FANDOM AND THE ADOLESCENT By Norman Masters There exists a function of fandom which, I feel, escapes most fans' notice. Yet it's a very important function -- perhaps the MOST important one -- one which has required no conscious effort on the part of fans, yet a function which is inextricably a part of fandom as it exists and has existed. Edgar Z. Friedenberg has written a book entitled The Vanishing Adolescent (Dell $.50) in which he is deeply disturbed by what he perceives as the disappearance from our society of the period of growth known as adolescence. Adolescence, he says, is the vital period in a young person's life during which he "learns who he is... what he really feels... differentiates himself from his culture, though on the culture's terms... the age at which, by becoming a person in his own right, he becomes capable of deeply felt relationships to other individuals perceived clearly as such." The task of adolescence is self-definition, and if successful, must establish self-esteem. The present emphasis on cooperation and group adjustment, Friedenberg says, interferes with the central developmental task of self-definition. Conformity, standardization, mass- production destroy the adolescent's chances of finding himself. Instead of what they receive from the mass media, "a large nuber of different artistic resources are needed; each more meaningful, and each satisfied to appeal to a small number of adolescents who are able, because of the special circumstances of their lives, to find it meaningful." Thus, although Elvis may be a good singer, he's a bad social phenomenon -- for he's too widely accepted by adolescents; this is the only kind of music they listen to. (Or it may be the twist, or the Beatles.) They only conform with everyone else. No self- definition. It makes one think of Brave New World. Such areas as jazz, hot- rodding, photography and building hi-fi sets were once strongholds of individuality, Friedenberg goes on to say, but they have all been commercialized and standardized. Adolescents need to be able to express and demonstrate unique qualities they possess in some common area of experience so that by helping others understand their own uniqueness, self-definition is facilitated. Undoubtedly you've seen the connection already. Elvis can't accomplish it; jazz, photography, hi-fi, hot-rodding have already entered the same world Elvis exists in. But fandom goes on, uncommercialized, unstandardized, non- conforming. And fandom performs this very function which Friedenberg feels is so important. Fandom consists primarily of adolescents; and through their participation in fandom they learn who they are and what unique abilities they possess. Plus they DEMONSTRATE these abilities: whether they be for organization (conventions etc.), editing, artwork, humor, critical thinking, writing in all its phases, or whatever else you may think of. The fan learns what he feels and what he thinks; he differentiates himself from his culture and from other people -- all the while working within his culture and with other people. Not only does he know there's something special about fandom and its members, but he knows there's something special about HIM. One of the major rewards of fandom is the building of satisfying and meaningful relationships with other people -- people all over the country and the world. This building of meaningful relationships with other people is likewise an important aspect of adolescence, of growing up. The fan becomes self-defined; he establishes self-esteem -- he can't avoid it if he actively participates. What editor of a fanzine, and particularly of a GOOD fanzine -- after this accomplishment of creation doesn't feel a sense of self-esteem? And likewise writers, artists, convention committees after a successful convention. There's been concern over the fast turnover in fandom. Read one of the Fandora's Box columns in an Imagination of a few years back -- and most of the names you've never heard of. Where have they all gone? Really, to several, fandom is a road; and once they've established self- identification and self-esteem they pass on. But it has been a rewarding way to travel. I don't think this is anything to worry about, as long as there are others to come in -- and thre always will be as long as these needs which Friedenberg talks about exist. Furthermore, I think those letter columns (which I, at least, enjoy reading) in old issues of Startling Stories, Thrilling Wonder Stories, Planet Stories served this very same purpose. Every issue or so there appeared letters of protest from adult-minded readers, asking the editors to print intelligent letters instead of the juvenile ones they insisted on printing. But those editors were doing young Americans a service, unaware of it as they may have been. For the adolescent letter hacks were gaining self-identity and self- esteem in writing those letters. It was a big thing; they put their talents into it; and seeing their letters in print was another wonderful thing. And if they won an original illustration to boot....!!!! "Educated" people sneer at those old pulp magazines and treat them with distain. Yet several of the science-fiction pulp magazines can say -- and truthfully -- that they helped many youths find themselves and recognize themselves as individual human beings. But the pulps are gone. Conformity marches on. Automation. Mass production. Cooperate! Adjust! Science-fiction magazines no longer perform this function. And perhaps that's why a crying need for original science fiction talent has been expressed by several science-fiction enthusiasts. How many of the science-fiction greats of yesteryear rose from the ranks of letter hacking and fandom? Today there's only fandom -- and its once-principle avenue of expression in the prozines -- the letter column, has, for all practical purposes, vanished. So let's get the long letter columns back in the science-fiction magazines? Let's crusade for a return of the letter hacks? I don't know if it's even economically feasible -- maybe the pulp days are gone forever. And even if it were possible -- Sputniks and Rod Serling have destroyed much of the uniqueness of science-fiction. A large number of science-fiction fans have expressed the desire that science- fiction be recognized by the masses -- some feeling that virtually everyone would like some aspect of science-fiction if they'd only give it an unprejudiced look. I can only say that the thing which makes science fiction appealing to me IS THE FACT THAT IT HASN'T WIDESPREAD APPEAL. And may it NEVER reach the mass popularity of the western and detective story. If it ever does, its uniqueness is gone. And once that uniqueness is gone, I doubt if fandom can stick very close to it. For the vitality of fandom lies in its own uniqueness and in its ability to develop self-identification and self-esteem for its participants. Take these qualities away and you have nothing. It's something to think about. ((Tim Morris spaceship fillo)) WORDS I WISH I COULD FORGET: John, speaking about some material and masters for UX? #3 before he leaves for boot camp, "Where should I put them -- in the box with my stories or in the box with my comics? Let's see, which is more valuable? The comics. I guess I'll put them there." Whatcha doin' now, John, agreeing with Gregg Wolford? [pp. 21 - 25, NO-EYED MONSTER #4, Fall 1965]
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