Thanks to the folly of “gifted education,” my secondary school experience was a six-year-long clusterfuck so convoluted that even now I can’t understand the details of what happened and why.
The gist of it is that after I “graduated” fifth grade in spring 1999 (yeah, “graduated”; we had an actual ceremony in the cafeteria and everything), I didn’t go to middle school. Instead I enrolled in a “program” for “gifted” “minds” at one of Springfield’s high schools, where I took “real” high school classes for “real” high school credits.
The main advantage of that program was that it made me feel “special” and “elite.” This was also its main drawback. The program turned me into a smug asshole with innumerable pretensions that muddied my thinking and made it impossible for me to form “meaningful” “relationships” with people.
It wasn’t until I’d been in college for about a year that I finally got off my fifteen-thousand-foot-high horse, and by then it was too late. The “emotional” “damage” had already been done. Someday I’ll make a therapist very rich. Or a prostitute. Maybe I could find someone who’s both.
A few years ago I wrote a story about that: a guy hires a prostitute and doesn’t want to have sex with her. He just wants to talk to her. I thought this was a cool idea. I mentioned it to one of my friends.
“Dude,” he said, “that idea is tired as fuck. That exact shit happens in The Catcher in the Rye.”
“Are you fucking kidding me?” I said.
“No,” he said, “it’s totally what the dude in Catcher does. He hires a prostitute because he’s all lonely and shit.”
“Fucking Salinger,” I said. “That son of a bitch. Traveling into the future, stealing the ideas right out of my fucking brain. Hell does he think he is?”
I still haven’t read The Catcher in the Rye. I keep meaning to, because what kind of charlatan calls himself “a writer” when he hasn’t read the fuckin’ Catcher in the Rye?
I swear, less than a week before Salinger died I was at Barnes & Noble holding a copy of the thing. I did not buy it, because fuck, I have enough books in my backlog as-is. More importantly: I didn’t have the balls to buy it.
It’s The Catcher in the Rye. Everybody – except me – has read that shit. Everybody owns it. Many people were required to read it in high school. In fact, a good way to determine whether someone actually reads books without being “required” to do so is to look at his Facebook page and see if his list of “favorites” consists entirely of The Catcher in the Rye, The Great Gatsby, and To Kill a Mockingbird, because if it does, that dude is not a reader.
I’d feel like such a tool, bringing Catcher to the front of the store. People would see me as an uncultured moron. It’d be embarrassing.
The Catcher in the Rye doesn’t have the same value as hip literature that it might have had back when it came out. If this were 1951, I could buy Catcher with no embarrassment whatsoever; hell, I might even look ahead of the fuckin’ curve. The salesperson might say, “Oh, this . . . this Catcher book. I’ve not read it myself, but I’ve heard a little buzz. I hear it’s supposed to be pretty good, yeah?”
And I’d say, “Yeah, that’s what my well-connected friends in the literary world have been telling me.”
In 1951, reading Salinger was cool. Now, especially given that the guy’s dead, reading him is less cool than ever. The day after he died, I looked up The Catcher in the Rye on Amazon and it was on back-order, because so many thousands of people were rushing to their computers and ordering it. They wanted to be part of the collective “cultural” “moment.”
It’s like how people bought Michael Jackson’s records en masse last year the moment they heard he died. That’s how we Americans mourn when celebrities pass away. We spend.
Now that Salinger’s gone, buying Catcher wouldn’t just make me look like a quasi-literate plebeian; it’d also make me look like some tasteless jerk who’s only buying the book because the guy’s dead now.
As far as I’m concerned, the only reason Amazon exists is so guys like me can order books like The Catcher in the Rye from our homes without any fear of being sneered at.
Now, I know this is partly (read: entirely) just my own neurosis. I bought T.S. Eliot’s Selected Poems not too long ago, and it was only after standing in the bookstore for forty minutes, sweating and panicking, worrying that buying a book of T.S. Eliot would be a disastrously uncool thing to do.
Everyone’s read T.S. Eliot, I kept thinking. If I buy a collection of his poems, I am admitting that I don’t already own one. I am outing myself as a loser. Should I buy something else? Something less obvious? Some Seamus Heaney, maybe? Is that credible enough?
I eventually worked up the nerve to do what had to be done. I remember the salesperson looked at the book I handed her with this disconcerting delight.
“Ah,” she said. “Mr. Eliot! One of the finest poets we have known. What an excellent choice.”
I had no idea what to say to this.
“A slim volume,” she said. “But such good stuff inside! I do hope you enjoy it. It’s very good. Eliot is really quite good.”
Who the hell talks like this? (Answer: People who work at Barnes & Noble.)
I just need to stop going there and switch over to Amazon completely. The salesperson, no matter who it is, always makes some comment about whatever I’m buying, and it’s always traumatic.
When I bought Blood Meridian several months ago, the lady up at the front sighed and said, “Oh, McCarthy. I do love his writing. Such beautiful writing. Have you read Cities of the Plain?”
I admitted that I hadn’t. She looked at me with (what I imagined to be) scorn.
“You have read The Road, though, haven’t you?”
“Yeah,” I said, “I’ve read that one.”
“Of course you have,” she said. “A lot of people have read that one. Because of the movie that’s coming out.” She snorted.
I was too flustered to defend myself, to say, wait, look, lady, I didn’t even know they were making a movie out of The Road when I read it. I had no idea. I didn’t know anything about that. Please believe me.
Though I guess then she would have assumed I’d heard about The Road from Oprah, so it wouldn’t have made a difference.
I don’t think I can ever forgive Oprah for my copy of One Hundred Years of Solitude. It has this huge fucking “O” on the cover, and in big block letters: “Selection of Oprah’s Book Club.”
I can’t take that book out in public without feeling incredibly self-conscious about it.
I can’t do anything, really, without feeling incredibly self-conscious about it.
I’m aware that they make pills for this, but that’s not a route I want to pursue right now. I already take “antidepressants,” which don’t seem to work at all, and I’m comfortable with that. It’s a good setup.
It means I get to take a pill every day that makes me feel like I’m overcoming my problems, and I simultaneously get to wallow hopelessly in those same problems because the pill doesn’t do shit. Whoever said you couldn’t “have your cake” and “eat it too” had no idea what the fuck he was talking about.
Where did that expression come from, anyway? It makes no sense. I’ve had cake many times, at birthday parties and stuff. I’ve always been able to eat it. I can’t think of a time when I’ve had cake and not been able to eat it too.
Back to the “gifted” program. One of the worst things it did was jack up my schedule by letting me take classes before I was supposed to. When I entered “actual” high school in January 2003 as a freshman, I had consumed too many credits and was running out of classes to take.
My counselor told me that the solution was to compress my schedule: to graduate in 2005 rather than 2006, like I was supposed to. She said I could fold sophomore and junior year together.
This seemed like a good idea at the time. Remember, I was still a fucking asshole then; I believed that I was some kind of genius, and that graduating early was therefore inherently a good thing. But now I wish I had just graduated in 2006. I would certainly have been better off in just about every way imaginable.
Even with the compressed schedule, there were holes, gaps to fit classes into. This is why, in spring 2004, I took “Sociology.” I didn’t want or need the class, but I just had to take something, so Sociology it was. It was a “quarter-length” class, which meant it lasted only from January to March. After that, it would be replaced by “Discrete Math,” which would last from March to May.
The Sociology teacher was a kind of crazy dude. Like many teachers at my school, he also coached a sport – in his case, basketball. I got the impression that coaching was what he was really interested in. He only taught because he had to.
On the first day, he told us that sociology (which he referred to as “soc,” pronounced to rhyme with “coach”) was “all about verbiage.” He said that a few times. “Soc is verbiage.” We all waited for him to explain what the hell that meant. He never said.
His lectures consisted of him rambling about stuff that had very little to do with what was in the textbook, something I had no problem with at all. The day before a test, he’d hand out a practice test and say, “All right, guys. This is the scrimmage.”
The practice test would comprise about ten multiple-choice questions. We would attempt to answer them, and then he would tell us what was right and what was wrong. The next day he’d pass out the real test, which would be identical to the practice one.
He didn’t even look at the tests once we’d handed them in. He didn’t keep a gradebook. He just gave everyone an A.
He was a big fan of The Karate Kid. He showed it to us twice.
I remember thinking it was weird to watch that movie in 2004. The whole aesthetic of it seemed quaint and dated in all these minor ways that added up: the way the characters dressed, the slang they used.
The movie was on an aged VHS tape, and everything was all sepia. Every once in a while the sound would drop out. But we managed to get the gist of the story.
“The thing about The Karate Kid,” the teacher said, “is that it’s got everything you need to know about life in it. Absolutely everything.” He was serious.
I would say he was a cool guy, but I did have one beef in particular with him. He talked politics sometimes, and the dude was frankly bigoted as fuck. For instance, he was a huge homophobe. I learned that during a “class discussion.” Someone had brought up the 2003 MTV Video Music Awards, in which Madonna had “shockingly” and “controversially” made out with Britney Spears.
“Yeah,” the teacher said, “that kind of thing – those kind of people – I have to wonder what’s wrong with them. It’s just not natural. Men kissing men or women kissing women. It’s not normal. It’s not right. And we shouldn’t have to see that kind of thing on the TV.” And so on. Whatever. It’s not important.
Here is something very important: my favorite Madonna single is “Into the Groove.” I’m ashamed of that, because if you’re going to say you like a Madonna single, “Into the Groove” is the stereotypical “cool” choice. Sonic Youth covered “Into the Groove,” for fuck’s sake. The song is certifiably hipster-approved. It’s too bad. I wish my favorite Madonna single were something lamer and more embarrassing.
What else is there, though? “Borderline”? No. “Like a Virgin”? I don’t like that one either, though I am glad it inspired Weird Al to write “Like a Surgeon.” As a song about a guy who’s a really bad doctor, it does a great job of describing what my future’s going to look like. “I was last / in my class,” Al sings, “barely passed / at the institute / now I’m trying to avoid / yeah, I’m trying to avoid / a malpractice suit.”
“Into the Groove” is a little weird, because even though it’s supposed to be this upbeat dance tune it has a certain, hard-to-define underlying stiffness. It plods. This is, I guess, something Sonic Youth picked up on when they covered the thing; their version is a sinister drone. But so is Madonna’s.
The song paints a scene: Madonna is, right now, dancing. You, the listener, are watching her dance, and Madonna can tell that you totally want her. She suggests, in fact, that you not “try to hide it” because “love wears no disguise.” She can, apparently, “see the fire burning in your eyes.”
Throughout the song, Madonna argues that you should come over and dance with her: you should “get into the groove, boy” because “you’ve got to prove” your “love to [her], yeah.” She is interested in getting “to know you in a special way.” She believes you and she might conceivably “be lovers if the rhythm’s right.” And if you would be so kind as to “touch [her] body and move in time,” she will “know you’re [hers].”
Madonna’s argument is rather compelling. “Into the Groove” came out in 1985. I wasn’t even born yet. I was negative three years old. How old was Madonna? Was she hot? I can only assume that she was.
I think I am in love with my hazy, imaginary conceptualization of what Madonna may or may not have looked like in 1985 when “Into the Groove” came out.
“Into the Groove” is insincere. It’s a complete lie. Madonna is not really dancing. She was not dancing when she sang the song in a studio in 1985. She does not want to dance with you. She does not even have any idea who the hell you are.
She sings that when she’s dancing she feels “free,” and at home, “at night,” she “lock[s] the doors where one else can see” her dance. This is clearly bullshit. Madonna cannot possibly be the kind of person who would be willing to dance where no one can see her. If she were, she wouldn’t be where she is today, or where she was in 1985, for that matter.
“Into the Groove” is really best heard in a nightclub in 1985. It was designed for that context and that context alone. If you’re listening to the song through earphones in 2010, as I am now, the song means something totally different. It becomes creepy.
I don’t know what it is about the way they produced pop music in the 1980s, but the songs always sound cavernous and empty (yeah, I know that’s the kind of sweeping generalization that only a dude born in 1988 could make). The singer, whoever it is, sounds alone, floating somewhere above echoing drum machines and tacky synth hits.
No way Madonna’s really dancing. She doesn’t sound like she’s in a nightclub. She’s theoretically dancing by herself somewhere. You are theoretically watching her, even though in reality you are not. She doesn’t exist; the entity singing “Into the Groove” is an insincere projection. This projection began dancing in 1985. She is still dancing now.
Two weeks before the end of the semester, my sociology teacher got a job coaching basketball at one of the local universities. We saw it in the paper. It was a big deal, a big job. The day he got that job, he vanished.
He never came back to his classroom. He was just gone. Nobody could find his gradebook, because there wasn’t one. Another teacher in the social studies department had to take over our class for that last week and a half. She ended up giving everyone an A because she had to. What else could she have done? She didn’t have any data.
In retrospect, that sociology class was probably the best class ever. Everyone got an A, nobody had to worry. The teacher even disappeared towards the end. More classes should be like that.
I don’t know what the point of this post is.