Author: Mark Dery File Type: epub A wide-ranging collection of essays on millennial American culture that marshals a vast pop vocabulary with easy wit (The New York Times Book Review). From the far left to the far right, on talk radio and the op-ed page, more and more Americans believe that the social fabric is unraveling. Celebrity worship and media frenzy, suicidal cultists and heavily armed secessionists modern life seems to have become a pyrotechnic insanitarium, Mark Dery says, borrowing a turn-of-the-century name for Coney Island. Dery elucidates the meaning to our madness, deconstructing American culture from mainstream forces like Disney and Nike to fringe phenomena like the Unabomber and alien invaders. Our millennial angst, he argues, is a product of a pervasive cultural anxietya combination of the social and economic upheaval wrought by global capitalism and the paranoia fanned by media sensationalism. The Pyrotechnic Insanitarium is a theme-park ride through the extremes of American culture of which The Atlantic Monthly has written, Mark Dery confirms once again what writers and thinkers as disparate as Nathanael West, Fyodor Dostoyevsky, Sigmund Freud, and Oliver Sacks have already shown us the best place to explore the human condition is at its outer margins, its pathological extremes. Dery is the kind of critic who just might give conspiracy theory a good name. Wired**From Publishers WeeklyCentering his critique of the contemporary pop cultural landscape around the title image, borrowed from a sobriquet once applied to Coney Island, Dery sees a giddy whirl of euphoric horror where cartoon and nightmare melt into one. He can be an astute observer of trends, adept at connecting seemingly disparate phenomena. The best essays here focus on our obsessions with conspiracy and paranoia, the new grotesque aesthetic in the arts and the changing dynamics of technophilia and technophobia in the new computer age. Unfortunately, the book is padded with writing on minor topics. Dery shifts focus rather too quickly?one has the sense that he is throwing ideas at a wall ostensibly to see what sticks, but really hoping to distract attention from the results through the speed of his performance. And, too often, he filters his subject matter through suppositions plucked from high theory without examining the ideas hes borrowing, perhaps least successfully in his deployment of Georges Bataille to unravel the cultural import of Jim Carrey. Some inconsistencies stick out at one point, he characterizes deconstruction as a vogue, barely above the level of a conspiracy theory at another, he concludes his analysis of freaks as culturally other with one of the hoariest of deconstructionist chestnuts, the condemnation of binary oppositions. Such jargon limits his writing, and makes the book feel dated, as his reliance on interpretive strategies left over from the 70s (particularly from French thought Kristevas abject, Baudrillards postmodern, Deleuze and Guattaris schizophrenic) is stale even by the standards of academe. 1999 Reed Business Information, Inc. From Booklist Like many essays on pop culture of contemporary America, Derys collection is an everything-including-the-kitchen-sink view of the end of the millenium (including comparisons of the Warren Report to Finnegans Wake, and the authors fascination with the Edvard Munch painting The Scream). Occasionally, Derys ruminations on our Nike-obsessed, Jim Carrey-imitating, X-Files-paranoid culture are hilarious at other times, they definitely are not. But his point is well taken, that as we approach the next century, the U.S. is more of a culturally aware, and thus more culturally consuming, country than ever before. The authors previous take on cyberspace, Escape Velocity, seeps in here as well the information age pushes the bits and pieces of pop culture further in our faces every day. The title is an old term used to promote New Yorks Coney Island amusement park, and a more appropriate monicker for 1990s culture cant be found. With no war to distract us as in previous decades, the culture itself has become a focal point for societal anxiety, and Derys insights into the whys of this upheaval are most illuminating. Joe Collins