In these difficult days in which we live-- these times when
it sometimes does seem as though "the best lack all conviction while the
worst are full of passionate intensity"-- these times when our culture
seems debased and our politics degraded-- there is, in the opinion of a
Princeton professor named Christy Wampole, one person who ranks as the supreme
symbol of all that is wrong with our age and with our culture-- indeed, who
represents that which is most wrong with the current state of Western
civilization.
Not Islamic terrorist or corporate raider. Not Barrack
Hussein Obama or Mitt Romney or even Donald Trump. It’s not even Simon Cowell.
No, according to Professor Wampole, writing recently in the New York Times, the real enemy of truth,
justice, and the American way (so to speak) is none other than a
smaller-than-life figure known as “The
Hipster”:
“The hipster haunts every city street and university town,” Wampole writes. “Manifesting a nostalgia for times
he never lived himself, this contemporary urban harlequin appropriates outmoded
fashions (the mustache, the tiny shorts), mechanisms (fixed-gear bicycles,
portable record players) and hobbies (home brewing, playing trombone). He
harvests awkwardness and self-consciousness. Before he makes any choice, he has
proceeded through several stages of self-scrutiny. The hipster is a scholar of
social forms, a student of cool. He studies relentlessly, foraging for what has
yet to be found by the mainstream. He is a walking citation; his clothes refer
to much more than themselves. He tries to negotiate the age-old problem of
individuality, not with concepts, but with material things.”
In Wampole’s estimation, “The Hipster”—great symbol of our
times—is the great archetype of the omnipresent irony which infects our age. Irony has become the overriding ethos
of the dispirited and debilitated times in which we are living. Because of our
current fixation on the ironic, the professor believes, we have become so much
less (as a culture, as a nation, as a people) than we could be. “Irony is the
most self-defensive mode,” she writes, “as it allows a person to dodge
responsibility for his or her choices… To live ironically is to hide in
public.”
Directness—sincerity—earnestness—have
become unbearable to us. We flee from them, through the escape toward irony. To
be ironic—to live ironically—is to be in step with the times. To strive to live
earnestly, to express oneself directly and sincerely, is to be hopelessly out
of step, to cling to an age and a way of human living that is already dead and
gone.
In the ironic,
hipster worldview, we have become so suspicious of the “phoniness” of the world
that we don’t really believe in anything any
more. But unlike the cynic, whose attitude is to withdraw from the world and society, the attitude of the ironist is
to go along with the culture, to subvert it, to accommodate to it, reap its
material rewards, while all the time inwardly loathing everything for which the
world (ostensibly) stands.
In short, we’ve
become like the main character in Queen’s “Bohemian Rhapsody”, who ultimately laments:
Nothing really matters,
anyone can see…
Nothing really matters
to me.
While all along,
of course, the world does matter. It matters greatly. Extreme irony would have
us shrug our shoulders and disengage from the world. While all along, more
sinister forces are still full of “passionate intensity”.
Now, to
Professor Wampole, of course, “The Hipster” is the primary symbol of the
current age. But Hipsters, or people like them, aren’t new, of course. In
late-19th century Britain, such flamboyant anti-establishment types
were known as “Dandies”. In post World War Two America, they were known as
“Beatniks”. A little later, they were known as “Hippies”. (“Hipsters”, I
suppose, are a debased and ironicized [I think I just made up that word]
species of Hippies, I guess.)
But the species
goes back even further in history. A couple of hundred years ago, in the
aftermath of the French Revolution that had bloodied French society for a
generation, well-to-do young men called Incroyables
took to dressing in a fashion that sounds kind of like that of today’s
Hipsters: they wore tight pants, thick glasses, bright green coats with
exaggerated high collars and loud, bright neck ties. Their female counterparts,
called Merveilleuses (“the marvelous
ones”) wore different colored wigs, weird and elaborate headdresses, and
semi-transparent tunics of gauze or linen that left very little to the
imagination. (Sounds sort of like Lady Gaga, I guess.)
These Parisian
young people sought to parody the fashion and politics of their day and both to
amuse and shock the people around them. They would roam the streets, drinking,
smoking, carrying on—and even bopping old-guard revolutionaries with wooden
clubs. The older generation was shocked, and thought the world was going to
hell.
Well, the world
survived the Incroyables and the Merveilleuses. It survived the Dandies
and the Beatniks and the Hippies of the 1960s and 1970s. It will probably
survive the Hipsters, too. But what of the debilitating effects of irony? Has
it so deeply affected our culture, and rendered us unable to respond sincerely
and forthrightly to the challenges of our times, the challenges we face in our
own lives?
According to
Wampole and other members of the new “Irony Police” (as they are sometimes
labeled) the all-too-pervasive influence of irony in our culture does run these
risks. Irony makes cynics of us all, and lessens our willingness to engage
actively in the world—to change the world, to fight its battles, to confront
its evil and injustice. In our time, they would say, mockery has become a way
of life. Irony is elitist and undemocratic, too, some would claim. In the words
of one commentator, “[Irony] depends on double meaning and a double audience,
divided into those who understand and those who don’t. It corrodes honest
speech and honest feeling, while encouraging greed and cruelty. Irony, its
enemies say, is private, selfish, and indifferent, while earnestness is public,
generous, and concerned.” Irony is “crippling the youth of America,” the editor
of the Minneapolis Star Tribune adds.
(Next thing we know, the President will be appointing Joe Biden to lead a
commission to study the effects of irony on the American economy!)
It is true, of
course—absolutely true—that how we choose to live our lives is important. The
decisions we make—as private individuals, as public citizens—have consequences.
A good society is one in which as many people as possible engage earnestly with
the tasks that are before them; a society in which people strive, all in their
own ways, to assume their fair share of life’s burdens; to meet unmet needs; to
define for themselves a healthy view of who they are and how they relate to the
world.
And if we are
honest, a true and responsible life requires of
us a willingness to sacrifice many things, in extreme cases everything, for the
sake of that which gives life meaning.
Truly,
the demands which life makes of us could not be more earnest at times. Living
life to its depths requires of us that we wake each morning with the
willingness in our hearts to sacrifice even our own lives in defense of our
highest values. Those are high stakes. And while, thankfully, few of us will be
called upon to make that kind of sacrifice, staring life in the face like that can
be a frightening prospect. So, it is easy to understand those who retreat from these
demands behind the facade of a banal, prosperous, comfortable, irony-laded
life.
Irony
can be destructive if it ends with itself. If it offers no word of
encouragement, no hope, no suggestion for how to build something in place of
that which it seeks to tear down.
But
a life without a deep sense of irony and a profound sense of humor—without an open
acknowledgment of the absurd within ourselves and within human existence—can be
but a different kind of hell, a dreary place indeed.
Perhaps
as far as irony and earnestness are concerned, as in most aspects of life, I
suppose, there’s a continuum. Few of us spend all of our time at one end or the
other, and that’s probably healthy.
For
instance, Lady Gaga, the queen of the ironic, may sometimes wear a dress made
out of meat, sure; but she has also led the movement against homophobia in our
culture, and has done more than anyone to confront the scourge of bullying in
our schools.
Don’t
forget, too, that it was some of those same “Hipsters” with their i-pods and
their oh-so-ironic t-shirts that gave the world the “Occupy” movement, that
might yet manage to change our society and our world.
Are
any of you as hooked on “Downton Abbey” as I am? Well, if you are, then you know
that we just love the Dowager Countess
(the character portrayed by Maggie Smith), and we look forward every episode to
her sarcastic, skewing comments. But I also know that I, at least, also greatly
admire the somewhat dowdy and boring Cousin Isobel, for her basic middle class
decency, and stick-to-it-tiveness, and her insistence on doing the right thing
in all circumstances. And the series needs both of them; Downton needs both.
Our world needs both kinds of people.
Jane
Austen knew that. Shakespeare knew that. So did Charles Dickens.
Anatole
France, who won the 1921 Nobel Prize for literature, once said that a world
without irony would be like “a forest without birds”: "Irony is the gaiety
of meditation and the joy of wisdom," he wrote. There is a deeper irony
that keeps us truly human by casting the cold eye of truth on life and death,
and reminding us of what we really value, and skewering our present reality in
the light of that truth.
The
one thing that unites all the really nasty people in the world, Oscar Wilde
once said, is their deep sense of earnestness. There are no people more
consistently earnest than fanatics of every persuasion. So often, it is through
the withering touch of irony that demagogues and would-be tyrants are unmasked
and sent packing. For example, there have been few men in modern history as
earnest and forthright and honest as Vaclav Havel. Largely through his efforts,
the Communist tyranny of his homeland, Czechoslovakia, was brought to its knees
and dismantled. It’s striking, then, to remember, that Havel’s career was made
as one of the leading playwrights in the literary movement known as the
“Theatre of the Absurd”.
If irony opens our eyes to the absurdity of
our times and our human predicament-- if it gets us to let go of our
self-righteousness and self-seriousness and our perfectionism, so that we can join
with others in our common quest-- then irony can well be the holy gateway to
the earnestness we will need to build a better world. Our sense of the ironic
can remind us that none of us is the center of the universe, and that if we
worship at the altar of our own little selves-- or the limited vision of our
vacuous culture-- then we're worshipping at a mighty small altar indeed.
In
my theology, God has a great sense of urgency. He wants to get things done. But
God has a great sense of humor, as well. If you don’t believe me, just look
around.
Some
things matter in this world. They matter very deeply. And they ought not to be
disparaged, or written off, or be subject to ridicule and marginalization.
Things
like our love for one another.
Things
like caring for the sick, and the weak, and the old.
And
being strong enough to weep, and vulnerable enough to offer to help.
And
the innocence of children.
And
the wisdom of years.
And
remembering where we’ve come from.
And always
being thrilled to start a new journey.
And
romanticizing neither the past, nor the future, but living fully, right now, in
the eternal moment that is before us.
And hearing,
amidst the clamor of different tunes, the Spirit’s great song, filling our
hearts and illuminating our minds, and leading us down the path which is ours
to walk.