Jonathan Franzen, the literary titan behind masterpieces like The Corrections and Freedom, is known for his intricate narratives and sharp cultural observations. So, when his 2015 novel Purity featured a climactic scene soundtracked by what was dubbed “the soul-sister song,” readers and critics alike were intrigued, and perhaps, a little bewildered. The song in question? Train’s ubiquitous 2009 hit, “Hey, Soul Sister.”
This seemingly incongruous pairing sparked debate and dissection, becoming a focal point of discussion about Purity and Franzen’s broader commentary on contemporary culture. Was it a misstep, a joke, or a deliberate, insightful choice? Let’s delve into the “Hey Hey Sister Song”—or rather, the “Hey Soul Sister song”—controversy within Purity, exploring why this pop anthem became such a talking point.
In a pivotal scene towards the end of Purity, protagonist Pip Tyler finds herself enjoying a rare moment of levity with her new boyfriend. As their evening winds down, a cover band in a restaurant launches into “a must-dance song, the soul-sister song.” The characters, Pip and Jason, engage in a dance, acknowledging the song’s problematic aspects – Jason even mentions hating the lyrics and its commercial exploitation – yet admitting, “Great song.”
This brief moment ignited a firestorm of confusion and criticism, as highlighted in a Slate article shortly after the book’s release. The article’s author questioned whether “Hey, Soul Sister” was indeed “the soul-sister song” Franzen intended, humorously dismissing alternatives like “Lady Marmalade” and “Soul Sister” due to their lack of contemporary relevance and commercial ubiquity. The conclusion was clear: “Hey, Soul Sister” was the undeniable, and perhaps unfortunate, candidate.
The critique wasn’t simply about song identification. It went deeper, questioning the very essence of Franzen’s literary decision. Was Pip, a character portrayed as intelligent and worldly, genuinely meant to enjoy a song widely considered, as the Village Voice declared, the “worst song of 2010”? The original article’s author couldn’t fathom it, suggesting that setting a crucial scene to “Hey, Soul Sister” in a film adaptation of Purity would be “unforgivable.”
The core of the issue lies in the perceived chasm between Franzen’s literary world and the perceived shallowness of “Hey, Soul Sister.” The song, with its arguably simplistic lyrics (“My heart is bound to beat/ Right out of my untrimmed chest”) and commercial saturation, seemed diametrically opposed to the intellectual depth typically associated with Franzen’s work. Train’s frontman, Pat Monahan, even revealed the song’s inspiration stemmed from his imagined Burning Man experience, further fueling the perception of lyrical vapidity.
Adding to the complexity, Jason’s line about the song being “co-opted for a car commercial” was scrutinized. Critics argued that Train’s music, by its very nature, is designed for commercial appeal, thus questioning the notion of “co-optation.” This highlighted a broader cynicism towards pop music’s inherent relationship with commercialism.
However, author Nell Zink, a friend and mentee of Franzen, offered a different perspective. In a tweet responding to the Slate article, Zink suggested that Franzen’s choice was deliberate, a pointed commentary on “hipster pretension.” This interpretation reframed the scene, suggesting that Pip and Jason’s enjoyment of “Hey, Soul Sister” was an act of rebellion against snobbery, an embrace of simple, unpretentious joy.
This interpretation introduces layers of irony and complexity. Is Franzen, through Pip, subverting expectations? Is the enjoyment of “Hey, Soul Sister” meant to be ironic, or a genuine, albeit perhaps slightly embarrassing, pleasure? The original article hints at this possibility, noting that “hating Train is so mainstream,” and that “the true hipster approach might be to love Train.” Referencing Greil Marcus’s surprising appreciation for “Hey, Soul Sister” further complicates the narrative.
Ultimately, the “Hey Soul Sister song” moment in Purity remains ambiguous and open to interpretation. It serves as a microcosm of the broader debates surrounding high and low culture, authenticity versus commercialism, and the role of pop music in contemporary life. Whether Franzen intended to critique his characters, critique the song, or offer a more nuanced observation of cultural tastes is debatable.
What’s undeniable is that the inclusion of “Hey Soul Sister” sparked conversation and challenged readers’ expectations. It forced a confrontation with the seemingly incongruous, prompting us to consider the complexities of musical taste and the potential for unexpected moments of connection, even amidst songs we might intellectually dismiss. The “hey hey sister song” in Purity is more than just a song; it’s a cultural flashpoint, prompting a deeper look into the sounds that shape our lives and narratives.
