Yet Gen X isn’t just a time period; it’s also, as Douglas Rushkoff writes in “The GenX Reader,” “a culture, a demographic, an outlook, a style, an economy, a scene, a political ideology, an aesthetic, an age, a decade and a literature.” It’s a moment, a mood, an ethos and an enduring way of being, the hallmark characteristics of which — anticorporatism, anti-authoritarianism, ironic detachment, artistic independence, an existential horror of selling out and a live-and-let-live philosophy of life — feel like the antidote to a lot of what’s currently wrong in our culture.
In our current moment, when artistic compromise no longer carries the slightest stigma, Gen X has some wisdom to impart about how to preserve one’s principles, even when times are hard. Because for a while now, the present has looked a lot like the recent past: Everything is commercialized, it’s impossible to find a job, rents are astronomical and reality kind of bites. But you can always make art. In romanticizing the past — a time not so connected, distracted, corporate and slick, not so bought in to easy answers — perhaps we’re longing for a world more hospitable to its creation.
— Amanda Fortini, “Is Gen X Actually the Greatest Generation?”
It’s comforting in a way. The same lifestyle that was diagnosed as doom, gloom and pathological detachment in the early ’90s is now, in Fortini’s telling, “the antidote” to everything wrong with the culture. Give it a few decades and we’ll be reading the exact same argument about some other cohort — probably a misty-eyed essay about how the chronically online Zoomers, with their nihilist memes and gig-economy scars, secretly held the key to happiness all along. Every generation gets its turn to be both the problem and the cure.
I remember watching that MTV town hall in 1994 where Bill Clinton took questions from earnest young people. One girl in particular stuck with me. She stood up and said, “Mr. President, it seems to me that Kurt Cobain’s recent suicide exemplified the emptiness that many in our generation feel. How do you propose to teach our youth how important life is?” Even at the time, on my parents’ couch, I remember thinking: What an inane platitude of a question; this is a person who’s read too many issues of Rolling Stone and Spin. She was self-consciously playing “Representative of a Generation,” fluent in the language of media narratives. (I wonder if she went on to become a journalist.)
That’s what most Gen X mythologizing still sounds like to me. You get the obligatory inventory of pop-culture references: Cobain, O.J., Reality Bites, Clinton’s sax on Arsenio Hall, a mixtape of grunge and “alternative” acts, maybe a respectful bow to hip-hop. Then comes the prefab sociology: all that gloom “resonated” with a generation beset by AIDS, nuclear dread, divorce, declining real wages, blah blah blah. Never mind that Chris Cornell was singing glossolalia in “Black Hole Sun,” or that half the kids I knew were listening to hair metal, nu-metal, country, Christian rock, or whatever was on the jukebox at the bowling alley. They don’t get invited into the story because they’re not culturally significant enough. Grunge is allowed to become the soundtrack of a wounded generation; the rest is treated as embarrassing noise.
You could see the same lazy sociology in the way heroin and Prozac were presented as defining features of our lives. Because a handful of rock singers in Seattle shot up, you would think kids in suburban Yazoo, Mississippi were all nodding off in flannel and Doc Martens between AP exams. The fashion pages even obliged with “heroin chic,” as if addiction were just another accessory to complete the look. It was wildly irresponsible and faintly ridiculous. Drug addicts, in the real world, are not picky aesthetes carefully aligning their substance of choice with the correct subcultural vibe — “Oh, no, no cocaine or pills for me; I’m strictly a needles-and-smack connoisseur.” But the media narrative made it sound exactly like that: if you wanted to be a proper grunge kid, you needed the whole kit — shirts, boots, and syringes. At the same time, you could see the media laying down a template we still live with: depression treated as omnipresent, almost a lifestyle category, with Prozac and its cousins offered as the obvious fix.
The “selling out” talk always struck me as particularly incoherent. No one forced any of these bands to form, write songs, tour, sign to major labels, and appear on MTV. You could always say, “No thanks, I’ll stock grocery shelves, play clubs on weekends, and keep my integrity intact.” The problem was that they wanted to be rock stars and wanted everyone to believe they didn’t really want it. The same people who now praise Gen X for its “independent, semi-feral” spirit are describing musicians who were, in practice, paralyzed by what other people might think. It’s hard to square the supposedly tough-minded, anti-authoritarian slacker with the kid who has a panic attack at the thought of being accused of selling out in a fanzine.
None of this really maps onto my own life anyway. My parents are still together; I never had divorce as a defining trauma. My mother was often home, but I was independent by temperament rather than necessity. When I was twelve, I picked up Richard Hittleman’s 28 Day Yoga off her bookshelf and decided to follow it. For a month, I’d get up at 5:30, shower, do forty-five minutes of yoga, make my own French toast while watching the Disney Channel, and then walk up to the bus stop. I did my own laundry, cleaned my own room, and played outside by myself for hours. There was no angsty latchkey narrative to it; I was simply content to be left alone and trusted to handle it.
Later on, the thing that actually shaped my view of life wasn’t a Nirvana lyric or a Ben Stiller movie, it was Philosophy 101. Meeting Socrates did more for me than sharing a birth cohort with Billy Corgan. The idea of living so that your deathbed self could approve, that your life should be something you could bear to look back on, still makes sense to me in a way that “our generation’s angst” never did.
You could reasonably say that this is its own kind of luxury. My dad was a self-made businessman who ran himself ragged with a newspaper distributorship and a property-management firm so that his eldest son could afford to be precious about not chasing SAT scores, professional accreditation, or marketable skills. At the same time, some of the period’s economic story was suspiciously convenient for people like me. We were told, loudly and often, that we’d probably never match our parents’ standard of living, that we were the first generation fated to do worse than our elders, and that this looming downward mobility explained our sullen moping. Maybe the boomers really were ideally placed to harvest the postwar low-hanging fruit of affluence. Maybe we were structurally disadvantaged. But if we ended up “underperforming” by conventional metrics, there was also a good deal of it that was self-inflicted: prosperity breeding complacency, comfort making it easier to shrug and consciously downsize our ambitions. It’s one thing to be pushed off the ladder; it’s another to decide the view from the middle rung is good enough.
Which is part of why these grand generational narratives ring so hollow: they quietly erase class and autobiography and replace them with a list of media properties. In practice, what gets called “Gen X” is usually just the personality type that goes to J-school, ends up in coastal newsrooms, and signals its membership with the correct band and film references. It’s an intra-elite taste profile. Historical astrology.
If there’s one genuinely solid distinction about Gen X, it isn’t grunge, or divorce, or a shared mood; it’s technological timing. We were the last cohort to reach adulthood before the internet became omnipresent. We had an analog childhood and a digital midlife. We learned boredom, privacy, and self-entertainment before everything was online, and then we had to decide, as adults, how much of ourselves to feed into the machine. That’s real. The rest is just décor.


