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Matthew Yglesias

Matthew Yglesias - Matthew Yglesias is a fellow at the Center for American Progress Action Fund.
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Matthew Yglesias is a fellow at the Center for American Progress. His first book, with the working title Heads in the Sand: Iraq and the Strange Death of Liberal Internationalism, scheduled to be published next spring by John Wiley and co., deals with the Democratic Party's struggle to find a post-9/11 foreign policy, focusing primarily on the rise and (hopefully) fall of the liberal hawk movement.

Previously, he was a staff writer at The American Prospect and an Associate Editor at TPM Media, where he contributed to the group blogs Tapped and TPMCafe. His main blog, now at The Atlantic, has existed in various forms since the dark ages of the blogosphere in January 2002.

His writing has appeared in The Guardian, Slate, The New Republic, and The Washington Monthly, and he is a regular on BloggingHeads.tv and makes the occasional radio or television appearance.

Desperately out of touch with the American mainstream, Yglesias was born and raised in Manhattan and studied philosophy at Harvard where he was editor in chief of The Harvard Independent, a campus alternative weekly.

His latest writings can be found on the Matthew Yglesias blog.

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More Sopranos Blogging

By Matthew Yglesias

Jun 11 2007, 8:48 AM ET Comment

I feel like Scott Lemieux is suffering here from some kind of television version of the Stockholm Syndrome: Since David Chase is a genius, and The Sopranos is a brilliant show, it therefore follows that all of his narrative and dramatic choices were brilliant coups.

The idea that desire to see the story of the show brought to some kind of conclusion rather than this childish "is he dead?" / "did the FBI pinch him?" / "guess we'll never know" BS is inherently "middlebrow" has got to be the prime symptom of the illness. I think the beginning/middle/end narrative structure characterizes a lot of perfectly highbrow works. Not to give anything away, but at the end of Anna Karenina we find out what happens to Anna, and it's not because Tolstoy sold out.

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