"Camp"

Where are the dandies these days? Not the mere fops and mannered exhibitionists, but the lovers and arbiters of style for style's sake, the cherishers and curators of what's amusing (as opposed to what's serious)--a predilection that is one of the luxuries of affluent societies. They thrived in Socrates' Athens and at the Roman courts of emperors and Popes. The 18th century shone with them, and the 19th century produced the dandy of all time, Oscar Wilde.

Wilde rebutted the industrial revolution with flowing locks and velvet suits; he warded off its fumes with a long-stemmed flower. The modern dandy, on the other hand, revels detachedly and deliciously in the vulgarity of mass culture. And the word is not dandyism any more. According to one of Manhattan's brightest young intellectuals, Novelist Susan Sontag, the word is "Camp."*

""It's Too Much!" " The essence of Camp, writes Miss Sontag in the Partisan Review, is "its love of the unnatural: of artifice and exaggeration." Tiffany lamps are Camp, she says by way of illustration, and so is a fondness for Scopitone films and the lurid pseudo journalism of the weekly New York National Enquirer. Turn-of-the-century postcards are Camp; so is enthusiasm for the ballet Swan Lake and the 1933 movie King Kong. Dirty movies are Camp --provided one gets no sexual kick out of them--and so are the ideas of the French playwright Jean Genet, an ex-thief and pederast who boasts about it. "Genet's statement that 'the only criterion of an act is its elegance' is virtually interchangeable, as a statement, with Wilde's 'In matters of great importance, the vital element is not sincerity, but style.' "

In matters sexual, according to Miss Sontag, Camp goes against the grain, cherishing either the androgynous, swoony girl-boys and boy-girls of pre-Raphaelite painting or the plangent supersexiness of Jayne Mansfield or Victor Mature. In art, Camp's exaggeration must proceed from passion and naivete. "When something is just bad (rather than Camp)," she writes "it's often because the artist hasn't attempted to do anything really outlandish. 'It's too much,' 'It's fantastic,' 'It's not to be believed,' are standard phrases of Camp enthusiasm."

So Bad--So Good. And if this somehow suggests homosexuality, Miss Sontag is not one to deny it. "While it's not true that Camp taste is homosexual taste, there is no doubt a peculiar affinity and overlap. Homosexuals, by and large, constitute the vanguard--and the most articulate audience--of Camp." The reason: it is to homosexuals.' self-interest to neutralize moral indignation, and this Camp does by promoting playful estheticism. "The whole point of Camp is to dethrone the serious. More precisely, Camp involves a new, more complex relation to 'the serious.' One can be serious about the frivolous, frivolous about the serious."

Camp, says Miss Sontag, is "the answer to the problem: how to be a dandy in the age of mass culture. The old-style dandy hated vulgarity. The new-style dandy, the lover of Camp, is a lover of vulgarity. Where the dandy would be continually offended or bored, the connoisseur of Camp is continually amused, delighted. The dandy held a perfumed handkerchief to his nostrils and was liable to swoon; the connoisseur of Camp sniffs the stink and prides himself on his strong nerves."

* Originally derived from an Australian term for "a low saloon."

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