The core of what he declares he stands for is a sort of sewer anarchism. His vituperation leaves no weak or wounded unpunished. Stern is a bad winner, a heartless, vicious competitor who celebrates not only winning, but totally humiliating, professionally destroying, his competitors. He's a success doing everything I can't do. "Just imagine," one celebrated, "here's somebody who can say and is saying absolutely anything, breaking every taboo - social, political, racial, sexual - and not only getting away with it butīeing hugely rewarded. The quality their hearts rise to is his unrelenting outspokenness. Stern's fans, I am told, are many people who feel acutely alone and without assertive voices of their own. Nothing was sacred or held back."Īmong Mr. But once I got behind that mike, it was full steam ahead.
In real life, I couldn't express the anger and the hurt. That also explained why I was able to function so well on the radio. His explanation of his OCD cure, and for his professional success: "The OCD was distracting me from the anger and anxiety I had been repressing from this zany childhood. Stern is the Emperor of Pathetically Preening Narcissism. There is a lot of chatter about OCD, but in this book it is a superficial victim-culture concept: self-indulgent babbling about lining up pencils too carefully. He elaborates personal quirks into Jobian afflictions: self-indulgent overeating, improving his tooth-brushing habits, life-maintenance trivia.Ī noted example is his drama of "OCD" affliction: obsessive compulsive disorder.
Stern self-indulgently dramatizes mild neurotic tendencies. In his highly personalized narrative, Mr.
Lots of badly reproduced little pictures contribute to an overall look that suggests two 12-year-olds and one 11-year-old broke into an underfunded desktop publishing lab. The book's sprawling splattering of type faces can be taken as the taste gods' revenge for making multiple fonts too easily available. The recounting and descriptions of actual people and events are closely related to the usages of the worst of the supermarket tabloids: little flicks and grains of fact, on which are built gross speculations. Stern is telling the truth and when he's lying, or what gradation in between is in play. Its grossness begins as offensive, becomes nauseating and finally goes dead and boring. The narrative style rambles like a herd of unwashed and diarrheic goats, undisciplined, directionless, unfocused, leaving unspeakable detritus.
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