It seems today that a new stage of life has opened up. Sociologists call it “emergent adulthood,” Time magazine termed it “the Twixter years,” and author Kay Hymowitz referred to it as “pre-adulthood.”
People in this group are over 18, but as they head toward 30 they still act and think like adolescents. They bounce from job to job and relationship to relationship, live with parents at home or in a house with five friends, watch ESPN and play video games (the boy-men) and read “Twilight” and ponder whether he’s just not into you (the girl-women), while all of them sprinkle “like” and “‘n stuff” and “ya know” in their speech. Adolescence used to be a condition you escaped as soon as you could, but these 20-somethings want to prolong it.
We need to counteract them, to restore embarrassment to adolescent habits, and books are a key weapon.
After all, books have the power to fortify attitudes. For instance, the “Harry Potter” books, a wonderful phenomenon for tweens and early-teens, offered so compelling a world of heroic, beset youth and hostile adults that readers clung to Harry well past the proper age. In fact, quidditch matches have spread to more than 200 college campuses. “Twilight” has had a similar impact, intensifying the ordinary shenanigans of teenagers to luridly high melodrama.
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Yes, there are several superb recent novels about teens and 20-somethings by talented writers, like Jeffrey Eugenides’ “The Marriage Plot” and Gary Shteyngart’s “Super Sad True Love Story.” But they have too much sympathy for the emerging adult, too much understanding of young love and companionship, to do the work of correction.
It will take an altogether different book to explode extended adolescence; specifically, a frolicking comic novel that submits the interests and longings of pre-adults to whimsy, burlesque and farce. Not gentle humor, but all-out comedy or satire that casts the whole experience and habitat of pre-adults as both ludicrous and avoidable.
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It will serve a larger purpose, too, the same one that motivated satirists from Aristophanes and Juvenal to Swift and Pope to Mark Twain and the creators of “Dr. Strangelove”: to curb self-indulgence, deflate pretense, and expel stupidity. To take down a popular genre or a representative figure or a trendy pose, one good belly laugh works better than pages of strict criticism.
Link to the rest at CNN and thanks to B.S. for the tip.