Mean Boys

A Personal History

De: Geoffrey Mak

Narrado por: Geoffrey Mak

Duración: 7 h y 51 m

Resumen del Editor

For listeners of Monsters and Gay Bar, a ferocious inquiry into art and desire, style and politics, madness and salvation, and coming of age in our volatile, image-obsessed present.

You know them when you see them: mean boys take up space, wielding cruelty to claim their place in the pecking order. Some mean boys make art or music or fashion; others make memes. Mean boys stomp the runways in Milan and Paris; mean boys marched at Charlottesville. And in the eyes of critic and style expert Geoffrey Mak, mean boys are the emblem of our society: an era ravenous for novelty, always thirsting for the next edgy thing, even at our peril.

In this pyrotechnic memoir-in-essays, Mak ranges widely over our landscape of paranoia, crisis, and frenetic, clickable consumption. He grants listeners an inside pass to the spaces where culture was made and unmade over the past decade, from the antiseptic glare of white-walled galleries to the darkest corners of Berlin techno clubs. As the gay son of an evangelical minister, Mak fled to those spaces, hoping to join a global, influential elite. But when calamity struck, it forced Mak to confront the costs of mistaking status for belonging. Fusing personal essay and cultural critique, Mean Boys investigates exile and return, transgression and forgiveness, and the value of faith, empathy, and friendship in a world designed to make us want what is bad for us.

©2024 Geoffrey Mak (P)2024 Bloomsbury Publishing Plc

Reseñas de la Crítica

'No one before Geoffrey Mak has so well described the ‘feeling’ of the Millennial era that ended with the pandemic—or acknowledged the absolute vanishing of this ‘feeling’ ever since, along with the alienation and exquisite spiritual longing left in its wake. This book is a rare comfort, a companion, a book that makes you say: yes, that is exactly how it is.' Torrey Peters

'Geoffrey Mak has a rare ability to inhabit and narrate the contemporary, that enticing hollow of the now, as seen and heard and felt from its current cores of Berlin and New York. There, art, fashion, and nightlife are one continuous attraction, best investigated through the art of hanging out, at which Mak is both a deft hand and delightfully self-aware. What emerges are many of the themes of our times: psychosis, vertigo, addiction, identity, status, casual sex, casual violence, the post-industrial hustle. In the corners lurk the mean boys, avatars of the sheer carelessness of power. Yet Mak also discovers something like a faith in the precious, passing quality of anything that can be truly cherished. His is a sensibility of shelter in the storm.' McKenzie Wark