Monday, July 2, 2018

Works in Progress and a New Piece at Tropics of Meta

Last week the good folks at Tropics of Meta published my little essay on William F Buckley's "mission statement" for the National Review. Basically, I argued that despite what movement conservatives tell you, Trump very much exists in the version of conservatism the more erudite Buckley laid out.

I have not been blogging as much because I am working on some things I'd like to get published in more prominent locations. Here's a list, I'd appreciate any friendly help on how to make these essays better or where I should get them published.


  • The Democrats need learn from LBJ. I wrote a draft of this already, basically about how LBJ's rough way of practicing politics (which isn't that far from McConnell's) is what the party needs, not West Wing niceties
  • Ted Cruz as debater. I wrote this and it already got rejected from one place. I write about how as a former debater myself I can see how Cruz's liabilities and strengths as a politician can be traced to the weirdo world of college parliamentary debate. I also discuss how Beto could exploit the college debater approach used by Cruz.
  • Nostalgia for other people's nostalgia. I am working on something now about how many Gen Xers like me are so connected to the music of the 60s and early 70s, before we were born or really conscious of the world. I trace this to the Boomer nostalgia boom of the late 80s, and how many of us who came of age at that time found the music and culture of the past more interesting than a lot of what was happening in our times. I plan on using this as a jumping off point for discussing the cultural and political weakness of Gen Xers compared to Boomers and Millennials. 
  • From Blow-Up to Blow Out. This essay will discuss Antonioni's 1966 film and De Palma's 1981 homage. The fifteen years between the two basically mark the journey from the height of the 60s to the point where the cultural backlash against the sixties emerged victorious. Blow-Out was a huge inspiration to the "New Hollywood" directors who upended American cinema in the 1970s, and it is fitting that De Palma's film represents the end of the years when studios would give money to young directors to make artistic films. The journey between the two films tells the story of America's greatest cinematic era.

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