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Jia Tolentino Books

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“This shift partly reflects basic social physics. Having a mutual enemy is a quick way to make a friend—we learn this as early as elementary school—and politically, it's much easier to organize people against something than it is to write them in an affirmative vision. And, within the economy of attention, conflict always gets more people to look.”

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“As with the transition between Web 1.0 and Web 2.0, the curdling of the social internet happened slowly and then all at once. The tipping point, I'd guess, was around 2012. People were losing excitement about the internet, starting to articulate a set of new truisms. Facebook had become tedious, trivial, exhausting. Instagram seemed better, but would soon reveal its underlying function as a three-ring circus of happiness and popularity and success. Twitter, for all its discursive promise, was where everyone tweeted complaints at airlines and bitched about articles that had been commissioned to make people bitch. The dream of a better, truer self on the internet was slipping away. Where we had once been free to be ourselves online, we were now chained to ourselves online, and this made us self-conscious. Platforms that promised connection began inducing mass alienation. The freedome promised by the internet started to seem like something whose greatest potential lay in the realm of misuse.”

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“For the better part of a decade, I figured I was better off being slightly unhealthy and leaving the active pursuit of body-related matters alone. This all changed once I joined the Peace Corps, where it was impossible to think too much about my appearance, and where health was of such immediately importance that it was always on my mind. I developed active tuberculosis while volunteering and, for some stress- or nutrition-related reason, started to shed my thick black hair. I realized how much I had taken my functional body for granted. I lived in a mile-long village in the middle of a western province in Kyrgyzstan: there were larch trees on the snowy mountains, flocks of sheep crossing dusty roads, but there was no running water, no grocery store. The resourceful villagers preserved peppers and tomatoes, stockpiled apples and onions, but it was so difficult to get fresh produce otherwise that I regularly fantasized about spinach and oranges, and would spend entire weekends trying to obtain them. As a prophylactic measure against mental breakdown, I started doing yoga in my room every day. Exercise, I thought. What a miracle!”

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“The timidity in mainstream feminism to admit that women’s choices—not just our problems—are, in the end, political has led to a vision of “women’s empowerment” that often feels brutally disempowering in the end. The root of this trouble is the fact that mainstream feminism has had to conform to patriarchy and capitalism to become mainstream in the first place. Old requirements, instead of being overthrown, are rebranded. Beauty work is labeled “self-care” to make it sound progressive.”

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“These days, it is perhaps even more psychologically seamless than ever for an ordinary woman to spend her life walking toward the idealized mirage of her own self-image. She can believe – reasonably enough, and with the full encouragement of feminism – that she herself is the architect of the exquisite, constant and often pleasurable type of power that this image holds over her time, her money, her decisions, her selfhood and her soul.”

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“I cling to the Milan women's understanding of these literary heroines as mothers. I wish I had learned to read them in this way years ago--with the same complicated, ambivalent, essential freedom that a daughter feels when she looks at her mother, understanding her as a figure that she simultaneously resists and depends on; a figure that she uses, cruelly and lovingly and gratefully, as the base from which to become something more.”

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“Those girls are all so brave, where adult heroines are all so bitter, and I so strongly dislike what has become clear since childhood: the facts of visibility and exclusion in these stories, and the way bravery and bitterness get so concentrated in literature, for women, because there’s not enough space for them in the real world.”

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“Naomi Wolf wrote, in The Beauty Myth, about the peculiar fact that beauty requirements have escalated as women’s subjugation has decreased. It’s as if our culture has mustered an immune-system response to continue breaking the fever of gender equality—as if some deep patriarchal logic has made it that women need to achieve ever-higher levels of beauty to make up for the fact that we are no longer economically and legally dependent on men. One waste of time had been traded for another, Wolf wrote. Where women in mid-century America had been occupied with “inexhaustible but ephemeral” domestic work, beating back disorder with fastidious housekeeping and consumer purchases, they were now occupied by inexhaustible but ephemeral beauty work, spending huge amounts of time, anxiety, and money to adhere to a standard over which they had no control. Beauty constituted a sort of “third shift,” Wolf wrote—an extra obligation in every possible setting.”

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“After Peace Corps, I kept at it. I was back in Houston, I had a lot of spare time, and I spent it at midday yoga classes at expensive studios to which I would buy discounted first-time packages and never return. This period, around 2011, reintroduced me to the world of American abundance. The first time I went into a grocery store and saw how many different fruits there were, I cried. At these yoga classes, I marveled at the fanatic high functionality of the women around me...I was not, at the time, on their level: I had been taking giardia shits in a backyard outhouse for a year straight, and I was flooded with dread and spiritual uselessness, the sense that I had failed myself and others, the fear that I would never again be use to another human being.”

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“People have been carping in this way for many centuries. Socrates feared that the act of writing would “create forgetfulness in the learners’ souls.” The sixteenth-century scientist Conrad Gessner worried that the printing press would facilitate an “always on” environment. In the eighteenth century, men complained that newspapers would be intellectually and morally isolating, and that the rise of the novel would make it difficult for people—specifically women—to differentiate between fiction and fact. We worried that radio would drive children to distraction, and later that TV would erode the careful attention required by radio. In 1985, Neil Postman observed that the American desire for constant entertainment had become toxic, that television had ushered in a “vast descent into triviality.”

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“But even when Facebook isn't deliberately exploiting its users, it is exploiting its users—its business model requires it. Even if you distance yourself from Facebook, you still live in the world that Facebook is shaping. Facebook, using our native narcissism and our desire to connect with other people, captured our attention and our behavioral data; it used this attention and data to manipulate our behavior, to the point that nearly half of America began relying on Facebook for news. Then, with the media both reliant on Facebook as a way of reaching readers and powerless against the platform's ability to suck up digital advertising revenue—it was like a paperboy who pocketed all the subscription money—Facebook bent the media's economic model to match its own practices: publications needed to capture attention quickly and consistently trigger high emotional responses to be seen at all. The result, in 2016, was an unending stream of Trump stories, both from the mainstream news and from the fringe outlets that were buoyed by Facebook's algorithm. What began as a way for Zuckerberg to harness collegiate misogyny and self-interest has become the fuel for our whole contemporary nightmare, for a world that fundamentally and systematically misrepresents human needs.”

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“The heroine's journey, or her lack of one, serves as a reminder that whatever is dictated is not eternal, not predestined, not necessarily "true." The trajectory of literary women from brave to blank to bitter is a product of material social conditions. The fact that the heroine's journey is framed as a default one for women is proof of our failure to see, for so long, that other paths were possible, and that many other ones exist.”

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“To argue against an ideology, you have to acknowledge and articulate it. In the process, you might inadvertently ventriloquize your opposition. This is a problem that kneecaps me constantly, a problem that might define journalism in the Trump era: when you write against something, you lend it strength and space and time.”

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