I admit Modernism is my least favorite artistic genre. I understand the concept well enough, but this misplaced affection with the disjointed and disjunctive too often aggrandizes hackneyed works like Rothko's "Orange, Red, Yellow" or Serrano's "Piss Christ." Much of the art within the Modern or Post-Modern genre is borderline absurd, if not totally obstructionist; as if many artists just assume the role as pretentious con-artists intent on suckering spoiled pseudo-intellectuals into spending millions on a piece often imitated by kindergarten art classes.
That being said, if there is some merit to Modernism, it might be found within a wilder time in my life in downtown Austin. "Bill," a friend since early childhood, and I spent most evenings tearing through downtown ATX like demons unleashed: our booze-induced inclinations often led us to the dark corners and recesses far removed from the throngs of trendy hipsters that swarmed the main hangouts. One such evening, long after the bars closed and we managed to repel every living person within a ten-mile radius, Bill and I were smoking cigarettes from his third story apartment, debating the merits of suicide.
"What's keeping us here?" he asked. "Why shouldn't we just jump off and be done with it?"
"Surely there's some absolute, some reason we all keep plugging along," I said. "For me, I'd rather take my angst out on other people rather than punish myself for my short-comings."
"Bullshit," he said.
"How so?" I asked. Bill was never tactful, but I was a little jarred by his sudden rebuke.
He smiled, "Your spite, my mother's religion, indeed everyone's philosophy; it's all the same thing: it's just something to cling to."
"Just that simple? I asked, "Just one addiction leading into another?"
"Sure," he replied, "think about it: we're all aware of our demise, hell the smart ones are even aware of their own insignificance. Addiction, delusion, rationalization, it all stems from this primal urge to belong; to feel anchored in this vast, indistinguishable ocean."
He paused, letting his words sink, "It's really just that simple."
"So, what's your anchor?" I asked, intrigued and a little perturbed.
"Cancer."
"You're going to have to do better than that, cancer is an end, not a means."
Bill dropped his head slowly and leaned over the balcony, "Not in the literal sense, although you're right: unless I jump off, cancer is a likely end." He flicked his cigarette over the edge, it fell slowly and clumsily to the sidewalk, the cherry bursting out from the end, scattering in all directions.
"If it's all futile rationalization," he continued, "then it stands to reason that whatever I choose is destructive and will consume me...like cancer."
"So why stick around?" I asked, "If you refuse to drop anchor and cling to some false sense of purpose, why play the game?"
"That's what I've been trying to figure out," he replied, sullen and despondent.
"Sounds like you've resigned yourself to the fate," I said. "If I could make a suggestion: kill yourself slowly. Wouldn't be fair for the rest of us suffering fools if you got to abruptly end your life."
I grabbed two tall beers from the cooler and handed one to Bill, "To cancer." I raised my can up to him, "May it rot our insides with an insidious efficiency we could only hope to inflict on everyone else's miserable existence."
"Cheers," he said and took a long pull from the can.
Bill was the embodiment of the Modernist philosophy: he rejected the morality, spirituality, and ordered reality for a subjective world that forced him to embrace pain, disillusion, his inevitable demise, and dissolution from the collective consciousness; not as part of a greater whole or by design, but simply because. My time with Bill, this and countless other conversations, provided great insight to the Modernist point of view (although I admit I was unaware of it at the time), and is the chief reason I approach the genre with skepticism and suspicion. For every genuine artist like Bill, there are dozens like Rothko or Serrano.
It would be unfair to judge Faulkner so early, and I approach his works with as open a mind as I can, but doubts persist.