, Television, HBO, Editor's Picks

Ricky Gervais is not listening to those who say he should pick on someone his own size.

“Life’s Too Short,” which begins next Sunday on HBO, is a mockumentary that follows Warwick Davis, a real-life showbiz dwarf with a very real small-man syndrome. Like David Brent on “The Office” and Andy Millman on “Extras,” Davis suffers a mean case of self-delusion, even as his career tanks, his wife leaves him and a massive unpaid tax bill comes due. He compares himself to Martin Luther King Jr., while also talking about the importance of his dignity, all while falling out of his SUV or asking strangers to press doorbells he can’t reach.

It’s painfully and excruciatingly funny, yet in early episodes, at least, Davis is an extraordinarily likable Napoleon. In an interview last week, Gervais insisted that the show is not making fun of Davis or little people. And in a wide-ranging discussion that might surprise some after his controversial and sometimes mean turns hosting the Golden Globes, Gervais says that comedy and humanity can’t be separated. “Comedy is about empathy,” he says. “Comedy is about the blind spot, comedy is about rooting for them, comedy is about flawed characters.”

You have a tradition of writing and playing characters who are dangerously self-deluded, who can’t see the blind spots everyone else notices right away. “Life’s Too Short” follows a dwarf actor who not only says he wants to be the Martin Luther King Jr. of little people, but believes that if anyone takes offense at that, he points out that he’s never seen a black person shot out of a cannon before. Was part of the challenge for you making it both OK to laugh at a dwarf in these circumstances, but also somehow humanizing him so completely?

Well, the thing is, we wanted to make it clear that we weren’t laughing because he was a dwarf. There’s nothing mildly amusing about that. He doesn’t have to be a dwarf at all, really. It’s that he’s got small man complex. He’s conniving, manipulative, pretentious. When he falls out of his car, we’re laughing at him because he chose a car that’s not right for him. Way too big for him. And he was just saying, “I carry myself with dignity.” It’s about getting his comeuppance.

So, we want people to see the difference between a show that exploits little people and a show that shows exploitation of little people, and this is clearly in the latter. And Warwick is so likable, we had to make him into a little Hitler to feel that you could laugh at him and want him to get his comeuppance. Because despite everything, he’s drenched in humanity.

You’re right, we had to make sure people knew that they were allowed to laugh. And there will still be people that aren’t sure – around England there are people saying, “Oh, why is it funny that he’s caught in a cat flap” [trying to get back into a house after his wife changes the locks]. It’s funny if anyone gets caught in a cat flap. How is that not funny? [Warwick] is a fantastic physical actor. He’s like Chaplin or Harold Lloyd or something. So we’re going to exploit that. And I mean that in the sense of exploiting his skills, as opposed to exploiting his height, which we don’t. And if people think that a dwarf actor is not allowed to do slapstick, that’s their prejudice. How dare they say that Warwick Davis can’t do slapstick in case someone might think that we’re just laughing at him because he’s a dwarf falling over, as opposed to all the other reasons.

Some people might think that’s convenient: You get to make the joke about the dwarf falling over, after all, and immunize yourself from criticism. Or are people just too quick to take offense?

Some people believe it’s their job. And what you’ll notice is, it’s always someone taking offense on someone else’s behalf. You know? It’s always the person saying, I’m not a dwarf myself, but I find that offensive. It’s crazy. You see that all the time. And I’ll tell you why, it’s because whenever you do something slightly taboo, or contentious, or you’re dealing in any irony or satire, people mistake the subject of the gag with the target of the gag. You can tell a joke about race, without it being racist. You can tell a joke about disability, without it being disabilist. And I have done it all my career. David Brent (Gervais’ character in “The Office”) felt uncomfortable around people of difference.

So he goes up to a black man in “The Office” and assures him “I love Sidney Poitier.”

Right, clearly we’re laughing at him not knowing how to behave. When he grabs the girl in the wheelchair and says, “I’ll take her down the stairs,” because he wants to be seen helping out on camera. And when Gareth says, “Well, the disabled should be tested to make sure they are claiming benefits and they’re really disabled. Stick pins in their legs, or something like that.” We’re laughing at their stupidity. And, let’s not forget, people like that exist. People like that exist.

As cynical as people think I am with the subject matter I deal with and the flawed characters I show, I’m a romantic. There’s always hope in my characters and there’s always hope in my shows. And there’s nothing more exhilarating than redemption. Forgiveness is very important as well. I like to take an absolute asshole, and show him the error of his ways, and have him say sorry. Who can’t forgive when it’s a genuine apology.

What humanizes them is that gap between the way they see themselves — the aspirations they have, who they hope to be — and the person they really are.

That’s a staple of British comedy. It’s always about the blind spot. It’s always that we’re laughing at the difference between how David Brent sees himself and how the rest of the world sees him — particularly with middle-aged, midlife-crisis males. Men as boys, men who never grow up — the man wants to be cool and loved. And Warwick’s a branch of that tree really. He wants to be thought of as the Martin Luther King of little people. He’s not and he never could be. And he doesn’t really care about dwarf rights; he cares about himself. He exploits dwarfs, he takes all the best jobs for himself. [In a later episode] he goes on the board of the Small People’s Society – he’s the deputy president, but he wants to be president. That’s what annoys him more, he wants to be president. So he’s more worried about being top dog – he doesn’t care about their rights. In fact, one episode he’s there and there are a lot of little people there, and he’s trying to recruit them to be human bowling balls. And the president says, “I don’t think this is the right forum for that,” and he says, “This is the perfect forum, it’s full of dwarves, isn’t it?” He’s like David Brent: He thinks he’s going to try to fight sexism and racism, but he doesn’t really know how to. Because he’s a bit sexist and racist himself.

And yet, on some level, we’re all a little afraid that we have some David Brent in us, aren’t we?

We see ourselves in them, of course we do. We look at David Brent, and everyone, it’s fundamental — everyone is worried about their reputation. David Brent wasn’t a bad person at all. People say, “Oh, nasty boss from hell, bastard.” He wasn’t any of those things. His worst crime is he made the mistake of confusing popularity with respect … But the downfall of society will be people just wanting to be famous. And everyone is now. Everyone on Twitter is a broadcaster. TV shows are obsessed about what people say on Twitter. It’s bizarre. Just make the show!

I use Twitter as a bit of a social experiment. I’m working on a show at the moment, so I do the odd tweet to see what happens. And I think people might think I’m schizophrenic cause I’m playing a few different characters now and again because I’m trying to see the reaction. It’s fascinating what comes back.

What can you share about the characters?

It’s a new sitcom set in an old people’s home and it’s about the forgotten — everyone’s forgotten. Just like all sitcoms, when it comes down to it, it’s them against the world. It’s a family. It’s all these arbitrary people who didn’t know each other, and they’re in there now because they’re in the last years of their life. And it’s about the people who help them, who themselves are losers and have their own problems. It’s about a bunch of people with nothing, but making the most of it, and they’re together.

It’s a show about kindness. Kindness is more important than anything else. Kindness is more important than intelligence, than success, than rewards, everything. Kindness is the most important thing. And it’s about that. So, it’s a very good experiment for me, Twitter. Because you see the absolute worst and best in people.

It’s interesting that you use the word “kindness,” because that’s exactly what Tom Hanks accused you of not being when you hosted the Golden Globes last year.

Right, “He used to be a tubby, kind comedian.” “And neither of those things he is now.”

Were celebrities genuinely offended at your jokes, or was it all a game to generate attention?

No, no, they weren’t. A couple of people said that people were, so that goes into legend. But who was really offended by it, you know? And the other thing is that I’m not going out to hurt people’s feelings and embarrass them; I’m going out to make people laugh. But I also have to make a decision as a comedian – do I pander to the 200 people in the room, or the 200 million people watching at home?

There were critics this year who expected an edgier performance.

I started with a backlash. If you’re going to stand up there, and you’re going to say what’s on your mind, and you’re going to take contentious subjects head-on, as many people are going to hate you as love you. And I wouldn’t have it any other way. I cherish the gasps as much as the cheers. And the groans as much as the laughs. I look at it in Darwinian framework. I’m going to do what I do – not so much proudly, but because I have to do this – and I’ll either survive, or I don’t. And so be it.

Seeing as it’s televised, there’s no doubt about it. If you just want a sycophantic back-slapping session, by all means, but don’t put it on telly, because there’s nothing in it for us watching at home. There’s nothing in it. Winning awards is the most boring thing to watch you’ll ever imagine, so I try to make it a spectator sport. So that was doing my job as a comedian, I think. Two, whatever you say, someone will claim it’s offensive. And to that I say, offense is taken, not given. It’s up to you whether you’re offended. And I’ll add one more thing: Just because you’re offended, doesn’t mean you’re right.

If people are offended, they certainly have a funny way of showing it — Sting, Liam Neeson and Johnny Depp are all among the celebrity cameos on “Life’s Too Short.”

Well, I understand why they do that now. Because I’ve had a taste of my own medicine recently when I did “Curb Your Enthusiasm.” When you play a twisted version of yourself, you realize that the more awful you are, the more armor you wear, in a way, because you’re saying, “Oh, I can’t be like this, because that’s too mad, it’s too terrible.” And so, it’s sort of like you build a credibility shield.

There’s a line in the first episode of “Life’s Too Short” when you’re doing an excruciating improv session with Liam Neeson and he makes an awkward AIDS joke. You and Steven Merchant both try to talk him out of it. Neeson asks, well, why can you do it? You both just shrug. Well, why can you do it?

Because I know what I’m doing. And I know the real target of the joke every time. I’m not one of these people that thinks comedy is your conscience taking a day off. My conscience never takes a day off. I can justify everything I’ve done. I can tell anyone why that joke is justified comedically. Comedy is an intellectual pursuit – as soon as you bring real emotions into it, it stops being comedy and starts becoming rallying. I’ve seen comedians go out there and go, “Why are there so many immigrants?” and get a round of applause. And I go, well, where’s the joke? That’s not a joke; you’re just with like-minded bigots. And the reason why a real racist joke isn’t funny, why an actual racist joke isn’t funny, it’s not because it’s offensive. It’s because it’s not true. It’s based on a falsehood. As soon as someone says, “Why is it that Mexicans always …” I’ll say, well, they don’t. That’s not true. I’ll stop you there. You can’t go on. The punch line’s irrelevant to me now, because the premise is false. So, as I said, I can justify everything I do. And that’s why I can do it. And the fact that there’s anyone in the world that gets it, makes me know that it’s gettable. If everyone in the world said, “That joke’s terrible,” I’d have to go, “Wow, I’m the only person in the world that thinks that works.” But that doesn’t happen. It doesn’t happen at all. It’s the opposite. Ninety-nine percent of the people say that’s fine and 1 percent say you can’t say that. Well, watch me.

Do you have a line you won’t walk over? Or a Potter Stewart-sense of when a joke has gone too far?

I’ll tell you how I find that line myself. My own sense of morality. And that’s the problem with offense, it’s not right or wrong, it’s personal. It’s feelings, and feeling are personal. I’ll give you an example. I did a stand-up show and I played this non-reconstructed character who gets everything wrong. I say things like, “Steven Hawking. They say he’s a genius, but he’s not. He’s pretentious.” So it’s me getting stuff wrong, I’m the idiot. “I saw a documentary about this little Indian girl. She had to walk 12 miles every day just to get water. She should move.” It’s things like that. It’s getting it all wrong. I made jokes about famine, the Holocaust, cancer, AIDS, everything. Right? And I got a letter saying, we enjoyed the show, but we didn’t appreciate the jokes about the Holocaust. And I wanted to go, but you enjoyed the jokes about AIDS and famine? That’s your thing, and everyone’s got a thing. But it’s personal.

You studied philosophy for several years. How did that shape your perception of how comedy works?

I think there’s a similar train of thought with a joke: start with a real premise and take it through to its logical conclusion. There’s a flowchart of choices, and there’s a certain scientific method to comedy. Where, experimentation, the proof’s in the pudding. Particularly with stand-up. The audience picks your best jokes for you. It’s an evolution. The jokes are the genes, and it’s the survival of the fittest.

My first love’s always been sort of science and nature, and the arts, in equal proportions. It’s myth that if you’re a logician or you’re an atheist you can’t appreciate the beauty of nature. It’s a total myth. It makes it more beautiful to me that it was random events. I don’t see the problem in it. I just did this show with Richard Dawkins, it’s about the meaning of life and everything. My bit was “Well, if you’re an atheist, what’s the meaning of life for you? What do you get out of it? What’s the point of living?” And I just listed them: It’s friends, family, loved ones, a decent job of work, making a difference and creativity.

Right — things you can actually do in this life, without waiting for the next one.

I think religion was born, really, out of a certain spirituality. But the two are very different. Spirituality is a personal thing and there’s nothing wrong with that. If that helps you, thinking a superior being created the universe in six days and he loves you — if that gets you through and you do good things in his name and not bad, then good for you. I think the Dalai Lama said, ask me my religion, my answer is kindness. And there’s nothing wrong with that. I don’t think they’re right, I don’t think there is a God, and I don’t think they are going to go to heaven. But whatever gets you through, whatever makes you kinder, is fine by me.

Then there’s religion, which is a different kettle of fish. Now these are people who are arguing over whose God’s right and are killing people in the name of it. They’re stoning people to death for believing in the wrong God. That’s what I’ve got a problem with. I don’t think there is an afterlife, and what’s strange about even the kindest people among religious folk is they often say things like, “Well, if you think that this is all there is, then what’s the point?” Which is such a strange thing to me — because that’s why I cherish every moment more. Because it’s not going to last forever. And who wants to live forever, really. Fuck all. Terrible. Terrible idea.

Lastly: We live in such a nostalgic, reunion culture. And yet you’ve really never gone back and revisited these shows. They’ve had really well-defined lives and no matter how popular or influential they’ve become, you’ve probably resisted millions for another “Office” special. Why not show us where David Brent is now?

Because they’re important to me. They’re really important to me. And I’ve seen people let me down in the past by doing a series too often, one too many times. I think they should survive in their own world, and that’s it really. And also, it begs the credibility a little bit if a fake documentary team is still hanging around Slough for 10 years. I think one of the reasons for the success of “The Office” was the realism. I think that’s what resonated. Because nothing comes close to real life. It’s like how art tries to emulate the beauty of nature, and sometimes it nearly, nearly gets close. Well, sometimes comedy and drama create the excitement of real life, and the closer you can get to it, the better you’ve done. You can have the greatest movie of all time – you can be watching “The Godfather” at home – and if there’s a screech of tires and a shout of the neighbors you’re at the window, because real life wins.

: David Daley is the senior culture editor of Salon. More David Daley

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Lessons of a very sexy pirate costume

When I took the job at the bar, I looked down on it -- and the women who worked there. But I had so much to learn

By Jennifer Wright

Topics:Life stories, Feminism, Editor's Picks

The job description had me at “wear a pirate costume.” A sexy pirate costume, for the very sexy pirate-themed bar on Bleecker Street. The fact that the bar promised hundreds of dollars a night for selling people shots sounded quite all right, too.

I grappled for a few moments over what anyone would find sexy about an eye patch. It implied my eyeball had been gored in a fearsome bayonet fight with a British grenadier. I asked the manager whether I should look for a parrot. She was not charmed.

But by God, I was. I’d grow up on a steady diet of country club sandwiches and tennis lessons, and this was what I came to New York for: to do odd things, and see interesting people. People who went to pirate bars, for fun. I had been a model for art classes, but I had never been a pirate. I kept thinking of the Dorothy Parker poem “Song of Perfect Propriety” where she wrote:

I should like to strut and curse
Among my blackguard crew . . .
But I am writing little verse
As little ladies do

There would be time for a little verse years later, once I doffed my absolutely hilarious eye patch. Before I went in for my first day, I received a list of rules on ways to be a good shot girl. The first was:

Make up: Black mascara, lip-gloss, GLITTER around your eye.
Dress code: short black skirt and heals [sic].

So by “pirate” they meant “shiny eyed slattern with a rare gift for healing.” Like Mary Magdalene, maybe. Other tips just made me think that selling shots was going to be a weird, weird job.

Some people have fun eating from their own hands. Do not force feed anyone!

It had not occurred to me that I would deliberately force shots down people’s throats, though, years later, I find it hard to watch any romantic couple feeding one another without thinking, “Some people have fun eating from their own hands!”

But I imagined the women working at the bar would take such a list seriously. After all, women who make a living peddling shots weren’t going to be smart. They wouldn’t see the humor in any of this. I assumed my co-workers would be girls who spoke very, very slowly and thought that Puccini was a type of pasta. To their credit, I also imagined they’d have great hair, and I double-conditioned accordingly.

I was in love with my own incongruity — being a poetry-spouting college graduate in a pleather miniskirt. And I loved this notion of doing something at which I was entirely unsuited, and which seemed to go so much against my personality. I would never have said it at the time, but I very much believed I was above being a fun-loving pirate wench selling shots. I had read Meno and lived in cardigans and went to museums for fun.

I was a terrific little snob who thought she knew everything, and subsequently, I was about to learn a great deal.

As soon as I started, I realized I had no idea what I was doing. Fortunately, the other cocktail waitresses were quick to make suggestions. My first night on the job, a fellow shot girl offered practical advice. “You have to be a little cold,” she explained. “Make them feel like you’re doing them a favor by letting them buy shots.” But it’s difficult to maintain a Queen of Sheba demeanor while trying to rub globs of green glitter out of your eyes. Instead I became a level of friendly you typically only see at Disneyland, if Disneyland reeked of vomit and spilled appletinis. I doled out shots as people in cartoon costumes offer hugs. The manager would point out that I wasn’t being sexy enough, which was surprising, because I was wearing 6-inch heels and less clothing than I ever had.

It quickly became clear that I was not the first literate person to don a miniskirt. Sometime during that first week, I was hiding in the backroom reading Margaret Atwood. I was sitting on the counter next to baskets of party mix because my feet hurt, which they did for the entirety of my shot-selling career. One cocktail waitress swept in, asked what I thought of Atwood’s novel “Oryx and Crake,” did a tricky little analysis where she compared it to “The Handmaid’s Tale,” mentioned some other female dystopian writers I’d never heard of, and then went out balancing a tray of shots on one hand.

As ridiculous as it sounds, that was the first time I became aware that clever people are buried in every nook and cranny of life. It is astonishing that no one pointed this out to me sooner. The girls working at the bar — they were so bright. Another shot girl had a journal that she filled with poetry that was — that rarest of all rare things — crisp and clean and very, very good. This was never a bar where everyone knew your name, but the cocktail waitresses came to know one another’s reading lists, and pitch letters, and audition schedules extremely well.

Of course, we were all there for the money. Shots were sold starting at $3 — the bar received a dollar, the shot company another one and then one for the girl. But once you realized how comically overpriced $3 is for a shot, it’s just as easy to sell them for $4. A customer once suggested I try selling them for $5 and see what happened.

Taking price variations into account, and often considerable tips, and the fact that if you were good you could expect to sell around 100 shots in a six-hour evening, the money was — well, it was the kind of money that teachers in America really ought to make. Periodically, I compare how much I made on an hourly basis as a shot girl to what I make at a job that doesn’t require eye glitter and fishnets, and, barring the possibility that there is a job opening for “wildly corrupt dictator,” I think the result will depress me for the rest of my life.

I don’t mean to make the bar sound friendlier or more glamorous than it was. A great many customers were precisely the kind of people that you would expect to find at a pirate bar buying shots at 2 in the morning. Bottoms got grabbed. Bodies got groped. One customer rolled in nearly every night, wearing a pair of Ray Bans. One of the waitresses always served him while loudly humming “I wear my sunglasses at night.” I wondered aloud if he ever noticed that he was being mocked through Corey Hart’s soothing sounds, and the waitress laughed and said, “Oh, I just do it for me.”

And that’s when you realize that everyone — not just me and my superiority — knows they’re too good for this sort of job.

One night, an older woman came into the bar. I can’t imagine why; I suspect it wasn’t the beer pong. She was one of those very elegant ladies who put their hair up with bobby pins instead of elastic and wore a perfectly cut black dress. I assumed she was lost. She smiled, and gave me $100 and said, “You know, I used to work in a bar when I was younger. It won’t last forever.”

She was right, of course. It’s been years since I’ve been in that bar. But even now I cannot go into a bar or a restaurant without scanning the waitress’ shoes to see if they look comfortable. Every time anyone says something slightly dismissive to a cocktail waitress I am immediately, instinctively on her side, as if we were members of a blood-bonded clan.

I think about that older woman often, usually when I am pinning up my hair. I hope that, like her, I will not forget that strange period in my life, especially as I move past it. I think of the girls in the bar when I am — as I still am — too quick to dismiss people. When I am about to write someone off for their choice of eye shadow, I remember that they might be a fellow Atwood reader, and I wonder if she and I are in the same boat. Once in a while they are, and if that makes me feel slightly less special, it also makes the world seem much less lonely.

And in that way, the lady was quite wrong. Those times, and those alliances with a blackguard crew: Thank goodness, they do last forever.

: Jennifer Wright is the editor in chief of TheGloss.com. She has written for The New York Post, Maxim, Popular Mechanics, Time Out New York, Gourmet and The New York Observer. You can follow her on Twitter at JenAshleyWright. More Jennifer Wright

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America’s failed promise of equal opportunity

To achieve a truly fair society, we need to look to Lincoln, not Jefferson

By Alex Gourevitch and Aziz Rana

Topics:The 99 Percent Plan, American Spring

The 99 Percent Plan is a joint Roosevelt Institute-Salon series that explores how progressives can shape a new vision for the economy. This is the second essay in the series.

Americans are increasingly aware that the ideal of equal opportunity is a false promise, but neither party really seems to get it.

Republicans barely admit the problem exists, or if they do, they think tax cuts are the answer. All facts point in the opposite direction. Despite various tax cuts over the past 30 years, not only have income and wealth inequality dramatically increased, but the ability of individuals to rise out of their own class has declined. Social stagnation is increasingly the norm, with poverty rates the highest in 15 years, real wage gains worse even than during the decade of the Great Depression, average earnings barely above what they were 50 years ago, and more than 80 percent of the income growth of the past 25 years going to the top 1 percent. In fact, since 1983, the bottom 40 percent of households have seen real declines in their income and the same goes for the bottom 60 percent when it comes to wealth. We know what the economic status quo does: It redistributes upwards.

Despite the ambiguity of their goals, the Occupy protests have made one point abundantly clear: The mainstream Democratic alternative is paltry stuff. For the most part, Democrats disagree that tax cuts and deregulation are the solution, and instead argue that the state should be used to guarantee equal opportunity. For instance, cheap, publicly available education, job training and affirmative action are all justified on the grounds that each American should have the skills to compete and the labor market should treat everyone equally.

Yet, the two parties differ only on means, not ends. While Republicans profess a more abiding faith in a self-regulating economy, Democrats believe carefully tailored state interventions are needed to ensure equal opportunity.

The question becomes: Equal opportunity for what? For both parties, opportunity basically means a market-oriented ideal where individuals are given the chance to fight over a limited supply of high-status jobs. As it turns out, the end that each party agrees on is largely same: the equal opportunity to become unequal.

Most Democrats and Republicans share a commitment to an inegalitarian, early 21st-century version of social mobility first articulated in the United States by Thomas Jefferson. In a famous letter to John Adams, Jefferson argued that there is a “natural aristocracy amongst men” who are marked by “virtue and talents.”

According to Jefferson, the natural aristocracy was “the most precious gift of nature for the instruction, the trusts, and government of society.” He distinguished this natural aristocracy from the “artificial aristocracy founded on wealth and birth, without either virtue or talents.” The latter won its power through circumstances and laws that protected the privileges of birth – like laws of primogeniture, or hereditary political positions. Jefferson’s view was seemingly egalitarian: Inherited status, wealth or power is undeserved. But at its heart, this view – let’s call it meritocracy – remained deeply inegalitarian. It favored a society in which the majority were deferential to, even subject to, the power and authority of the naturally talented few.

Republicans and Democrats each pay tribute to this Jeffersonian vision of meritocratic decision-making and political leadership. If anything, Democrats are often even more intent that Republicans in promoting expert authority and professional management.

More generally, both parties agree that equal opportunity means the equal opportunity to rise into the few positions of social power and prestige, or perhaps more broadly, into the economically secure, high earning professions. Call them the 20 percent who control 67 percent of the income and, even more importantly, 85 percent of the wealth.

The apparent egalitarianism of the meritocratic society is a thin veil indeed. The reality of rising poverty and declining social mobility underscores that in practice our “meritocratic” order is hardly fluid. Rather than individuals easily entering and exiting the upper classes based on personal skill, professional status has become an inherited privilege – reproduced from one generation to the next.

But even at its purest, stripped of race or sex-based barriers to advancement and in a setting of fluid inter-generational change, the meritocratic ideal is still aristocracy by a different name. After all, meritocratic success is a zero-sum game. Professional respectability and high-status positions are inherently exclusive domains. For every one person who rises into the top 20 percent, there are four others who by definition fail to make it. In fact, according to the Bureau of Labor Statistics, of the 20 occupations projected to grow rapidly over next decade, just five require an associate’s degree or more. Just two require a doctorate or professional degree (hat tip Doug Henwood). As a model for society, Jefferson’s “natural aristocracy” does not challenge the permanence of social hierarchy, but instead seeks simply to rearrange its membership.

Still, there is another possible interpretation of equal opportunity that we can look to. Just before the Civil War, Abraham Lincoln articulated an alternative account of economic improvement: “The prudent, penniless beginner in the world, labors for wages awhile, saves surplus with which to buy tools or land, for himself; then labors on his own account another while… [This] is free labor.”

Lincoln imagined social mobility as the transition from dependence to independence, or in his terms, from wage-labor to free labor. An economy consistent with this idea had to be organized so that everyone could become economically independent. One person’s success was not another’s failure, because ideally everyone could rise together. Moreover, this was an ideal of freedom applied not just to politics but to economics. The thought was that a person ought to be free from domination in all spheres of life. As Corey Robin recently put it, Americans have a “visceral hostility to – individual forms of domination.”

This Lincolnian vision is truly egalitarian and highlights precisely what is troubling about the current crisis of social mobility. The problem is not just that we do not to live up to the ideal, but that the underlying ideal is hierarchical, and fails to grasp the way in which we ought to be making it possible for everyone to escape relations of dependence and control.

Today we barely know how to make sense of Lincoln’s vision of social mobility. The thought is not entirely foreign — it haunts our economy in the dream of self-employment or workers cooperatives. But mainstream debate has too quickly accepted Jefferson’s theory, the meritocratic ideal, and argued only about how to realize it. By focusing primarily on the means of social mobility we put the cart before the horse. We argue about the social and economic policies that promote equal opportunity before we figure out what kind of opportunities are important in the first place.

A change in perspective forces us to look differently at wealth and income inequality, and social stagnation. If what we care about is economic independence for all, then we have to think not just about the (very important) topic of wage levels, but above all about social power.

Making such power broadly available rests on two key elements. First, individuals have to possess enough material and cultural resources to be secure from potential destitution. And second, they must have opportunities to make decisions about the most important economic and political issues.

So, minimally, expanding the social power of most Americans means investing in programs like universal health care, which secure citizens from the vicissitudes of nature and the market. But it also means going beyond the politics of social welfare in order to ensure that workers have control over their own activities.

Employees must not only be able to provide for their basic necessities, but also to shape the terms of their work. This latter — equally fundamental — goal is a major reason why “the primary economic objective of the Democratic Party” for decades was once the commitment to full employment. The purpose behind guaranteeing everyone a job was not simply to provide Americans economic security; it was to elevate the overall bargaining power of employees. In an America wherever everyone could find work, employees would have infinitely more control over the structure and rules of the workplace. The shadow of this idea still lingers in proposals like the Employee Free Choice Act and public works programs.

Ultimately, if the market is doing such a bad job at supplying employment in which most Americans can enjoy real economic independence, then it may well be time to look elsewhere. Progressives have a responsibility to think again and more expansively about ideas like workers’ cooperatives and how to promote broader democratic control over investment (for instance, by restructuring corporate governance). Experimentalism should be the order of the day, not cautious reaffirmation of tired nostrums.

But instead, the consensus, bipartisan framework of social mobility primarily offers a language of elite advancement, rather than a vision for widespread independence and social power. This means that what makes equal opportunity such a mirage is more than just a failure to institute the right policies or to live up to society’s basic principles. We are facing a failure of principle itself. Recent events give us at least some hope that this failure can also become an opportunity to reimagine what equal freedom means in America.

: Alex Gourevitch is a postdoctoral research associate at Brown University's Political Theory Project. He also co-authors the blog The Current Moment. More Alex Gourevitch
: Aziz Rana teaches law at Cornell University and is the author of "The Two Faces of American Freedom," recently published by Harvard University Press. He writes on American constitutional development, with a particular interest in issues of citizenship, immigration and national security. More Aziz Rana

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Is gay literature over?

In an era of same-sex marriage and "Modern Family," the role of gay writers is changing. An expert explains how

By Thomas Rogers

Gore Vidal, Tony Kushner and James Baldwin (Credit: Library of Congress/Carl Van Vechten/Reuters/Phil McCarten/Miami Dade College)

Topics:LGBT, Writers and Writing, Editor's Picks

Gay life in America has utterly transformed itself since World War II. In the 1950s, homosexuality was a crime. Now, openly gay people are everywhere in popular culture, gay kids are coming out as early as elementary school and we can get even get married in a half-dozen states (including, soon, Washington). One of the most crucial, but least-talked about, reasons for this change is gay literature. Starting in the 1940s, a coterie of bold writers — Gore Vidal, James Baldwin, Armistead Maupin and Tony Kushner, among many others — played a central role in creating what we now think of as gay life. Their words gave voice to a segment of the American population that, for much of its history, was hidden away.

In his new book, “Eminent Outlaws,” novelist Christopher Bram uses a series of complex portraits of America’s most influential gay literary lions to argue for their position in the pantheon of American culture. The book covers expansive territory, charting the tumultuous relationship between Gore Vidal and Truman Capote, whose passionate hatred for one another lasted until the latter’s death (Vidal called it a “good career move”). It describes Tennessee Williams’ tortured relationship with his sexuality and gradual descent into alcoholic misery, James Baldwin’s struggles against racism and Edmund White’s eloquent reactions to the terror of AIDS. For anybody interested in gay culture, “Eminent Outlaws” offers a crucial and fascinating overview of decades of American literary history. It also raises the question: In an era when being gay is considered mainstream, does gay writing still matter?

Salon spoke to Bram (who is also the author of “The Father of Frankenstein,” which was later turned into the film “Gods and Monsters”) over the phone about Gore Vidal’s importance, the death of the gay bookstore and the problem with gay men today.

As you point out in the book, literature has had an outsize role in the evolution of gay culture. Why do you think that is?

For the longest time, there were no gay characters or story lines in television or in the movies, so people had nowhere else to go but books for stories of gay life. After WWII there was suddenly a slew of them. It was surprising how many came so quickly. People could and wanted to write about it and the publishers would publish it. In my book I emphasize Capote’s “Other Voices, Other Rooms” and Gore Vidal’s “The City and the Pillar,” but there were others. The mainstream houses backed away from gay material in the ’50s but it was picked up by smaller presses, like Greenberg and Guild. Once it started it couldn’t stop.

Why do you think the gay literary explosion happened right after World War II?

It was partly WWII itself. Gay boys who had grown up in the middle of nowhere entered the service, and found out they weren’t alone. Alan Berube, in his book “Coming Out Under Fire,” does a great job of painting this sudden awareness and huge change. Gay people also wanted to read about each other, and after WWII censorship for books loosened. Before, cities would ban any book with sexual content, and after WWII people could write about sex, even gay sex.

Gore Vidal is the major thread connecting the book. Do you think he’s the most important figure in gay literature of the last 50 years?

Yes, but almost by accident. It’s not a role he wanted. “The City and the Pillar” is a very gay book published early on in 1948. It sold very well but he got kicked in the teeth for writing it, and after that he played a little more coy. He adopted the strategy that there’s no such thing as a homosexual, there’s only a homosexual act; homosexual is an adjective and not a noun. He wrote “Myra Breckinridge” in the ’60s, which is this wonderfully polymorphously perverse novel about a transsexual who rapes a straight man at one point. It’s over the top and out there and was a huge bestseller. Then he started writing historical novels, which hardly dealt with homosexuality. But one of the most amazing things he wrote from a gay political point of view is the essay “Pink Triangle, Yellow Star,” which was sparked by a very foolish bizarre essay by Midge Decter about gay men and their identity. He tore her essay to shreds, but he also argued that Jews and homosexuals had a lot in common, that they were both minorities that are in the same boat.

In the last few years we’ve seen the disappearance of a lot of gay bookstores around the country. What do you think this says about the state of gay literature?

That is a major change and it’s an important and worrisome one. There are a couple of factors causing it. Independent bookstores have been in trouble for a while, struggling to compete first with super-chains and then Amazon and the Internet. Now the whole book business is going to transition, and even the super-chains are in trouble. Gay bookstores were always just keeping their heads above water. But I don’t think it says so much about gay books in particular as it does about the book business.

Edmund White once wrote that “‘Will & Grace’ killed gay literature.” Do you think he’s right — that the rise of gay TV and movies has made gay writing less appealing?

I think it’s reduced the gay readership by 10 or 15 percent — not a huge amount. And those were the people who didn’t really enjoy reading anyway. For them, it was their only way to get gay stories. Now they don’t have to. Independent film has dried up the same way indie bookstores have, so there’s not as much gay film as there used to be just 4-5 years ago, but the change in TV is phenomenal. These shows matter-of-factly include gay story lines and characters and do really good jobs with them. They’re not just here as comic relief, they’re really fully fleshed out, well-drawn characters. These TV shows are following in the footsteps of Armistead Maupin’s “Tales of the City” by including gay characters in this larger world.

Larry Kramer has very forcefully argued that young gay people these days don’t respect their elders or their history. Do you get the sense that young gay men today are less interested in gay culture and literature than they were in the past?

Not really. I don’t think the current younger generation is different from mine or even Larry’s. In my generation, we hated our elders. We might like Christopher Isherwood, but there was a dislike of the older generation: “They got it all wrong, we’re going to get it right.” I think that’s a natural generational dynamic; as time goes on you learn to keep what was good from the older generations and drop what was bad. I like the generations being different. Every generation wants to carve out their own space and to some extent it’s going to mean rejecting the older generation.

But Larry Kramer isn’t alone in feeling hurt by this. What do you think spurs this particular kind of anger among older gay men?

You’re getting older and you know you’re going to die, and you’re not happy about that, so you take out your anger on the generation coming behind you. I teach at NYU, so I work with people in their early 20s and I expect us to have nothing in common but I’m always surprised by the books they like, the movies they like, the things we do have in common.

I also think older gay men are pissed off that young gay men seem entitled and don’t seem to know what gay life was like in the ’50s, ’60s, ’70s, and especially the ’80s, during the first wave of the AIDS crisis.

Why should they know it? When they are aware of it, I’m pleased but I don’t expect them to. They’re lucky they didn’t grow up with the hardships Larry’s generation grew up with. My generation didn’t have it as harsh as Larry’s did, but I had it a little harsher than yours. It’s only natural. You just kind of have to accept that.

In his famous essay in the Atlantic, Andrew Sullivan argued that we’re witnessing the “end of gay culture,” that it’s splintering and dissolving as a result of mainstream acceptance.

Old gay culture wasn’t that solid to begin with, and [literary gay men] were always a minority within a minority. Even when gay books were the only game in town, there were plenty of gay people who didn’t read. For them being gay was about sex and going to bars and dancing. There’s still gay culture around and it takes different shapes and forms. Gay bars don’t play the same role in gay life they once did 10-15 years ago. The Internet has changed that too. I miss the gay bookstores, but I like the difference and the variety.

Do you think there’s such a thing as a gay sensibility in literature?

When Jeff Weinstein, the New York culture critic, was asked if there was a gay sensibility and if it affected culture, he said, “No, there’s no such thing as a gay sensibility and yes, it does affect culture.” I feel that way. The only thing holding these men together is that these were men who were sexually attracted to men who would write about it and about how that mixed with the rest of their lives. For some writers, [their gayness] was just one more ingredient in the stew, like Armistead Maupin. For some, sex and love with other men was everything, like Edmund White. But even he mixed things up. His new book is about the friendship between a gay man and a straight man (though I think his best writing is his sexual writing).

Speaking of Edmund White, he has very strong feelings about writers, like Susan Sontag, who were famous but did not come out of the closet.

I think if she had actually written as a lesbian about lesbian life it would have given a whole other dimension to her work and she would have been a much more interesting and exciting writer than she was. But I just think of her as a writer [not a gay writer]. The other writer he talks about is Harold Brodky. Being unable to write directly about gay life made his prose weird and baroque and really blocked him as a writer. For me, their being in the closet becomes its own punishment.

A friend of mine recently told me that he thought we just don’t have the kinds of great gay literary writers that we used to. I think we do, they’re just not known as primarily gay writers. Do you think that’s true?

There’s good stuff being done by younger writers than the old war horses. It just hasn’t gotten the attention it deserves. Paul Russell just did an amazing book last year called “The Unreal life of Sergei Nabokov,” following Vladimir Nabokov’s gay brother from pre-revolutionary Russia to Paris in the time of Cocteau to Nazi Germany. Peter Cameron’s last book, “Someday This Pain Will Be Useful to You,” was very smart and beautifully written. Bob Smith, a comedian, did a wonderful novel called “Remembrance of Things I Forgot,” about a gay man who travels through time to help his family and discovers he’s been pursued by that arch-villain Dick Cheney. And then there’s Rakesh Satyal, and the novel he published two years ago, “Blue Boy,” about a gay 12-year-old boy in an Indian family in Cincinnati.

What gay books would you recommend as must-reads to a gay kid coming of age right now.

You could do far worse than Armistead’s Maupin’s “Tales of the City”; the entire series would be a great education in itself. Maupin imagines and records this world in San Francisco where gay people are just one more piece of the puzzle and accepted as such. And there’s “Giovanni’s Room” by James Baldwin. It’s set in Paris in the 1950s, about a gay man who almost comes out but doesn’t. It’s very painful, beautifully written and it would show him what we’ve come away from. I’ll be selfish and recommend one of mine, “Surprising Myself.” It was my first novel, published in like 1987, and it’s set in New York in the ’70s — the sexual golden age.