My friend said in passing that my writing reminds him of Dave Hickey’s and, not being the kind to let any kind of compliment-shaped butterfly escape my net, I picked up a book of Hickey’s essays at my local library – the only one of his many books they have – and started reading it. (I only belatedly recognized Dave Hickey as the very person to whom Terry Allen’s great song “Amarillo Highway” is dedicated, and is maybe about.) The book the library has is Perfect Wave: More Essays on Art and Democracy. It’s a slim volume and a late one, published in 2017, only a few years before Hickey’s death. The opening essay, “Baby Breakers,” tells the story of Hickey’s interesting childhood up to and including a major surfing accident. Moving to LA from Texas, getting interested in surfing thanks to the proximity of both celebrities and the ocean; not being very good at surfing, but learning from the topography of the ocean floor where good waves were likely to break, and thus earning in true Nerd Picaresque fashion the grudging and stingy respect of his fellow surfers. Then, the big accident, which is where the limitations of Hickey’s writing become really apparent. His descriptive enthusiasm outruns his narrative skill, and as a result, it’s very hard to tell what exactly happened. I think what happened is that young Hickey decided to catch a “perfect wave” despite knowing, via surfer triangulation, that it would crash him into a pier, and it crashed him into a pier. Though he long predates social media his prose style shares a grating quality with writers who are or have been inveterate Twitter posters – each sentence is written as a tweet, packed and maximalist, coiled so tight with description that it effectively chokes the breath from the piece of writing as an organic whole. It exhausts the very eyes to read.
I’m also ill-disposed towards “Baby Breakers” because it’s a perfect example of a genre I absolutely hate: Boomer’s Interesting Childhood. I would classify Hickey, born in 1940, as not exactly a boomer, but close enough. He was born such as to have ample time to catch the actual “Perfect Wave,” the tidal sluice of money into the real economy thanks to Cold War military Keynesianism. You wouldn’t believe the type of shit our sixth grade Hickey, a reasonably bright child, was getting up to in Los Angeles, and there’s a base note of self-satisfaction about this. But how justified is that self-satisfaction? It seems like it was pretty easy for a bright child to have a rich and memorable childhood in a place like Los Angeles in a time like the 1950s, but the kind of fetishism that takes place here is characteristic of the BIC genre. The surfing culture, the affordable housing, the city infrastructure (Hickey takes a bus to the Coast Guard office to pick up ocean-floor maps), the mingling with celebrities and the much more modest GINI coefficient that mingling implies, are presented as qualities of Hickey’s – brightness, alacrity, daring, cool – rather than long-gone macroeconomic policy structures. The conditions for a 1950s American adolescence, be that adolescence cool or uncool, boring or interesting, are obsolete.
If the base note was self-satisfaction about the interesting childhood, the top note was obliviousness to the environment that made it possible, which is what really grates. My omnibus feeling about this first essay is resentment, resentment which extends beyond the actual boundaries of my knowledge about Hickey’s work as resentment tends to do. I actually resent the confluences of history that made a career like Hickey’s possible. It pisses me off that, for a few decades, a person could make art and a living out of the mere act of discernment, of taste. (Recent attempts to recreate this within our current cultural environment – think “Perfectly Imperfect” – are desperately fucking uncool. For example, singer-songwriter Clairo, on the mass-market Bialetti Moka Pot: “It’s the best way to make coffee in my opinion, and I love it as a part of my morning ritual.”) It’s not just how the cultural and media saturation, the algorithmic accessibility of everything, the microtargeting and the slop, are degrading our experience, which they are. It’s that this degradation of our experience is attendant to another, deeper degradation; this degradation of our souls is the soft outer body around a hard endoskeleton of macroeconomic suck. This isn’t the 1970s, you can’t live in Manhattan as a part-time editor of an art magazine, spending your nights listening to records until dawn breaks as Hickey rhapsodizes about doing in his pretty-good essay about the Carpenters song “Goodbye to Love.” Goodbye to love, indeed. And why stop at love? Goodbye to free time, goodbye to disposable income, goodbye to anything open past 7 PM, goodbye to public transit, goodbye to human interaction. Would I find enjoyment in the campy excesses of a fringe-dweller life in Vegas? Probably! But my alarm is set for 7:00, and I’ve got floaters in my eyes that are bad enough already, and there’s no margin of error. You might as well ask me if I’d enjoy living on Mars. I wish it were otherwise but, unlike the boomers, I’ve got no delusions that what I want matters in either a personal or a world-historical sense.
There exists a 2016 article about Hickey and his oeuvre in the Los Angeles Review of Books. It’s called “The Inside Outsider,” by a person named Jarrett Earnest. Hickey had, over his career, “invented a way of engaging art that is so singular and spectacular it can’t be compared with anyone else’s,” and this way consists of “theatricalizing the distance” between the inner experience of the viewer and that of the artist, on which the viewer’s vantage is “resolutely outside.” “To enact this externalized mode of inner experience,” Earnest writes, “Hickey has fashioned himself into a character in his own writing.” I don’t doubt that this has paid critical dividends; I doubt only whether I’m terribly interested in it. None other than T. Ruggles Pynchon (born 1937, a few years before Hickey, and still kickin’) wrote a whole book about externalizing the internal that couldn’t be more different. (Maybe it’s unfair to compare novels to criticism, or to compare Pynchon to Hickey, but this is my newsletter and I do what I want.)