The New Yorker reporter Mark Singer probably qualifies for the adjective “veteran” by now, having joined the magazine in 1974. He wrote a fine book, Funny Money, on the collapse of Penn State Oil in the 1980s. One effect of this long-service is that he’s written several profiles of Donald Trump along the way, which he’s drawn on for Trump & Me, a short book/long read based on the time he’s spent with The Donald. Here’s some notes and extracts:
[T]here is no “new” Trump, just as there was never a “new” Nixon. Rather, all along, there have been several Trumps: the hyperbole addict who prevaricates for fun and profit; the knowledgeable builder whose associates awe at his attention to detail; the narcissist whose self-absorption doesn’t account for his dead-on ability to exploit other people’s weaknesses; the perpetual seventeen-year-old who lives in a zero-sum world of winners and “total losers,” loyal friends and “complete scumbags”; the insatiable publicity hound who courts the press on a daily basis and, when he doesn’t like what he reads, attacks the messengers as “human garbage”; the chairman and largest stockholder of a billion-dollar public corporation who seems unable to resist heralding overly optimistic earnings projections, which then fail to materialize, thereby eroding the value of his investment.
Or, in one line,
both slippery and naive, artfully calculating and recklessly heedless of consequences.
I’ve got round to reading the New Scientist‘s 60th anniversary issue, published in November, which tries to look forward in the general direction of 2076. There are 14 short “What If…” essays, on everything from “What if we engineer new life forms?” (we’ll need a ‘kill’ switch) to “What if we found a theory of everything?” (it’s a very slow train coming) to “What if we discover room temperature super conductivity?” (it would utterly transform our energy systems).
In this post I’m going to review some of the essays on themes that futurists spend more time on, and pull out some of the ideas.
The theorist Mark Fisher, whose death was announced at the weekend, was one of our most original thinkers about how we experienced late 20th century and early 21st century capitalism. He also wrote honestly about his depression, and sometimes one felt that the two were related: that seeing so clearly the confines that late capitalism imposed on its subjects was too much weight for one person to stand. (Guy Debord suffered in a similar way.)
People have been queuing up today to pay tribute to Fisher and his work, and rightly so: Capitalist Realism is one of the essential texts of the last 10 years: so good, in fact, that I realised recently that I’d bought two copies. His style was also singular in its skill in combining the cultural and the political, a reminder that actually the two can never be separated out, as he demonstrated in his more recent book Ghosts of my Life, which I wrote about here.
In an obituary, the music writer Simon Reynolds, a friend of Fisher’s, described his writing like this:
The exciting thing about Mark’s writing – CCRU era, K-punk era, in magazines like FACT and The Wire, the books – was the feeling that he was on a journey: the ideas were going somewhere, a gigantic edifice of thought was in the process of construction. That Mark was thinking big, building a system, always aiming for the largest scale. And finally that this work, rigorous and deeply informed as it was, was not academic, in the sense of being done purely for its own sake: its urgency came from his faith that words really could change things. Reading Mark’s writing made everything feel more meaningful, supercharged with significance. It was a rush. An addiction.