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Jon Stewart and the Burden of History

A profile of the comedian who’s “not so funny anymore”:

Jon Stewart has made a career of avoiding "Whooo" humor. He has flattered the prejudices of his audience, but he has always been funny, and he has always made them laugh. At the Juan Williams taping, however, at least half of Stewart's jokes elicited the sound of Whooo! instead of the sound of laughter. He's been able to concentrate his comedy into a kind of shorthand — a pause, or a raised eyebrow, is often all that is necessary now — but a stranger not cued to laugh could be forgiven for not laughing, indeed for thinking that what was going on in front of him was not comedy at all but rather high-toned journalism with a sense of humor. Which might be how Jon Stewart wants it by now.

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Janet Malcolm: The Art of Nonfiction No. 4

“I think you are asking me, in the most tactful way possible, about my own ­aggression and malice. What can I do but plead guilty? I don’t know ­whether journalists are more aggressive and malicious than people in other professions. We are certainly not a ‘helping profession.’ If we help anyone, it is ourselves, to what our subjects don’t realize they are letting us take. I am hardly the first writer to have noticed the not-niceness of journalists. Tocqueville wrote about the despicableness of American journalists in Democracy in America. In Henry James’s satiric novel The Reverberator, a wonderful rascally journalist named George M. Flack appears. I am only one of many contributors to this critique. I am also not the only journalist contributor. Tom Wolfe and Joan Didion, for instance, have written on the subject. Of course, being aware of your rascality doesn’t excuse it.”

The All-American

In Afghanistan and other zones of international crisis with John Kerry:

Why, then, does Kerry bother? Why is he racing back and forth to put out the fires being set by a serial arsonist? I asked him about this on the short flight from Kabul to Islamabad. Kerry tried to put the best possible face on what he had learned. Despite the warlords in Kabul, he said, Karzai had appointed some talented officials at the provincial and district levels. “It’s a mixed bag,” he concluded gamely. Kerry knew Karzai’s failings as well as anyone, but he was not prepared to abandon Afghanistan’s president, because he was not prepared to abandon Afghanistan. But why not?

Why Do the Oscars Keep Falling for Racial Reconciliation Fantasies?

From Driving Miss Daisy to Green Book.

Not knowing what these movies were “about” didn’t mean it wasn’t clear what they were about. They symbolize a style of American storytelling in which the wheels of interracial friendship are greased by employment, in which prolonged exposure to the black half of the duo enhances the humanity of his white, frequently racist counterpart. All the optimism of racial progress — from desegregation to integration to equality to something like true companionship — is stipulated by terms of service.