Twee

The theme of this book -- a supposed. cultural movement the author calls "Twee" -- seems largely the imaginative concoction of the author's; a synthesis of kindred and loosely related Western music, films, fashion, etc. over the past several decades to which he evinces an aesthetic affinity, of a sort of sensitive outcast rebelliousness, rather than a coherent movement. That said, the writing is lively and insightful, and enumerates a plethora of interesting examples -- and a good bibliography -- to explore forms of expression to which the reader (including myself) may not have been previously acquainted. Plus, there is a point to be made regarding a seeming increase in sensitivity among recent generations, not that outcasts or rebels are anything new. I'm no sociologist, but I do think there's a whiff of zeitgeist here that deserves unveiling, and this book does it in style.

It's a wonderful little book about a cultural phenomenon that I was unaware of, but now totally convinced of. The book follows a narrative arc, documenting what Spitz calls a "canon" of Twee, i.e. the biggest forerunners and examples of the Twee aesthetic in film, television, literature, and perhaps above all, music. It was interesting to hear in-depth discussion about familiar names such as Wes Anderson, The Smiths, and Belle and Sebastian, and also interesting to find out about musicians, authors, and filmmakers whom I had never heard of; indeed, the book provides quite a reading/viewing/listening list (literally, at the back of the book).I would have liked to see a little bit more departure from the narrative arc, to flesh out the concept of "Twee" a little bit more; how does it intersect with the concepts of indie and hipster? Are they synonymous? Does one concept encompass the others? Spitz also sometimes departs into heavy-handed social commentary, deriding Twee and its icons for being too explicitly white, upper-middle class. The ending of the book, however, praises Twee and, in a sort of guilty way, claims that it is the way of the future. One can tell that Spitz is a bit conflicted, but it would have been nice to see him flesh these ideas out more instead of just sticking to the narrative arc.All in all, it's a very interesting read, especially for those who will get some of the pop-cultural references (and if you were aware of pop culture at any point since the '50s, you'll get some of them). If you are like me, it may also cause you to do some self-reflection and realize, "I think I might be Twee!" Definitely buy and read this book if you are interested in any aspect of pop-culture at all or in what your connection to broader culture is; it's fairly short, well-written, and above all, a fun read.

I've been waiting for years for a book on the Twee phenomenon, so understandably I was quite excited about this. This book explores the meaning of Twee as the author sees it, and briefly introduces its icons. Of course, everyone has their own opinion on who should be included in the Twee pantheon. I thought that some of Marc's choices were spot-on, and others more questionable. "Maus" has anthropomorphic animals in suits, one of the Twee style landmarks, but to call the whole work Twee is a bit far fetched. On the other hand, Maureen Tucker and Edward Gorey are important early influences who are given their dues here.My one peeve, though, is that the book doesn't go far enough in time in search of Twee roots. "Ferdinand the Bull" is a great place to start, but a late one. The Romantic period with its "Sorrows of Young Werther" and the Victorian era with its celebration of childhood as a distinct life phase, its proliferation of facial hair, its "put a bird on it" cluttered aesthetic, and its commercialization of old-timey music deserved a whole chapter, I think. Second edition, perhaps?There are other omissions: in the 20th century, Winnie The Pooh (1926) is only mentioned once. Joseph Cornell's (the ultimate outsider artist) collages and boxes are less well known, but probably as influential as Gorey's art.In any case, I'm grateful for "Twee's" release, a work on the subject was long overdue. Hopefully, others will follow.

As we get older, we inevitiably lose touch with what's current. Certain cultural trends can seem opaque."Twee" helps. While I don't necessarity buy into the idea that all the elements presented are part of some overarching movement, I think the author is indeed onto something. However, there is just not enough connective tissue linking all of the subjects together. While the presentation of various trends was interesting and informative, the thesis of the book, that "twee" is a real movement linking all these things together, remains nebulous.So, while I am not convinced that "twee" is anything more than a cultural vein that has always existed -- the "esthete" -- I appreciate the long seciton of the book discussing current interests. Actors, artists, bands, authors -- I am alwaya interested in learning about things that become part of the zeitgeist.BTW, The Kinks, in my opinion, get way too little ink. Their albums albums "Face to Face," "Something Else" and "The Kinks are the Village Green Preservation Society" deserve particular mention. In any historical discussion of "twee," these are central pillars.In any case, I feel I have a bit more perspective on the younger generation's tastes and views.