Youth and what happens when it's gone
(tolstoyan.substack.com)
When he was in his early-20s, he hung a timeline above his desk. He had drawn it himself, meticulously, with a ruler and professional illustration pen. It spanned from 18 to 30, and he glue-sticked little pictures of his favorite authors next to the age at which they’d published their first novels. At 21, Bret Easton Ellis. At 24, Martin Amis. At 25, Michael Chabon and Zadie Smith. At 26, Philip Roth. At 27, John Updike.
When he was in his early-20s, he hung a timeline above his desk. He had drawn it himself, meticulously, with a ruler and professional illustration pen. It spanned from 18 to 30, and he glue-sticked little pictures of his favorite authors next to the age at which they’d published their first novels. At 21, Bret Easton Ellis. At 24, Martin Amis. At 25, Michael Chabon and Zadie Smith. At 26, Philip Roth. At 27, John Updike.
Immorality Begins at 40 (2016)
(ribbonfarm.com)
I discovered something a couple of years ago: Almost all culture, old or new, is designed for consumption by people under 40. People between 40 and Ω (an indeterminate number defined as “really, just way too old”), are primarily employed as meaning-makers for the under-40 set. This is because they are mostly good for nothing else, and on average not valuable enough themselves for society to invest meaning in.
I discovered something a couple of years ago: Almost all culture, old or new, is designed for consumption by people under 40. People between 40 and Ω (an indeterminate number defined as “really, just way too old”), are primarily employed as meaning-makers for the under-40 set. This is because they are mostly good for nothing else, and on average not valuable enough themselves for society to invest meaning in.