Amazon.com As witty as Michael Lewis, more sarcastic than Bobos in Paradise, bloodthirsty pop culture critic Joe Queenan talks trash about his generation and its "lifestyle über alles philosophy" in his career-capstone screed, Balsamic Dreams. And what distinguishes the baby boomers, in Queenan's acerbic opinion? "They don't ever actually want anything. They just want a huge number of choices.... They have to videotape everything. They have bottomless faith in self-help, though it's obviously not working.... They're stupefyingly self-centered, unbelievably rude, obnoxious beyond belief, and they're everywhere." Queenan bemoans "the frantic attempt by roly-poly middle-aged Republicans [also known as "the Man in the Gray Flannel Track Suit"] to evince an aura of coolness because they possess one (1) Smashing Pumpkins record and two (2) suede jackets with virtually imperceptible leopard spots." He demolishes Paul Allen's Experience Music Project with sentences like buzz bombs. James Ellroy says that Queenan is "half-Calvinist, half-nihilist," and this book proves it. Perhaps most important, Queenan reveals that "middle-aged men who wear baseball caps turned backwards do not look like Puff Daddy. They look like De Niro's doomed moron catcher in Bang the Drum Slowly." --Tim Appelo From Publishers Weekly What distinguishes the baby boomers? According to film and social critic Queenan (Red Lobster, White Trash, and the Blue Lagoon) in this witty, sardonic and heartfelt paen to his fellow aging boomers, they weren't the first generation to sell out "but they were the first generation to sell out and then insist that they hadn't." Deftly distilling the impact of a wide range of events in popular culture, he cites April 21, 1971, as one of "ten days that rocked the world" for boomers, with the release of Carol King's album Tapestry. Meanwhile, recent films such as What Lies Beneath and The Haunting appeal to boomers, he observes, with the message, "Just because you're dead doesn't mean you can't get your life organized." And, he asks, won't someone "admit that La Vita e Bella is Holocaust-denying crap?" Queenan occasionally belabors his humorous conceits (e.g., he ranks baby boomers as the 267th best generation, "right behind the Carthaginians in 220 B.C."). Yet he can also cut to the quick: "We abandoned the poor, the downtrodden and the oppressed [for] postdoctoral work in American Studies.... We made millionaires out of nitwits like Deepak Chopra and Tom Clancy while geniuses starved." (June)Forecasts: Queenan's broad, well-defined audience will eat up this cultural criticism lite. With a 12-city author tour and national print ad campaign timed for Father's Day, this self-proclaimed sellout will sell big.Copyright 2001 Cahners Business Information, Inc. See all Editorial Reviews
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这本书的封面设计简直是一场视觉的盛宴,那种复古的色调和字体选择,让人立刻联想到上世纪中叶的某种经典美学,充满了怀旧的张力。装帧的质感也相当考究,拿在手里沉甸甸的,透露出一种老派的、值得珍藏的意味。虽然我还没有深入阅读内容,但仅仅是翻阅扉页和目录时流露出的那种精心打磨的痕迹,就足以看出作者在呈现“历史”这件事上的用心良苦。我尤其欣赏那种大胆的排版,有些段落的处理方式,似乎在无声地模仿着那个时代杂志或宣传册的风格,让人在阅读之前,就已经被带入了一种特定的时代氛围之中。这种对形式的执着,似乎在暗示着,这本书不仅仅是关于叙事,更是一次关于“如何讲述”的实验。它成功地营造了一种“重要性”的错觉,一种对特定历史群体的夸张致敬或讽刺,让人迫不及待想探究其内在的观点究竟是否能匹配其外表的隆重。这种初见的冲击力,远超一般社科读物的平淡无奇,它自带一种戏剧性的开场,让人对即将展开的论述充满了好奇与期待。
评分这本书中对于特定时代文化符号的引用和解构,简直是令人拍案叫绝的一场文化扫描。那些被反复提及的音乐、电影片段,以及消费主义的标志物,被作者娴熟地嵌入到叙事的主干之中,它们不再是简单的背景装饰,而成为了推动历史进程的实际驱动力。我观察到作者对于流行文化与社会思潮之间微妙的互动关系有着异常敏锐的洞察力,他似乎能精准捕捉到那些看似无关紧要的流行趋势,是如何一步步塑造了一代人的集体潜意识和价值取向。这种深挖文化肌理的功力,使得整本书的论述拥有了扎实的土壤。它不仅仅是在讲述“发生了什么”,更是在探讨“人们是如何感觉和思考的”。每一次引用的文化典故,都像是一把精确的钥匙,打开了通往特定历史心理状态的门锁,让人不禁要停下来,回想自己是否也曾被那些同样的符号所影响。作者的广博知识量,使得这种文化拼贴显得既丰富又具有说服力,避免了流于表面的罗列堆砌。
评分这本书在处理“一代人”这一概念时,显示出了一种对群体内部多样性的深刻认识,而非简单地将“婴儿潮一代”视为一个铁板一块的同质化群体。虽然标题暗示了某种概括性,但实际内容似乎在小心翼翼地拆解这种概括,展示出不同社会阶层、不同地域背景下的个体经验是如何交织在一起,共同构成了这个庞大历史群体的复杂面貌。我注意到作者在叙述中,时不时会穿插一些具有强烈个人色彩的微观故事,这些小插曲有效地冲淡了宏大叙事的单调感,使得历史的脉络更加丰满和人性化。通过这种大小叙事的交织,作者成功地建立了一种平衡:既能描绘出时代的大潮,又不失对个体命运流转的关注。这种细致入微的观察力,体现了作者在构建历史图景时所具备的细腻笔触,让人在阅读完宏观的论述后,依然能清晰地感受到活生生的个体在历史洪流中的挣扎与前行。
评分从语言风格上来说,这本书展现出了一种令人耳目一新的、略带夸张和自我调侃的语气,这为严肃的历史探讨注入了一股独特的活力。作者似乎并不惧怕使用略显浮夸的形容词和高度浓缩的判断句,这让阅读过程充满了戏谑和思辨的张力。我能感受到一种强烈的“主观声音”在其中回响,它不像传统历史著作那样追求客观中立,反而是坦然地展示出一种倾向性,一种对所探讨群体的复杂情感——既有理解的深沉,也夹杂着一丝难以掩饰的讽刺意味。这种“不走寻常路”的表达方式,极大地提高了阅读的参与度,读者被迫要不断地对作者提出的论断进行自我校准和反思。它不是在给你标准答案,而是在提供一个充满个性和激情的视角,邀请你加入到这场对历史记忆的辩论之中。这种大胆的姿态,使得这本书在众多严肃历史著作中显得格外醒目和有趣。
评分从阅读的节奏感来看,这本书的叙事节奏无疑是经过深思熟虑的,它似乎在刻意模仿一种断裂而又连续的记忆流。初读几页,我发现作者并没有采取那种传统的、按部就班的时间线梳理方式,反而像是在碎片化的记忆片段中穿梭,一会儿是战后婴儿潮的繁荣景象,一会儿又跳跃到对社会变革的深刻反思。这种非线性的结构,虽然需要读者集中注意力去拼凑脉络,但同时也带来了极大的阅读快感,仿佛自己在参与一场考古发掘,不断地从泥土中揭示出被掩盖的真相。这种叙事手法对于一个探讨“一代人”的宏大主题来说,是极具挑战性的,它要求作者必须拥有高超的文字驾驭能力,确保每一次跳跃都不会让读者感到迷失方向。我感觉作者是在用一种近乎诗歌的、跳跃式的语言来描绘一个时代的集体心声,那些曾经被认为是理所当然的生活方式,在作者的笔下被重新审视,甚至带上了一层近乎神圣的、又或者说是被过度神化的光环。这种处理方式,让原本可能枯燥的历史梳理变得生动且充满争议性。
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