"I am one of those," thunders Marty Peretz, "who believes that Tom Wolfe is among the most penetrating and understandably literate social observers and social commentators of the age." He means "literary," but I suppose it's also true that we should understand a writer to be literate, even if that writer is the penetrating Tom Wolfe. And speaking of penetrating, here is the opening exceprt from Wolfe's Margaret Meadian harumph through the jungles of Duke:
Every time the men's-room door opened, the amped-up onslaught of Swarm, the band banging out the concert in the theater overhead, came crashing in, ricocheting off all the mirrors and ceramic surfaces until it seemed twice as loud. But then an air hinge would close the door, and Swarm would vanish, and you could once again hear students drunk on youth and beer being funny or at least loud as they stood before the urinals.
Two of them were finding it amusing to move their hands back nad forth in front of the electic eyes to make the urinals keep flushing. One exclained to the other, "Whattaya mean, a slut? She told me she's been re-virginated!" They both broke up over that.
"She actually said that? Re-virginated?"
"Yeah! Re-virginated or born-again virgin, something like that!"
"Maybe she thinks that's what morning-after bills do!" They both broke up again. They had reached that stage in a college boy's evening at which all comments seem more devastatingly funny if shouted.
Urinals kept flushing, boys kept disintegrating over one another's wit, and somewhere in the long row of toilet cubicles somebody was vomiting. Then the door would open and Swarm would come crashing in again.
It's a list of literary (not, note, literate) infelicities. No one says that very loud music is "amped-up." You'd just say that it's very loud. There's an idiomatic expression that an excitible or excited person is "amped up," as in "keyed up," but that's not what Wolfe is talking about.
There's the mysterious "air hinge," by which Wolfe presumably means a "door closer," probably a manual door closer, which is an arm attached to a hydraulic (oil, not air, brother) cylinder that slows the closing action of the door.
There's the odd idea that the "amped-up onslaught" is entirely cut off--it "vanishes"--by the opening and closing of a bathroom door. Is it a soundproof bathroom? Is there no bass?
There are the "students drunk on youth and beer." A better writer would cut the cliché and just say "drunk." We're at college so we can assume the culprit is beer. Unless you were Tom Wolfe, you wouldn't begin to satirize, say, an Upper East Side cocktail binge with "socialites drunk on middle age and wine."
There's the misattribution of "being funny or at least loud" to youth, even though Wolfe, surely, has seen any number of middle-aged salarymen booming over the bar with what they believe to be great good humor and devestating comic timing. There is, at very least, the example of Martin Peretz.
There's the basic misobservation. To paraphrase Slim Pickens as Major Kong, I've been to a lot of airports, some highway rest stops, and a train station, and never once have I encountered a motion-sensor toilet that works with such consistency you can keep it flushing merely by waving your hand past the electronic eye.
There's the roaring-forties "broke up" for "laughed."
There's the profusion of unnecessary exclamation points in dialogue that we already understand to be shouted.
There's the needless repetition for emphasis. The students are "being funny or at least loud," and we already know that they're "drunk on youth and beer," so why tell us only a few lines later that "they had reached that stage in a college boy's evening at which all comments seem more devestatingly funny if shouted." Is it once again necessary to get that modifying "college" in there? And isn't mistaking loud for funny a relatively universal condition of the human drunk?
There's the goofy figure of speech: "boys kept disintegrating over one another's wit." It's an obvious play to make "broke up" more menaingful as a metaphor, but it only muddies it. Breaking up, disintegrating--are they drunk, or is our author on acid?
It proceeds apace from there to a drunken fight scene, a governor screwing a student, and seventeen thousand pages of seven-hundred-year-old Tom Wolfe attempting to inhabit a world whose essential idiom is as alien to him as Iraq to a writer for the
National Review. It is quite possibly the worst book ever written about college life in America, made doubly bad by the sociological pretensions of its author, who casts types more broadly than the black-guy/white-guy geniuses who invented the buddy-cop movie. His prose seems composed of a vast selection of pseudojournalistic solecisms selected almost at random. His dialogue makes Dan Brown sound like Graham Greene. His capacity to craft black characters deserves the full satirical treatment by Ishmael Reed. He is quite possibly the worst novelist in America, and yes, I am including Plum Sykes in that judgment.
Some will argue that
The Bonfire of the Vanities is better. Those people are wrong. Some will say that it's true Wolfe never made much of a novelist, but
The Right Stuff was good reporting. They too, are wrong. Wolfe is a writer with no sense of discernment, who believes that through accretion of detail and clever modifiers alone his work will achieve a Balzacian scope and a Tolstoyan vision (or vice versa, if you prefer). He's the sort of guy who takes every photograph in panorama, just in case. When he does manage to focus, it's never on the right thing. He's the kind of guy who says, "There are really only two kinds of men in the world," and believes it.
Marty Peretz compares Wolfe and his
rather lame Times Magazine bit on real estate to Mencken, ye gods! Perhaps if Mencken had been forcibly bred with his old, hairy nemesis Jennings Bryan to produce a verbose populist with a minor command of European languages (le tout New York . . . oooo!). If these are the guardians of our culture, I tell you, it's a good thing our collegians eschew culture entirely (
merci, M. Wolfe) and stick to weak lager.