It’s about where folks go when they die. If that makes you think of a certain Meat Puppets song, you’re my kinda people.


Two things

One, please for God’s sake call your senators (202-224-3121) before they condemn you to an early death with a bill that:

1) causes 23 million families to lose their health insurance;
2) sends your premiums through the roof even if your insurance is through work;
3) kicks some old and disabled people off Medicaid.

Tell the operator where you live; they’ll transfer you. Say your piece, tell ’em thanks, and hang up. If you get an answering machine, leave a message.

When you’ve done that! Here is an essay on Elif Batuman’s wonderful novel The Idiot that I wrote for CommonwealVery honored to appear there; I do love me some lefty Catholics.

Reading this novel and writing this piece gave me a chance to clarify some things for myself about “where the novel is heading” (gag me, but I don’t have time to word that better) and I think the results of that thinking will be helpful for a lot more people than just me.

New-old piece on Edward Yang’s A BRIGHTER SUMMER DAY

I wrote this for the Christian Courier a year ago; it was published last month, and, as always, they kindly allow me to repost it here, as it was paywalled. Please do consider subscribing to the Courier. They do good stuff


For some of us, there’s a season, a handful of months, on the cusp of young adulthood—around 16 or 17—when all the deepest failings and yearnings of your nature seem to announce themselves one after the other, like symphonic themes that the rest of your life will restate with far greater complexity, perhaps, but never again so pristinely. Adults view the struggles of teenagers as they pass through such times with pity, amusement, contempt: reactions that preserve our distance from our own memories of being so young, and so susceptible to the characteristic pain of this period, pain constituted, in large part, precisely by the absence of perspective. Every breakup, every lost fight, every death, every friendship lost to gossip or to moving trucks seems unsurvivable, precisely because you haven’t survived many such losses yet. You wonder, rightly, how it can possibly be done. (Really—how do we do it? And what does it say about us wise adults that we can repeatedly part with what is dearer than life? How coherent is a self that has grown used to losing, precisely, itself?). If adolescence lasted even six months longer than it did, it would certainly kill us all. And yet there is something admirable, even beautiful, about these storms of rage and sadness and fear, which recall the goddesses and gods of classical mythology, who also live outside the dulling and comforting repetitions of time.

Only an artist of extraordinary bravery even attempts to handle such radioactive material. (Most fiction aimed at the young doesn’t even glance at it.) And only an artist of extraordinary skill, perception, and wisdom could effectively evoke the feeling of those years from a viewer secure within the carapace of adulthood.

Edward Yang did it at least twice.

I say “at least” because Yang, the internationally acclaimed Taiwanese filmmaker who died in 2007, is truly an unknown quantity for North American filmgoers. Until earlier this year, only one of his films was legally available in the US in any form. That one film, however, was Yi-Yi (2000)—which is sort of like being unknown except for the Sistine Chapel. A tragicomic study of a middle-class Taiwanese family, Yi-Yi is so quietly convincing in its observation of character, and so enveloping and thorough in its portrayal of people, that you finish the movie feeling as if you’ve just made and lost a circle of friends. The experience is of a deep and painful joy. There are many movies I watch more often, because they’re easier (The Big Lebowski; Cold Comfort Farm; Godzilla Vs. Megalon), but if anyone asks me what my favorite movie is, the answer is Yi-Yi. The answer will always be Yi-Yi.

For years I’ve heard whispers that Yang’s A Brighter Summer Day (1991) is “even better.” This is silly. Is winning a legal victory against an evil corporation “even better” than holding your newborn niece? Is a mountain “better” than a flower? But now that Criterion has issued Brighter Summer Day in North America for, essentially, the first time (bar a few festival showings), I can certainly confirm that it, like Yi-Yi, achieves the kind of greatness that makes rankings impossible. Set in the years 1959-61, the film depicts the moral and social destruction of a thoroughly decent teenage boy, against a backdrop of Taiwanese youth gangs, Chinese refugee struggle, and US cultural incursion. If Yi-Yi is tragicomedy, Brighter Summer Day is tragedy, full stop: the self-destruction of a good person. The last hour in particular is crushing.

What unites the two films—and what accounts for the enormous emotional power of both—is the calm, honest gaze of Yang’s camera. Though there’s hardly a shot in Brighter Summer Day that isn’t exquisitely framed—it’s one of those movies where any given twenty-fourth-of-a-second could be mounted and shown in a gallery—the film never seems to be trying for an effect. Structural devices (similarly framed shots of characters in similar social positions; a flashlight that gets stolen early in the film and keeps reappearing) tie the film together and yet you only just register them; the characters, every now and then, make thematically important speeches, but they sound like they’re just talking. One of the teenage hoods in this film, during a period when he’s hiding out from the cops, reads War and Peace to stave off boredom. Yang is like Tolstoy in that, after you’ve spent some time with him, nearly every other artist seems mannered, straining for effect, while he is merely conveying life. This is, of course, the most difficult, and the greatest, artistic effect of all.


It’s been two months since my last podcast (the end of school is like that), but I talked to Mark Athitakis, one of the world’s leading experts on Midwestern literature, about David Foster Wallace’s tragically unfinished novel The Pale King.

This episode was going to be a discussion of Suzan-Lori Parks’s work with the coolest person I know, but the coolest person I know had to do some traveling and won’t be back till July.

You can read an excerpt from Mark’s excellent The New Midwest here, and you can buy the book here. It’s a much-needed corrective to the idea that Midwestern literature means only prairies and white people.

Some catching up

I wrote about Guardians of the Galaxy 2, the surreal costumed-criminal films of the silent era, the birth of modern policing, and other things in this post at the Hedgehog Review‘s blog. I also reviewed Mark D. Jordan’s Teaching Bodies, a fascinating exposition of Aquinas, for the Century, and explained why I love Adam Roberts’s The Thing Itself for the Courier.

New piece on Han Kang’s HUMAN ACTS

I reviewed Han Kang’s important novel Human Acts for the Christian Century.


I talk about Claire-Louise Bennett’s Pond (2016) with the excellent Barbara McClay. Subscribe to her tinyletter here, and here are the two essays of hers that I mention on the show:

What’s Love Got to Do With It
Everyday Barbara Pym

If you’d like to read more about the novel after listening to us discuss it—what do I mean “if”? Of course you will—Barbara is working on a piece about it which I’ll try to remember to link it here when it’s published. In the meantime, there’s a fine overview by Jia Tolentino here.