Why Belief in Phony Conspiracies?

Trump rally

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Wednesday

Two weeks ago I puzzled over why certain college-educated people, including economics professor Peter Navarro, fall for Donald Trump’s con. I speculated that the thrill of acting with complete impunity, like H.G. Wells’s invisible man, was such a drug that it overrode the brain’s capacity for reason.

But while this may explain some of the behavior of the Trump cult, it doesn’t explain all of it. After all, I’ve met other supposedly intelligent people who, with no power payoff, embrace wild theories about about vaccines, JFK’s assassination, 9-11, and other things. Therefore, I took notice when the novel I reported on yesterday—Richard Powers’s The Overstory—has a character studying why smart people believe stupid stuff. And that in turn was bolstered by a blog essay that also took the subject up, posted by legal expert Jay Kuo at Status Kuo.

Adam Appich, a psychology grad student in an Affect and Cognition class, is intrigued when a professor explains why teaching psychology is “a waste of time.” He points out that, despite all the students have learned about hidden biases, they are just as susceptible to hidden biases as other people:

Now I’ll show you the self-evaluations of people asked how susceptible they think they are to anchoring, causal base rate errors, the endowment effect, availability, belief perseverance, confirmation, illusory correlation, cuing—all the biases you’ve learned bout in this course. Here are the scores of the control group. And here are the scores of people who’ve taken this course in previous years.”

Lots of laughs: the numbers are pretty much the same. Both groups confident of their iron will, clear vision, and independent thought.

The professor than lists a number of myths that his students believe:

Course grads, working twice as hard to save five bucks as they would to earn it. Grads fearing bears, sharks, lightning, and terrorists more than they fear drunk drivers. Eighty percent thinking they’re smarter than average. Grads wildly inflating how many jelly beans they think are in a jar, based purely on someone else’s ridiculous guesses.

The fault lies not in the stars but, he says, in our psyche:

The psyche’s job is to keep us blissfully ignorant of who we are, what we think, and how we’ll behave in any situation. We’re all operating in a dense fog of mutual reinforcement. Our thoughts are shaped primarily by legacy hardware that evolved to assume that everyone else must be right. But even when the fog is pointed out, we’re no better at navigating through it.

We then see the teacher’s point made dramatically. Suddenly he staggers, flails, and rushes out of the room. No one moves, even though it turns out that he’s having a heart attack and dies in the hallway.

Adam thinks the professor is acting to make a point about the famous Kitty Genovese “bystander effect,” where no one acts because no one else is acting. In this case, however, his death is actual.

To further study group behavior, Adam decides to write his thesis about climate activists trying to protect the redwoods. Perhaps, through psychological science, he can understand the forces that drive them. They proceed to turn the tables on him, however. It is everyone else, they say, who is in the grip of bystander effect, doing nothing as the world is destroyed around them:

“It’s so simple,” [Maidenhair] says. “So obvious. Exponential growth inside a finite system leads to collapse. But people don’t see it. So the authority of people is bankrupt.” Maidenhair fixes him with a look between interest and pity….”Is the house on fire?”

A shrug. A sideways pull of the lips. “Yes.”

“And you want to observe the handful of people who’re screaming, Put it out, when everyone else is happy watching things burn.”

Adam at this point mentions his professor and the bystander effect, saying, “The larger the group…,” to which Maidenhair responds,

“…the harder it is to cry, Fire?”
“Because if there were a real problem, surely someone—”
“—lots of people would already have—”
“—with six billion other—”
“Six? Try seven. Fifteen, in a few years. We’ll soon be eating two-thirds of the planet’s net productivity. Demand for wood has tripled in our lifetime.”

At this point, Adam starts rethinking his dissertation, which begins to seem like a distraction. “He needs to study illness on an unimaginable scale, an illness no bystander could even see to recognize,” he concludes.

Now to Jay Kuo’s thoughts on the Trump cult and their belief in conspiracies. Citing a Duke cognitive psychologist and a Harvard cognitive scientist (Elizabeth Marsh and Nadia Brashier), he says that our brains judge the truth or falsity of a piece of information in multiple ways. In addition to relying on what we see with our own eyes, we also

develop strong emotional attachments to certain narratives because they help shape our identities. Social emotions, such as anger, gratitude, and grief, guide how we view our own personal welfare versus that of others. We defend these constructed identities vigorously, even when wrong, because our self-worth is tied up with being members of a group.

Along with emotional attachment, we

tend to judge the truth of something by its consistency, meaning that the more our brains encounter the same thing, the more likely we are to believe it to be true. Repetition within modern informational echo chambers has increased the power of conspiracies manyfold as we hear the same stories repeated by “trusted” members of our social networks. And media propaganda such as we see on the Fox network works so effectively precisely because it is drilled into viewers again and again, and the messaging is consistent across multiple outlets and channels.

Kuo is particularly interested in the three big conspiracies driving the MAGA right at the moment: that the election was stolen, that President Biden presides over a crime family, and that federal and state prosecutors are coordinating their efforts to interfere with the 2024 election. For our purposes today, we could add fourth: That human-caused climate change is a hoax, perpetuated by Democrats and the entire scientific community. “Once our brains are ready to accept a false idea as true,” Kuo says, “we are primed to accept a bigger falsehood.”

And how do we get people believing such immense conspiracies? Kuo cites Robert Brotherton of Barnard College, author of Suspicious Minds: Why We Believe in Conspiracy Theories, who says that the bigger an idea is, the bigger an explanation we expect to hear. In other words, the bigger the falsehood, the bigger the conspiracy. Once the falsehood is planted, we obsessively look for other things that will prop it up, including unseen others.

Adam leaves us with one other insight. Asked, as a psychologist, “How do we convince people that we’re right,” he responds, “The best arguments in the world won’t change a person’s mind The only thing that can do that is a good story.”

Conspiracy theories are, in the minds of some, good stories, although ultimately they’re one dimensional, repetitive and fairly boring. By contrast trees, as Richard Power convinces us through his compelling novel, have a much more interesting story to tell. As his tree scientist Patricia Westerford says in the passage I quoted yesterday,

Trees stand at the heart of ecology, and they must come to stand at the heart of human politics. Tagore said trees are the earth’s endless efforts to speak to the listening heaven. But people—oh, my word—people! People could be the heaven that the Earth is trying to speak to.

If we could see green, we’d see a thing that keeps getting more interesting the closer we get. If we could see what green was doing, we’d never be lonely or bored.

Art, including novels like Overstory, has a major role to play in getting us to hear and pass on these stories. Our existence as a species is at stake.

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More Entries for the Cli-Fi List

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Tuesday

Several years ago Dan Bloom coined the generic label “cli-fi” for fiction that features climate change. Classic works in the genre included Octavia Butler’s Parable of the Sower, Margaret Atwood’s Oryx and Crake trilogy, and Barbara Kingsolver’s Flight Behavior. I’ve just discovered and finished reading two more that can be added to the list, Richard Powers’s Pulitzer-prize winning The Overstory (2018) and Anthony Doerr’s Cloud Cuckoo Land (2021). I include them in the genre because they both feature sensitive characters who are so upset at what humans are doing to the environment that they engage in acts of eco-terrorism.

We’ll know that we’re in real trouble when extreme weather events appear the norm, functioning as mere backdrop in our stories. The cli-fi genre will endure for only so long as authors and their characters rage against the dying of the planet.

In both Overstory and Cuckoo Land, we encounter outrage at how capitalism and human greed continue felling our trees and warming the earth. Powers emerges, I suppose, as the more optimistic of the two since he observes that trees are fantastic problem solvers. As his character Patricia Westerford, a tree scientists, puts it,

Trees are doing science. Running a billion field tests. They make their conjectures, and the living world tells them what works. Life is speculation, and speculation is life. What a marvelous word! It means to guess. It also means to mirror.

Westerford’s observations come to us in the form of a conference lecture she is giving on “Home Repair for the Earth.” Trees, she says, are trying to teach us how to fix what we are damaging:

Trees stand at the heart of ecology, and they must come to stand at the heart of human politics. Tagore said trees are the earth’s endless efforts to speak to the listening heaven. But people—oh, my word—people! People could be the heaven that the Earth is trying to speak to.

If we could see green, we’d see a thing that keeps getting more interesting the closer we get. If we could see what green was doing, we’d never be lonely or bored. If we could understand green, we’d learn how to grow all the food we need in layers three deep, on a third of the ground we need right now, with plants that protected one another from pests and stress. If we knew what green wanted, we wouldn’t have to choose between the Earth’s interests and ours. They’d be one and the same.

In Doerr’s novel, meanwhile, we see one hypersensitive child devastated when a new housing development destroys the habitat of an owl he has bonded with and another (this set in the future) whose family has left Earth in a spaceship because their home in Australia has no more water.

If I were to look for hope in the two books, I’d have to say that Powers’ novel is slightly more optimistic in that it points out to us that life, through trees, has always found a way to keep going and so may succeed again. I think of the Dylan Thomas line—“the force that through the green fuse drives the flower”—and Powers sees that force at work even in innovative computer games that imagine innovative ways to exist. In this instance, a computer genius, after hearing Westerford’s talk, figures he needs to move beyond a wildly popular computer game that involves acquiring new territory—he concludes it has a “Midas problem” (always wanting more)—to one where players imagine sustainable ways to keep us going. So even though Overstory treats us to accounts of ancient redwoods cut down to satisfy our insatiable need for wood and other tragic tree stories, he also reassures us that life finds a way.

Cloud Cuckoo Land, which also gives us grim images of environmental devastation, focuses more on individuals surviving catastrophic horror. Undergirding the novel is an ancient Latin text, a picaresque account of a man longing to become a bird so that he can fly off to Cloud Cuckoo Land, a country in the clouds that knows no suffering. On his journey, he is transformed at different points to a donkey, a fish, and a “humble crow,” and the various characters find solace–often at dark moments–in his crazy adventures. The power of stories to buoy us up when all hope seems lost, in other words, is a major theme of the book.

Another theme is human resilience, and the novel ends with a character in the future using preserved seeds to start a new garden in a warming Greenland. In other words Doerr, like Powers, is telling us not to write off the future just yet.

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Final (?) Toby Literary Tweets

Dr. Tobias Wilson-Bates, English, Georgia Gwinnett College

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Monday

A couple of times in the past I’ve shared some of the best tweets of my son Tobias Wilson-Bates, an English professor and 19th century British Lit scholar at Georgia Gwinnett College. Sadly, with Twitter—or X—currently circling the drain, there may not be many more. As Toby himself tweeted—or Xed–, “Twitter quickly going from feeling like a half abandoned mall to a half abandoned mall where someone will steal your wallet to buy crypto.”

Elon Musk, incidentally, reminds me of Bob Dylan’s Big Jim in “Jack of Hearts,” as presented in the third stanza. Well, except for the part about big Jim’s dandy appearance, Musk having no fashion sense:

Big Jim was no one’s fool, he owned the town’s only diamond mine
He made his usual entrance lookin’ so dandy and so fine
With his bodyguards and silver cane and every hair in place
He took whatever he wanted to and he laid it all to waste
But his bodyguards and silver cane were no match for the Jack of Hearts.

“Took whatever he wanted to and he laid it all to waste” about sums up Twitter’s owner.

Fortunately, Toby has been getting in some final humorous tweets before the whole thing goes belly up. Here are my recent favorites.  I start off with one of several on Tolkien, including another end-of-Twitter reference:

FRODO: I’m glad you’re with me Sam, here at the end of all tweets
SAM: Rate limit exceeded, Mr. Frodo

Then there’s this one:

Tolkien’s guide to writing:
Step 1: spend thirty years creating lore, languages, naming practices, and cultural customs for a fantasy earth precursor to the human world so complex that your appendices have appendices
Step 2: call that version of earth, “Middle”

And this one:

New odd couple show about Gandalf and the Balrog becoming unlikely friends and going on adventures together.

And:

Pippin: *wakes the Balrog
Gandalf: fuck. fuck, but you know, this is kind of on me for bringing brunch dwarves into a death mountain

There’s some fun satire directed at Dickens:

Dickens writing a hero: a beautiful working-class girl who is downtrodden by her station in life
Dickens writing a villain: a beautiful working-class girl who is downtrodden by her station in life but also is French

And:

Editor: love how your work is all about the gentle bliss of domesticity! What happens in this chapter!?
Dickens: a man explodes
Editor:
Dickens: exploded human flesh tastes like burnt pig

Thomas Hardy is always good for laughs—or rather, good for being laughed at:

Props to Thomas Hardy. He had every move an author could ever want. He could destroy a marriage at the beginning of a book, destroy it at the climax, end with a destroyed marriage, destroy the same marriage twice. Guy could do ANYTHING!

One doesn’t have to follow Toby for long to realize that his favorite novel is George Eliot’s Middlemarch. Here’s a comment on its famous pedant:

The most relatable thing about Casaubon is that when he finally committed to really get to work his body decided to die instead

And here’s one on another of Eliot’s works:

Editor: really looking forward to reading this! I hope you took my advice and wrote a happy ending!
George Eliot: (*smiling as she slides the final chapter of Mill on the Floss across the table)

I won’t spoil the ending for you if you haven’t read it. I’ll just say that, when I got to that final page, I almost threw the novel across the room.

Dorian Gray gets a tweet that sounds a little too on the nose:

New idea for a Dorian Gray-themed social media site where your profile picture stays young and beautiful but your posts become hideously deranged.

And then there are the Romantic poets. Here’s one on Keats and Byron, the first part consisting of an actual quote:

1819 Keats writes to his brother “You speak of Lord Byron and me—There is this great difference between us. He describes what he sees—I describe what I imagine—Mine is the hardest task”
The petty snark of this group was so impressive that their legacy has spawned 200 years of poetic shit talk

Wordsworth and Coleridge get one:

Sam: hey, Will, could you go ahead and write a quick preface to our lyrical ballads
Wordsworth: no problem!
Sam: just make sure you don’t take all the credit for yourself and pretend you’re god’s gift to poetry
Wordsworth: heh…ya…I would never do that…

Then there’s the problem with taking Wordsworth literally:

Wordsworth: Come forth into the light of things, Let Nature be your teacher
Edmund Burke: *writing 240 pages comparing the composition of the Nation State to Nature

The Brontes regularly show up in Toby’s twitter feed:

Editor: so, how were you thinking of wrapping this up?
Charlotte Brontë: she tells the reader she married him
Editor: oh…like…directly to the reader?
Brontë: then she gets to think about how dead St. John Rivers is
Editor: umm
Brontë: Completely. Dead.

If you know Wilkie Collins’s The Woman in White, you’ll get this reference to the wonderfully villainous Count Fosco:

Editor: an Italian secret society agent is a perfect villain!
Wilkie Collins: (*taking a long drag) and you know what’s really fucked up??
Editor: what?!
Wilkie: he trains these fucking mice

Tristram Shandy regularly gets shout-outs—which makes sense since I partially named Toby after Sterne’s Uncle Toby:

My five-year mission: to constantly remind everyone about the section in Tristram Shandy where Sterne uses Aristotle to hypothesize a race of aliens made out of glass to offer a theory of the novel.

Toby alerted me to something that I didn’t know and that he learned just recently:

I’m sorry everybody, I’m still processing that Wile E Coyote is an intentional reference to Don Quixote. I ask for privacy at this time.

Yes, the coyote in the Roadrunner cartoons was originally named Don Coyote.

Bram Stoker gets a callout:

Dracula: (*opens door)
Renter: I hear you have a room available?
Dracula: YES! Do come in for a drink-
Renter: of my blood?
Dracula: I-
Renter: no, it’s fine, $750 for a loft downtown, I figured that’d be the deal

Here’s one for Hamlet:

Yorick: (*drinking) I dunno, guys, I guess it’s an ok job but sometimes it just feels like my boss wants my jests to be infinite, and that’s literally impossible

Plato gets several, including this one:

Plato (*writing in an era of constantly warring city states): I see the problem here—TOO MANY POETS!

Toby set off an interesting twitter thread with this reference to The Lion, the Witch, and the Wardrobe:

What is the food you first encountered in a book that made you desperate to eat it and why was it Turkish Delight?

To which someone responded with a Ralph Ellison allusion. It’s Invisible Man’s “favorite dessert,” eaten as he listens to Louis Armstrong:

Invisible Man’s vanilla ice cream topped with sloe gin (we literally tried this in grad school)

Here’s a tweet that’s a little more serious:

One of the uniquely cool things about texts that have been in the canon for centuries is that you can spend time reviewing the historical layers of the same text getting used for various nationalist projects over time.
Shakespeare and Milton have been used to mean essentially every political project a text could ever possibly mean

This one, meanwhile, every English teacher should read and reflect upon:

Many of my writing students come in saying they hate grammar, but what they actually hate are systems of assessment that penalize them for grammatical mistakes without ever incentivizing grammatical curiosity or exploration.

Back to humor:

Academics aren’t trying to indoctrinate your kids into radical left-wing politics. We’re trying to indoctrinate them into appreciating our dated pop culture references.

And then there’s a tweet by one Jon Piccini and retweeted by Toby that’s too good to pass up:

Defend my PhD thesis? After all it did to me??

I conclude with one of Toby’s thread-generating questions, this one about the “great last name wars in academe? Like, when I say ‘Burke,” one group will think I mean Edmund and another Kenneth.’ He followed this up with other examples and invited his readers to send in more:

George vs. T.S. for “Eliot” may be the pinnacle.

And then there are all the family conflicts:

Thomas vs Matthew Arnold, Frances vs Anthony Trollope, Mary vs Charles Kingsley, the Great Shelley conflict, the Rossetti’s, the Brownings

Toby didn’t mention the Brontes, perhaps because he’s had many tweets on Bronte competition in the past. For the record, his favorite Bronte is Anne. Mine, for what it’s worth, is Charlotte.

It remains to be seen whether Toby will transition to Spoutible, Mastodon, or someplace else. If he does, Musk will have only himself to blame. The Tesla head took a medium that has, along with its toxic misinformation and fascistic rhetoric, generated a lot of creative content, and then elevated the former over the latter. Or as Bob Dylan would say, laid it all to waste.

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Finding God in Silence

Sisley, The Small Meadow

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Sunday

Poet and Sewanee English professor Jennifer Michael talked about “The Word Beyond the Words: Finding God in Poetry” for our church’s Adult Forum this past Sunday. She generously shared her notes with me for today’s column.

To establish both the theme and tenor of her talk, Jennifer read us Wendell Berry’s “I Go among the Trees,” which she followed with a minute of silence:

I go among trees and sit still.
All my stirring becomes quiet
around me like circles on water.
My tasks lie in their places
where I left them, asleep like cattle.

Then what is afraid of me comes
and lives a while in my sight.
What it fears in me leaves me,
and the fear of me leaves it.
It sings, and I hear its song.

Then what I am afraid of comes.
I live for a while in its sight.
What I fear in it leaves it,
and the fear of it leaves me.
It sings, and I hear its song.

After days of labor,
mute in my consternations,
I hear my song at last,
and I sing it. As we sing,
the day turns, the trees move.

She then clarified how she would be discussing poetry:

We’re not going to be spending much time on the mechanics of poetry or an intellectual analysis of it. If such matters as rhyme, meter, metaphor, or symbol come up, that’s fine, but we’ll let it happen organically. I find that many adults, as well as college students, view poetry as mysterious, a foreign language or a code that only the teacher knows. I try to get them to listen to the poem, to let it tell them what they need to know. There’s a place for analysis, for the technical language, but none of it matters if you don’t connect to the poem in a spiritual way.

Her starting premise, she told us, is that “poetry participates in the divine act of creation,” after which she associated poetry with the creation story:

In Genesis, God creates with the words “Let there be,” and he calls each thing by name. In John’s gospel (which is a poem itself), there is the Word, the Logos. Our word “poet” comes from a Greek word meaning “maker,” so that in the Creed, God is actually “Poet of Heaven and Earth.”

She then turned to the British Romantics, her own scholarly focus:

According to Coleridge, we all recreate the world as we perceive it, whether we are poets or not, through the primary imagination. To truly look at the world around us is not merely to gather data through our senses, but as Wordsworth put it, “to see into the life of things.” I suggest that all poets are to some extent aware of this this creative power that I’m calling the divine logos, whether they are religious or not. The poets I’m drawn to, both past and contemporary, have the tendency to see the divine in all things: in nature and in humanity—not to see such a sharp divide between creator and creation.

This has led her to conclude that

God can speak to us through poems, regardless of the writer’s specific intention. The writer isn’t here, but the poem is, and we are. Make the poem your own, and at the same time, hold it loosely: be open to what it might say to you.

Reading poetry, Jennifer observed, differs from other kinds of reading, such as

when we read a newspaper for information, when we read the instructions to program our smart TV, when we read a light mystery for entertainment and escape. Indeed, it is more like reading scripture. We have to slow down, quiet ourselves, and enter its confined space, much as we go into our “closet” to pray.

With the mention of newspaper, she cited the well-known passage from William Carlos Williams’s “Asphodel, That Greeny Flower”:

It is difficult
to get the news from poems
                        yet men die miserably every day
                                                for lack
of what is found there.

In past Sunday Forums, Jennifer noted, she has given talks on George Herbert, T.S. Eliot, and the Romantic poets. For her current talk, she said, she was turning to contemporary poets, including some not from the Christian tradition, because they all “use poetry both to find and to communicate their sense of the sacred.” All of them “share a general sense of the sacredness both of speaking and of listening.”

Reflecting back on Wendell Berry, she noted that, while his writings on agriculture and sustainable living “are polemical and sometimes controversial,” his Sabbath poems are “about the importance of finding a rhythm between work and rest”—a particular challenge in our 24/7 world. (“Wasn’t technology supposed to give us more free time?” she asked. “Now it often means we are always at work.”)

While Berry “doesn’t often talk explicitly about God in his poems,” Jennifer continued, “it’s clear that he sees us all as part of a created order that we continue to create.” She observed,

The Sabbath poems come out of his Sunday morning visits to the woods, which he sees as a Sabbath place, as opposed to the cleared field which is productive farmland. You need one to have the other.

And she read Berry’s “Whatever Is Foreseen in Joy”:

Whatever is foreseen in joy
Must be lived out from day to day.
Vision held open in the dark
By our ten thousand days of work.
Harvest will fill the barn; for that
The hand must ache, the face must sweat.
And yet no leaf or grain is filled
By work of ours; the field is tilled
And left to grace. That we may reap,
Great work is done while we’re asleep.

When we work well, a Sabbath mood
Rests on our day, and finds it good.

Following a collective discussion of the poem, she looked at Mary Oliver’s “Praying,” which we also discussed:

It doesn’t have to be
the blue iris, it could be
weeds in a vacant lot, or a few
small stones; just
pay attention, then patch

a few words together and don’t try
to make them elaborate, this isn’t
a contest but the doorway

into thanks, and a silence in which
another voice may speak.

Jennifer pointed out that Oliver isn’t slighting blue irises here, given that she has written several poems on the flower. She just wants to acknowledge weeds as well, and I thought of the poet’s reference to “the reckless blossoms of weeds” (in “The Kitten”) and “What blazes the trail isn’t necessarily pretty” (“Skunk Cabbage”). I thought also of Ralph Waldo Emerson’s observation in his essay Nature, “Not the sun or the summer alone, but every hour and season yields its tribute of delight…”

To summarize her approach to nature, Jennfer quoted from Oliver’s poem “Sometimes”:

Instructions for living a life:
Pay attention.
Be astonished.
Tell about it.

While time constraints didn’t allow Jennifer to share and discuss Jane Hirshfield’s “The Door,” I include her comments here. Jennifer writes that the poem

similarly treats listening as a doorway not just to knowledge of this world but to something transcendent. Hirshfield is not Christian but Buddhist in her orientation. She’s urging us to pay attention not only to things but to silences, to absences, to spaces”:

Here’s Hirshfield’s poem:

A note waterfalls steadily
through us,
just below hearing.

Or this early light
streaming through dusty glass:
what enters, enters like that,
unstoppable gift.

And yet there is also the other,
the breath-space held between any call
and its answer––

In the querying
first scuff of footstep,
the wood owls’ repeating,
the two-counting heart:

A little sabbath,
minnow whose brightness silvers past time.

The rest-note,
unwritten,
hinged between worlds,
that precedes change and allows it.

Jennifer is currently writing a book on poetic silences, in which she is exploring how poetry “speaks, and then it falls silent, and out of that silence it speaks again.”

Jennifer concluded the Forum by breaking us into groups to discuss poems that “help us imagine ourselves into the Scriptures.” The poems, which I’ll be sharing in future Sunday posts, were Mark Jarman’s “No One Understood the Final Meal” and “Cause Me To Hear”; Mary Karr’s “Descending Theology: The Resurrection” and “Meditatio”; and W. S. Merwin’s “Finding a Teacher.”

Following the talk, we adjourned to the church service, where we had the opportunity to listen to both the gorgeous poetry of the Episcopal liturgy and the silences between the words.

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A GOP Version of Chekhov’s Gun

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Friday

I recently came across a reference to “Chekhov’s gun” in an article reporting on the threatened government shutdown—which appears increasingly likely as MAGA House Republicans renege on a previous budget agreement, squabble with other Republicans, and refuse to let anything go forward. The allusion gives me a chance to revisit the Russian’s author’s first play, The Seagull, which features the gun he may have been thinking of.

To be sure, there are ways to work around Matt Gaetz, Marjorie Taylor Greene, and the other 14 or so MAGA extremists, but any compromise could set off Chekhov’s gun. MSNBC’s Hayes Brown uses the image to explain why House Speaker Kevin McCarthy can’t simply put together a coalition of Democrats and less extreme Republicans and pass the budget both parties agreed to last spring:

But even that strategy would require more political courage than McCarthy has displayed to date. Keeping the government open with Democratic votes would likely trigger the Chekhov’s gun that’s been sitting on the House dais since he first won the speaker’s gavel: a motion to vacate the chair, aka a vote on whether to remove McCarthy from the speakership.

Here’s some background: In January McCarthy agreed, in exchange for the MAGA votes he needed to become Speaker, that they could vote at any time to have him removed. His agreement was unprecedented, leaving him vulnerable as no previous speaker has been. Chekhov, meanwhile, once wrote to a colleague that one “must never place a loaded rifle on the stage if it isn’t going to go off.” He elaborated further in another letter:

Remove everything that has no relevance to the story. If you say in the first chapter that there is a rifle hanging on the wall, in the second or third chapter it absolutely must go off. If it’s not going to be fired, it shouldn’t be hanging there.

If the current GOP imbroglio were a Chekhov play, the “motion to vacate” would be introduced in the first act of McCarthy’s speakership and eventually get fired in the last. And even if it never got fired, spectators would always be aware that it could be fired, which would add to the drama.

Maybe “sword of Damocles” would be a more apt allusion in McCarthy’s case. To communicate to his courtier Damocles what it was really like to be king, Dionysius I of Syracuse (so the legend goes) suspended a sword a single horse’s hair, point down, above the throne and invited Damocles to sit there. Forget the glory and the luxuries that go with being king, in other words. This is what it’s really like.

But such a sword works just as well as a gun in Chekhov’s scenario. A playwright should not put it in the play unless it is going to play some kind of role.

In his MSNBC article, Brown notes that McCarthy has “all but dared” Gaetz to “file the freaking motion” if he’s serious about it—in other words, to fire the gun—but doesn’t think the Speaker’s “newfound bravado will hold up for long.” In any event, having been introduced, the motion to vacate is now an integral part of the ongoing action.

Chekhov’s most famous use of his principle occurs in The Seagull. There we see aspiring writer Constantine Treplieff, in Act II, enter with a rifle, which he has just used to shoot a gull. Treplieff is in love with Nina, who is in love with a writer Treplieff regards as a rival. By shooting the gull, Treplieff shows how he himself feels shot down.

As it turns out, he is not the only rejected “gull” as there are three others, but Chekov’s rule decrees that we will see Treplieff’s gun again. In fact, by the beginning of Act III we learn that he has used it in a suicide attempt, and by the end of the final act we hear the shot as he succeeds.

The difference between those frustrated lovers and Speaker McCarthy is that they are governed by tragic longings. As George Saunders writes of Chekhov and other Russian masters (I wrote about this yesterday), they show that “every human being is worthy of attention and that the origins of every good and evil capability of the universe may be found by observing a single, even very humble, person and the turnings of his or her mind.”

Chekov’s greatness is such that he probably could find complexity even in McCarthy. Without such artistic treatment, however, the Speaker seems little more than a power-obsessed but straw-filled puppet who dances reflexively to whatever MAGA tune is playing.

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Life Lessons from Russian Masters

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Thursday

I just stumbled across George Saunders’s A Swim in a Pond in the Rain: In Which Four Russians Give a Master Class on Writing, Reading and Life (2021). Since (as you well know) I’m a sucker for those who write about literature’s life lessons, I just had to hear what the Booker-winning novelist’s had to say on what Ivan Turgenev, Anton Chekhov, Leo Tolstoy, and Nikolai Gogol can teach us.

Swim in a Pond is itself a master class, based on a course that Saunders teaches to aspiring writers. As such, it functions as a “workbook” (Saunders’ description), and the author regularly interrupts the stories he’s anthologized with questions about how we are responding.

He observes that those stories, while quiet, domestic, and apolitical, can at the same time be regarded as “resistance literature, written by progressive reformers in a repressive culture, under constant threat of censorship, in a time when a writer’s politics could lead to exile, imprisonment, and execution.” The resistance in the stories, he explains, is

quiet, at a slant, and comes from perhaps the most radical idea of all: that every human being is worthy of attention and that the origins of every good and evil capability of the universe may be found by observing a single, even very humble, person and the turnings of his or her mind.

To offer a personal example of how such works can impact a life, he recounts his experience with (not so apolitical) Grapes of Wrath, which he read while holding down a brutal summer job in a Texas oil field as a “jug hustler”:

As I read Steinbeck after such a day, the novel came alive. I was working in a continuation of the fictive world, I saw. It was the same America, decades later. I was tired, Tom Joad was tired. I felt misused by some large and wealthy force, and so did Reverend Casy. The capitalist behemoth was crushing me and my new pals beneath it, just as it had crushed the Okies who’d driven through this same Panhandle in the 1930s on their way to California. We too were the malformed detritus of capitalism, the necessary cost of doing business. In short, Steinbeck was writing about life as I was finding it. He’d arrived at the same questions I was arriving at, and he felt they were urgent, as they were coming to feel urgent to me.

Saunders said that the Russian authors, when he encountered them a few years later, worked on him in the same way:

They seemed to regard fiction not as something decorative but as a vital moral-ethical tool. They changed you when you read them, made the world seem to be telling a different, more interesting story, a story in which you might play a meaningful part, and in which you had responsibilities.

At a time when various universities, regarding literature as “something decorative,” are reducing or even eliminating their humanities departments, Saunders shows us the colossal error of their ways. The aim of art, he says, is

to ask the big questions: How are we supposed to be living down here? What were we put here to accomplish? What should we value? What is truth, anyway, and how might we recognize it? How can we feel any peace when some people have everything and others have nothing? How are we supposed to live with joy in a world that seems to want us to love other people but then roughly separates us from them in the end, no matter what?

To which he adds, with a parenthetical wry smile,

(You know, those cheerful Russian kinds of big questions.)

To engage his students, Saunders teaches very much as I do in that he wants them to report on their interactions with the work. He makes clear there is no wrong answer (except, I suppose, claiming a reading experience you didn’t in fact have):

The basic drill I’m proposing here is: read the story, then turn your mind to the experience you’ve just had. Was there a place you found particularly moving? Something you resisted or that confused you? A moment when you found yourself tearing up, getting annoyed, thinking anew? Any lingering questions about the story? Any answer is acceptable. If you (my good-hearted trouper of a reader) felt it, it’s valid. If it confounded you, that’s worth mentioning. If you were bored or pissed off: valuable information. No need to dress up your response in literary language or express it in terms of “theme” or “plot” or “character development” or any of that.

If we study the way we read, he explains, we will become alert to how we process reality. Or as he puts it:

To study the way we read is to study the way the mind works: the way it evaluates a statement for truth, the way it behaves in relation to another mind (i.e., the writer’s) across space and time. What we’re going to be doing here, essentially, is watching ourselves read (trying to reconstruct how we felt as we were, just now, reading). Why would we want to do this? Well, the part of the mind that reads a story is also the part that reads the world; it can deceive us, but it can also be trained to accuracy; it can fall into disuse and make us more susceptible to lazy, violent, materialistic forces, but it can also be urged back to life, transforming us into more active, curious, alert readers of reality.

Saunders also provides a reassuring observation for those concerned about all the assaults on books, libraries, and the humanities in general:

Over the past ten years I’ve had a chance to give readings and talks all over the world and meet thousands of dedicated readers. Their passion for literature (evident in their questions from the floor, our talks at the signing table, the conversations I’ve had with book clubs) has convinced me that there’s a vast underground network for goodness at work in the world—a web of people who’ve put reading at the center of their lives because they know from experience that reading makes them more expansive, generous people and makes their lives more interesting.

(Enthusiastic applause)

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The Social Novel Tackles Our Dilemmas

Albert André, Woman at a Window

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Wednesday

A few months ago my friend John Giusti, an enthusiastic Chautauqua participant, alerted me to a Maureen Corrigan talk given there about the importance of imaginative storytelling. According to the Cautauquan Daily’s write-up, the Georgetown English professor and Fresh Air book critic said that the socially aware novel is thriving in America at the moment.

The reason, according to Corrigan, is because we “live in a world that’s very anxious about a lot of issues, and literature is one of the ways in which we grasp – and even imagine solutions to – those larger dilemmas of our time.”

In her talk she mentioned Barbara Kingsolver’s Pulitzer Prize-winning Demon Copperfield, about an Appalachian orphan boy’s journey through the foster care system, and Herman Diaz’s Trust, about wealth and power in capitalistic society. She could also have mentioned another Pulitzer-prize winning book that I’ve just completed, Richard Power’s Overstory, about the wisdom of trees and their wholesale destruction.

Corrigan traces the social novel back to 19th century England, which means she probably has such authors as Charles Dickens, George Eliot, and Elizabeth Gaskell in mind. (I’m tempted to add in the 18th century’s Daniel Defoe, but he didn’t have the same belief as the Victorians that his novels could bring about social change.)

Corrigan apparently used the word “resurgence” because America too has seen this kind of novel before. The 1930s experienced some of the things we’re going through now, what with extreme weather events (the Dust Bowl) and the rise of fascism. Back then it was writers like John Steinbeck, Richard Wright, John Dos Passos, Sinclair Lewis, and Dashiell Hammet showing how an exploitative system crushes ordinary citizens.

I remember my father, who grew up in a well-off Illinois Republican household, feeling awakened when he encountered these authors in a high school anthology. His reading and his experiences in World War II would radicalize him, and upon his return home in 1945, his teetotalling family was scandalized by his drinking, smoking, and having voted for Roosevelt.

With Corrigan’s observation that “we’re living in a moment where imaginative literature is foregrounding the social problems of our time,” I got a clearer understanding into the current mania for banning books. Many of those works under attack—I’m thinking especially of such young adult fiction (YAF) as Perks of Being a Wall Flower and Fault in Our Stars —are more interested in the day-to-day workings of our lives than were the authors of my childhood (Tolkien, C.S. Lewis). Corrigan noted that such books help readers counter ignorance and isolation and can even disrupt and change minds.

But it is precisely because of this power that we’re seeing rightwing attacks. “As more people are feeling empowered to write about social issues in America,” she said, “there’s an accompanying pushback – a very strong pushback – to silence those voices.”

And she added,

I sometimes think Americans show more passion about banning books than they do for reading them.

She reported that, according to the American Library Association, 2022 saw the highest number of book challenges since the organization started tracking the statistics more than 20 years ago.

Attacks can come from the left as well as from the right, and Corrigan mentioned bans on J.K. Rowling for her transphobic remarks, along with publisher plans to revise objectionable passages in Roald Dahl and Ian Fleming. But while I agree with her that liberals should refrain from such endeavors, I’ll note the danger of bothsiderism here. I have never encountered a single liberal—not one—who says that Harry Potter should be banned. Nor are liberals seeking to close down school libraries and public libraries because they contain books we find objectionable.

I’ll go further. Although I find horrific such rightwing novels as Thomas Dixon’s The Clansman and (to cite Steve Bannon’s favorite book) Jean Raspail’s Camp of Saints—both noteworthy for their egregious racism—I think students should still have access to them. I also think teachers should teach their students how to critically read and assess them, just as I was intellectually challenged by Hitler’s Mein Kamf in a high school Modern European History class. The real groomers—those who want to mold their kids in their own image, who see kids as puppets or passive vessels—are more likely to be rightwing authoritarian than liberal.

But back to social awareness novels, which I suppose politicians like Ron DeSantis would describe as socially woke. It’s true that, just as Dickens sought to awaken readers to child poverty and Gaskill to inhuman working conditions, so today’s authors are alerting us to our own problems. Of course, some novels suffer from being narrowly didactic. But the best ones, by getting us to enter fully into the lives of their fictional worlds, enrich our perspectives and provide us the necessary understanding and sensitivity to address our greatest challenges.

Latest update on an attempted Texas book ban: Incidentally, as I was writing this, a relevant item entered my newsfeed. According to Chris Geidner at the Law Dork blog , Texas’s recent law banning books has proved too much even for a Trump-appointed judge:

On Monday, a federal judge ruled in favor of booksellers who argued that Texas’s new law banning some books from public school libraries and restricting others through an onerous and complicated regime is likely unconstitutional in an opinion that blasted the law and the arguments the state made in its defense.

As Geidner explains it, the proposed law

purported to set up a system for categorizing books as “sexually explicit” or “sexually relevant,” with the former barred and the latter subject to restrictions, or unrated and available on unrestricted terms. The system, however, requires booksellers to do the initial rating by reviewing and rating every book that they sell to a school. A state agency is then free to change the rating of any book — with no apparent standards or way for the booksellers to appeal that decision — and then post the booksellers’ list (as potentially altered by the state) publicly. Failure to adhere to this system means you can’t sell books to schools in Texas.

Basically, the judge shredded the law for being incompetently formulated, not to mention vague, costly, unenforceable, and, as noted above, unconstitutional.

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Washington’s Last Gift to Us

Horatio Greenough, George Washington (1840)

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Tuesday

Today is the 227th anniversary of a momentous event that, over the past three years, has come to seem even more important than we previously realized. On September 19, 1796, President George Washington, announced that he would be stepping down from the presidency at the end of his term of office. His “Farewell Address” also warned the nation against political partisanship (!) and (particularly relevant given Russia’s continuing interference on Trump’s behalf) foreign influence in politics.

When George III heard of Washington’s plan to voluntarily relinquish power, he reportedly observed, “If he does that, he will be the greatest man in the world.”

We can appreciate that Washington, laudatory in so many other ways, also gave us a model for the peaceful transition of administrations. With the exception of 1860, when the election of Abraham Lincoln led to the secession of the Confederate states, Washington’s decision has served us well. That is, until January 6, 2021.

To honor Washington, I’m posting a Phillis Wheatley poem, written shortly before the American Revolution.

Wheatley, sold as a slave by a tribal chieftain in Senegal or the Gambia, ended up with the Wheatley family in Boston, who recognized her talents and encouraged her poetry. Not long after her book of poetry was published in London in 1773, the Wheatley family freed her. Her poem in praise of Washington was in turn praised by Washington, who wrote, “the style and manner exhibit a striking proof of your great poetical Talents.” He also invited her to visit him at his military camp, which she did.

The poem is written in heroic couplets, often used in the 18th century for epic poetry. (Alexander Pope, for instance, used the form for his translations of Homer.) When Wheatley invokes “Celestrial choir! Enthron’d in realms of light,” recent scholarship notes that she is probably invoking the African sun god of her childhood as well as the Greek muse that she encountered in her Latin and Greek education with the Wheatleys. The effect is to elevate America—Columbia—to mythic heights.

With the suffering colonies “involved in sorrows and the veil of night,” she calls upon Washington to unleash his armies as Aeolus, Greek god of the winds, releases his tempests. Calling the general “first in peace and honors,” she writes,

                                           we demand
The grace and glory of thy martial band.
Fam’d for thy valour, for thy virtues more,
Hear every tongue thy guardian aid implore!

After all, since Washington has demonstrated his prowess in the French and Indian War (“When Gallic powers Columbia’s fury found”), America should be able to turn to him for defense against “whoever dares disgrace/ The land of freedom’s heaven-defended race!” The poem concludes with a call:

   Proceed, great chief, with virtue on thy side,
Thy ev’ry action let the Goddess guide.
A crown, a mansion, and a throne that shine,
With gold unfading, WASHINGTON! Be thine.

While Washington probably would have proceeded even without Wheatley’s injunction, such a poem probably enters somewhere into that decision-making equation. Perhaps it puts a little more steel in the spine at a time when one needs all the courage one can muster.

His Excellency General Washington
By Phillis Wheatley

Celestial choir! enthron’d in realms of light,
Columbia’s scenes of glorious toils I write.
While freedom’s cause her anxious breast alarms,
She flashes dreadful in refulgent arms.
See mother earth her offspring’s fate bemoan,
And nations gaze at scenes before unknown!
See the bright beams of heaven’s revolving light
Involved in sorrows and the veil of night!

   The Goddess comes, she moves divinely fair,
Olive and laurel binds Her golden hair:
Wherever shines this native of the skies,
Unnumber’d charms and recent graces rise.

   Muse! Bow propitious while my pen relates
How pour her armies through a thousand gates,
As when Eolus heaven’s fair face deforms,
Enwrapp’d in tempest and a night of storms;
Astonish’d ocean feels the wild uproar,
The refluent surges beat the sounding shore;
Or think as leaves in Autumn’s golden reign,
Such, and so many, moves the warrior’s train.
In bright array they seek the work of war,
Where high unfurl’d the ensign waves in air.
Shall I to Washington their praise recite?
Enough thou know’st them in the fields of fight.
Thee, first in peace and honors—we demand
The grace and glory of thy martial band.
Fam’d for thy valour, for thy virtues more,
Hear every tongue thy guardian aid implore!

   One century scarce perform’d its destined round,
When Gallic powers Columbia’s fury found;
And so may you, whoever dares disgrace
The land of freedom’s heaven-defended race!
Fix’d are the eyes of nations on the scales,
For in their hopes Columbia’s arm prevails.
Anon Britannia droops the pensive head,
While round increase the rising hills of dead.
Ah! Cruel blindness to Columbia’s state!
Lament thy thirst of boundless power too late.

   Proceed, great chief, with virtue on thy side,
Thy ev’ry action let the Goddess guide.
A crown, a mansion, and a throne that shine,
With gold unfading, WASHINGTON! Be thine.

Further thought: Did Wheatley also have slavery in mind when she called for those who “disgrace the land of freedom’s heaven defended race”? There’s irony here in that Washington himself was a slaveowner. But contradictions aside, Wheatley did make subtle allusions to slavery in her poetry, such in an earlier poem that she directed to George III:

And may each clime with equal gladness see
A monarch’s smile can set his subjects free!

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A GOP Senator as Doctor Faustus

J.D. Vance and actors Close, Adams in Hillbilly Elegy

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Monday

Last week I wrote on a literary work—Mary Shelley’s Frankenstein—that has been applied so many times to politics that it has become a cliché. In fact, people don’t even mention the work when they talk about creating a monster that you cannot control. Nor do they cite Alice in Wonderland when they say “going down a rabbit hole” or Doctor Faustus when they accuse someone of selling his or her soul. Clichés, a readily applicable formula, too often take the place of thought.

But that doesn’t mean they’re wrong. As a wise English colleague once pointed out to me, students using clichés are often on the verge of insight. Rather than dismiss the cliché, the best approach is to prod the writer to reexamine and explore it further.

Similarly, one can revitalize a literary cliché by returning to the original work. I do so in today’s post after having encountered Mitt Romney’s observation about a colleague selling himself.

It appears in what people are calling Mitt Romney’s “burn book,” in that the former GOP presidential nominee has been remarkably frank in sharing his low opinion of his colleagues with his biographer. One particular target of his contempt is Ohio senator and author of Hillbilly Elegy J.D. Vance. Romney had been impressed by Vance after reading the book, but that all changed when Vance became a Trump sycophant in order to win the election:

“How can you go over a line so stark as that — and for what?” Romney wondered. “It’s not like you’re going to be famous and powerful because you became a United States senator. It’s like, really? You sell yourself so cheap?”

According to biographer McKay Coppins, Romney had similar things to say about others senators with potential:

“They know better!’ (Romney) told me. “Josh Hawley is one of the smartest people in the Senate, if not the smartest, and Ted Cruz could give him a run for his money.” They were too smart, Romney believed, to actually think that Trump had won the 2020 election. Hawley and Cruz “were making a calculation,” Romney told me, “that put politics above the interests of liberal democracy and the Constitution.”

None of the three men is using their power to make American lives better, having become Trump sycophants and internet trolls. Christopher Marlowe’s Doctor Faustus also sells himself cheap, and it’s worth looking at how and why that happens.

The foremost scientist, doctor, theologian, and philosopher of his day, Faustus is admired by everyone. We learn that he has cured whole cities of the plague (his medical prescriptions are “hung up as monuments”) and he excels “all those whose sweet delight dispute/ In heavenly matters of theology.” The chorus in the play says that he is as worthy of having his story told as a great general or legendary lover. 

So where does he go wrong? Well, he decides he wants power and will make a deal with the devil to get it. 

Now, power isn’t necessarily a bad thing if it is used wisely. And indeed, Faustus originally claims that he wants to do good things with it. We get a list of projects, delivered to us in Marlowe’s soaring poetry: 

Shall I make spirits fetch me what I please,
Resolve me of all ambiguities,
Perform what desperate enterprise I will?
I’ll have them fly to India for gold,
Ransack the ocean for orient pearl,
And search all corners of the new-found world
For pleasant fruits and princely delicates;
I’ll have them read me strange philosophy,
And tell the secrets of all foreign kings;
I’ll have them wall all Germany with brass,
And make swift Rhine circle fair Wertenberg;
I’ll have them fill the public schools with silk,
Wherewith the students shall be bravely clad;
I’ll levy soldiers with the coin they bring,
And chase the Prince of Parma from our land,
And reign sole king of all the provinces;
Yea, stranger engines for the brunt of war,
Than was the fiery keel at Antwerp’s bridge,
I’ll make my servile spirits to invent.

You may find some of these ambitions problematic—say, “stranger engines for the brunt of war”—but at least he’s got a program. Marlowe is tapping into new world exploration, interchanges with newly discovered cultures, and the dawning of the scientific age. What formerly seemed impossible now seems within reach.

Only Faustus accomplishes none of these things. Instead, he uses his powers to become a trickster, conman, and court entertainer. At different times we see him play tricks on the pope, plant cuckold horns on the head of a rival, swindle some poor guy out of $40 by selling him a horse that was originally straw (and that reverts to straw again when the horse touches water), and entertain a couple of rulers with (1) fresh grapes in winter time and (2) a holographic image of Helen of Troy. This is what he gets in return for selling his immortal soul?!

Such a downfall could be predicted. Once you value your private gratification more than your soul, you can no longer distinguish between what’s important and what’s trivial. You squander your considerable gifts chasing cheap applause, and when the end comes, it’s agonizing because you’ve put all your faith in something that is transitory—which is to say, in your ego.

Romney, a man of principle as well as ambition, had the vision to see that Vance had something to him. Whether or not one likes Hillbilly Elegy—Vance’s contempt for many of his fellow hillbillies has drawn criticism—it is still impressive that he rose out of poverty to eventually attend Yale Law School. It is a life trajectory that he shares with Faustus, who also triumphed over an impoverished childhood (his parents are described as “base of stock”) to attend Wittenberg, German’s premier university.

With his direct experiences of rural poverty, it would be laudable if he ran for Senate so that he could address these issues associated with it. If, say, he worked with Democrats to bring industry back to America or transform coal country into a green energy producer, he might be able to justify whatever nefarious means he used to be elected senator.

Instead, he has chosen to be a performance artist and a clown for Trump. To repeat Romney’s reaction, “Really? You sell yourself so cheap?”

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