Fair Is Foul, Foul Is Fair: Trump’s Final Soliloquy

by Thomas Larson

According to Donald Trump, in a statement made to MSNBC’s “Morning Joe,” April 11, 2011, about the fake “birther controversy” of President Barack Obama—the opening salvo in Trump’s campaign of political disinformation—Obama’s “grandmother in Kenya said, ‘Oh, no, he was born in Kenya and I was there and I witnessed the birth.’ She’s on tape,” Trump went on. “I think that tape’s going to be produced fairly soon. Somebody is coming out with a book in two weeks, it will be very interesting.”

And, according to Vox News, President Trump, two weeks after losing the 2020 November 3rd election, tweeted, “I won the election!” He had warned many times prior to the vote that the only way he would lose the election would be if it was rigged, and the only way he would win was if the election was fair, a remarkably trenchant conjuration of the Three Witches’ spell on Macbeth, “Fair is foul, and foul is fair.”

And, according to Chanel Dion of One America News and Trump legal team lawyer, Sydney Powell, software engineers in Michigan and Georgia (and in parts of 26 other states) contracted with Dominion Voting Systems, which has financial ties to Nancy Pelosi, Dianne Feinstein, George Soros, the Clinton Foundation, and the seven-years-dead Hugo Chávez of Venezuela, to make ballot-counting machines switch votes from Republican to Democrat presidential candidates or to leave out a prescribed number of votes for President Trump in Joe Biden’s favor. Read more »



Monday, April 1, 2019

“The Writer’s Heart”: A Conversation between Liesl Schillinger and Andrea Scrima

Liesl Schillinger and Andrea Scrima are two of the authors in Strange Attractors, an anthology that’s just come out with University of Massachusetts Press, edited by Edie Meidav and Emmalie Dropkin. The thirty-five pieces in the collection explore unsettling experiences of magnetism and unanticipated encounter irresistible enough to change or derail the course of a life. In chaos theory, “strange attractor” is the term given to the fractal variety of attractor that arises out of a dynamic system; its defining unpredictability makes this mathematical concept an apt metaphor for the twists of fate that send us reeling, but can sometimes feel oddly inevitable in hindsight. In her piece for the anthology, “Children and All That Jazz,” Liesl Schillinger weaves the music and heartache of Joan Baez into the lives and longings of a family in the American Midwest in the 1970s; in Andrea Scrima’s excerpt “all about love, nearly,” the narrator explores the dimensions of a world transfigured, and then dissembled, by passion.

A.S.: Liesl, I love the part in your story where a pack of kids is playing “Murder in the Dark” and the young narrator’s crush, who plays the part of the killer, draws near her in the dark yard: “I didn’t try to back away, I thought maybe he was going to kiss me, but then he killed me which was so predictable.”

L.S.: It’s funny, as a child, my belief in the importance of love—fed by the nineteenth-century novels I devoured—from Louisa May Alcott to Dickens and Austen and Stendhal—was unshakeable. I was always waiting for the coup de foudre. But that was paired with an instinctive pessimism, or maybe resignation. My mother gave me a reading list, I was expected to read a book a week, and didn’t consider not doing that. But I also read the twentieth-century novels on my parents’ bedroom shelves. John Irving, Shirley Hazzard, V.S. Naipaul, and Graham Greene did a lot to temper my romantic idealism. Or maybe to undermine it. I hoped for love to work out, but didn’t expect it to; and was somehow always relieved, I think (eventually), when one of my castles in the air collapsed, and I was back on solid ground.

A.S.: I guess my piece in the anthology covers the other, unhealthier side of things: when love makes you lose your footing and even your hold on reality: “my crazy, exalted, euphoric collusion in my own demise.”

L.S.: There’s a conversation between (Shakespeare’s) Antony and Cleopatra that I’ve never forgotten, though this is a paraphrase—Cleopatra says something to the effect of: “I will not have love as my master.” Antony responds, “Then you will not have love.” I’ve had a long and occasionally turbulent romantic history, and Antony and Cleopatra’s exchange reflects my experience. Read more »