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John Fetterman Punched Us in the Mouth

On May 10, 2022, I published an article on this page under the headline “John Fetterman Will Punch You in the Mouth!” I meant it as tribute. I called him “what a Democrat used to be,” a man “of the land, against the elite power, for the common good,” and I welcomed him into my invented fraternity of “Big Uglies,” the large, plain, unpressed men who do the country’s heavy carrying. The year before, on my Human Meme podcast, in an episode called “The Great White Bridge as Throughline,” I had floated him as a future Democratic President, with Keisha Lance Bottoms standing as his second. I believed the hoodie. I believed the shorts, the goatee, the 6’8″ frame, the tattooed forearms, the whole costume of the steel-town avenger who, I assured you, “suffers no fools.” Four years later I am here to take it back, in public, at length, because the recantation is owed, and because the autopsy of my error teaches more than the error did.

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Honest Opacity

Honesty is a rule about what you say. Transparency is a rule about what you hide. They are different instruments, and the confusion between them is how power keeps its secrets in the open. Two words get treated as synonyms by people who ought to know the difference, and the people who exploit the confusion understand it best of all. A company under investigation announces that it has been fully transparent and expects the phrase to function as an alibi. A politician says he has nothing to hide and trusts you to hear it as proof of innocence. Each one is trading on a slippage between two ideas that are not the same and do not even point the same way.

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The Unfathered: A Short Story for a Long World

There is a part of the Book of Genesis that almost no one reads aloud. It sits between the famous scenes, the garden and the flood, and it is only a list. Adam lived a number of years and begat Seth. Seth lived and begat Enosh. The text walks down the page through nine generations of fathers and sons, each man reduced to two facts, that he lived and that he made another like himself, until the line reaches Noah and the world is ready to drown. I used to skip those passages. I read one again last night, on a laptop in an apartment I am about to leave, and I understood for the first time that a genealogy is a horror story told slowly enough to be survived.

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Stop Applauding the Forced Apology

There is no such thing as a sincere statement made with a boot on the neck, and we have built a culture that pretends otherwise.Watch what happens now when someone steps out of line. A demand goes up for a statement. The statement arrives, in the approved shape, full of the approved words, and a crowd gathers to judge whether the sorrow inside it looks real enough to accept. We have a name for that performance when a dictator stages it. We call it a show trial. What we have not admitted is that we run a softer version of the same machine every week, on our phones, for sport.

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Stored Sun: What a Book Actually Is

Ask ten readers what a book is and you will get ten metaphors and no definitions. A mirror, they say, or a door, or a passageway with footfalls behind it. The metaphors flatter the reader and obscure the object. None of them tell you what is sitting on your shelf, dark and patient, while you sleep. Here is the answer. A book is stored sun.

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Now I Become Em-Dash Triple Anaphora, Destroyer of Words

In July of 1945, at the Trinity site in the New Mexico desert, J. Robert Oppenheimer watched the first atomic detonation and, by his own later telling, thought of a line from the Bhagavad Gita. The Sanskrit word he rendered as Death is kāla, which scholars also translate as Time depending on context, and Oppenheimer’s decision to reach for the more theatrical English word tells you something about the difference between a physicist and a translator. “Now I am become Death, the destroyer of worlds.” The sentence has haunted the century because it collapses the distance between maker and unmaker into a single grammatical act.

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The Book Lives Three Times: How Seneca Got Reading Wrong by Getting It Right

You finish writing a book and the manuscript sits there, cooling on the screen like bread pulled from an oven. It is done. It is no longer yours. This is the part no one tells you about authorship: the moment the final sentence locks into place, the book begins its first death, because it has stopped being a living negotiation between you and the language and has become, instead, a fixed object. A thing. The writer’s relationship to the finished text is not unlike the relationship a parent has to an adult child who has just walked out the front door with a suitcase. You made this. You cannot unmake it. You are, from this point forward, irrelevant to its survival.

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