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This chapter includes three subchapters: “Feedback Loop from Hell,” “The Subtle Art of Not Giving a F*ck,” and “So Mark, What the F*ck Is the Point of This Book, Anyway?” Manson begins with an anecdote, a technique that he uses often in the book. This one is about writer Charles Bukowski, a man with a less-than-stellar reputation for alcoholism, misogyny, and an abrasive personality. Bukowski was down-and-out for much of his adult life but persisted in honing his skills as a writer. Eventually, he got a break and pretty much threw caution to the wind to pursue a career as a writer. It worked for him, and his work became influential after his death, something that Bukowski probably couldn’t have imagined. Manson uses Bukowski’s story to introduce the main thesis of the book, an exploration of how to practice the art of not giving a f*ck.
Chapter 1 contains three subchapters and, in addition to laying out the groundwork for the rest of the book, makes it clear that the F-word will have a prominent place throughout. The word appears copiously in this chapter, as do other swear words. The first subchapter, “Feedback Loop from Hell,” describes how we engage in inadvertent self-sabotage. He provides hypothetical scenarios for how this looks, but basically, when we are feeling a certain way, we become more that way. For example, if we feel anxious, we become aware that we’re anxious, and that causes even more anxiety. According to Manson, we get stuck in these loops often, and being in them can have negative consequences. The way to break through them is to change your state of mind and adopt a less hypocritical view. In other words, we should stop giving a f*ck about it in the moment.
Manson points out that not caring about something (a euphemism for “not giving a f*ck”) is not necessarily the same as being apathetic. Manson claims that apathy is actually a subversive means to care because one is making an active choice to respond in a certain way: Apathy is a mask, and it hides a person’s inner anxieties. Rather than being indifferent—or instead of wallowing—a person should reflect honestly on what causes these inner doubts. In Manon’s view, honesty with oneself is paramount if that person is to break free of their own internally built limitations.
Manson’s introductory anecdote is a brief summary of the life and rise to fame of writer Charles Bukowski. Manson recognizes that including Bukowski—who he refers to as “a womanizer, a chronic gambler, a lout, a cheapskate, a deadbeat, and on his worst days a poet” (1)—is something of a contradictory strategy. Manson concedes that in a book of this nature, Bukowski is the last place one would look to find a lesson or a positive message. However, part of Manson’s strategy in the book is to nudge people to think in unorthodox ways, so mentioning how Bukowski rose to fame is fitting. Manson acknowledges the epitaph on Bukowski’s tombstone, which reads “Don’t try,” and spends much of the remainder of the chapter breaking down what it could mean.
The epitaph could be construed as signifying a statement of nihilism. However, as Manson applies it, a more accurate assessment would be “don’t try so hard” or “only try at what you care about.” Bukowski certainly cared about his own writing, and he just as certainly tried hard to become an excellent writer. He achieved his success, however, through toil, grit, and hard work—and largely through his ability to see himself for who he was and accept it: “His success stemmed not from some determination to be a winner, but from the fact that he knew he was a loser, accepted it, and then wrote honestly about it” (2). Bukowski’s approach paid off, and his writing, if anything, is highly authentic. Manson sees this as a trait worth emulating, but to be authentic, we must know ourselves as individuals.
Notable in the first chapter is the copious, over-the-top use of the F-word. Without question, the book’s title itself sets expectations, and when the F-word is first used in the opening chapter, it’s unsurprising. However, the repeated, gratuitous usage of the term challenges even these expectations. The effect is that Manson is almost testing the reader’s resolve here and establishing that his purpose is not to employ purple prose and ease us into the points he makes; on the contrary, Manson wants us to feel uncomfortable, and the prevalent profanity nudges us outside our comfort zone.
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