For Generation X, selling out was a defining principle that involved betraying one's principles, art, or community for financial or commercial gain. It was seen as a betrayal of authenticity and integrity, especially in the context of rebelling against the commercialization and corporate culture that their baby boomer predecessors had embraced.
The Oprah-Franzen Book Club Dust-Up of 2001 occurred when Oprah Winfrey invited Jonathan Franzen to discuss his novel 'The Corrections' on her show, only to withdraw the invitation after Franzen expressed ambivalence about the selection. This incident highlighted a clash between two ways of thinking about selling out: Franzen's concern about maintaining artistic integrity and Oprah's refusal to compromise her values for ratings. It marked a turning point where the old idea of selling out began to lose its cultural relevance.
Oprah's Book Club, launched in 1996, became a cultural phenomenon that significantly boosted book sales. Selected books often became bestsellers, with some titles selling more copies after being chosen than they had during their initial release. The club also introduced a wider audience to literature, particularly novels by or about women, and helped shift the perception of daytime TV from being seen as lowbrow to a platform for meaningful cultural engagement.
Jonathan Franzen was concerned that being selected for Oprah's Book Club would compromise his artistic integrity and alienate his core literary audience. He worried that the association with Oprah, a daytime TV personality, would signal that his book was aimed at a female audience, potentially driving away male readers. Franzen also felt uncomfortable with the commercial aspects of the promotion, fearing it would dilute the authenticity of his work.
In the 2000s, the concept of 'selling out' lost much of its cultural potency as artists increasingly embraced commercial opportunities to sustain their careers. The rise of digital platforms and the decline in traditional revenue streams like album sales made it harder for artists to maintain financial independence without commercializing their work. By the 2010s, the idea of selling out had become largely antiquated, with many people viewing it as a necessary part of modern life rather than a betrayal of principles.
The Oprah-Franzen incident highlighted the shifting attitudes toward 'selling out.' Franzen's ambivalence about being associated with Oprah's Book Club was seen as elitist and out of touch, while Oprah's refusal to compromise her values for ratings resonated more with contemporary audiences. The incident underscored how the old idea of selling out had become associated with gatekeeping and snobbery, leading to its decline as a culturally significant concept.
Whatever happened to selling out? The defining concern of Generation X has become a relic from another era. How that happened is best illustrated by one of the idea’s last gasps, when in 2001, Oprah Winfrey invited author Jonathan Franzen to come on her show to discuss his new novel The Corrections. A month later, she withdrew the invitation, kicking off a media firestorm.
The Oprah-Franzen Book Club Dust-Up of 2001 was a moment when two ways of thinking about selling out smashed into each other, and one of them—the one that was on its way out already—crashed and burned in public, seldom to be seen again.
Some of the voices you’ll hear in this episode include screenwriter Helen Childress); writer and musician Franz Nicolay); New York Times critic Wesley Morris), Oprah producer Alice McGee; Boris Kachka, author of Hothouse: The Art of Survival and the Survival of Art at America’s Most Celebrated Publishing House, Farrar, Straus, and Giroux); Bethany Klein, author of Selling Out: Culture, Commerce and Popular Music); and Laura Miller), Slate’s book critic.
This episode was written by Willa Paskin and produced by Benjamin Frisch. It was edited by Benjamin Frisch and Gabriel Roth. Cleo Levin was our research assistant.
Decoder Ring is produced by Evan Chung, Katie Shepherd, and Max Freedman, with help from Sofie Kodner. Derek John is Executive Producer. Merritt Jacob is Senior Technical Director.
If you haven’t yet, please subscribe and rate our feed in Apple Podcasts or wherever you get your podcasts. And even better, tell your friends.
If you’re a fan of the show, please sign up for Slate Plus. Members get to listen to Decoder Ring and all other Slate podcasts without any ads and have total access to Slate’s website. Your support is also crucial to our work. Go to slate.com/decoderplus) to join Slate Plus today. **Disclosure: **A Bond Account is a self-directed brokerage account with Public Investing, member FINRA/SIPC. Deposits into this account are used to purchase 10 investment-grade and high-yield bonds. As of 9/26/24, the average, annualized yield to worst (YTW) across the Bond Account is greater than 6%. A bond’s yield is a function of its market price, which can fluctuate; therefore, a bond’s YTW is not “locked in” until the bond is purchased, and your yield at time of purchase may be different from the yield shown here. The “locked in” YTW is not guaranteed; you may receive less than the YTW of the bonds in the Bond Account if you sell any of the bonds before maturity or if the issuer defaults on the bond. Public Investing charges a markup on each bond trade. See our Fee Schedule. Bond Accounts are not recommendations of individual bonds or default allocations. The bonds in the Bond Account have not been selected based on your needs or risk profile. See https://public.com/disclosures/bond-account to learn more.
Learn more about your ad choices. Visit megaphone.fm/adchoices)