Somewhere in Delmore Schwarz’s journals he remarks on the
brilliance of the American “sure”.
He doesn’t say anything more, but I’d speculate that Schwarz
intuited that certain words are novels – and not just novels, but state of the
nation novels, U.S.A. novels.
Like so much in the U.S.A, the word has mutated since the
forties. It has become the bogus absolutely. Of course, this mutation is not
unrelated to other mutations abroad in the land – for instance, the systematic
skinning of the working class, from their place in the popular arts to their
dignity to their paychecks. Sure was both the extended hand and a word to be
spoken out of the side of the mouth by private dicks and mobsters. Sure was off
the farm – as was the population, draining into Detroit and Chicago and Los
Angeles and Cleveland, making steel in Youngstown and Pittsburg, waging labor
war in Flint. Sure was familiar with numbers runners and the overflowing
toilets in neighborhood taverns on Friday night. Sure had all beef hotdogs in
its teeth and the ball game on the radio.
Absolutely doesn’t. Absolutely is the fated, that is, planned
erosion of the manufacturing sector. Absolutely is the relentless rise of the
service sector. Absolutely is waitresses setting out jauntily to make money
while going to college and ending up three jobbing it to make payments on the
college loan. Absolutely is the cool
music played at starbucks. Absolutely is emotional labor, while emotional
surplus value is hauled off to be plasticized in the cultural industries. But
absolutely never reaches into the now dominent upper reaches, who invaded every
crannie of the popular arts in the U.S.A. and made it a mirror of their own
vanity. Absolutely is said to them. They never say it back. Instead, they say
things like, I’ll have the Chilean sea bass.
I sure hate absolutely.
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