Wednesday, September 05, 2007
Greek tragedy for the new millenium.
Show creator David Simon talks with author Nick Hornby (High Fidelity, etc.) in the The August 2007 issue of The Believer. The entire interview isn't available online but one of the three best bits is:
My standard for verisimilitude is simple and I came to it when I started to write prose narrative: fuck the average reader. I was always told to write for the average reader in my newspaper life. The average reader, as they meant it, was some suburban white subscriber with two-point-whatever kids and three-point-whatever cars and a dog and a cat and lawn furniture. He knows nothing and he needs everything explained to him right away, so that exposition becomes this incredible, story-killing burden. Fuck him. Fuck him to hell.
Simon goes on to talk about the overarching theme of The Wire: the exploration of the postmodern American city and the struggle of the individual against the city's institutions. Many of his thoughts on that particular subject are contained in this Dec 2006 interview at Slate. But in talking with Hornby, Simon draws a parallel between these city institutions and the Greek gods:
Another reason the show may feel different than a lot of television: our model is not quite so Shakespearian as other high-end HBO fare. The Sopranos and Deadwood -- two shows that I do admire -- offer a good deal of Macbeth or Richard III or Hamlet in their focus on the angst and machinations of their central characters (Tony Soprano, Al Swearingen). Much of our modern theatre seems rooted in the Shakespearian discovery of the modern mind. We're stealing instead from an earlier, less-traveled construct -- the Greeks -- lifting our thematic stance wholesale from Aeschylus, Sophocles, Euripides to create doomed and fated protagonists who confront a rigged game and their own mortality.
But instead of the old gods, The Wire is a Greek tragedy in which the postmodern institutions are the Olympian forces. It's the police department, or the drug economy, or the political structures, or the school administration, or the macroeconomics forces that are throwing the lightning bolts and hitting people in the ass for no reason. In much of television, and in a good deal of our stage drama, individuals are often portrayed as rising above institutions to achieve catharsis. In this drama, the institutions always prove larger, and those characters with hubris enough to challenge the postmodern construct of American empire are invariably mocked, marginalized, or crushed. Greek tragedy for the new millenium, so to speak.
I can't wait until the new season starts.
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