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Recently, while packing for a move, I came across a letter that Gore Vidal sent me from his home in Ravello, Italy, in the late 1990s. Vidal, a slight acquaintance, had provided me with a blurb for my book Up From Conservatism and we corresponded a few times and met once. I had forgotten about this letter, and on deciphering the handwritten scrawl on monogrammed blue paper I found Vidal complaining that a critic who had panned one of his books in the New York Times had been hosted the following weekend at their seaside home in Connecticut by Vidal’s arch-rival William F. Buckley, Jr. and Buckley’s wife Pat. Whether this occurred or was Vidalian paranoia, I cannot say, though given the interlocking circles of that world, anything is possible. After all, at one of Bill and Pat Buckley’s parties I met Tom Selleck, whose career break came in 1970 when he played a young stud propositioned by the elderly Mae West in the X-rated movie version of Vidal’s Myra Breckinridge. More… “The Empire of Gore Vidal”

Michael Lind is a contributing writer of The Smart Set, a fellow at New America in Washington, D.C., and author of Land of Promise: An Economic History of the United States.
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When It Takes a Village: And Other Lessons Children Teach Us was published in 1996, the book was met with the kind of response that a serious nonfiction writer dreams about. The ideas presented in the book became the topic of conversation across the land, politicians and commentators felt obligated to respond to it, it won awards, including a Grammy for its audio book edition, and it became so ubiquitous, both in sales numbers and in impact, that it started to become heavily parodied.

Any writer would be thrilled. Moved, even. And yet this particular writer also has to watch while someone else, taking credit for her work, takes all of the credit.

Hillary Rodham Clinton may have won the title page and the cover image (and the Grammy), but at best she was just one of many voices filtered through the actual writer. It Takes a Village… More…

It is hard to write a biography about a person who hides. Walter Benjamin really hid. The great critic and philosopher hid, often enough, right there in his writings. They are often elusive texts that can take years of reading, over and over again, before the mists begin to clear. What, for instance, is Benjamin really talking about in his famous essay, “The Work of Art in the Age of Its Mechanical Reproducibility?” Is it a theory of art and historical change? Is it a political manifesto about the revolutionary potential of film? Is it a long lament about the loss of that magical quality “aura?” The more you read the essay (in its various versions), the harder it is to decide just what Benjamin is saying. But it is impossible to dismiss the essay altogether. The ideas contained within it have a way of staying put in your mind,… More…

The longer we were in it, the smaller it seemed to get. — William Beebe

 

The final episode of The Jacques Cousteau Odyssey begins not in the sea but in the sky. Sideways, we soar though the clouds, glimpsing a solitary island below, far into the Pacific. As always, we hold our breath in anticipation. A couple of years before “Clipperton: The Island Time Forgot” first aired, Jacques Cousteau gave his son and trusty costar Philippe a PBY seaplane named Flying Calypso, after Cousteau’s famous boat, Calypso. It was a fatherly gesture to a son who lived in his father’s shadow. The plane was meant to distinguish Philippe, whose true love was flight.

Eventually, we land. A menacing army of poisonous crabs mans the shoreline. The camera pans to a couple of rusted shipwrecks and some abandoned shacks,… More…