Rolf Potts and Kristin Van Tassel review a slew of novels whose "fictionalized backpackers ultimately function as ironic agents of mass culture," and whose "actions hint at the dull inevitability of consumer culture, as well as latent anxieties about the uncertainty of status and authenticity in an increasingly globalized world" — Sons of ‘The Beach’. An excerpt:
- Contemporary sociological and anthropological tourist-behavior studies underscore how these backpacker protagonists are influenced less by their exotic surroundings than the social dynamics of home. In a 2002 study of independent travel communities for the journal Ethnography and Social Anthropology, tourist scholar Christina Anderskov identifies independence, frugality, and acceptance of the locals as central tenets of backpacker culture. But as novels like The Beach illustrate, these values are largely a self-directed rhetoric within the insular confines of indie-travel social circles. As Anderskov acknowledges, backpackers seek each other out, and the travel communities themselves—not the host cultures—ultimately become the focus of travel. Instead of looking for nuances and complexities within the host culture, independent travelers frequently cling to signs of subcultural authenticity in each other.
Researchers have noted, for example, that within backpacker enclaves there is a clear hierarchy based on shorthand status cues curiously similar to those of home. Whereas back home income and influence might lend to status, backpackers fixate upon travel experience and fashion. Anderskov’s research subjects assert that “real backpackers” travel at least three months, and they demonstrate their credibility through their clothing, spending, and storytelling. Backpacker novels confirm this ideology, frequently using such markers to communicate experience and travel savvy.