The cadence of memory and the dust of ages weigh heavy and thick on our shelves, in brittle spines and crumbling pages that our parental generation clutched like lifelines. They clung to Kerouac, his essence pouring over highways and neon nights, and to Hemingway, captivated by his tales of bullet-riddled afternoons and salt-stained horizons.
Those stories bled; they smelled of whiskey, of the scarred American dirt, that heavy thud of life lived without filter. Words not crafted to keep readers comfortable–but meant to pierce–drag you into the heat of the streets or the sear of a tropical sun to leave you marred.
By the time it reached me, the weight had lightened somehow, as though softened by all the handling. We got Jonathan Livingston Seagull, clipped-winged and untroubled, and Love Story, that delicate ache, deep enough to soothe our hearts but never quite enough to draw blood like we wanted the shape of pain without the mess, a cleanse without the callouses. Our books were gilded, perhaps, with empathy, but empathy contained and neatly folded back between safe covers.
And now, my son’s generation has been handed the pale gleam of vampires, the sanitized fantasy of perpetual youth under the fluorescence of high-school gyms and rain-soaked parking lots. The monsters became prettier, polished, and politely edited. He grew up with, but never knew, “Why We Love Dogs, Eat Pigs, and Wear Cows”—morality parceled into bite-sized facts, virtues aligned in rows on a plate and all packaged, easy to consume, with no trace of the grit and sorrow and fire that once crackled at the heart of every great story.
Maybe it’s true what they say: stories reflect the age they’re born into, and perhaps we’re here in an age of pixels and politeness, where stories are pixelated versions of their former selves, each generation a little dimmer, a little more diffuse. It’s as if the high horse we once barreled down on has died, leaving us exposed to the elements—only, it is not the thrill of the wind whipping against us but the gradual erasure of the road itself, each layer of meaning eroding just enough to smooth the ride, to keep us from noticing the decline.
And where do we go from here? From bloody knuckles and sun-burnt prose to safe cages with padded walls, as if all that once made us alive has been sanded smooth, softened for the market? Ain’t that the way? Downhill, in a slow descent, smiling on the way down, oblivious, in this rusted-out handbasket—no hardtop, no spine.