I haven’t read any of Chuck Klosterman’s collections before, despite them hanging on my TBR list for years. When I received an email indicating I could review his soon to be released work, I thought it would be the perfect time to explore Klosterman’s writings. Aside from a GQ profile here and there, I didn’t know much about Klosterman’s favorite topic areas or style. Before reading this, I had no idea that he was also a prolific sports writer or a general culture critic since I had only read his music pieces. This collection is a mix of all of those flavors and because of that, I didn’t feel compelled to read each and every piece, but I did read most – even those that I wouldn’t have initially if I had known the topic area without context.
But the contextualizations work and drew me into reading about things that I would have dismissed otherwise. For most of the essays, Klosterman introduced them and describes the time, place, and subject that is captured in the essay. I read each of these introductions and used them to help me determine if I wanted to read a piece even if I thought I wouldn’t have (like the first chapter on an obscure and mostly forgotten junior college basketball game, the piece on Noel Gallagher, the profile of Jonathan Franzen, or an article about attending both Creed and Nickleback concerts in a single evening). Not every piece has this introduction though, which caused me to skip out of the essay if I wasn’t ensnared by the first paragraph.
My favorite standalone piece was “Everybody’s Happy When The Wizards Walk By (Or Maybe Not? Maybe They Hate It? Hard To Say, Really,” which is about actively choosing to not engage with a piece of media that is dominating culture (Harry Potter) and the ramifications this may cause, especially for a culture writer. It was also hilarious to read someone discussing Harry Potter, and what they believe the franchise to be, without having read the novels since Harry Potter was a big piece of my life (and my body – shout out to my predictable Harry Potter tattoo).
One of my favorite lines in the whole collection was, “Here’s something I wrote in Europe in 2008, when I was pretend depressed” and I can’t even remember which essay that introduced now. The collection closes with a piece on collective mourning over celebrity deaths (specifically the loss of David Bowie and Prince in 2016) and ends with the line “I could not psychologically compete. I could not compete with the collective unreal, so I decided to think about something else.” This seems like a profound statement to end a collection of cultural commentary – like maybe Klosterman is finding himself more disengaged with popular culture than he used to be and feels like it’s time to transition to a new topic, just as he moved from covering death to culture. Because I haven’t read most of his work, I’m not sure if this is on point or not, but it seemed very intentional. We’ll see what’s to come from his future works and you can count me in as a regular reader.
Chapters I Skipped:
1) The Light Who Has Lighted the World (Tim Tebow), 2) Liquid Food (Jimmy Page of Led Zeppelin), 3) C’mon Dave, Gimme a Break (Eddie Van Halen of Van Halen), 4) The (Unenthusiastic) Return of the Thin White Duke (Stephen Malkmus of Pavement), 5) User Your Illusion (But Don’t Bench Ginóbli), 6) The Drugs Don’t Work (Actually, They Work Great, 7) Brown Would Be the Color (If I Had a Heart) (Cleveland Browns), 8) Democracy Now! (Guns N’ Roses’ Chinese Democracy album), 9) Metal Machine “Music” (Lou Reed-Metallica Lulu album), 10) Advertising Worked on Me (KISS).
Disclaimer: I was provided with an Advance Reader Copy of this book for free from the Penguin First to Read program. All opinions expressed in the following review are my own and have not been influenced by Penguin.