In the early nineties, Beck sang 'I'm a loser, baby, so why don't
you kill me?' and changed everything. Suddenly, it wasn't so bad to
be a nerd or an oddball; loser chic had begun. Ten years later,
after all the computer nerds have had the last laugh, Jon Paul
Fiorentino turns to Thorstein Veblen's seminal social science text
from 1899, The Theory of the Leisure Class. Veblen's book
introduced to our culture the terms 'conspicuous consumption' and
'nouveau riche'; it identified a new demographic, the leisure
class, and demarcated its position in culture. The Theory of the
Loser Class, then, is an art manifesto for the aesthetics and
ethics of loser culture. If the Anthony Michael Hall character in
The Breakfast Club wrote poems (and, deep down, you know that he
did), they'd probably read a lot like The Theory of the Loser
Class. Drawing on texts ranging from Thorstein Veblen's
groundbreaking The Theory of the Leisure Class to Star Wars (the
nerd Bible) for inspiration, this carefully crafted suite of poems
documents the tribulations and insecurities of everyone's inner
geek. Fiorentino maps the psychic territory of abjection across the
shopworn spaces of suburban Winnipeg, where a landscape of aging
strip malls, burned-out houses and living rooms littered with
video-game consoles serves as a mirror to the inner states of urban
ennui among the socially inept and the culturally vexed. By turns
compassionate, funny and filled with selfloathing, The Theory of
the Loser Class is never without the possibility of redemption;
'And if a loser falls,' says the narrator of 'Right in the Spine,'
'I feel it.' The Theory of the Loser Class is the perfect
soundtrack for the alienated and the hopeless.
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