I've been quoting quite a bit from Drew Gilpin Faust's Mothers Of Invention, a history of women in slaveholding families during the Civil War. One reason Faust's writing appeals to me is her ear for primary sources--she's a historian, but there's something of the literary critic in her approach. There's a portion of her book, This Republic Of Suffering, where she quotes a letter in which a soldier refers to the death of a comrade as "awful news." But the soldier misspells "awful" as "auwful" (forgive me I don't have my copy of Suffering handy) and Faust uses "the auwful news" as a kind of synonym for a soldier's death throughout the chapter. What is communicated is that the misspelling means something, that there's a kind of earthly beauty in the plain prose of people, an understanding that is more lived than learned.
That same eye for beauty is on display in Mothers. Last night, I was sitting in the local coffee shop reading a section where a slave-holding woman was trying to come to terms with the death of her husband. Convinced that they would meet in eternity, the woman resolved that she would, from that point forward, "wear this world like a loose garment." The phrase is not original to her, but it's invocation at that moment, having buried her beloved, stopped me cold.
For an African-American like me, the upshot of all this gorgeous writing is bracing--one is forced to behold beauty in those who saw no such beauty in us. Worse, the partisans of Confederate history are quite often necromancers who would defile that beauty with denialism, and Lost Cause hokum. The impulse is toward rage, toward justified fury. The impulse is to view any deft use of the English language, as hypocrisy, as devil-worship concealed beneath garland prose.
It's an impulse I've felt, myself. I love this picture (it's from the cover of Mothers) because, all at once, I find it beautiful and rage-inducing. The problem with rage is that it's a conversation-stopper, it forecloses all other questions. I am resolved on the nature of the Confederate cause. I would no sooner now debate the primary cause of the Civil War, then I would debate roundness of the Earth. And still in all, I am filled with questions. Chief among them, how does any human being in the 19th century come to endorse mass slaughter for the cause of raising a republic built on slavery?
To answer such a question, it is not enough to understand cause of the Civil War. A debate over the meaning of the Confederate Flag is almost beside the point. You have to remove the cloak of the partisan, and assume the garb of the thespian. Instead of prosecuting the Confederate perspective, you have to interrogate it, and ultimately assume it. In no small measure, to understand them, you must become them. For me to seriously consider the words of the slave-holder, which is to say the mind of the slave-holder, for me to see them as human beings, as full and as complicated as anyone else I know, a strange transcendence is requested. I am losing my earned, righteous skin. I know that beef is our birthright, that all our grievance is just. But for want of seeing more, I am compelled to let it go.
More than any other book, Mothers has confronted me with the hard work of compassion. It is Du Bois again, like loving Mencken, like saluting the technological genius of Birth Of A Nation, like loving all those black and white movies that did not love you. To understand, to get it, black people must, if only for the moment, get out of ourselves and see the world through the eyes of our tormentors.
Having seen some of that, I have come to see that our tormentors had tormentors, that the slave-holding woman was trapped by hoop-skirts and convention, that the man was trapped by lineage and human folly. The point of it all is not to clean anyone, is not exoneration. The point is a deeper level of knowing. The most powerful piece of art I've ever seen on the slave trade is Robert Hayden's "Middle Passage." The poem is mostly free of didactic condemnation, and almost entirely told in the voice of the slavers. And yet in what it doesn't say, in its willingness to cross over, it says so much.
In this society, we view compassion as a favor, something along the lines of forgiveness extended to the humble and deserving. No. My compassion is utterly selfish, and is rooted in a craving for power. It is compelled by my curiosity, itself, just another name for hunger, for desire, for want of the great power of knowing. It is not enough for me to sit around scoring morality points on dead people, all the while blind to the living morality of this troubled time. There's no power in that. I need to know more.
The stability of American society depends on conservatives finding a way forward from the Trump dead end.
Election 2016 looked on paper like the most sweeping Republican victory since the Jazz Age. Yet there was a hollowness to the Trump Republicans’ seeming ascendancy over the federal government and in so many of the states. The Republicans of the 1920s had drawn their strength from the country’s most economically and culturally dynamic places. In 1924, Calvin Coolidge won almost 56 percent of the vote in cosmopolitan New York State, 65 percent in mighty industrial Pennsylvania, 75 percent in Michigan, the hub of the new automotive economy.
Not so in 2016. Where technologies were invented and where styles were set, where diseases cured and innovations launched, where songs were composed and patents registered—there the GOP was weakest. Donald Trump won vast swathes of the nation’s landmass. Hillary Clinton won the counties that produced 64 percent of the nation’s wealth. Even in Trump states, Clinton won the knowledge centers, places like the Research Triangle of North Carolina.
The national-security adviser is one of the biggest hawks in the Trump administration.
In the increasingly urgent, dramatic debate about the North Korean nuclear threat, National Security Adviser H.R. McMaster stands out in the Trump administration as the strongest advocate of a hawkish position. But where do H.R. McMaster’s views on North Korea really come from? Why, to pose a question The Atlantic’s Uri Friedman recently did, is he so worried about North Korea? Notwithstanding the suggestion, in Friedman’s piece and elsewhere, that McMaster’s views represent some kind of heresy of nuclear deterrence, his worries must be seen in light of how he views Kim’s motives. Indeed, those motives mean the possibility of military action against North Korea could be understood not as a “good thing,” but as the “least bad.”
Advocates are tracking new developments in neonatal research and technology—and transforming one of America's most contentious debates.
The first time Ashley McGuire had a baby, she and her husband had to wait 20 weeks to learn its sex. By her third, they found out at 10 weeks with a blood test. Technology has defined her pregnancies, she told me, from the apps that track weekly development to the ultrasounds that show the growing child. “My generation has grown up under an entirely different world of science and technology than the Roe generation,” she said. “We’re in a culture that is science-obsessed.”
Activists like McGuire believe it makes perfect sense to be pro-science and pro-life. While she opposes abortion on moral grounds, she believes studies of fetal development, improved medical techniques, and other advances anchor the movement’s arguments in scientific fact. “The pro-life message has been, for the last 40-something years, that the fetus … is a life, and it is a human life worthy of all the rights the rest of us have,” she said. “That’s been more of an abstract concept until the last decade or so.” But, she added, “when you’re seeing a baby sucking its thumb at 18 weeks, smiling, clapping,” it becomes “harder to square the idea that that 20-week-old, that unborn baby or fetus, is discardable.”
Allegations against the comedian are proof that women are angry, temporarily powerful—and very, very dangerous.
Sexual mores in the West have changed so rapidly over the past 100 years that by the time you reach 50, intimate accounts of commonplace sexual events of the young seem like science fiction: You understand the vocabulary and the sentence structure, but all of the events take place in outer space. You’re just too old.
This was my experience reading the account of one young woman’s alleged sexual encounter with Aziz Ansari, published by the website Babe this weekend. The world in which it constituted an episode of sexual assault was so far from my own two experiences of near date rape (which took place, respectively, during the Carter and Reagan administrations, roughly between the kidnapping of the Iran hostages and the start of the Falklands War) that I just couldn’t pick up the tune. But, like the recent New Yorker story “Cat Person”—about a soulless and disappointing hookup between two people who mostly knew each other through texts—the account has proved deeply resonant and meaningful to a great number of young women, who have responded in large numbers on social media, saying that it is frighteningly and infuriatingly similar to crushing experiences of their own. It is therefore worth reading and, in its way, is an important contribution to the present conversation.
Years after his daughter reiterated her allegation that the director sexually abused her, more actors are voicing their regret for collaborating with him.
Woody Allen won an Academy Award, the fourth of his career, just six years ago for writing Midnight in Paris. He was nominated again two years later for Blue Jasmine, a film that won Cate Blanchett a Best Actress Oscar. The last year that Allen didn’t release a movie in theaters that he wrote and directed was 1981. Despite the controversy that has dogged him since the early 1990s—when he was revealed to be having an affair with his girlfriend’s daughter and was subsequently accused of molesting his adopted daughter Dylan Farrow—Allen has continued to make movies with the same once-a-year regularity as always, and usually with major stars. He has long denied that he abused his daughter.
But the film industry’s willingness to turn a blind eye to the allegations against Allen seems to be coming to an end. More and more actors who have worked with him in the past are announcing that they regret the collaboration, and it appears the sheen of Oscar-winning prestige he has relied on to attract big names to his projects is fading. Allen, who released Wonder Wheel last month and is set to come out with A Rainy Day in New York this year, may try to helm more movies. But with Hollywood finally beginning to grapple with his enduring presence as an artist, could that be enough to destroy his career?
Corporate goliaths are taking over the U.S. economy. Yet small breweries are thriving. Why?
The monopolies are coming. In almost every economic sector, including television, books, music, groceries, pharmacies, and advertising, a handful of companies control a prodigious share of the market.
The beer industry has been one of the worst offenders. The refreshing simplicity of Blue Moon, the vanilla smoothness of Boddingtons, the classic brightness of a Pilsner Urquell, and the bourbon-barrel stouts of Goose Island—all are owned by two companies: Anheuser-Busch InBev and MillerCoors. As recently as 2012, this duopoly controlled nearly 90 percent of beer production.
This sort of industry consolidation troubles economists. Research has found that the existence of corporate behemoths stamps out innovation and hurts workers. Indeed, between 2002 and 2007, employment at breweries actually declined in the midst of an economic expansion.
A tanker that sank off the Chinese coast was carrying “condensate,” a mix of molecules with radically different properties than crude.
Over the last two weeks, the maritime world has watched with horror as a tragedy has unfolded in the East China Sea. A massive Iranian tanker, the Sanchi, collided with a Chinese freighter carrying grain. Damaged and adrift, the tanker caught on fire, burned for more than a week, and sank. All 32 crew members are presumed dead.
Meanwhile, Chinese authorities and environmental groups have been trying to understandthe environmental threat posed by the million barrels of hydrocarbons that the tanker was carrying. Because the Sanchi was not carrying crude oil, but rather condensate, a liquid by-product of natural gas and some kinds of oil production. According to Alex Hunt, a technical manager at the London-based International Tanker Owners Pollution Federation, which assists with oil spills across the world, there has never been a condensate spill like this.
Can a 3-D printed model of the organ change views on female sexuality? Yes and no. An Object Lesson.
The clitoris really isn’t that confusing. Or it shouldn’t be, anyway. Nonetheless, acknowledging the shape, size, or even existence of this essential body part has not always been par for the course—even in the medical profession. As a 2005 report from the American Urological Association puts it, “the anatomy of the clitoris has not been stable with time as would be expected. To a major extent its study has been dominated by social factors.”
However, heralded by some as a sexual and physiological revolution, a new 3-D printed model of the clitoris is being used to change the public’s view of female sexuality. Free to download, the life-size model was designed by the French engineer, sociologist, and independent researcher Odile Fillod and released early last year.
The discreet, disorienting passions of the Victorian era
Even by the formidable standards of eminent Victorian families, the Bensons were an intimidating lot. Edward Benson, the family’s patriarch, had vaulted up the clerical hierarchy, awing superiors with his ferocious work habits and cowing subordinates with his reforming zeal. Queen Victoria appointed him the archbishop of Canterbury, the head of the Anglican Church, in 1883. Edward’s wife, Minnie, was to all appearances a perfect match. Tender where he was severe, she was a warmhearted hostess renowned for her conversation. Most important, she was Edward’s equal in religious devotion. As a friend daringly pronounced, Minnie was “as good as God and as clever as the Devil.”
All five of Edward and Minnie Benson’s adult offspring distinguished themselves in public life. Arthur Benson served as the master of Magdalene College at Cambridge University, wrote the lyrics to Edward Elgar’s hymn “Land of Hope and Glory,” and was entrusted with the delicate task of co-editing Queen Victoria’s letters for publication. His brother Fred was a best-selling writer, well known today for the series of satirical Lucia novels (televised for the second time in 2014, on the BBC), which poked good-natured fun at the pomposities of English provincial life. Their sister Margaret became a pioneering Egyptologist, the first woman to lead an archaeological dig in the country and to publish her findings. Even the family’s apostate, the youngest brother, Hugh, a convert to Roman Catholicism, was considered a magnetic preacher and, like his brothers, was an irrepressible author of briskly selling books. All told, the family published more than 200 volumes.
Stories of gray areas are exactly what more men need to hear.
The story of Aziz Ansari and “Grace” is playing out as a sort of Rorschach test.
One night in the lives of two young people with vintage cameras is crystallizing debate over an entire movement. Depending on how readers were primed to see the ink blot, it can be taken as evidence that the ongoing cultural audit is exactly on track—getting more granular in challenging unhealthy sex-related power dynamics—or that it has gone off the rails, and innocent men are now suffering, and we are collectively on the brink of a sex panic.
Since the story’s publication on Saturday (on the website Babe, without comment from Ansari, and attributed to a single anonymous source), some readers have seen justice in Ansari’s humiliation. Some said they would no longer support his work. They saw in this story yet another case of a man who persisted despite literal and implied cues that sex was not what a woman wanted.Some saw further proof that the problems are systemic, permeating even “normal” encounters.