First of all, the storyteller has to invent a shared past for which both people can become nostalgic. The twists on the standard courtship-by-declaration are crucial.
I want you to tell me something first: after you’re dead and buried and floating around whatever place we go to, what’s going to be your best memory of earth?” (91). In Norwegian Wood, Midori prompts Toru to “say something nicer,” and in Coupland’s Generation X, the woman Elvissa says, “I might even tell you a special story in a few minutes. In fact, the characters provoke each other to produce these fantasies. The pattern is basically one of imaginative verbal excess, in which two motionless people absent themselves from the world through a regressive, semi-mythic fantasy. I’m interested in this because it seems to echo a pattern found in all sorts of modern, New Romantic stories (for example, any novel by Douglas Coupland, or the film Garden State). Want to tumble with me?’ So you and the bear cub spend the whole day in each other’s arms, tumbling down this clover-covered hill. And he says to you, ‘Hi, there, little lady. “You’re walking through a field all by yourself one day in spring, and this sweet little bear cub with velvet fur and shiny little eyes comes walking along. Here is how Toru and his lady friend Midori speak to each other: In it’s own, weird way, it’s a companion piece to my response to Twisty, by which I mean that this is a different, less welcoming take on solicitude. So here I go again with Norwegian Wood, but this time I’m on about love and friendship in the age of Cheez-Its. Max (Chris Eigeman), Kicking and Screaming I can’t go to the bar because I’ve already looked back on it in my memory… and I didn’t have a good time. I’ve begun reminiscing events before they even occur. I’m nostalgic for conversations I had yesterday.
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