Editor’s Note: Is anything ailing, torturing, or nagging at you? Are you beset by existential worries? Every Tuesday, James Parker tackles readers’ questions. Tell him about your lifelong or in-the-moment problems at dearjames@theatlantic.com.
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Editor’s Note: Is anything ailing, torturing, or nagging at you? Are you beset by existential worries? Every Tuesday, James Parker tackles readers’ questions. Tell him about your lifelong or in-the-moment problems at dearjames@theatlantic.com.
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Editor’s Note: Is anything ailing, torturing, or nagging at you? Are you beset by existential worries? Every Tuesday, James Parker tackles readers’ questions. Tell him about your lifelong or in-the-moment problems at dearjames@theatlantic.com.
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Dear James,
I’m a 73-old-woman who has been dating a man of the same age.
Editor’s Note: Is anything ailing, torturing, or nagging at you? Are you beset by existential worries? Every Tuesday, James Parker tackles readers’ questions. Tell him about your lifelong or in-the-moment problems at dearjames@theatlantic.com.
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Dear James,
I’m typically quiet and mind my own business. But in recent weeks, I’ve been having conflicts with people over minor things. Just today, I got yelled at twice.
Editor’s Note: Is anything ailing, torturing, or nagging at you? Are you beset by existential worries? Every Tuesday, James Parker tackles readers’ questions. Tell him about your lifelong or in-the-moment problems at dearjames@theatlantic.com.
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Dear James,
I have a group of friends who used to work together, and our friendship has happily continued even though we’re no longer at the same company.
Editor’s Note: Is anything ailing, torturing, or nagging at you? Are you beset by existential worries? Every Tuesday, James Parker tackles readers’ questions. Tell him about your lifelong or in-the-moment problems at dearjames@theatlantic.com.
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Dear James,
A few months ago, I came out to my high-school friend group as bisexual. They were supportive and appreciated my request to keep it on the down-low.
Editor’s Note: Is anything ailing, torturing, or nagging at you? Are you beset by existential worries? Every Tuesday, James Parker tackles readers’ questions. Tell him about your lifelong or in-the-moment problems at dearjames@theatlantic.com.
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Dear James,
I’ve never been an anxious person. However, since the election, I’ve been experiencing what I imagine are anxiety attacks.
Editor’s Note: Is anything ailing, torturing, or nagging at you? Are you beset by existential worries? Every Tuesday, James Parker tackles readers’ questions. Tell him about your lifelong or in-the-moment problems at dearjames@theatlantic.com.
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Dear James,
Unless there is money attached or a truly significant deadline (impending wedding, house sale, moving van arriving), I never seem to complete what I begin.
Editor’s Note: Every Tuesday, James Parker tackles a reader’s existential worry. He wants to hear about what’s ailing, torturing, or nagging you. Submit your lifelong or in-the-moment problems to dearjames@theatlantic.com.
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Dear James,
I’m in a strange situation of seeming basically like an extrovert but feeling quite lonely.
Editor’s Note: Every Tuesday, James Parker tackles a reader’s existential worry. He wants to hear about what’s ailing, torturing, or nagging you. Submit your lifelong or in-the-moment problems to dearjames@theatlantic.com.
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Editor’s Note: Every Tuesday, James Parker tackles a reader’s existential worry. He wants to hear about what’s ailing, torturing, or nagging you. Submit your lifelong or in-the-moment problems to dearjames@theatlantic.com.
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Dear James,
In my younger days, I was an opera singer. Like most trained singers, I found the lack of significant success extraordinarily painful, but that’s the reality in the field.
Editor’s Note: Every Tuesday, James Parker tackles a reader’s existential worry. He wants to hear about what’s ailing, torturing, or nagging you. Submit your lifelong or in-the-moment problems to dearjames@theatlantic.com.
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Dear James,
My partner of six years is smart and funny. I never get tired of talking with him. He makes me laugh until I can’t breathe. The sex is fantastic. We’re great travel partners.
The huge solemnity of his eyes, grave and sober as a child’s but with a spark of ancient, euphoric irony back in there somewhere. The gangster-ish heaviness of his hands, dynastic hands, Godfather hands. The too-big head. The carved, impassive face that suddenly droops, drags, goes baggy with the weight of being alive. The voice, New York nasal as a young man, roaring and combusted as he ages, the lungs working like bellows, the larynx shooting flames.
“I’m not going to talk about my specific meetings with world leaders. I’m just not going to do that. This anecdote shouldn’t have been in the book and as soon as it was brought to my attention, I made sure that that was adjusted.
Here’s something we can all agree on: Jack Reacher kicks ass. Kicks it with relish. Kicks it with—not abandon, he’s too in control for that—but with a sense of near-blissful release. Kicks it, most importantly, in the name of justice, in the name of everybody getting what they deserve.
America loved Jack Reacher from the moment it met him. Lee Child, his creator, has written 28 Reacher novels, all of them best sellers. But there’s a special spice, a special piquancy, to our Reacherism right now.
It starts where it finishes, in a dead-end drone: a single accordion note that seems to refine itself, thin itself out, even as it goes nowhere and lasts forever. That the song was recorded in 1985 is a mere accident of history: It could have been written at any point in the past 200 years. It could have been written by nobody at all—by Anonymous or by some mystery of collective authorship.
And there were men there in attendance there with double faces, as they had been sutured one face to another with catgut and diabolic needle, and women with the nostrils of dragons.Monstrosities of democracy they came forth in their pomp in the noon of the day. From the backwoods, from the boggy peninsulas. From the gleaming mall-lands. From the sucking swamps. Sun it did throb like a thumb in the eye of God. And the chamber was a cauldron of mockery, bepopulate with jeerers and carousers.
I remember you, baguette. I made thousands of you.That’s one of the nice things about being a baker (which I was, for a few glorious years): You’re as ancient as Egypt, but you’re also Andy Warhol in an apron, mass-producing your art object. Baguettes in glowing dozens, repeating editions and series of baguettes, out of the great oven and onto the metal rack.
I don’t want to overstate this.
I don’t want to say that by watching World Cup 2022,
held in Qatar, on your personal entertainment device,
you’re stepping over the bodies of dead migrant workers,
standing on the heads of incarcerated queer people,
and bankrolling, in a tiny but critical way, the global grift.Because we’re all compromised, right?
We’re all implicated. We all live in webs of capital.
We’re all stuck in the mesh of consequence.
If, as Carl von Clausewitz once observed, the mark of a historic moment is that no one knows what the fuck is going on, then what we have here is a historic moment. (Pretty sure it was von Clausewitz who said that.) What we have here is President Donald Trump, the day after his people sacked the Capitol, trying to strike a tone. Which tone? He doesn’t know. And it’s making him very uncomfortable.
Of the great male voices to come out of the grunge era—Kurt Cobain’s, Layne Staley’s, Chris Cornell’s—the greatest was Mark Lanegan’s. It was simultaneously the fullest and the most evacuated by sorrow, the warmest and the closest to the grave, the strongest and the most self-immolating, the purest and the most polluted, the largest-hearted and the loneliest.
Metallica’s “Sad but True” is one of the metal canon’s great statements. The groove is ogre-ishly heavy, downtuned, encumbered, a fantastically oppressed/oppressing trudge, with guitar notes that seem to bend and bow under the conditions of existence itself—the incurved gravity between God’s hands.As for the lyrics, they are rich with a kind of deep-space irony.
Metallica’s “Sad but True” is one of the metal canon’s great statements. The groove is ogre-ishly heavy, downtuned, encumbered, a fantastically oppressed/oppressing trudge, with guitar notes that seem to bend and bow under the conditions of existence itself—the incurved gravity between God’s hands.As for the lyrics, they are rich with a kind of deep-space irony.
I met a traveller from an antique land,
who said: “Give me 40 million dollars.
I’m resurrecting my imploded multimedia empire.
And this time I’m calling it Shattered Visage Media.
Or no, wait—Trunkless Legs of Stone News Network.”“Listen,” I answered him.
Rock and roll’s relationship with time—as in Father Time, not, you know, tempo—is fascinating. Men and women barely into their 20s, dewy young people without a mark on them, somehow contrive to write songs of shattering, been-there maturity. Whiskery wisdom ballads, epics of regret, failure binge blues, and howling prophetic voyages. Wide-eyed they sing them, these songs of experience. And then they grow old, and it all comes true.
Every weekday evening, our editors guide you through the biggest stories of the day, help you discover new ideas, and surprise you with moments of delight. Subscribe to get this delivered to your inbox.What do you need for a driving playlist? The fizz of the white line, the pull of the horizon, the tires beneath you slurping up the miles … You need forward momentum and you need space—expansiveness. You need regular beats and loads of deep repetition. Spiraling guitars.
Tim Lahan
This article was published online on April 17, 2021.I raised the drumstick, brought it down, and a dreamworld opened beneath me.A dreamworld, to be clear, of incompetence. A dreamworld of crapness and debility. A slump in tempo, an abyss. I was sitting at my practice drum kit, attempting one of the signature moves of the late John “Bonzo” Bonham, of Led Zeppelin: triplets with a left-hand lead.
Florida man, Florida man,
great head of hair, studio tan,
if I were hitching in the Everglades
and you pulled up, I’d be afraid.I wouldn’t climb into your minivan,
your swampmobile, O Florida man.
I’d wait for a ride with an honest trucker.
Anyone but you, you sleazy fucker.
Florida man, Florida man,
great head of hair, studio tan,
if I were hitching in the Everglades
and you pulled up, I’d be afraid.I wouldn’t climb into your minivan,
your swampmobile, O Florida man.
I’d wait for a ride with an honest trucker.
Anyone but you, you sleazy fucker.
Illustration by Oliver Munday; Bernard Gotfryd / Hulton Archive; Bettman; Bob Peterson / The Life Images Collection / Getty
This article was published online on March 13, 2021.