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.
They weren’t the first victims of a mass shooting the Florida radiologist had seen—but their wounds were radically different.
As I opened the CT scan last week to read the next case, I was baffled. The history simply read “gunshot wound.” I have been a radiologist in one of the busiest trauma centers in the nation for 13 years, and have diagnosed thousands of handgun injuries to the brain, lung, liver, spleen, bowel, and other vital organs. I thought that I knew all that I needed to know about gunshot wounds, but the specific pattern of injury on my computer screen was one that I had seen only once before.
In a typical handgun injury that I diagnose almost daily, a bullet leaves a laceration through an organ like the liver. To a radiologist, it appears as a linear, thin, grey bullet track through the organ. There may be bleeding and some bullet fragments.
Decades before he ran the Trump campaign, Paul Manafort’s pursuit of foreign cash and shady deals laid the groundwork for the corruption of Washington.
The clinic permitted Paul Manafort one 10-minute call each day. And each day, he would use it to ring his wife from Arizona, his voice often soaked in tears. “Apparently he sobs daily,” his daughter Andrea, then 29, texted a friend. During the spring of 2015, Manafort’s life had tipped into a deep trough. A few months earlier, he had intimated to his other daughter, Jessica, that suicide was a possibility. He would “be gone forever,” she texted Andrea.
His work, the source of the status he cherished, had taken a devastating turn. For nearly a decade, he had counted primarily on a single client, albeit an exceedingly lucrative one. He’d been the chief political strategist to the man who became the president of Ukraine, Viktor Yanukovych, with whom he’d developed a highly personal relationship.
A new book pieces together the strange legal saga that was sparked by a 2007 Gawker post outing the billionaire tech investor Peter Thiel.
Bollea v. Gawker isn’t just one of the most consequential lawsuits in the history of modern American media. It’s also probably the strangest. In 2016, Hulk Hogan, the professional wrestler, won a nine-figure lawsuit that ultimately bankrupted Gawker Media, a fleet of sites that epitomized the barbed brilliance of New York’s young media crowd. The lawsuit concerned a video of Hogan (né Terry Gene Bollea) having consensual sex with his best friend’s wife, while that same friend recorded the encounter—secretly, according to Hogan and later reporting. Behind the scenes of this tawdry affair, a more shocking story was playing out, in which Peter Thiel, the billionaire investor, seemed to be exorcising a deep grudge against Gawker by bankrolling Hogan’s lawsuit to destroy the media company that published the sex tape.
Many seniors are stuck with lives of never-ending work—a fate that could befall millions in the coming decades.
CORONA, Calif.—Roberta Gordon never thought she’d still be alive at age 76. She definitely didn’t think she’d still be working. But every Saturday, she goes down to the local grocery store and hands out samples, earning $50 a day, because she needs the money.
“I’m a working woman again,” she told me, in the common room of the senior apartment complex where she now lives, here in California’s Inland Empire. Gordon has worked dozens of odd jobs throughout her life—as a house cleaner, a home health aide, a telemarketer, a librarian, a fundraiser—but at many times in her life, she didn’t have a steady job that paid into Social Security. She didn’t receive a pension. And she definitely wasn’t making enough to put aside money for retirement.
The spokesperson for the National Rifle Association has long used the logic of motherhood in her defense of guns. This week, though, she faced an unexpectedly powerful foe: kids.
“I want you to know that we will support your two children in the way that you will not.”
That was Emma González, a survivor of the Marjory Stoneman Douglas shootings, speaking to Dana Loesch, the spokesperson for the National Rifle Association, at a CNN town hall on Wednesday evening. González made the comment as a lead-up to a question about the NRA’s position on semiautomatic weapons, and on the modifications that so effortlessly increase those weapons’ capacity to kill. Loesch, however, wasn’t at the town hall to talk about the guns that are used to murder; she was there to talk about the problems of the people (“people who are crazy,” she repeatedly emphasized) who use the guns to do the murdering. She was also there, she suggested, to soothe. She was there to protect. She was there to be motherly to a group of kids who are grieving.
Joe Arpaio made his name by building a harsh jail in the desert. Now, Trump is promising to take his punitive approach to immigration national.
On the eve of the Iowa Caucuses in January 2016, when Donald Trump’s presidential campaign still seemed a long-shot, he landed a crucial endorsement. Joe Arpaio, the Phoenix-area sheriff hailed by conservative activists for being tough on immigration, embraced Trump with a prescient message. “Everything I believe in,” Arpaio declared, “he’s going to do when he becomes president.”
The former sheriff rose to national prominence by running an outdoor jail in the desert he once proudly referred to as a “concentration camp.” Arpaio, who is now running for the United States Senate, sees no reason to reconsider the remark. “I’m not going to back down,” Arpaio said in a recent interview. “So what? Maybe it is a concentration camp. I don’t want to make it look nice, like the Hilton Hotel. I want to say it’s a tough place so people don’t want to come there.”
The former Trump campaign aide pleaded guilty to conspiracy to commit bank fraud and lying to the FBI on Friday, the third Trump aide to admit he committed a felony.
Updated on February 23 at 4:01 p.m.
Rick Gates, a former top aide to President Trump on his campaign and in the White House, pleaded guilty on Friday to conspiracy against the United States and making false statements, and agreed to cooperate with special counsel Robert Mueller’s investigation into Russian interference in the election.
On Friday morning, the court unsealed a new “criminal information” document from Mueller, dated February 2, including those two counts. Mueller had previously charged Gates with a range of crimes, with indictments coming from grand juries in both Washington, D.C. (12 counts), and Virginia (32 counts). Gates had previously pleaded not guilty in Washington.
The plea caps a busy series of days in Mueller’s investigation, especially in relation to Gates and his former business partner Paul Manafort, who served for a time in summer of 2016 as Trump’s campaign chair. Earlier this week, a lawyer pleaded guilty to lying to the FBI about his conversations with Gates. On Thursday, Mueller unsealed a new indictment from a Virginia grand jury with 32 counts that laid out, in extensive detail, an alleged scheme of tax evasion, bank fraud, and conspiracy.
The revolutionary ideals of Black Panther’s profound and complex villain have been twisted into a desire for hegemony.
The following article contains major spoilers.
Black Panther is a love letter to people of African descent all over the world. Its actors, its costume design, its music, and countless other facets of the film are drawn from all over the continent and its diaspora, in a science-fiction celebration of the imaginary country of Wakanda, a high-tech utopia that is a fictive manifestation of African potential unfettered by slavery and colonialism.
But it is first and foremost an African American love letter, and as such it is consumed with The Void, the psychic and cultural wound caused by the Trans-Atlantic slave trade, the loss of life, culture, language, and history that could never be restored. It is the attempt to penetrate The Void that brought us Alex Haley’s Roots, that draws thousands of African Americans across the ocean to visit West Africa every year, that left me crumpled on the rocks outside the Door of No Return at Gorée Island’s slave house as I stared out over a horizon that my ancestors might have traversed once and forever. Because all they have was lost to The Void, I can never know who they were, and neither can anyone else.
Tech analysts are prone to predicting utopia or dystopia. They’re worse at imagining the side effects of a firm's success.
The U.S economy is in the midst of a wrenching technological transformation that is fundamentally changing the way people sleep, work, eat, shop, love, read, and interact.
At least, that’s one interpretation.
A second story of this age of technological transformation says that it’s mostly a facade—that the last 30 years have been a productivity bust and little has changed in everyday life, aside from the way everyone reads and watches videos. People wanted flying cars and got Netflix binges instead.
Let’s call these the Disrupt Story and the Dud Story of technology. When a new company, app, or platform emerges, it’s common for analysts to divide into camps—Disrupt vs. Dud—with some yelping that the new thing will change everything and others yawning with the expectation that traditionalism will win out.
For $8,000 it was easy for me to justify selling my eggs the first time. The second time, too. Only then did they share the bad news.
A few years ago, a woman I've never met had my child, but that's not exactly true; she had our child, or something like our child. My DNA is fringed with her husband's DNA inside a baby who was carried and birthed by this anonymous woman.
Some couple has a kid that I am somehow scrunched inside of.
This was the winter of the Panicky Manhattanite. They scuttled around in Chanel coats, swiping at quarters on the sidewalk, whispering Madoff! while watching their IRAs and 401Ks and mutual funds implode on their phone's banking app, finally drowning their worries in $15 bottles of wine instead of over a nice dinner out, which now seemed, regrettably, indecent.
I had a good job as a wealthy family's cook and assistant, health insurance through grad school, savings, no debt, and a lot of optimism. But I knew I was a luxury employee, my hours were being cut back, and my weekly payments were given with more unease than they had been in 2007, when wads of money just looked cute.