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I Wear the Black Hat: Grappling with…
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I Wear the Black Hat: Grappling with Villains (Real and Imagined) (original 2013; edição 2013)

por Chuck Klosterman (Autor)

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4922437,512 (3.53)6
The cultural critic questions how modern people understand the concept of villainy, describing how his youthful idealism gave way to an adult sympathy with notorious cultural figures to offer insight into the appeal of anti-heroes.
Membro:fruittwist000
Título:I Wear the Black Hat: Grappling with Villains (Real and Imagined)
Autores:Chuck Klosterman (Autor)
Informação:Scribner (2013), Edition: First Edition, 224 pages
Colecções:A sua biblioteca
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Etiquetas:Non-Fiction

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I Wear the Black Hat: Grappling with Villains (Real and Imagined) por Chuck Klosterman (2013)

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Inglês (23)  Sueco (1)  Todas as línguas (24)
Mostrando 1-5 de 24 (seguinte | mostrar todos)
Pretty funny book, but the last chapter is the clincher for why this is 5-stars. I won't ruin it for you. ( )
  tmdblya | Dec 29, 2020 |
It's not about the kind of villains you're probably thinking of, except for the one token chapter about Hitler, but spends more time on the public figures decried widely in the 1980s and 1990s, a few from this century. Even though I lived through that time, it had the effect on me of thinking "oh yeah, I haven't thought about him in a long time" or misremembering the particulars of what made each particular one so vilified. It isn't so much about the motivations these people had but the reason why the public perception of the villain's worldview makes them so despised, more about mass psychology and less about criminal psychology. The author is also interested in why certain individuals who have performed similar acts as others are not treated as villains in the same way. It isn't really a how-to guide on avoiding being considered a bad person, or even on how to get yourself noticed as a bad person, but more a series of meditations on different aspects of the phenomenon. ( )
  rmagahiz | Jul 9, 2020 |
Meh. Jag är inte säker på om Chuck Klosterman faktiskt siktade på att irritera mig med sina solipsistiska passager, sin självupptaget popkulturellt kreddiga prosa, sina referenser till amerikansk idrott och sin något svårbegripliga grundidé, men givet att han I wear the black hat flera gånger insisterar på att han ibland ser sig själv som en skurk, så skulle det inte vara någon alltför stor förvåning om det var sant.

Det är en typ av intellektuellt arbete som jag finner tröttsam: en författare som har stor (men inte perfekt) insikt i sitt ämne och intressanta idéer om det, men där hälften av all energi lagts på att vara underhållande istället för tydlig. Detta är dock snarast en estetisk reaktion, och om boken är konsekvent i någon idé så är det i att vi inte skall förväxla estetik med moral (även om den aldrig säger det rent ut). Även om den flera gånger varnar för det, eller (i en välvillig tolkning) exemplifierar hur tröttsamt det kan bli om man gör det, så lider den tyvärr också av sådan slapphet. Jag blir aldrig riktigt klar över om sammanväxlingarna mellan att spela rollen som skurk, att ses som skurk, att vara ond, och att vara avskydd är något som författaren vänder sig emot samtidigt som han själv sitter fast i det, eller om han ser det som något oundvikligt.

Detta beror troligen på att skurkaktighet aldrig får en riktigt god förklaring, mer än att skurken är den som »vet mest och bryr sig minst«. Ibland är denna definition mycket välfunnen (tobaksbolag som bekämpar cancerlarm är ett exempel så gott som något), ibland byter den ihop helt när ovanstående sammanväxling opererar. Ett exempel ur boken: antag att Batman är en figur i sinnevärlden. Vi har ingen kunskap om hans inre motiveringar, endast hans gärningar: en ensam, vad det verkar mentalt instabil person som sätter dit brottslingar och inte tvekar att ta till våld: skurk? Definitivt kriminell, men skurk? Klosterman ger inget entydigt svar.

Omdömen om kändisar: Klosterman säger sig gilla Kanye West men vilja att han någon gång misslyckas, och inte gilla LeBron James men ändå hoppas han aldrig gör något fatalt misstag. Gott så, en intressant undersökning av sympatier och hur man inte måste vara sympatisk för att bli omtyckt, men: innebär det att inte vara gillad att man är en skurk?

Klosterman blandar högintressanta argument med banaliteter och navelskådande. Han har mycket att säga, ibland underhållande, ibland viktiga påminnelser om att inte lita på att magkänslan ger moraliskt rimliga svar. Det finns material i boken som skulle kunna gjort den långsiktigt viktig, men som nu är den inmålad i ett hörn av allt estetiskt poserande (dock inte nödvändigtvis av samtidsreferenserna, även om det idag kan tyckas som en värld där Sarah Palin var sinnebilden av det republikanska partiets galenskap i alla fall hade någon oskuld kvar). Läsbart, ja, men läsvärt? Jag är inte övertygad. ( )
  andejons | Nov 11, 2017 |
Chuck Klosterman has pretty much only one overarching idea here: the concept of the villain in any situation as the one who "knows the most and cares the least." It's an intriguing thought, but not one that seems definitive to me at all. And, honestly, I'm not sure Klosterman really thinks it is, either. It seems to just be a notion he likes to keep coming back to.

Other than that, this examination of villains and bad guys and who they are and what they mean is very freewheeling. Individual chapters may have a particular focus, but, as a whole, it's not a carefully structured exploration of the idea of villainy that's aimed at coming to any strong conclusions on the subject. It's mostly just Klosterman noodling around with the idea of villains, what they mean to him, what they seem to mean to society at large, and how to wrap his head around it all. He goes a lot of different places with it, thinking about villains in history (including very recent history), in fiction, in sports, in music, and in our culture in general. A lot of it is personal, based in Klosterman's own experiences and attitudes. He spends a good part of one chapter on a list of various bands he used to hate when the was younger, for what now mostly seem like really dumb reasons. He spends another whole chapter comparing Bernard Goetz and Batman. In another, he mostly talks about how hard it is to talk about Hitler. And so on and so forth.

And this loose structure, it turns out, works really well. I found it interesting and surprisingly rewarding to just sort of follow Klosterman's mind wherever it happened to go. He has a lot of thought-provoking things to say, and while I don't necessarily agree with him about everything, I think he actually makes some points that are really insightful and important. He's also just really entertaining to read, with a style that I'm finding it difficult to compare to anybody else's.

This is the first thing of Klosterman's I've read, which seems like something of an oversight. It's definitely not going to be the last, though. I already have his But What If We're Wrong? on the TBR shelves, and I'm now quite looking forward to it. ( )
  bragan | Jun 6, 2017 |
A wonderful collection of essays about 'villains' and 'villainy'. Chuck Kolsterman is a terrific writer at getting down to the reasons and behaviors of people, to the psyche of why we hate some people and not others, mostly along arbitrary lines. His dissections of the Clinton-Lewinsky scandal, of the OJ Simpson trial, Machiavelli, Paterno/Sandusky, Muhammed Ali, etc. The essays all work terrifically and are all written so well that you get such a greater understanding of 'wearing the black hat' and why we are all our own villains (and want to be as well). Provides a lot better understanding for things like the Man in Black (WestWorld) and other fictional worlds. ( )
  BenKline | Mar 14, 2017 |
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It seems like twenty-five lifetimes ago, but it was only twenty-five years: An older friend game me a cassette he'd duplicated from a different cassette (it was the era of "tape dubbing," which was like file sharing for iguanodons).
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The cultural critic questions how modern people understand the concept of villainy, describing how his youthful idealism gave way to an adult sympathy with notorious cultural figures to offer insight into the appeal of anti-heroes.

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