No generation in history has experienced the kind of cultural and societal shift that millennials have, no period so tumultuous, so fervid, so unapologetically modern. But while science and technology have been so effectively forged in this smithy of currentness, the arts have seemed to lapse into the foreground, antagonistic and outdated towards this age of information. But it is in the arts where millennial identity is made, where an antidote to the vacuousness of 21st century can be found.
Every generation has been defined by its literature and arts; the 20’s were encapsulated by Fitzgerald and Hemingway, who defended their Lost generation, showing them still wayward, but not broken, not defeated. What better statement can be found about the state of America (or even the world) in the 50’s than Kerouac’s On the Road or the poetry of Ginsberg, or about the drugs, vapidity, and alienation felt in the bright lights of the big city in the 80’s than in works by McInerney or Bret Easton Ellis? These writers are so essential to their times it would be nonsensical and impossible to understand those times had they not existed, but the beauty of their works is that they are both grounded in and informative of their own times but also transcendent, applicable to our own and the lives of human beings ever after.
This trend of writers and artists dictating the importance of their time is apparent throughout human history, before the novel, before the poem, before the canvas, in oral traditions, cave painting, and song. But this worryingly drops off around the time millennials started appearing. Some are only on the cusp of adulthood, but many have already grown. But there is no millennial novel that we can pick out like we can The Sun Also Rises. It seems millennials may not even have a place in the arts like their forefathers, and perhaps more importantly, they might not care. But while this seems to be the case, it is not and is complicated by significant factors. The STEM trend has long been a worrying one, with jobs in the humanities becoming scarcer and the cost of living for an artist becoming astronomical. This is not to discount the value of work being done in STEM fields, rather it should not be the only mode of existence; “Go into STEM” should not be the prescriptive catch-all it’s becoming. In the midst of our technological living, we are quick to forget that humans are essentially story animals, and storytelling thus the most human action.
Millennials do have a place in art and literature, any generation does as long as they are human, but they are slower to. They find themselves straddling a not-so-distant past and a rapidly approaching future, born at the death of one century and the explosive birth of the next. Millennials therefore, instead of having nothing to say or caring to, have the potential to say so much more than any generation before them. The Lost had a great war, and we had a great war too, a great many on battlefields, on computer screens, in classrooms. Society is a battle zone. Millennials occupy the most fertile ground to draw on for artistic expression, and there too is meaning and significance found. Artists before needed voices to give a voice to the voiceless, now all that’s needed in this sea of noise, where anyone with a keyboard has a say, are voices to unite us, to inspire us, to define us.
- Eileen Cunniffe’s Mischief and Metaphors: Essaying a Life - May 3, 2023
- Kat Meads’ These Particular Women - April 24, 2023
- Superstition Review’s Issue 31 Launch Party - April 21, 2023
One thought on “Intern Post, Carson Abernethy: A Second Lost Generation: The Case for Millennials in the Arts”
Great read. Its only easy to look back on a generation to find out the influencing factors, especially when it comes to literature or the arts.
You must log in to post a comment.