Class: A Guide Through the American Status System [Englisch] [Taschenbuch]

Chicago Sun-Times Highly amusing....a witty, persnickety, and illuminating book....fussell hits the mark.

The Washington Post Move over, William Buckley. Stand back, Gore Vidal. And run for cover, Uncle Sam: Paul Fussell, the nation's newest world-class curmudgeon, is taking aim at The American Experiment.

Wilfrid Sheed The Atlantic A fine prickly pear of a book....Anyone who reads it will automatically move up a class.

Alison Lurie The New York Times Book Review A shrewd and entertaining commentary on American mores today. Frighteningly acute.

In Class Paul Fussell explodes the sacred American myth of social equality with eagle-eyed irreverence and iconoclastic wit. This bestselling, superbly researched, exquisitely observed guide to the signs, symbols, and customs of the American class system is always outrageously on the mark as Fussell shows us how our status is revealed by everything we do, say, and own. He describes the houses, objects, artifacts, speech, clothing styles, and intellectual proclivities of American classes from the top to the bottom and everybody -- you'll surely recognize yourself -- in between. Class is guaranteed to amuse and infuriate, whether your class is so high it's out of sight (literally) or you are, alas, a sinking victim of prole drift.

This book describes the living-room artifacts, clothing styles, and intellectual proclivities of American classes from top to bottom.

Paul Fussell, critic, essayist, and cultural commentator, has recently won the H. L. Mencken Award of the Free Press Association. Among his books are The Great War and Modem Memory, which in 1976 won both the National Book Critics Circle Award and the National Book Award; Abroad: British Literary Traveling Between the Wars; Wartime: Understanding and Behavior in the Second World War; and, most recently, BAD or, The Dumbing of America. His essays have been collected in The Boy Scout Handbook and Other Observations and Thank God for the Atom Bomb and Other Essays. He lives in Philadelphia, where he teaches English at the University of Pennsylvania.

Chapter 1

A Touchy Subject

Although most Americans sense that they live within an extremely complicated system of social classes and suspect that much of what is thought and done here is prompted by considerations of status, the subject has remained murky. And always touchy. You can outrage people today simply by mentioning social class, very much the way, sipping tea among the aspidistras a century ago, you could silence a party by adverting too openly to sex. When, recently, asked what I am writing, I have answered, "A book about social class in America," people tend first to straighten their ties and sneak a glance at their cuffs to see how far fraying has advanced there. Then, a few minutes later, they silently get up and walk away. It is not just that I am feared as a class spy. It is as if I had said, "I am working on a book urging the beating to death of baby whales using the dead bodies of baby seals." Since I have been writing this book I have experienced many times the awful truth of R. H. Tawney's perception, in his book Equality (1931): "The word 'class' is fraught with unpleasing associations, so that to linger upon it is apt to be interpreted as the symptom of a perverted mind and a jaundiced spirit."

Especially in America, where the idea of class is notably embarrassing. In his book Inequality in an Age of Decline (1980), the sociologist Paul Blumberg goes so far as to call it "America's forbidden thought." Indeed, people often blow their tops if the subject is even broached. One woman, asked by a couple of interviewers if she thought there were social classes in this country, answered: "It's the dirtiest thing I've ever heard of!" And a man, asked the same question, got so angry that he blurted out, "Social class should be exterminated!"

Actually, you reveal a great deal about your social class by the amount of annoyance or fury you feel when the subject is brought up. A tendency to get very anxious suggests that you are middle-class and nervous about slipping down a rung or two. On the other hand, upper-class people love the topic to come up: the more attention paid to the matter the better off they seem to be. Proletarians generally don't mind discussions of the subject because they know they can do little to alter their class identity. Thus the whole class matter is likely to seem like a joke to them -- the upper classes fatuous in their empty aristocratic pretentiousness, the middles loathsome in their anxious gentility. It is the middle class that is highly class-sensitive, and sometimes class-scared to death. A representative of that class left his mark on a library copy of Russell Lynes's The Tastemakers (1954). Next to a passage patronizing the insecure decorating taste of the middle class and satirically contrasting its artistic behavior to that of some more sophisticated classes, this offended reader scrawled, in large capitals, "BULL SHIT!" A hopelessly middle-class man (not a woman, surely?) if I ever saw one.

If you reveal your class by your outrage at the very topic, you reveal it also by the way you define the thing that's outraging you. At the bottom, people tend to believe that class is defined by the amount of money you have. In the middle, people grant that money has something to do with it, but think education and the kind of work you do almost equally important. Nearer the top, people perceive that taste, values, ideas, style, and behavior are indispensable criteria of class, regardless of money or occupation or education. One woman interviewed by Studs Terkel for Division Street: America (1967) clearly revealed her class as middle both by her uneasiness about the subject's being introduced and by her instinctive recourse to occupation as the essential class criterion. "We have right on this street almost every class," she said. "But I shouldn't say class," she went on, "because we don't live in a nation of classes." Then, the occupational criterion: "But we have janitors living on the street, we have doctors, we have businessmen, CPAs."

Being told that there are no social classes in the place where the interviewee lives is an old experience for sociologists. "'We don't have classes in our town' almost invariably is the first remark recorded by the investigator," reports Leonard Reissman, author of Class in American Life (1959). "Once that has been uttered and is out of the way, the class divisions in the town can be recorded with what seems to be an amazing degree of agreement among the good citizens of the community." The novelist John O'Hara made a whole career out of probing into this touchy subject, to which he was astonishingly sensitive. While still a boy, he was noticing that in the Pennsylvania town where he grew up, "older people do not treat others as equals."

Class distinctions in America are so complicated and subtle that foreign visitors often miss the nuances and sometimes even the existence of a class structure. So powerful is "the fable of equality," as Frances Trollope called it when she toured America in 1832, so embarrassed is the government to confront the subject -- in the thousands of measurements pouring from its bureaus, social class is not officially recognized -- that it's easy for visitors not to notice the way the class system works. A case in point is the experience of Walter Allen, the British novelist and literary critic. Before he came over here to teach at a college in the 1950s, he imagined that "class scarcely existed in America, except, perhaps, as divisions between ethnic groups or successive waves of immigrants." But living awhile in Grand Rapids opened his eyes: there he learned of the snob power of New England and the pliability of the locals to the long-wielded moral and cultural authority of old families.

Some Americans viewed with satisfaction the failure of the 1970s TV series Beacon Hill, a drama of high society modeled on the British Upstairs, Downstairs, comforting themselves with the belief that this venture came to grief because there is no class system here to sustain interest in it. But they were mistaken. Beacon Hill failed to engage American viewers because it focused on perhaps the least interesting place in the indigenous class structure, the quasi-aristocratic upper class. Such a dramatization might have done better if it had dealt with places where everyone recognizes interesting class collisions occur -- the place where the upper-middle class meets the middle and resists its attempted incursions upward, or where the middle class does the same to the classes just below it.

If foreigners often fall for the official propaganda of social equality, the locals tend to know what's what, even if they feel some uneasiness talking about it. When the acute black from the South asserts of an ambitious friend that "Joe can't class with the big folks," we feel in the presence of someone who's attended to actuality. Like the carpenter who says: "I hate to say there are classes, but it's just that people are more comfortable with people of like backgrounds." His grouping of people by "like backgrounds," scientifically uncertain as it may be, is nearly as good a way as any to specify what it is that distinguishes one class from another. If you feel no need to explicate your allusions or in any way explain what you mean, you are probably talking with someone in your class. And that's true whether you're discussing the Rams and the Forty-Niners, RVs, the House (i.e., Christ Church, Oxford), Mama Leone's, the Big Board, "the Vineyard," "Baja," or the Porcellian.

In this book I am going to deal with some of the visible and audible signs of social class, but I will be sticking largely with those that reflect choice. That means that I will not be considering matters of race, or, except now and then, religion or politics. Race is visible, but...