Candace Bushnell’s “Sex and the City” is distinctly contemporary

A reader suggested that in light of Date-onomics I get a copy of the original Sex and the City book. I see why. Though published in 1996, it feels shockingly contemporary, like something you’d read in New York Magazine, or Slutever, or 1,001 other places. If Sex and the City were a little more explicit (Bushnell prefers “unmentionable” to “penis” or “cock,” for example) and added in references to smartphones, Instagram, texting etiquette, and online dating, it would still have the basic set of issues and problems and challenges and behaviors of 2016. The tone of the stories feels bloggy and podcast-y (which is a descriptive observation, not a slur).

sex_and_the_cityOn the Internet you really can say whatever the fuck you want, including “fuck,” and becoming accustomed to that makes Sex and the City feel a little linguistically reticent. To be sure, it goes a lot of places in terms of description but it doesn’t get to all the explicit places the online-only writers do; Sex and the City generally stops at the bedroom door and resumes at the restaurant recap the next day.

Being originally part of a newspaper also means that the lows aren’t quite as low as the online writers, many of whom don’t have anyone to edit their material or tell them that piece x is filler and ought to be cut. But they also don’t have editors to tell them that piece x is in “bad taste,” which means that bad taste as a concept barely exists (here I am tempted to list some examples, but if you keep your eye around the Internet you’ll find some on your own). I hate the word “heteronormative,” but Sex and the City is more heteronormative than online writers are.

What else? Some modern books about love, sex, and dating often have a harder data edge: that’s the point of Dataclysm and Date-onomics. The big way our knowledge has collectively grown in the last twenty years in this domain comes from the revealed preferences of online dating. That lets us know things less through gossip and more through how people behave, at least in online interactions.

It is common to read claims about how the Internet has changed everything, and while data tells us a lot, the basic challenges that emerge in Sex and the City remain. Still, I prefer a Straussian reading of Sex and the City in which guys read the books in order to discover how they should present themselves, market themselves, and be.

Perhaps the book’s most important theme is the need for novelty and stimulation, maybe because novelty-seekers are drawn to New York, despite the city’s costs and many inconveniences. Boredom is a great sin: “You get tired of being around anyone after a while” (63). Or: “Miranda checked the labels: Savile Row—boring” (90). Or: “While many women would have killed to have a date with Scotty, the TV producer, Camilla told me she had been bored” (105). Or: “I already have too many Chanel bags. They bore me” (109; what do you do for the person who has everything, which is a larger number of people than is commonly assumed?). Or: “Where’s the new place to go? I want to make sure my ward here has a good time this evening. I think she’s bored” (141). Or: “The truth is, he bored me” (198).

Boredom is part of a simple paradox at the heart of many of the stories—a paradox prevents some of the characters from getting off the party carousel: “this was the kind of life she’d grown up believing she could have, simply because she wanted it. But the men you wanted didn’t want it, or you; and the men who did want it were too boring” (85). And there is no way in Bushnell’s world to avoid that paradox. Men might want to think about it too, and how it affects their own choices. The characters in Sex and the City are experiencing the problems and fruits of freedom: “[Edith] Wharton thought no one could have freedom, but [Henry] James knew no one wanted it,” and “Freedom’s unpalatable qualities are hard to accept.” So too is accepting the choices one makes. In first three quarters of the book, Samantha Jones makes occasional appearances to disparage her dates and men in general. By page 181, “Lately, Sam had been complaining about not having a boyfriend.” Er. She spends most of book engaging in boyfriend-incompatible thoughts and behaviors.

The women in Sex and the City are chronically outraged by male behavior while chronically and simultaneously rewarding it with sex. The phrase “revealed preferences” is relevant.

Snobbery is ever-present (“She’s like an auto mechanic from nowhere’sville”), almost a sport, in a way that would be hard to take, at least for me, in real life. The brand-name snobbery is much more irksome than much of the bedroom material.

Used copies on Amazon are cheap and plentiful, for good reason. It’s a fun, historically interesting read, but once is enough. Re-selling it is too time consuming for me, but I’m donating it to a thrift shop which will probably recycle it back onto Amazon.

“From Pickup Artist to Pariah” buries the lead

In “From Pickup Artist to Pariah: Jared Rutledge fancied himself a big man of the ‘manosphere.’ But when his online musings about 46 women were exposed, his whole town turned against him,” oddly, the most interesting and perhaps important parts of the article are buried or de-emphasized:

In 2012, he slept with three women; in 2013, 17; in 2014, 22. In manosphere terms, he was spinning plates — keeping multiple casual relationships going at once.

In other words… it worked, at least according to this writer. And:

I met four women at a downtown bar. All were on Jared’s List of Lays. Over cocktails and ramen, the women told me about Jared’s sexual habits, his occasional flakiness, his black-and-white worldview. [. . .] They seemed most troubled by just how fine he had been to date. “I really liked him,” said W. “And that’s what makes me feel so gullible.”

In other words… it worked, at least according to the women interviewed as framed by this writer.

How might a Straussian read “From Pickup Artist to Pariah?” Parts of the article, and not those already quoted, could be inserted directly into Onion stories.

The first sentence of Public Enemies: Dueling Writers Take On Each Other and the World is “Dear Bernard-Henri Lévy, We have, as they say, nothing in common—except for one essential trait: we are both rather contemptible individuals.” Is being contemptible sometimes a sign of status? As BHL implies, the greatest hatred is often reserved for that which might be true.*

In other news, the Wall Street Journal reports today that “Global Temperatures Set Record for Second Straight Year: 2015 was the warmest year world-wide since reliable global record-keeping began in 1880.”

In Julie Klausner’s book, I Don’t Care About Your Band: What I Learned from Indie Rockers, Trust Funders, Pornographers, Felons, Faux Sensitive Hipsters, and Other Guys I’ve Dated, she writes at the very end, “Around this time of graduation or evolution or whatever you call becoming thirty, I started fending off the guys I didn’t like before I slept with them. It was the first change I noticed in my behavior that really marked my twenties being over.” Maybe Rutledge’s mistake is of tone: Comedians are sometimes forgiven and sometimes thrown into the fire. No one is ever forgiven seriousness.

Houellebecq also writes, “there is in those I admire a tendency toward irresponsibility that I find only too easy to understand.” He is not the first person to admire irresponsibility. In Surely You’re Joking, Mr. Feynman!“, Richard Feynman says:

Von Neumann gave me an interesting idea: that you don’t have to be responsible for the world that you’re in. So I have developed a very powerful sense of social irresponsibility as a result of Von Neumann’s advice. It’s made me a very happy man ever since. But it was Von Neumann who put the seed in that grew into my active irresponsibility.

Briefly noted: “Mate” is out and it’s good — Tucker Max and Geoffrey Miller

As previously noted, Mate: Become the Man Women Want is out and it’s good.* As the book says in the introduction, “Your culture has failed you and the women you’re trying to meet.” The book is part of the remedy. When I read the draft a couple months ago I told Tucker, “I wish I could teleport a copy of Mate back in time and give it to my 13-year-old self, and then instruct him to read it once a year for the next decade.” That’s still true. If you know any teenage or early 20s guys who are likely straight, give them a copy of this book. It is not going to be useful for everyone and indeed I expect some of you to strongly dislike it. People like how-to in many fields but often not this one.

Mate_CoverThe book emphasizes empathy: “If you always try to understand the woman’s perspective—what they want, why they want it, and how to ethically give it to them—then you will find it much easier to become attractive to them, and you’ll be much more successful with your mating efforts.” There are no shortcuts. For a while I’ve been describing the empathy gap, because I increasingly think that the average man doesn’t much understand or try to understand the average woman—and vice-versa. That’s why books like Mate, or Self-Made Man: One Woman’s Year Disguised as a Man, are valuable: they work to close the empathy gap.

Parts of the book will be obvious to older guys who have their lives together—that showering and grooming are important will not be news, but most of us can also probably remember the shambling smelly kids in school. Other parts counteract some of the more dubious parts of our culture, like the claim that women are attracted most by money and that all women are “gold diggers.” For most women most of the time other things matter most, like how “individual women just your fuckability by your social network. So you had better have proof—social proof—that it exists.” Most people, men and women, who want a relationship reasonably want to know the person they’re having a relationship with, and that means knowing friends and family—and knowing they exist. Many of us have had the experience of sleeping with someone who keeps us totally separate from the rest of their lives. Sometimes that can be good—we don’t “count”—but for actual relationships it’s not.

There are still hilarious metaphors and comparisons, like “[A lot of guys think they need to have a ton of money,] then the women will just magically appear, like monarch butterflies to milkweed, flies to honey, rappers to Scarface posters.” But there are fewer of them: The book is entertaining but it leans informational. I at least felt rueful for my teenage and college self when I read some sections. Perhaps my favorite moment occurs two-thirds through the book, when Max and Miller are noting some of the artistic skills that women like, like music, storytelling, and, saliently for this quote, drawing:

The key thing here is to cultivate actual skill rather than indulge in modernist expressionism or abstract art. The poet John Ciardi pointed out, “Modern art is what happens when painters stop looking at women and persuade themselves they have a better idea.”

I’ve never read as concise and accurate description of why so much modern art is so bogus.

The bibliography is useful.

* As also previously noted, I now know Tucker well enough to not be an unbiased critic.

Briefly noted: Date-onomics: How Dating Became a Lopsided Numbers Game — Jon Birger

Date-onomics is charming and worth reading for anyone who is single, who is at risk of becoming single, or curious about how markets are created and how people interact with markets in this domain. Apparently there are relatively few members of that last group: “I realize that most people do not want to think about supply and demand when contemplating matters of the heart.” Perhaps is right, but rejecting knowledge seems to me like madness. Birger also notes that there “is an assumption that the perceived shortage of college-educated men [. . .] is actually a mirage.” Except that Birger says it’s not a mirage: there are more single college-educated women than men, especially in particular cities (like New York).

For men the simple takeaway might be: move to New York or an equivalent city with many more women than men in it. For women the simple takeaway might be: Silicon Valley, Seattle, and Denver are waiting for you, since in those areas straight women will have more market power than straight men.

The book, read properly, tells you where you should think about living and/or going to school. Guys working at big tech companies in particular should think carefully about the differences they’re likely to encounter between working the Bay Area versus working in those same companies’s New York City offices. Date-onomics attempts to solve an information asymmetry problem, since very few people actively consider how gender ratios affect their romantic, sexual, and reproductive lives. Search costs are high and underappreciated in dating.

Still, Birger’s framing of the statistical narrative is dubious. For example, he writes, “Why is it that women like Donovan struggle to find marriage-material men even as male counterparts with less going for them seem to have little trouble with the opposite sex?” Has Birger missed the vast literature on pickup artistry that’s emerged in the last two decades? Is he aware of the Tucker Max and Geoffrey Miller book Mate? For most men much of mating life seems to be a tremendous struggle, and it’s one Birger (mostly) dismisses. The dating sections of Norah Vincent’s Self-Made Man: One Woman’s Year Disguised as a Man are among the most compelling, because she tries being a man—noting that she expects to get all the advantages and pleasures of the “patriarchy” that she’d been told about for years in women’s studies classes and feminist books.

Instead Vincent finds struggle, rejection, and hardship—and she’s very happy to go back to being a woman. Being a man doesn’t turn out to be the patriarchal cornucopia she imagines, and that Birger implicitly imagines for men.

In Date-onomics, Birger refers repeatedly to “good men” (2), “ambitious men” (7), “eligible men” (13), “good single guys” (14), and meeting “a decent man” (29). There are others. Rarely does he consider what men might be looking for in a woman, or what the kinds of adjectives used in the preceding sentence might conceal. That framing is unfortunate.

It’s especially unfortunate because in the real world people who can assess themselves accurately, improve themselves reasonably, and compromise pragmatically tend to get decent results. Those who can’t, don’t. (From Date-onomics: “Problem is, wealthy women are far less likely than wealthy men to marry down”).

Despite that general fact, Birger argues that many of us don’t have the facts:

The North Carolina high school guidance counselor quoted in the last chapter told me that she has never once had a parent or student ask about the 60:40 ratio at UNC Chapel Hill—despite the fact that this gender ratio is now a dominant feature of UNC social life. “It’s not even on their radar,” the guidance counselor told me.
It should be.

He’s right: It should be. His book, and this blog post, is an attempt to put that issue on the radar. Women may, at the margin, want to go to engineering schools. Men on the margin of going to college or not may want to be aware that college is increasingly where the women are. Knowledge affects behavior, but it isn’t diffused through society uniformly or easily. Despite the many virtues of this book, many of the people who may most need to know what it says are unlikely to pick it up.

Date-onomics is at its best when it’s focusing on facts and anecdotes and at its worst when it’s barely aware of its own framing. That dark matter, though, is obvious to me. I wonder how many will miss it.

EDIT: Hello readers from The Browser! If you like this piece, you’ll probably also like my latest novel, THE HOOK. You should check it out at the link.

Why aren’t there women on Ashley Madison?

A couple people wrote me about this, from the last links post: “Perhaps the least surprising point is that [Ashley Madison] has almost no women on it,” and said that that was surprising, and/or that I’m a jerk for what that implies.

Surprise is to some extent in the eye of the surprised party, so I won’t argue with that, but I will note that “Attractive women who have NSA, one-off sex with a large number of total strangers” is actually a job description (one could even strike the word “attractive”). Which is fine—I’m not against that job and support legalizing it and other freedoms, but whenever possible look at what markets say about what people or groups of people want in the aggregate. Plus, women who want to meet strangers on the Internet for those sorts of things, one-off or ongoing, can do so easily through more conventional methods (OK Cupid, Tinder, whatever—ones that are said to be less gross and more normal). As I understand it, the honestly dishonest ones can disclose their status pretty easily on Tinder and elsewhere, and guys looking for that sort of arrangement appear to be not hard to find, per the first sentence of this paragraph. Generalizations allow of course for exceptions, and at least one or two of the people writing to me sound like they are exceptions, or they are portraying themselves as exceptions.

The “look first to markets for data” point is useful in all sorts of contexts. The other day I was chatting with a friend who said there are already “Too many people” in New York City; I observed that, if that were true, we’d see housing prices falling, and we in fact see the opposite—implying that most people think there are too few people in New York, and are willing to pay for all the people here. One does not have this issue in, say, Detroit, or Cincinnati. My point did not go over well, but perhaps that’s why people who use markets to extract and act on data make a lot of money doing so.

Edit: “Almost None of the Women in the Ashley Madison Database Ever Used the Site” provides more detail, especially how virtually none of the “millions” of supposed accounts created by women had ever checked their internal mail or chat.

Tiny Beautiful Things: Advice on Love and Life from Dear Sugar — Cheryl Strayed

Tiny Beautiful Things is not an Apple product but a mid-sized beautiful book that you should read. I say this even as someone with reservations about some of the content; as with many books that deal with love advice I wish more had been known and said about evolutionary biology. Yet it may be that we’ve evolved to not want to confront truths we perceive as ugly: better to turn away and signal our own goodness than to say we’re often incentivized to do things that current social conditions tell us are wrong.

TinybeautifulthingsThe end of the preceding paragraph if intentionally vague, but let me say that the book is beautifully written, bizarrely so given that it’s an advice column collection; perhaps any form, attended to with enough care, can become beautiful.

It’s hard to quote a section from Tiny Beautiful Things, even a long section, that conveys its tone. Most possible quotes sound treacly out of context (“You are loved”) or don’t appropriately convey Strayed’s mix of stories (she worked with high-risk middle-school girls and used that experience as a parable) and abstract points (see the previous mention: “You are loved”). Then again too, many people are not loved in the ways they want to be loved or by the people they want to love them. Strayed’s first answer to the first question in the book is, “The last word my mother ever said to me was ‘love.'” She starts with stories—parables, really—and in doing so she follows a millennia-old strategy; people remember the stories from the Christian Bible and the Torah but forget the tedious sections that recount lineages or offer specific rules about worship or other practices. Stories and math are eternal. A lot of specific instruction remains bound by time.

In the same opening question, she says too:

There’s a saying about drug addicts that they stop maturing emotionally at the age they started using, and I’ve known enough addicts to believe this to be true enough. I think the same thing can happen in longtime monogamy. Perhaps some of your limited interpretations about what it means to say the word “love” are left over from what you thought it meant all those years ago, when you first committed yourself to your ex-wife. That was the past, as you say, but I suspect that a piece of yourself is still frozen there.

One could alternately say, “We are all growing or dying.” The amazing thing is the number of people who choose the latter, intellectually and psychologically.

Some sections feel stoic, in the best way, as when Strayed says, “Suffering is what happens when truly horrible things happen to us.” I’d add, too, that sometimes suffering means nothing except itself. Much suffering teachings nothing and ennobles nothing. It just is, though we live in a culture in which everything must mean something. It often doesn’t.

Then there are the sections where Strayed could go deeper than she does. In one, a woman writes that the man who knocked her up isn’t terribly interested in being involved with her or the baby. They have a tenuous relationship and he leaves—probably seeking another nulliparous woman. Charles Murray’s Coming Apart applies here, but it isn’t story-driven or personal enough to merit inclusion. The fundamental forces are there but ignored.

I write this often, but I wish Strayed had read more evolutionary biology; seemingly inexplicable and cruel romantic acts and betrayals become explicable. Since I began—first I think with Geoffrey Miller’s The Mating Mind and then with others, like David Buss’s TheEvolution of Desire.

But Darwin has still not propagated outwards towards pop culture. Maybe we’ve evolved to rejection the insights evolutionary biology offers. We’re storytelling animals, and we want to reject stories that make us question our own consciousness and decision-making process. (Blindsight, though brilliant, may be unpalatable in this respect.) Railing is more fun, though, than looking for fundamentals. Words like “feel” and “feelings” are everywhere. Words like “incentives” are nowhere.

Yet the beauty reminds. So does rock-like reality: “We get work done on the ground level. And the kindest thing I can do for you is to tell you to get your ass on the floor.” A lot of us want the adoration and the success and the whatever without getting our asses on the floor.

I wrote more about Strayed in “Standard At-Risk Youth or Ex-Offender Empowerment Program: Improve Lives Through ‘X!’“, though that post may be more specialized than you’re seeking.

Sharp Objects — Gillian Flynn

The first time through Sharp Objects I though it totally absurd, since the characters in it behave like fantastical morons perpetually rolling on ecstasy or akin to faeries from Jonathan Strange & Mr Norrell. The plausibility of the plot is so low that I almost gave up, exasperated.

But I kept reading the first time and was curious enough to reread the second time and realize that Sharp Objects is not about a realistic story of realistic detection; instead, it’s a mythic-Freudian* work about the anxiety that comes from two related phenomena: transitions to adulthood and the muddying of lines between the generations. Camille, the protagonist, is supposed to be an adult (she’s a reporter for paper, she covers murders, she pays the rent) but around her mother she acts like a child and around her 13-year-old sister she acts like a peer.

Sharp_ObjectsOnce this alternate reading became clear, Sharp Objects became pleasant. It’s not supposed to be realistic (or, if it is, it fails so badly at its purpose that it might as well be read my way). It’s a fairy tale with a bit of media critique thrown in, and it says that girls and women have the dark urges that are often absent from fiction and from the news. Camille needs to reconcile her family relationships and her family’s history in order to understand the murders she’s investigating. Conventional reportorial skills and abilities are of little use; at best one might say she employs some aspects of New or Gonzo Journalism, since she does in fact drop ecstasy at one point.

In the novel Camille is dispatched by her editor to her home town to investigate a murder that becomes a series of murders of girls. The novel signals its intentions early. Camille is describing the home town she came from, and she ends the first chapter with this:

When I was still in grammar school, maybe twelve, I wandered into a neighbor boy’s hunting shed, a wood-planked shack where animals were stripped and split. Ribbons of moist, pink flesh dangled from strings, waiting to be dried for jerky. The dirt floor was rusted with blood. The walls were covered with photographs of naked women. Some of the girls were spreading themselves wide, others were being held down and penetrated. One woman was tied up, her eyes glazed, her breasts stretched and veined like grapes, as a man took her from behind. I could smell them all in the thick, gory air.

At home that night, I slipped a finger under my panties and masturbated for the first time, panting and sick.

The blurred mental lines between sexuality, animals, reproduction, and early age remain a theme that runs through the novel.

Attention is also a scarce resource in the novel: Camille constantly seeks it from her mother, even at the risk of being dangerous, and also seeks it from men (at least at first). Her sister is repeating Camille’s experience. Parents are either absent (from page 21: “I wondered where their mother was”) or overwhelming. Family sexuality recurs; here is one early example, from Camille’s narration:

The Victorians, especially southern Victorians, needed a lot of room to stray away from each other, to duck tuberculosis and flu, to avoid rapacious lust, to wall themselves away from sticky emotions. Extra space is always good.

“Stray” is an exact quote. And if extra space is always good, why then does Camille go to her mother’s house? She returns to a point of danger in search of information, like Little Red Riding Hood entering the Wolf’s house. The novel itself keeps pointing to Fairy Tales. Amma, Camille’s sister, says:

now we’re reunited. You’re like poor Cinderella, and I’m the evil stepsister. Half sister.

A few pages later, Camille speaks with a boy who says that he saw a “woman” take the second girl, who turns up murdered. She thinks this of him:

What did James Capisi see? The boy left me uneasy. I didn’t think he was lying. But children digest terror differently. The boy saw a horror, and that horror became the wicked witch of fairy tales, the cruel snow queen.

No one believes that the killer is a woman because women don’t behave that way. But wicked and evil women are pronounced in fairy tales.

This details occurs in Camille’s mother’s house:

Walking past Amma’s room, I saw her sitting very properly on the edge of a rocking chair, reading a book called Greek Goddesses. Since I’d been here, she’d played at being Joan of Arc and Bluebeard’s wife and Princess Diana—all martyrs, I realized. She’d find even unhealthier role models among the goddesses. I left her to it.

There are more. These are enough.

Seemingly no one grows up in Sharp Objects. Nearly every woman in Wind Gap still gossips like she’s in high school. Growing up is hard and harder for some of us than others. Perhaps we never fully leave childhood behind. Camille can’t. Her sister Amma is in some ways eager to leave childhood (she behaves like a pro when it comes to the inciting the desires of men) but in other ways wants its protections. In our culture, she can legally at least get both,** and she behaves in both ways. At one moment Amma is behaving like an infant:

Amma lolled sleepy as a newborn in her blanket, smacking her lips occasionally. It was the first time I’d seen my mother since our trip to Woodberry. I hovered in front of her, but she wouldn’t take her eyes off Amma.

In others she doesn’t, as when she says that after her mother takes care of her, “I like to have sex.” Then:

She flipped up her skirt from behind, flashed me a hot pink thong.
“I don’t think you should let boys do things to you, Amma. Because that’s what it is. It’s not reciprocal at your age.”

Camille’s counsel is distinctly odd, coming from someone who did similar things at similar ages and, it would appear, for similar reasons. But she doesn’t at this moment have the power to break the familial cycle, with its hints and implications of incest. That waits until later.

Camille’s decision to enter this cauldron of weirdness reinforces the idea that Sharp Objects is more about family patterns and dynamics than detection. In one of the flimsier rationales in the book, Camille stays with her mother, her stepfather, and her adolescent sister, ostensibly for the sake of saving the paper money, but this decision is insane given her relationship to the family. That she continues to stay as events become more and more macabre and surreal are equally insane and implausible. Camille should leave, and that’s obvious to any sane reader and should be obvious to her. That she stays anyway indicates that the story has motives different than the ones I initially assumed.

* Freud has a much stronger mythic element to his work than is commonly supposed—and so I’m justified in using myth and Freud in this way. Much of his work is unfalsifiable, giving what is nominally a scientific body of work a distinctly literary quality, and the supposed universality of many of his concepts (the death drive, the Oedipus complex, etc.) are not supportable.

* Let me reproduce the footnote at the link:

As Judith Levine notes in Harmful to Minors: The Perils of Protecting Children from Sex: “One striking pair of contradictory trends: as we raise the age of consent for sex, we lower the age at which a wrongdoing child may be tried and sentenced as an adult criminal. Both, needless to say, are ‘in the best interests’ of the child and society.” And, as Laurie Schaffner points out in a separate essay collection, “[…] in certain jurisdictions, young people may not purchase alcohol until their twenty-first birthday, or may be vulnerable plaintiffs in a statutory rape case at 17 years of age, yet may be sentenced to death for crimes committed at age 15 [….]”

Laws [. . .] reflect race and gender norms: white girls are the primary target of age-of-consent laws, while African American youth are the target of laws around crime and delinquency. The contradictory trends are readily explained by something rather unpleasant in society.

I didn’t elaborate on what the “unpleasant” thing may be and won’t here, either, but you’re welcome to take a shoot at your best interpretation in the comments.

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