New Sincerity

New Sincerity (closely related to and sometimes described as synonymous with post-postmodernism) is a trend in music, aesthetics, literary fiction, film criticism, poetry, literary criticism and philosophy that generally describes creative works that expand upon and break away from concepts of postmodernist irony and cynicism.

Its usage dates back to the mid-1980s; however, it was popularized in the 1990s by American author David Foster Wallace.Wallace, David Foster
"E Unibus Pluram: Television and U.S. Fiction"
'' Review of Contemporary Fiction'' 13(2), Summer 1993, pp. 151-194.

In music

"New Sincerity" was used as a collective name for a loose group of alternative rock bands, centered in Austin, Texas, in the years from about 1985 to 1990, who were perceived as reacting to the ironic and cynical outlook of then-prominent music movements like punk rock and new wave. The use of "New Sincerity" in connection with these bands began with an off-handed comment by Austin punk rocker/author Jesse Sublett to his friend, local music writer Margaret Moser. According to author Barry Shank, Sublett said: "All those new sincerity bands, they're crap."Barry Shank
''Dissonant Identities: The Rock'N'Roll Scene in Austin, Texas''
( Wesleyan University Press, 1994) (), p. 148–149 & p.271 n.84.
excerpt available
at Google Books). Sublett (at his own website) states that he was misquoted, and actually told Moser, "It's all new sincerity to me ... It's not my cup of tea." In any event, Moser began using the term in print, and it ended up becoming the catch phrase for these bands.

Nationally, the most successful "New Sincerity" band was The Reivers (originally called Zeitgeist), who released four well-received albums between 1985 and 1991. True Believers, led by Alejandro Escovedo and Jon Dee Graham, also received extensive critical praise and local acclaim in Austin, but the band had difficulty capturing its live sound on recordings, among other problems. Other important "New Sincerity" bands included Doctors Mob, Wild Seeds, and Glass Eye. Another significant "New Sincerity" figure was the eccentric, critically acclaimed songwriter Daniel Johnston.

Despite extensive critical attention (including national coverage in '' Rolling Stone'' and a 1985 episode of the MTV program ''The Cutting Edge''), none of the "New Sincerity" bands met with much commercial success, and the "scene" ended within a few years.

Other music writers have used "new sincerity" to describe later performers such as Arcade Fire, Conor Oberst, Cat Power, Devendra Banhart, Joanna Newsom,Jason Morris
“The Time Between Time: Messianism & the Promise of a “New Sincerity”
''Jacket'' 35 (2008) Neutral Milk Hotel, Sufjan Stevens, Idlewild, and Father John Misty, as well as Austin's Okkervil River Leatherbag, and Michael Waller.

In film criticism

Critic Jim Collins introduced the concept of "new sincerity" to film criticism in his 1993 essay titled "Genericity in the 90s: Eclectic Irony and the New Sincerity". In this essay he contrasts films that treat genre conventions with "eclectic irony" and those that treat them seriously, with "new sincerity". Collins describes,

the "new sincerity" of films like '' Field of Dreams'' (1989), '' Dances With Wolves'' (1990), and '' Hook'' (1991), all of which depend not on hybridization, but on an "ethnographic" rewriting of the classic genre film that serves as their inspiration, all attempting, using one strategy or another, to recover a lost "purity", which apparently pre-existed even the Golden Age of film genre.

Other examples of this are ''Bonnie and Clyde'' (1967) and '' Moonrise Kingdom'' (2012).

In literary fiction and criticism

In response to the hegemony of metafictional and self-conscious irony in contemporary fiction, writer David Foster Wallace predicted, in his 1993 essay "E Unibus Pluram: Television and U.S. Fiction," a new literary movement which would espouse something like the New Sincerity ethos:

The next real literary "rebels" in this country might well emerge as some weird bunch of anti-rebels, born oglers who dare somehow to back away from ironic watching, who have the childish gall actually to endorse and instantiate single-entendre principles. Who treat of plain old untrendy human troubles and emotions in U.S. life with reverence and conviction. Who eschew self-consciousness and hip fatigue. These anti-rebels would be outdated, of course, before they even started. Dead on the page. Too sincere. Clearly repressed. Backward, quaint, naive, anachronistic. Maybe that'll be the point. Maybe that's why they'll be the next real rebels. Real rebels, as far as I can see, risk disapproval. The old postmodern insurgents risked the gasp and squeal: shock, disgust, outrage, censorship, accusations of socialism, anarchism, nihilism. Today's risks are different. The new rebels might be artists willing to risk the yawn, the rolled eyes, the cool smile, the nudged ribs, the parody of gifted ironists, the "Oh how banal". To risk accusations of sentimentality, melodrama. Of overcredulity. Of softness. Of willingness to be suckered by a world of lurkers and starers who fear gaze and ridicule above imprisonment without law. Who knows.

This was further examined on the blog ''Fiction Advocate by Mike Moats:''

The theory is this: '' Infinite Jest'' is Wallace's attempt to both manifest and dramatize a revolutionary fiction style that he called for in his essay "E Unibus Pluram: Television and U.S. Fiction." The style is one in which a new sincerity will overturn the ironic detachment that hollowed out contemporary fiction towards the end of the 20th century. Wallace was trying to write an antidote to the cynicism that had pervaded and saddened so much of American culture in his lifetime. He was trying to create an entertainment that would get us talking again.

In his 2010 essay "David Foster Wallace and the New Sincerity in American Fiction," Adam Kelly argues that Wallace's fiction, and that of his generation, is marked by a revival and theoretical reconception of sincerity, challenging the emphasis on authenticity that dominated twentieth-century literature and conceptions of the self.Adam Kelly.
David Foster Wallace and the New Sincerity in American Fiction
. Consider David Foster Wallace: Critical Essays. Ed. David Hering. Austin, TX: SSMG Press, 2010. 131-46. Additionally, numerous authors have been described as contributors to the New Sincerity movement, including Jonathan Franzen,Gorenstein, Zuzanna
New Sincerity and the Contemporary American Family Novel: Jonathan Franzen’s ''The Corrections'' and Marilynne Robinson’s ''Gilead''
Dissertation, Free University of Berlin, December 2014. Retrieved July 22, 2020. Zadie Smith, Dave Eggers,Jensen, Mikkel. 2014. "A Note on a Title: '' A Heartbreaking Work of Staggering Genius''" in '' The Explicator'', 72:2, 146–150

/ref> Stephen Graham Jones, and Michael Chabon.

In philosophy

"New sincerity" has also sometimes been used to refer to a philosophical concept deriving from the basic tenets of performatism. It is also seen as one of the key characteristics of metamodernism. Related literature includes Wendy Steiner's ''The Trouble with Beauty'' and Elaine Scarry's ''On Beauty and Being Just''. Related movements may include post-postmodernism, New Puritans, Stuckism, the Kitsch movement and remodernism, as well as the Dogme 95 film movement led by Lars von Trier and others.Alexei Yurchak, "Post-Post-Communist Sincerity: Pioneers, Cosmonauts, and Other Soviet Heroes Born Today", in Thomas Lahusen and Peter H. Solomon, eds., ''What Is Soviet Now?: Identities, Legacies, Memories'' (LIT Verlag Berlin-Hamburg-Münster, 2008), , p. 258 & n.4
excerpt
available at Google Books.

As a cultural movement

"The New Sincerity" has been espoused since 2002 by radio host Jesse Thorn of PRI's '' The Sound of Young America'' (now ''Bullseye''), self-described as "the public radio program about things that are awesome". Thorn characterizes New Sincerity as a cultural movement defined by dicta including "Maximum Fun" and "Be More Awesome". It celebrates outsized celebration of joy, and rejects irony, and particularly ironic appreciation of cultural products. Thorn has promoted this concept on his program and in interviews.

In a September 2009 interview, Thorn commented that "new sincerity" had begun as "a silly, philosophical movement that me and some friends made up in college" and that "everything that we said was a joke, but at the same time it wasn't all a joke in the sense that we weren't being arch or we weren't being campy. While we were talking about ridiculous, funny things we were sincere about them."

Thorn's concept of "new sincerity" as a social response has gained popularity since his introduction of the term in 2002. Several point to the September 11, 2001, attacks and the subsequent wake of events that created this movement, in which there was a drastic shift in tone. The 1990s were considered a period of artistic works ripe with irony, and the attacks shocked a change in the American culture. Graydon Carter, editor of '' Vanity Fair'', published an editorial a few weeks after the attacks claiming that "this was the end of the age of irony". Jonathan D. Fitzgerald for ''The Atlantic'' suggests this new movement could also be attributed to broader periodic shifts that occur in culture.

As a result of this movement, several cultural works, including many identified above, were considered elements of "new sincerity", but this was also seen to be a mannerism adopted by the general public, to show appreciation for cultural works that they happened to enjoy. Andrew Watercutter of '' Wired'' saw this as having been able to enjoy one's guilty pleasures without having to feel guilty about enjoying it, and being able to share that appreciation with others. One such example of a "new sincerity" movement is the brony fandom, generally adult and primarily male fans of the 2010 animated show ''My Little Pony: Friendship Is Magic'' which is produced by Hasbro to sell its toys to young girls. These fans have been called "internet neo-sincerity at its best", unabashedly enjoying the show and challenging the preconceived gender roles that such a show ordinarily carries.

A review of a 2016 play by Alena Smith ''The New Sincerity'' observes that it 'captures the spirit of an age lightly lived and easily forgotten, which strives for a significance and a magnitude that won’t be easily achieved'.

In the early 2020's, the shift toward a more overt embrace of New Sincerity was codified in James Poniewozik's New York Times piece titled, "How TV Went From David Brent to Ted Lasso." Poniewozik details the shift, arguing that "In TV’s ambitious comedies, as well as dramas, the arc of the last 20 years is not from bold risk-taking to spineless inoffensiveness. But it is, in broad terms, a shift from irony to sincerity. By “irony” here, I don’t mean the popular equation of the term with cynicism or snark. I mean an ironic mode of narrative, in which what a show 'thinks' is different from what its protagonist does. Two decades ago, TV’s most distinctive stories were defined by a tone of dark or acerbic detachment. Today, they’re more likely to be earnest and direct." Poniewozik goes on to address possible impetus for doing away with the disjoint between writer and character ascribing some cause to what Emily Nussbaum calls "Bad Fans", but the thrust of his critique centers on the possible shift towards the representation of new and previously unrepresented voices. As Poniewozik puts it, "In some cases, it’s also a question of who has gotten to make TV since 2001. Antiheroes like David Brent and Tony Soprano, after all, came along after white guys like them had centuries to be heroes. The voices and faces of the medium have diversified, and if you’re telling the stories of people and communities that TV never made room for before, skewering might not be your first choice of tone. I don’t want to oversimplify this: Series like “Atlanta,” “Ramy,” “ Master of None” and “ Insecure” all have complex stances toward their protagonists. But they also have more sympathy toward them than, say, “ Arrested Development.” With this perspective in mind and the populous shift towards an embrace of diverse views and opinions, the appearance of new sincerity in film and television is understandable if not expected. However, it is important to note that prior to the current shift towards New Sincerity, popular culture had embraced a period of "High Irony", as Poniewozik deems it. Beth Webb provides an illuminating take on this in her article, " Ghost World, Donnie Darko and cinema's ultimate teen rebels" for BBC.

Regional variants

This conception of "new sincerity" meant the avoidance of cynicism, but not necessarily of irony. In the words of Alexei Yurchak of the University of California, Berkeley,Alexei Yurchak biography
at University of California, Berkeley Department of Anthropology website (retrieved February 15, 2009). it "is a particular brand of irony, which is sympathetic and warm, and allows its authors to remain committed to the ideals that they discuss, while also being somewhat ironic about this commitment".

In American poetry

Since 2005, poets including Reb Livingston, Joseph Massey, Andrew Mister, and Anthony Robinson have collaborated in a blog-driven poetry movement, described by Massey as "a 'new sincerity' brewing in American poetry – a contrast to the cold, irony-laden poetry dominating the journals and magazines and new books of poetry". Other poets named as associated with this movement, or its tenets, have included David Berman, Catherine Wagner, Dean Young, Matt Hart, Miranda July (who is also a filmmaker herself), Tao Lin, Steve Roggenbuck, D. S. Chapman, Frederick Seidel, Arielle Greenberg, Karyna McGlynn, and Mira Gonzalez.

See also

* American Eccentric Cinema
* ''The Cult of Sincerity''
* Kitsch movement
* Metamodernism
* Post-irony
* Reconstructivism

References

{{Criticism of postmodernism

Russian literature
Concepts in film theory
Philosophical movements
American styles of music
Music of Austin, Texas
Poetry movements
Blogging
Cultural concepts
1980s neologisms
American literary movements
20th-century American literature
1980s in music
1990s in music
Film theory