The Courtroom Goes Quiet

Every oath, everywhere, started life as a conditional self-curse. And then, century by century, the curse got amputated. First the punisher went quiet. Then the punishment went silent. What stayed in the witness's mouth was the stump. But nothing that load-bearing just disappears. The punishment clause went looking for a new address. And the law, slowly, took the job over. In fifteen sixty-three, in the fifth year of Elizabeth, Parliament passed a statute whose title you can still read: An Act for the Punishment of such persons as shall procure or commit any willful Perjury. That's the birth of perjury as a crime. 

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The Staircase Was Never There

In 2003, a laboratory asked the plainest question you can put to the night: when dreams draw on waking life, what do they take? Twenty-nine people kept logs for two weeks. The answer came back in two numbers. Two-thirds of everything these sleepers remembered dreaming drew identifiably on the days around it. And a whole day, replayed intact with its time and place still attached, showed up in one or two dreams in a hundred. The day gets in as parts. The day itself almost never arrives whole. And if you want the grimmest proof, it is on the record. After the eleventh of September, 2001, when the whole country watched the same footage on every screen, researchers went looking for the replay in the dream journals of forty-four Americans, eight hundred and eighty dreams across the date.

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The Four Words

Here is a game. I am going to spend the next several minutes telling you about a book, and I will not say its name once. The name is four words. Two of them are the same word. If you follow the grammar, by the end of this episode you will say the name yourself, and you will know why it could not have been anything else. If you have listened to this show for a long time, you have heard the four words before: in 2020, and again last June. Today they get a whole episode, unsaid. The game starts on June eighth, 2016. At two thirty-seven that afternoon, a 723-word essay went up on my blog: an essay about Aristotelian politics in an age of unreason. 

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Two Paperbacks

A friend of mine once cleared a bookshelf with one sentence. It took him a week to collect. I have spent twenty years understanding that afternoon, and the understanding became a book. Let me tell you the story first. The store was a Mormon bookstore, an independent, living on the trade of the wards around it. My friend belonged to that trade twice over, as a customer and as a lay officer of the church the store served. He worked in technology all week, and on Sundays he presided over a congregation. He was the bishop of his ward. That is an unpaid office, and a heavy one, and it mattered that day, because of the name it let him borrow. Understand what that borrowing did, because the whole book lives inside it. On his own name, my friend had an opinion about children's paperbacks, and the owner would have heard an opinion and sold the next copy.

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The Stopwatch Moralist

Here is the shape of it. In 1955, American television had no memory. A play aired live, once, and it was gone: no rerun, no archive, no second pressing. Serling wrote a play called Patterns, and the country went so crazy for it that the critic at the New York Times closed his column with ten words that had no mechanism under them: "a repeat performance at an early date should be mandatory." There was no mandatory in 1955. So the network bought the play a second time and performed the identical play live again, because the only instrument the medium owned for showing a thing twice was human beings. That was the economy Serling worked in. And when he tried to tell the Emmett Till story in that economy, twice, in 1956 and 1958, the sponsors and the agencies and the network censors sanded his plays into other states, other decades, other people.

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Reading the World

The telephone went to speaker at three in the afternoon on a Tuesday in August, and the voice that came out of it belonged to family, calling from a small town in Nebraska where it had been raining for days. The call carried two things at once, the way a plains telephone always has. A death in the family. And a storm inventory, item by item, in the flat voice the plains keep for damage. Trees down across the county. The grain silo wrecked. More than a hundred utility poles broken, thirty-four of them in a row on one county road, snapped at ground level and thrown across into the lines and trees on the other side. And the town held its festival anyway, in the middle of the ruins, because the festival had been running since 1901 and a storm was not going to be the thing that stopped it.

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The Book That Keeps Its Own Account

The Watermark is about a city that computes its poor as calories. And it is about the man who does the computing. His name is Anselm Wenger. He is thirty-one that winter. He is a clerk of the Relief Bureau, the best computer on the fourth floor of the Provident Building. By day he prices the poor in units of food. By night he sings in the cellars of the Quarter, and the Quarter sings back. And in his room over the baker's, he writes down what the tables could not hold. On slips. In a hand smaller than the Bureau's hand. The slips live in a tobacco tin. Two archives, then: the building's and the tin's. The year this book covers is the year those two accounts settle. 

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