17 pages • 34-minute read
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Collier presents his story as a wise parable about the limits of romantic love. His skepticism doesn’t come from nowhere. In the 20th century, the advertising industry coopted and commercialized the valorization of romantic love and passion that had developed in the 19th century. Glorified individualistic romance and the rejection of societal expectations that went with it became a way to sell a specific lifestyle. Its absence from a customer’s life became a useful cudgel to compel consumption of products that would augment personal attributes like beauty aids, scents, and clothing.
In this story, when Alan Austen is faced with the fact that the object of his affection does not return his feelings, he does exactly what advertising has been telling him to do—he seeks out a product that will help him couple up. Capitalism has created Alan’s need and the shop proprietor is there to fill it. Of course, the twist of the story is that filling the need for love will necessarily soon create the need for freedom, as the story is unable to imagine a world in which Diana both loves Alan and maintains her own individuality. The shop proprietor will thus not only profit from this trade in unrealistic romantic love, but also in its disillusionment.
Though John Collier began his artistic career as a poet (and is best known today for his subversive and strange short stories), in his life he was best known among his peers as a scriptwriter, particularly for television. In this, he joined many mid-century writers, such as Sloan Wilson, James Dickey and Don DeLillo, whose relationship to self-expression through art was fundamentally altered through their intimate involvement with the marketplace; in particular, through their careers in marketing and mass-commercialization. In this light, it’s easy to see where Collier’s sympathies lie, even when that sympathy is combined with a cocked eyebrow.
The proprietor creates wonderful things from disparate elements and sells them for a profit; moreover, the products he sells, if effective, create a sustaining repeat business. John Collier understands that the proprietor of the shop is a scoundrel, but there is a long tradition of scoundrels recognizing talent in one another. The proprietor has his pitch to make, and John Collier has another, very similar pitch. His ultimate moral may be that love is not all it’s cracked up to be, or that the fundamental nature of human relationships is predatory.
The relationship between the proprietor and the young man is representative of the authority of old age over youth, as told by an author entering his sixth decade of life. It is not an effusive or communicative relationship, however. Alan can barely express his fundamental needs, mixing up a desire for sex with a desire for companionship. Presumably, this inability to communicate extends to his life outside of the shop, as well, thus bringing him to a shop that sells quick-fix love potions.
In a healthy meeting of innocence and experience, the older man would pass along what he has learned about erotic confusion before communicating lessons in empathy and conversational tactics that would help the young man grow and achieve confidence. The world Collier paints is not that world, however. We know little about the older man because he gives very little of himself away. Like his room, his speech is austere, only going beyond mere grunting when developing a line of well-worn marketing patter. His purpose is to extract value from a weak member of the pack, using age and experience as weapons. In this, too, there is a little bit of triumph. The older man may not have the same access he once had to parties and youthful misadventure, and his exploitation of a stray member of this cohort may act as a shallow triumph in the face of the disappointments of encroaching mortality.



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