Category Archives: Reviews

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The Recurring Ruptures of American Life

Our official origin story of a national melting pot is what many still express, but millions of citizens carry the scars of bigotry, racism, sexism and homophobia. It is an old story that still puts many Americans out of the picture.

Live long enough on the unsteady terrain of American civil affairs and it seems like the seismic upheavals are frequent and endless. Patterns of breakdown bump into other existential threats that vie for attention. Natural disasters overlay human ones, as in the devastation in the Los Angeles area. Just now, the most recent fissures are evident in racial ghosting, anti-WOKE conspiracies, federal dismemberment, and the takeover of national electoral politics by the super-rich. All feed contorted mutations of language that almost make the absurd seem plausible.

The nation’s material wealth may soften the experience of moving too fast over unstable ground. But the ground will still win, with many retreating into origin stories that mostly skirt the white-man tribalism that has surfaced yet again. The American skill for euphemism has meant that patterns of dominance and control have mostly been renamed out of existence. But The remnants of past ruptures lie around us in a visible topology. It is hard not to be drawn to the edge, where dreams of national destiny keep us focused on the horizon rather than what is at our feet. Our official origin story of a national melting pot is what many still express, but millions of citizens carry the scars of bigotry, racism, sexism and homophobia.

Rumbles from the unstable ground come often enough to keep our politics in a state of a perpetual suspicion, a thread that extends far back to skirmishes with the French in the 1750s, and the British in the 1770s. In the modern era the nation faced real threats of Nazi domination, as well as exaggerated fears of victimage at the hands of Soviet or Chinese communists. Active thoughts of conspiracy blend with recurring instances of literal and rhetorical assassinations that have easily been top of mind in the eras of Kennedy, Nixon, King, Reagan, the second Bush, and now, Trump’s dangerous delusions of a hostility everywhere.

Trump has turned almost every relationship with other states into a test of wills, energized by a laundry list of imagined slights that require retribution. This is most obvious in the hostile turn on Canada, whose public discourse has mostly escaped the shadows and fog thrown off by American political rhetoric. As is often noted, maybe Canadians profited from missing a searing national birth in a true revolution. They and most of us can’t fathom the demons that currently drive the economic vengeance of their neighbor.

The “national story” is full of too many cracks to be covered over in the “preferred narratives” we tell ourselves.

We think the long reach of time is in our favor, ignoring the warning of Henry Adams, who wrote in 1879 that history “must submit to the final and fundamental necessity Degradation.”

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This idea of decline is a continual theme in the work of one of the nation’s most important observers of our national life. In Slouching Toward Bethlehem (1968) Joan Didion, who passed away in 2021, refused to yield to the romance of 60s liberalism, with promises of a “counterculture” forging ahead in a new and less imperialistic nation. A writer of fiction and thoughtful books of observational reporting, the California native usually began with the trenchant principle that we tell each other stories “in order to live.” But her method always to included implicit caveat that narratives invite counternarratives. If most writers stayed in the center lanes of thought, Didion was the more dangerous observer willing to stay on the verges to get a better view of the abyss. Born in California and drawn to its fluid culture of Malibu as well as Goldwater libertarianism, Didion noticed the obvious decline of interpersonal connection that was beginning to favor atomized experience over collective action. Writing through the last quarter of the last century, she also saw a drift away from  institutional and personal distrust that advanced democracies needs to flourish. As biographer Tracy Daugherty noted, “Didion felt this historical decline in her bones. The “national story” was full of too many cracks to be covered over in the “preferred narratives” we tell ourselves. Now, even the wealthy want to report ‘exact representations of their own victimization’ to whomever will listen. Such talk of the otherness of strangers results in the popular idea that even affluent cities have been “ruined” by the poor or homeless.

Roughly half in our polarized society thought their abuse was caused by large government, while others have recognized the value of a federal role in knitting the nation together. She tended to side with the skeptics, using her voice in the literate style of the “new journalism.” In one memorable account of hippie parents in San Francisco’s Haight-Ashbury the preferred narrative might often the sentimental romance with the Age of Aquarius. Didion offered another memorable view, including an account of a five-year-old in a squalid apartment hooked on LSD.

Reading Didion’s work in the 80s led many of us to conclude that her reporting about a fake national dream seemed too dark for the times. We wanted to see the pleasant glow, but we missed the fire. She was not distracted to and recorded the relentless and cyclical collapse of national intentions in Cuba, Vietnam, Laos, Panama and elsewhere. Halting steps toward the leveling of opportunity was always the best part of the American project. But gains were offset by the trauma and eventual numbness from the spate of assassinations, violent crime, school shootings, and racial tensions even in seemingly progressive cities. These fissures in American life seemed beyond what was possible with our incrementalist politics. With a few exceptions, like Lyndon’s Johnson’s Great Society programs in the early 1960s, it seems clear that otherwise limited horizons and an ossifying culture would make little headway in smoothing these kinds of fault lines.  As Didion once noted, “The center will not hold.”

Our constitution blocks the timelier self-corrections that can happen in parliamentary systems. Squint a little and an independent executive and Congress in one month can easily look like a politburo and an oligarch in the next. Until the election of Trump, the nation had not faced so committed a chaos agent, and one from a blue state. The election caught us looking in the wrong direction, guessing that our largest existential rupture would come at the hands of a dominant southern Congress.

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Are we Collecting Again?

The pleasures of owning physical media have again caught our attention.  

                 Nolan

In 2015 this site offered a piece entitled “Are We Done Collecting?   It’s simple conclusion was that people would rather stream or rent media materials rather than own them. My impression is that in the last few years this has begun to change, as the technologies of music reproduction and film production have created more interest in younger consumers. The signs are decidedly mixed, but older means of capturing sight and sound seem to have found a lot of younger enthusiasts. Film preservation has become a cause that museums and Hollywood are rallying behind, aided by passionate cineastes in the thrall of directors like Brady Corbet or Yorgos Lanthimos, or Christopher Nolan, who keeps surprising viewers with epics like Oppenheimer. In addition, studio interest in their  own neglected back catalogues seems to have increased. Their indifference a few years ago reaped  a ton of bad publicity, with the result that new editions of old classics are now often restored on high resolution DVDs. The classics-centered Criterion Collection seems to be referenced everywhere now. Perhaps the relatively new Hollywood Museum on North Highland Avenue has also focused more attention on the physical aspects of filmmaking.

A few years ago 35-millmenter film seemed to be firmly in the rear-view mirror. But new applications for old color and aspect ratios have sparked a minor revival for the nearly moribund Eastman Kodak. Older directors Martin Scorsese and George Lucas have put their reputations on the line to support restoring films with new prints. While digital projectors still are the rule in theaters, productions again welcome the use of film during production before being transferred to a final digital print.

The same story of a partial turnaround applies to vinyl records, which are making a modest comeback. Streaming glitches and higher costs of monthly subscriptions have added value to owning the real thing. Based on record sales, in 2015 I predicted “a fading passion” for holding a physical copy of a performance. Now newer sales charts that show an uptick of interest by young collectors in these physical artifacts of music.

As well, storied brands of old audio and photo equipment from the 70s and 80s have also become a thing. Used audio stores could be lonely places for a few nostalgic old men. Now, some stores can hardly keep up with the demand for used audio amplifiers, some made over 50 years ago.  A restored off-the shelf Kenwood Amplifier from the early 70s can sell for as much as $4,000.

Perhaps living exclusively in the digital world of streaming has perhaps worn us out. Streaming offers something less than a “thing” that comes with a history and lovingly prepared liner notes. Taylor Swift enthusiasts famously want more than a digital file. And while most film buffs have no practical use for the 600-pound 70-mm IMAX print of Oppenheimer (2023), many want the Blu-ray equivalent.  Acquiring a sensibility that is distinctly theirs, young media consumers have also taken up the cause for once-esoteric phonograph cartridges, 4K restorations of films of 50s films, and the discovery of all-but-forgotten film formats like VistaVision, the format chosen by Bradley Corbet for his low-budget-high-impact feature, The Brutalist (2024).