Perhaps the ultimate irony of the Trump era arrived during the voted-out President’s most recent impeachment trial, with the defense’s video montage of prominent Democrats using the word fight.
Here, in perfect Pee-wee Herman “I know you are but what am I?” fashion, lawyers for the greatest serial liar of the modern age attempt to show that there is no difference between their client and members of a party that he calls “Radical Left CRAZIES.”
In the Senate Chamber, 43 know-nothings affirmed their knowing nothing of Constitutional law—for instance, Brandenburg v. Ohio, which holds that protected First Amendment rights do not include “inciting or producing imminent lawless action.” They did so by acquitting their Gambino-in-Chief, making him free to incite lawless action on many other days.
The two weeks between the Capitol assault on our democracy and the inauguration of our 46th President roughly coincided with Sotheby’s “Americana Week, January 8 to 22.” In promoting furniture and folk art up for virtual bid, the auction house oddly designated a “week” as lasting 14 days.
But that wasn’t what diverted my attention to the Sotheby’s ad. It was View of Hallowell, Maine, an “American School” painting described in the catalog as “a mother and her son gazing upon the bustling waterfront and business district . . . from Butternut Park on the Chelsea side of the Kennebec River.”
Back at the start of the pandemic, one strain of the thinking internet’s insatiable need for copy was served by warnings against making a metaphor of the coronavirus. Forget that it came from China, that it was happening in an election year, that Trump had dismantled the National Security Council directorate charged with protecting us against such threats. Don’t take the bait.
Most of these exhortations were against casting COVID-19 as payback from some unknown dispensary of karma. Paul Elie in the New Yorker reminded us that Susan Sontag in the New Yorker had the final word on illness as metaphor in 1978 and again in 1989. She poked massive holes in this human impulse, so we mustn’t narrativize the pandemic as we narativize our individual lives.
Sometime during the COVID spring, I was walking behind a young couple and overheard the guy ask the girl, “Did you hear the Luke Combs cover of ‘Fast Car’?” I wasn’t familiar with Luke Combs, but I was surprised to realize that the Tracy Chapman song had remained in the pop vernacular for more than three decades.
As a Black lesbian folk singer appealing to white audiences, Chapman was a pop anomaly. But her song is a perfect slice of Americana. I heard her busking “Fast Car” in the Harvard Square subway station a few times in the 1980s. I remember hearing it once from another part of the station, and the reiteration of “be someone, be someone” in that large space seemed portentous to my young self.
It’s hard to believe our COVID summer is already over. In New York, the weeks failed to coalesce as a season, and most people got sick of being told they should be either buying a house far, far away or pining for Italy while stuck in a state park.
The New York Times offered beautiful photos of empty Italian streets but also an update on how businesses in Capri and other Italian tourist destinations miss “the interaction, the energy, the optimism, the shopping style” of rich Americans. (Funny thing: New York City’s small businesses miss “the shopping style” of rich Americans too!)
Early in COVID lockdown this spring, America’s viral diversion of aw was watching penguins subvert their societal role as aquarium attractions to temporarily become commanders of the gaze. First they waddled the halls of Chicago’s Shedd Aquarium to have a gander at their fellow marine life. Then another waddle from the Kansas City Zoo ventured to the Nelson-Atkins Museum of Art for a look-see.
Suddenly we thought a lot about animals captive in zoos because we had ourselves become captive. The parallels could not be starker: the primary complaint of zookeepers is the incessant drudgery of shoveling out feces; our own obsession at that time was hoarding toilet paper.
Back when airline emergency instructions came tucked inside the seatback pockets in front of you, I’d sometimes get unnerved by the illustrated mother putting on her mask as a child sits next to her. Yes, it’s logical to secure your own breathing device first. But I couldn’t help envisioning the masked mother turning to find the kid already dead.
As the life-giving conduit of oxygen, masks have (save for a few scenes in Blue Velvet) long represented protection amid catastrophe. Infantrymen in World War I lived in mortal dread of the shout for “Gas!” Gas masks became the symbolic escape hatch of battlefield carnage well beyond the next World War.
During the dark hours of what is now a previous crisis for America but an ongoing one elsewhere, Queen Elizabeth delivered a message of uplift. She sought to remind her people that “the attributes of self-discipline, of quiet good-humored resolve and of fellow-feeling still characterize this country.”
In the context of hopelessly toxic Twitter feeds, that hyphenated “fellow-feeling” arrived like a Beatrix Potter bunny hopping across the entrance to the Holland Tunnel.
The only thing that Americans can say about fellow-feelers is that we have two warring factions. This discord is our national tragedy. New York City, on the other hand, has always managed to pass as a cunningly diverse (if spectacularly unequal) assemblage of fellow-feelers, whatever the scale of crisis.
Americans generally care little about history, but they do like a good “if only.” If only JFK wasn’t shot there’d have been no Vietnam mess and no Tricky Dick taping in the Oval Office. If only his brother had dodged a bullet, Ronald Reagan would never have got his mitts on a government to gut.
The concept hinges on the belief that events involving a single life can change world history, à la the wing-flapping butterfly creating a tsunami. But the contemporary origin story is the 1914 assassination of the Austrian Archduke, Franz Ferdinand, that was said to have triggered World War I.
Great fiction has been partial to this device. In Mikhail Bulgakov’s The Master and Margarita, if only Annushka hadn’t spilled the sunflower oil near the railway turnstile, Berlioz would not have slipped and been decapitated by the train and the poet would not have been compelled to pursue the evil magician for the length of the novel.
At a time in this crisis that now seems ages ago, Masha Gessen, a New Yorker columnist whose essays I admire, wrote about why she was not a bad person for leaving New York City during a pandemic.
Her daughter had asked if the family was going to be like “those people”—the “rich white people who leave the besieged city because they can.” Her mother’s justification on March 30: “If we got very ill, we wanted to be those people who were not stressing this already overtaxed city, taking up hospital beds that were needed by people who didn’t have the option of leaving.”
The family’s destination was Falmouth, Massachusetts, landing at a time when local residents on Cape Cod, Martha’s Vineyard, and Nantucket were asking fleeing New Yorkers to stay away and not infect them.