Anglo-American society never quite embraced Samuel Johnson’s idea that “nothing odd will do long.” His reference point was Tristram Shandy (1766), Laurence Sterne’s odd autobiographical novel filled with so many asides and digressions that it eventually cops to its own pointlessness. Though right about the trend-setting potential of Tristram Shandy, Dr. Johnson was completely wrong about oddity within culture.
Amid the conformity of British capitalism and especially that of the American version, oddity endures but is constantly displaced by new oddities vying for consumer attention. We are often too busy or too incurious about the previously odd to track its subsequent fate. History being full of curios and oddities is what makes it seem clunky, non-seamless, and non-optimized to devotees of presentism. The internet dutifully organizes the previously avant-garde within a mainstream buffet, enabling consumers to pick and choose the “alt” to suit current tastes and esthetics (tattoos, piercings, Doc Martens) without the bother of historical context.
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