If you found Marienbad confusing you were doing it right — the essence of the film is the balancing on the edge of undecidability of what’s when, dream or memory or lie. Resnais would return to this mode later (including especially Providence) but the necessary “know of” would be Robbe-Grillet, who made it his life’s-work … see his own films Eden and After or La Belle Captive, or novels like In the Labyrinth or La Maison de Rendez-vous (TW: blatant French orientalism).
I wonder about this whether there's a history element as well. People want to pretend that they're in the sort of tastemaking, trendsetting cabals (or “sets”) that were possible in the 20th century but which are much harder, if not impossible, to pull off in 2026.
The nepotism discussion in contemporary publishing raises interesting questions about how we define merit in creative fields. When deBoer critiques the role of "networking, patronage, nepotism" in literature, he's pointing to a fundamental tension: artistic success has always involved some combination of talent and social capital. What's changed is perhaps the transparency - we can now see the mechanisms of literary gatekeeping more clearly through social media. The question isn't whether these networks exist, but whether they're serving to elevate genuinely compelling work or simply recycling the same voices and perspectives within an increasingly insular elite.
>the ceiling is lower and the floor is higher. It is indeed a copout to acknowledge that something unfair is happening but to handwave it away because nothing matters anyway. But it’s also my experience that in this time of heightened insularity among the elite, my own writing has also become more widely read. I’m still on the margins, but the margins aren’t so lonely anymore.
I wouldn't personally know if that's true, but that sounds quite perceptive and encouraging.
As for readings (again, saying all this from a happy distance), I wonder if the best approach is to just have fun and treat it as market research? Which may sound nefarious and conniving, but all I mean is that these IRL slices are a window into how "you" (whatever that means) are perceived by some subset of people who are interested in interacting w/your written work. So it *is* the "persona", the "writer", the "entertainer", the storyteller...all of it, authentic or contrived in senses and to extents that you're only partially in conscious control of....
You pretty much get the same social dynamics everywhere. People cope and seethe at the exclusivity and nepotism of Genshin Impact fanart zines, some of which make more money than the latest buzzy NYC lit mag ever will. If you tried to explain even the most prestigious NYC lit scene drama to a table full of extended family members the reaction would be, like... no one cares. Because none of it matters and our weird little monkey brains just like to be popular among our peers!
You know, it really warms my heart to hear you say that you can't see any meaningful difference between all these lit mags -- I feel the same way, but figured that was just a consequence of being a rube from the boonies!! (Always feel a little out-of-place at these functions, even though everyone there is very welcoming actually.)
Also, big lmao at the caption on the header photo here. I'm glad I managed to go a full decade before I could remember the Red Scare girls' names without prompting. (Currently hoping to find out where Cum Town is in 2036.)
I'm moving (back) to NYC soon following a few months there checking out the job market and social scenes. It's tough to keep a straight face talking to "creatives" like Levy (and, somewhat secondarily, Stivers), who brandish politics as a weapon to make their own work seem more worthwhile than it is.
But on the bright side, now there's any kind of chance I'll see you at a reading!
This photo gave me a full body cringe and the half with Tate and Fuentes are the least of it.
Personally I think it’s because Dasha is so tied to such a specific time, place, and crowd that she is treated as aspirational. She’s Prima Donna on a stage that exists somewhat in the physical world, with a recognizable supporting cast, and a set design ornamented with contrasting flourishes of haute couture and old school bohemia. Call Her Daddy occupies a completely different kind of cultural space, Joe Rogan for women more or less. Very suburban. Very millennial in a way that Red Scare is not. Probably not as romantic for someone who spent the 90s dreaming of martini lunches with the editors of Condé Nast or inhabiting some 21st Century manifestation of Greenwhich Village before it’s discovered. Cooper’s downfall would not be nearly as satisfying for these people as Dasha’s.
Yes, the envy is palpable. But it's not about martini lunches with fancy editors. Paris Review types do that, not niche podcasters. Still, Dasha clearly occupies a highly desirable social station in these people's minds, doing things they themselves secretly wish they could do (maybe dialed back about 20%).
I did not know about these podcast snark channels until now. My decision to quit comedy becomes more validated with each passing year.
At absolute worst, there'd always be Brendan Schaub below you.
If you found Marienbad confusing you were doing it right — the essence of the film is the balancing on the edge of undecidability of what’s when, dream or memory or lie. Resnais would return to this mode later (including especially Providence) but the necessary “know of” would be Robbe-Grillet, who made it his life’s-work … see his own films Eden and After or La Belle Captive, or novels like In the Labyrinth or La Maison de Rendez-vous (TW: blatant French orientalism).
Thank you for making me not feel like a dumdum
I wonder about this whether there's a history element as well. People want to pretend that they're in the sort of tastemaking, trendsetting cabals (or “sets”) that were possible in the 20th century but which are much harder, if not impossible, to pull off in 2026.
Nicely done, Chris! And I'm happy to stand you a martini lunch. :)
Thanks, David! And hey I’ll never say no to that lol
The nepotism discussion in contemporary publishing raises interesting questions about how we define merit in creative fields. When deBoer critiques the role of "networking, patronage, nepotism" in literature, he's pointing to a fundamental tension: artistic success has always involved some combination of talent and social capital. What's changed is perhaps the transparency - we can now see the mechanisms of literary gatekeeping more clearly through social media. The question isn't whether these networks exist, but whether they're serving to elevate genuinely compelling work or simply recycling the same voices and perspectives within an increasingly insular elite.
>the ceiling is lower and the floor is higher. It is indeed a copout to acknowledge that something unfair is happening but to handwave it away because nothing matters anyway. But it’s also my experience that in this time of heightened insularity among the elite, my own writing has also become more widely read. I’m still on the margins, but the margins aren’t so lonely anymore.
I wouldn't personally know if that's true, but that sounds quite perceptive and encouraging.
As for readings (again, saying all this from a happy distance), I wonder if the best approach is to just have fun and treat it as market research? Which may sound nefarious and conniving, but all I mean is that these IRL slices are a window into how "you" (whatever that means) are perceived by some subset of people who are interested in interacting w/your written work. So it *is* the "persona", the "writer", the "entertainer", the storyteller...all of it, authentic or contrived in senses and to extents that you're only partially in conscious control of....
You pretty much get the same social dynamics everywhere. People cope and seethe at the exclusivity and nepotism of Genshin Impact fanart zines, some of which make more money than the latest buzzy NYC lit mag ever will. If you tried to explain even the most prestigious NYC lit scene drama to a table full of extended family members the reaction would be, like... no one cares. Because none of it matters and our weird little monkey brains just like to be popular among our peers!
In a freak show, the freakiest freak wins
You know, it really warms my heart to hear you say that you can't see any meaningful difference between all these lit mags -- I feel the same way, but figured that was just a consequence of being a rube from the boonies!! (Always feel a little out-of-place at these functions, even though everyone there is very welcoming actually.)
Also, big lmao at the caption on the header photo here. I'm glad I managed to go a full decade before I could remember the Red Scare girls' names without prompting. (Currently hoping to find out where Cum Town is in 2036.)
So how many in the photo could you name? Be honest
One (Cillian Murphy post-Botox shot)
I'm moving (back) to NYC soon following a few months there checking out the job market and social scenes. It's tough to keep a straight face talking to "creatives" like Levy (and, somewhat secondarily, Stivers), who brandish politics as a weapon to make their own work seem more worthwhile than it is.
But on the bright side, now there's any kind of chance I'll see you at a reading!
You know what I look like, so come say hi if you see me!
This photo gave me a full body cringe and the half with Tate and Fuentes are the least of it.
Personally I think it’s because Dasha is so tied to such a specific time, place, and crowd that she is treated as aspirational. She’s Prima Donna on a stage that exists somewhat in the physical world, with a recognizable supporting cast, and a set design ornamented with contrasting flourishes of haute couture and old school bohemia. Call Her Daddy occupies a completely different kind of cultural space, Joe Rogan for women more or less. Very suburban. Very millennial in a way that Red Scare is not. Probably not as romantic for someone who spent the 90s dreaming of martini lunches with the editors of Condé Nast or inhabiting some 21st Century manifestation of Greenwhich Village before it’s discovered. Cooper’s downfall would not be nearly as satisfying for these people as Dasha’s.
Yes, the envy is palpable. But it's not about martini lunches with fancy editors. Paris Review types do that, not niche podcasters. Still, Dasha clearly occupies a highly desirable social station in these people's minds, doing things they themselves secretly wish they could do (maybe dialed back about 20%).
The New Inquiry mention took me back
2010s nostalgia is in the air
I always appreciate your work and your support 🙏
Same to you!