april 2015

My Aunt Ruth won’t watch Hillbilly Elegy, the movie adaptation of J. D. Vance’s memoir about growing up in and eventually escaping Appalachia and a mother coping with addiction. Practically speaking, my aunt doesn’t have a Netflix account or any of the smart technology she’d need to stream it. But she also has no interest in watching a story of her community that doesn’t reflect what she sees and that she knows will be exploitative, harmful, and not helpful to moving her or her neighbors forward.

Hillbilly Elegy doesn’t show the positive side of Appalachia that my aunt and I know, because that wouldn’t serve the story’s purposes. The film and book need Appalachia to be poor, broken, and dirty, because they depend on us believing that the mountains are somewhere we want Vance to escape. They need to frame poverty as a moral failing of individuals—as opposed to systems—because they have to imply that something about Vance’s character allowed him to get away from his hillbilly roots. Hillbilly Elegy has to simplify the people and problems of Appalachia, because it has decided to tell the same old pull-yourself-up-by-your-bootstraps narrative that so many of us reject.

Americans’ social lifelines are beginning to fray. As the temperature drops and the gray twilight arrives earlier each day, comfortably mingling outside during the pandemic is getting more difficult across much of the country. For many people, it’s already impossible.

To combat the loneliness of winter, some of us might be tempted to turn to pods, otherwise known as bubbles. The basic idea is that people who don’t live together can still spend time together indoors, as long as their pod stays small and exclusive. And pods aren’t just for the winter: Since March, parents have formed child-care bubbles. Third graders have been assigned to learning pods. Some NBA teams were in a bubble for months. A July survey of 1,000 Americans found that 47 percent said they were in a bubble.

How well do we know Donald Trump? Pretty well, it would seem. Nobody has ever accused the outgoing president of possessing a complex personality. His behavior in office confirmed the common view, barely disputed even by his allies, that he is a shallow narcissist, blind or indifferent to common decencies, with poor impulse control and a vindictive streak. His futile attempt to litigate away electoral defeat may appall you, but it probably doesn’t surprise you.

Still, just because we know bad things about the 45th president, don’t assume that there’s nothing bad left to find out. Journalists like to pretend that we know everything about a president in real time, but our information is never close to complete. There’s always more to learn, and it’s seldom reassuring.

When Julián Castro wasn’t given a speaking slot at the Democratic National Convention in August, he complained that Joe Biden’s campaign wasn’t showing proper respect to Latino voters. The real explanation for the snub is much simpler: The former housing secretary and presidential candidate had implied that Biden was senile in a primary debate and then didn’t endorse him until June, though the primary race had been over since April, when Bernie Sanders dropped out.

Anita Dunn, a senior adviser to the Biden campaign from the start, declined to comment on what happened with Castro. (An aide to Castro insisted he offered to endorse in April, but the Biden campaign sat on that, and an offer for advice on Latino outreach.) But keeping track of who crosses Biden—staff, reporters, politicians—is part of what she does. She watches. She listens. She remembers. She is completely comfortable with giving a firm no.

By 1979, Elvis Costello had established himself as an acerbic songwriter with a penchant for pungent turns of phrase, a sort of New Wave Bob Dylan. Critics adored his wordplay, and audiences made his first two records big hits. But when Costello delivered his third album, in January of that year, it was a reproach to anyone who thought they had figured out his shtick. Armed Forces represented a leap for the English singer and his band, the Attractions—a harmonic and sonic transformation. But the most remarkable thing about the record was its obsession with fascism, Nazis, and the Holocaust. A quiver of catchy riffs carries a dozen embittered songs, only to resolve in an unexpectedly earnest plea for harmony.