Category: national

  • Violence and Violations

    Political violence, which is wrong and isn’t new, seems more widespread after the recent shootings of conservative activist Charlie Kirk on a college campus and liberal legislators Melissa Hortman and her husband and John Hoffman and his wife in their Minnesotan homes as well as the current president while he was campaigning last year.

    The current media response however is bewildering, and borderline alarming. Too many seem to not just ignore but even deny the larger contexts. Ezra Klein for example argues that Kirk was “practicing politics in exactly the right way” as if Klein is incapable of acknowledging two truths in tension, or admiring a willingness to debate while condemning a disregard for basic facts and an escalation of political conflicts.

    Others have criticized these reactions in the context of Kirk’s efforts and life. Still others have criticized that this tragedy has been politicized by the president and also acknowledged that the most “lethal and persistent threat” in this country comes from white supremacists although some wonder if that is changing, or could change.

    I too admire Kirk’s willingness to engage college students on their campuses. I also know that he made mine less effective, and that he was part of a larger problem.

    I defined academic appropriateness more narrowly than some colleagues, and limited classroom comments to ones I could connect to my disciplinary domains. I expected, or at least hoped, that the university would defend me from attacks on anything I said about rhetoric, linguistics, or US American literature.

    I nevertheless imposed more restrictive limits, and began self-censoring much more, after learning about Kirk’s professor watchlist. This list, which his Turning Point USA organization launched in 2016, promised to “‘expose and document’” faculty who according to this organization “‘discriminate against conservative students, promote anti-American values and advance leftist propaganda in the classroom.’”

    I was generally confident that I encouraged students to share whatever perspectives they brought to classrooms, and was reassured by my own criticisms of professional and personal excesses within my union for example or among campus colleagues. At the same time, I was less inclined after students were encouraged to surveil and report their professors to challenge mine to think harder and better, and less convinced that my university would defend me, which I later learned were realistic.

    I’ve wanted to believe since before grad school in a model of democratic debate in which interlocutors argued about facts, definitions, values or norms, and relevance, or spaces where such deliberations should be resolved. I’ve assumed that emotions would appear but would with reasoned responses be properly placed within the larger debate.

    I never realized how much I had assumed such shared norms among participants, and good faith on their parts, until this era for example of alternative facts and other bad faith efforts. I’m not suggesting that reasonable people cannot debate facts, including their relevance in different debates, but I’m arguing that democratic debate at least as it has been understood in the West for thousands of years doesn’t work without some consensus that such facts exist.

    I see no reason why people cannot express sympathy to Kirk’s wife and young children and to others who experience his death as a loss, and even why everyone cannot condemn political violence, and yet do so without ignoring, or worse denying, the damage done by Kirk’s dishonest (and racist and sexist) demagoguery. This damage, which includes his contributions to the return of this destructive administration, was perhaps more widespread than some recognize, and even in the very spaces where some might otherwise admire his efforts.

  • More Like a Summer Slurpee

    NPR critic Maureen Corrigan suggests that El Dorado Drive by Megan Abbott (2025) is one of the better summer suspense novels, but I think it barely qualifies as a beach read.

    Harper, the youngest of three Bishop sisters, is invited by her older sisters Pam and Deb to join a female financial club that seems as much a ponzi scheme as an empowerment source. Their individual financial needs are not unlike those of the other middle-aged women in their Detroit hometown, and the ensuing mayhem could have been caused by any of these financial investors or Harper’s ex-brother-in-law or her niece.

    Harper, the youngest of three Bishop sisters, is invited by her older sisters Pam and Deb to join a female financial club that seems as much a ponzi scheme as an empowerment source. Their individual financial needs are not unlike those of the other middle-aged women in their Detroit hometown, and the ensuing mayhem could have been caused by any of these financial investors or Harper’s ex-brother-in-law or her niece.

    The suspense, which surfaces early, eventually rises to a modest wave, but that isn’t enough to carry readers to the shore. Moreover, possible themes — sisters’ adult relationships for example or female financial independence — loom on the horizon but never crest atop the churning water. And the character development at most can sustain casual floaters who would still have to paddle to the shore.

    This story despite any aspirations gets caught in a genre conventions current. Abbott is know for her efforts to reconfigure conventional genres around female perspectives, but this attempt seems unable to decide whether it wants to be a serious story or is willing to settle for something somewhat less.

    As such, it seems unfinished even for a summer beach read.

  • Sorry Yet Not

    Sorry, Baby takes its title from a comment at its end by Agnes, its protagonist and a full-time college English instructor who had been sexually assaulted when she was a graduate student at the same institution.

    This movie is organized by chapters as a series of flashbacks interspersed with Agnes’s struggle to overcome the effects of this assault with the help of her grad school friend Lydie and her neighbor Gavin. In it, Agnes is groomed by her professor and assailant Decker, who describes her as brilliant and reschedules their appointment ostensibly as a result of a sick child for a more private conversation in his home.

    Its story seems less about the assault than its aftermath, including her efforts to cope with its effects. The actual incident is more suggested, and is depicted as occurring behind the closed door of her assailant’s house. Moreover, the details, which Agnes reports, are hesitant and even ambiguous, and in her report, involve consent and intent.

    Agnes as a result is sifting through this experience and her reactions, and needs Lydie to interpret it for her. Lydie also helps her for example confront an insensitive ED physician, who says that her bath likely washed away any evidence, and a former fellow grad student and current passive-aggressive colleague Natasha at a dinner with other former students in Natasha’s new home.

    Agnes’s efforts are complicated when Lydie moves to New York City after their graduation although she returns to support her friend. On one visit, Lydie tells Agnes that she is pregnant, and she returns with the baby and her wife Fran, which is where the movie ends, and from where the title comes.

    All three in this scene cannot go to the lighthouse after the baby has a restless night, so Agnes sends her friend and her wife while she babysits for the twenty minutes or so that they’re gone. In this time, she discovers that she can comfort a fussy baby, and tells her that she will always listen to her but cannot protect her from bad experiences, for which she apologizes.

    The film received mostly positive responses from credible critics, and has a 98% aggregated positive rating, but it feels unfinished to me. One possible reason is that it’s the directorial debut of Eva Victor, and Victor also plays the role of Agnes, which could be a second reason. A third might be that it seems semi-autobiographical, which seems plausible especially given my own grad school experiences.

    Whatever the reason, the result is that it stops short of the most challenging content. The obvious central question is one about intent, consent, power, and intimacy — intellectual, emotional, and physical — among adults in such situation, which the movie mostly glosses over as if it doesn’t have anything to explore.

    Such a possibility can be illustrated by the tension between Agnes and Natasha, the passive-agressive colleague who studied in the same program and then stayed after graduation. Natasha tells Agnes that she wanted the full-time teaching position that Agnes received perhaps as a way of purchasing her silence about the assault or at least compensate her for her discretion.

    This confrontation occurs in Agnes’s new office, which was her former assailant’s, and centers upon Natasha’s claim that Agnes took what was rightfully hers. This claim is based in part upon Natasha’s belief that Agnes is insufficiently sympathetic toward those, including Natasha, who encounter more challenges than Agnes does.

    This exchange also includes the revelation that Natasha had sex with Agnes’s assailant in an effort to obtain his attention and other rewards, such as good grades or even a full-time position. That made me wonder whether Natasha is culpable or at least complicity in any way for Agnes’s assault.

    Such a question in no way suggests that her assailant isn’t, or shouldn’t be, liable. He assaulted Agnes assuming her account is accurate, and should be held accountable for that and any other prohibited or otherwise inappropriate actions.

    This dimension could be a moral trap set by the filmmaker, who obviously offers Natasha as a contrast, but it seems more like a missed opportunity. Natasha constantly simmers, and sometimes boils over, whereas Agnes seems unaware of her own anger, and almost needs Lydie to perform it for her. In this resides many possible, and provocative, interpretations.

    Regardless, the movie will remain in my memory as a model for alternative ways to address trauma. Nowhere is this alternative more evident than a conversation near its end between Agnes and Pete, a sandwich shop proprietor.

    Agnes has had a panic attack after her office conversation with Natasha on her drive home, and pulls into a parking lot to recover. Pete gruffly tells her that she cannot park there because his shop is closed but quickly recognizes her symptoms — his son, whom he later explains he doesn’t particularly like, has similar experiences — and helps her breathe through it.

    Agnes and Pete are later sitting in the parking lot after Pete made her a sandwich from his closed shop. As they talk, he shares his opinions of the adjacent business and his adult son. In their exchange, he also affirms her experience and encourages her efforts, and does so without compromising his own perspective.

    This exchange again could be another moral trap insofar that the contrast between her assailant and Pete is obvious. However, I think it affirms Agnes’s awkward attempt to address this trauma in an alternative way.

    Agnes has persisted even after her friend departs after graduation for her own life. She has persevered in the uncertainty of an institutional environment in which administrators perform alliance yet are clearly more concerned about the institution and its previous employees than its former student.

    Others might have exploded in similar situations. Agnes instead searches for support and sustenance around her. She rescues an abandoned kitten for example in addition to accepting a gruff stranger’s kindness.

    And Agnes turns to her awkward neighbor Gavin, who she discovers is also imperfect yet quite human. They have awkward sex in her bed and awkward intimacy in her tub, and yet they persist, which Agnes also does when Lydie later appears with her new wife Fran and their new baby. Fran inappropriately advises Agnes how to babysit, and yet Agnes responds with gentleness and kindness.

    Some might suggest that Agnes is dangerously disconnected from her emotions, but I think she offers another option for responding to such awful moments. Such a response is admirable, and one worth emulating, which makes this movie more than enough.