From Amazon
Generation X should feel dated--its title is no longer a part of the zeitgeist, and the generation it defined has been irrevocably changed. Gen Xers--the post-boomers born in the 1960s and even the late '50s--are no longer the socially terrified twentysomethings that populate Douglas Coupland's first and finest novel. The economic boom of the late 1990s dragged them out of their McJobs and back into the corporate world, transforming them into younger versions of the yuppies that Coupland lampoons so well. Surprisingly, though, the culture that is described in Generation X has not changed all that much; it has simply been passed on, in an Internet-friendly form, to the latest crop of bright young things.
Those who missed Generation X when it first appeared may be surprised to find that most of the associations that have been tacked on to its catchphrase title are not present in the novel. Coupland's characters--Dag, Claire, and Andy, three young neurotics from "good" upper-middle-class homes--are not financially ambitious, but they are not slackers either. Rather than drearily complaining that there is nothing worth doing, they are trying very hard to make sense of their lives and their culture. They do this by telling stories to each other, desperately and sincerely. Andy likens his friends' need for storytelling to the proceedings of an Alcoholics Anonymous meeting:
"Never be afraid to cough up a bit of diseased lung for the spectators," said a man who sat next to me at a meeting once, a man with skin like a half-cooked pie crust and who had five grown children who would no longer return his phone calls: "How are people ever going to help themselves if they can't grab onto a fragment of your own horror? People want that little fragment, they need it. That little piece of lung makes their own fragments less scary." I'm still looking for a description of storytelling as vital as this.Storytelling is an ancient invention; Coupland simply restates its importance in a world of short attention spans and jump-cutting media. This side of Generation X hasn't aged at all and isn't likely to. And the other, better-known side of the novel--Coupland's razor-sharp cultural field guide--will remain relevant as long as university graduates still have to choose between economic uncertainty and corporate monoculture and still respond by refusing to grow up in conventional ways. Anyone who has avoided Generation X because of its unfortunate association with a few demographic buzzwords should consider giving Coupland a second look. --Jack Illingworth
From Publishers Weekly
Newcomer Coupland sheds light on an often overlooked segment of the population: "Generation X," the post-baby boomers who must endure "legislated nostalgia (to force a body of people to have memories they do not actually own)" and who indulge in "knee-jerk irony (the tendency to make flippant ironic comments as a reflexive matter of course . . . )." These are just two of the many terse, bitterly on-target observations and cartoons that season the margins of the text. The plot frames a loose Decameron -style collection of "bedtime stories" told by three friends, Dag, Andy and Claire, who have fled society for the relative tranquility of Palm Springs. They fantasize about nuclear Armageddon and the mythical but drab Texlahoma, located on an asteroid, where it is forever 1974. The true stories they relate are no less strange: Dag tells a particularly haunting tale about a Japanese businessman whose most prized possession, tragically, is a photo of Marilyn Monroe flashing. These stories, alternatively touching and hilarious, reveal the pain beneath the kitschy veneer of 1940s mementos and taxidermied chickens.
Copyright 1991 Reed Business Information, Inc.
Copyright 1991 Reed Business Information, Inc.
Review
"A groundbreaking novel."--The Los Angeles Times
"Captures the listlessness that accompanies growing up in today's info-laden culture."--Rolling Stone
"Amusingly explores the more restless and disaffected segment of the under-30 crowd."--Cleveland Plain Dealer
"A readable and valid account of a generation that envisions a completely new genuine genre of bohemianism."--San Francisco Chronicle
"Captures the listlessness that accompanies growing up in today's info-laden culture."--Rolling Stone
"Amusingly explores the more restless and disaffected segment of the under-30 crowd."--Cleveland Plain Dealer
"A readable and valid account of a generation that envisions a completely new genuine genre of bohemianism."--San Francisco Chronicle
Book Description
Generation X is Douglas Coupland's acclaimed salute to the generation born in the late 1950s and 1960s--a generation known vaguely up to then as "twentysomething."
Andy, Claire, and Dag, each in their twenties, have quit "pointless jobs done grudgingly to little applause" in their respective hometowns and cut themselves adrift on the California desert. In search of the drastic changes that will lend meaning to their lives, they've mired themselves in the detritus of American cultural memory. Refugees from history, the three develop an ascetic regime of story-telling, boozing, and working McJobs--"low-pay, low-prestige, low-benefit, no-future jobs in the service industry." They create modern fables of love and death among the cosmetic surgery parlors and cocktail bars of Palm Springs, disturbingly funny tales of nuclear waste, historical overdosing, and mall culture.
A dark snapshot of the trio's highly fortressed inner world quickly emerges--landscapes peopled with dead TV shows, "Elvis moments," and semi-disposable Swedish furniture. And from these landscapes, deeper portraits emerge, those of fanatically independent individuals, pathologically ambivalent about the future and brimming with unsatisfied longings for permanence, for love, and for their own home. Andy, Dag, and Claire are underemployed, overeducated, intensely private, and unpredictable. Like the group they mirror, they have nowhere to assuage their fears, and no culture to replace their anomie.
Andy, Claire, and Dag, each in their twenties, have quit "pointless jobs done grudgingly to little applause" in their respective hometowns and cut themselves adrift on the California desert. In search of the drastic changes that will lend meaning to their lives, they've mired themselves in the detritus of American cultural memory. Refugees from history, the three develop an ascetic regime of story-telling, boozing, and working McJobs--"low-pay, low-prestige, low-benefit, no-future jobs in the service industry." They create modern fables of love and death among the cosmetic surgery parlors and cocktail bars of Palm Springs, disturbingly funny tales of nuclear waste, historical overdosing, and mall culture.
A dark snapshot of the trio's highly fortressed inner world quickly emerges--landscapes peopled with dead TV shows, "Elvis moments," and semi-disposable Swedish furniture. And from these landscapes, deeper portraits emerge, those of fanatically independent individuals, pathologically ambivalent about the future and brimming with unsatisfied longings for permanence, for love, and for their own home. Andy, Dag, and Claire are underemployed, overeducated, intensely private, and unpredictable. Like the group they mirror, they have nowhere to assuage their fears, and no culture to replace their anomie.
About the Author
Douglas Coupland was born on a Canadian Armed Forces Base in Baden-Söllingen, Germany in 1961. He is the author of Miss Wyoming, Generation X, All Families are Psychotic, and Girlfriend in a Coma, among others. He attended the Emily Carr Institute of Art and Design, the Hokkaido College of Art and Design, Instituto Europeo di Design, and the Japan/America Institute of Management Science.
