This essay analyzes Jay McInerney's short story "The Business," focusing on the first-person narrator Martin and the ways in which his inflated self-image shapes every interaction and relationship in the narrative. The paper examines how McInerney uses Martin's credentials, marginalizing attitude toward other characters, and emotional detachment to construct a portrait of intellectual arrogance. It then traces Martin's gradual artistic capitulation to commercial Hollywood pressures, arguing that despite his sense of superiority, his trajectory is entirely unremarkable — he is, in the story's terms, just another person who came to Hollywood with a dream and sold out for success.
Jay McInerney is a writer who has had to deal with the pros and cons of being a renowned figure. Anyone who has achieved some measure of recognition — whether for positive reasons such as being an excellent writer, or for notorious reasons such as appearing drunk and disheveled on a reality television program — will find that recognition can cut both ways. There is the welcome kind of attention, such as talk shows or interviews where you are questioned about your interests and work. There is also the negative attention associated with celebrity, such as the intrusions of paparazzi. In his short story "The Business," McInerney brings the reader into his personal world of celebrity and explores what it is like for people who are even more instantly recognizable than he is.
The first-person narrator of this story informs the reader from the outset that he is educated and intelligent. Martin has a degree from a prestigious college and has had professional experience as a newspaperman. While in college, he specialized in "poststructuralist analysis of film adaptations of major American novels" (McInerney 335). From there, he worked on the periphery of the film industry as a movie reviewer and entertainment reporter. All of this information is delivered in the second paragraph of the piece. From the language McInerney chooses, it is evident that this narrator thinks very highly of himself and his achievements.
If the reader closely examines what Martin considers his area of expertise, it can be broken down into simpler terms. He studied movies adapted from American novels and did so using the framework of poststructuralism — the idea that all of society is comprised of social constructions, that things carry meaning only because society assigns that meaning to them. By extension, the films he studied have meaning only because certain factions tell us they do. This framing reveals the narrator's intellectual pretension from the very beginning.
This seemingly arrogant attitude continues to assert itself as the story progresses, allowing the reader to watch the narrator grow increasingly self-satisfied during his transformation from film reviewer to screenwriter. He decides to write scripts initially not out of any particular love for the craft and not because he has a uniquely compelling idea. Rather, he interviews a person involved in the film industry and decides that he is superior to his subject. The man he interviews is given no name, and his career is never explained. All the reader knows about this man is that he is smoking a cigarette and that he has something green in his teeth. The reader receives only this limited information because that is how the narrator perceives him — a nobody in comparison to himself and his own abilities.
"Narrator suppresses grief over girlfriend's betrayal"
"Producers force commercial rewrites; narrator complies"
McInerney, Jay. "The Business." How It Ended: New and Collected Stories. Vintage, 2009, pp. 335–350.
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