something about "Big Game: The NFL in Dangerous Times" by Mark Leibovich

Mark Leibovich is The New York Times Magazine’s chief national correspondent. I am not a regular reader of his column, but I read his previous book, This Town, which I described as the author wallowing in the networking and social maneuverings.
 

He kids DC's political players about the unseemly side of their work but never condemns them. Leibovich paints an absurd picture and sort of shrugs it off. His easygoing prose makes a shrug seem like the natural reaction. This Town delivers the goods for political junkies—especially if you tracked national politics from 2007 to 2013. Hearing how embedded Washington correspondents are is discomfiting. But if disillusion has already set in, the disappointment in This Town lands softly.

I think the same is true of Big Game, a book about the National Football League (NFL). Leibovich rightly positions professional football as one of America's biggest cultural forces. And he attached himself to the league at a seemingly pivotal time. In 2017, the NFL was more successful than ever, but scandals, such as players protesting during the national anthem and the escalating reality that concussions are destroying players brains in real time, were threatening that success. 

Leibovich does not deny the issues that cause the league's front office anxiety. But he overplays the attention-grabbing distractions, like Deflategate and the eccentricities of the billionaire team-owner class. Leibovich never really reckons with the larger, more serious issues.

I found the book very entertaining. But I never felt like the league and the owners were being confronted with a game-changing sequence of events. I agree with Joe Nocera's assessment in The Washington Post. Nocera says Leibovich "has a book-reporting strategy that consists of attending events (Tim Russert’s funeral; an NFL owners meeting), hanging around the periphery and writing what he sees, with plenty of snark and personal asides for good measure. He’s a good enough writer to keep you from wanting to throw the book against the nearest wall. But if you look closely, you’ll realize he has nothing to say."


Notes:

• My favorite part was definitely Leibovich getting drunk on Jerry Jones's bus.

One of the drivers in Jerry's employ, an African American gentleman named Emory, opened a back cabinet stocked with $250 bottles of "Blue." No doubt Jones could afford the smooth booze, but he also mentioned a qualifier. "It's the stuff it makes you do after you've had it that you might not be able to afford," he said. I relay this by way of transparency into Jones inhibitions, which after a few more supersized pours from Emory were weakening fast.

Leibovich asks Jones which means more: the Hall of Fame jacket or another Super Bowl ring. Jones, drunk, finally admits the jacket is more important to him.

• "Are these the last days of the NFL?" by Joe Nocera, The Washington Post, 13 September 2018

about wearing out in the empty Providence airport

Unbothered runways press out to a deafened, mud-washed fringe of trees. Most people drive here. And away. Inside, neutral pop plays over the PA and suppresses mood. An unattended bag, a wilting plant in public space. How many rough mornings have there been at the Hampton Inn & Suites Providence Airport? Say goodbye to me and Massachusetts' shrunken head.

something about Nathanael West's novella, "A Cool Million"

With A Cool Million, Nathanael West mocks and perverts the Horatio Alger myth. The novella unravels the sad story of Lemuel Pitkin, a poor 17-year-old kid from rural New England. When creditors threaten to foreclose on his family home, young Pitkin seeks the advice of the local banker, Shagpoke Whipple, an opportunistic former president of the United States. At Whipple's urging, Pitkin heads out into the world to make his way. But the world thoroughly abuses and victimizes Pitkin: he is robbed, arrested, and beaten; he loses limbs and teeth; even his naive sweetheart is raped and prostituted. Pitkin learns nothing for his trouble and soon dies a humiliated failure. As if that was not enough, Pitkin's death is exploited by Shagpoke Whipple in his political comeback as head of the National Revolutionary Party.

Whipple, embarking on his second act, attributes his initial downfall to conspiring outsiders:

I blame Wall Street and the Jewish international bankers. They loaded me up with a lot of European and South American bonds, then they forced me to the wall. It was Wall Street working hand in hand with the Communists that caused my downfall. The bankers broke me, and the Communists circulated lying rumors about my bank in Doc Slack's barber shop. I was the victim of an un-American conspiracy.

At his nationalist rallies, Whipple evokes Pitkin's story to stoke popular fear and animosity toward immigrants, intellectuals, international capitalists, and political opponents.
 
With this conclusion, West suggests that belief in the Horatio Alger myth inevitably leads to a second myth that explains the failure of the first. The second myth, the Lemuel Pitkin myth, reinforces in the minds of the struggling, embittered white population the idea that they have been cheated out of the American dream by un-American and international forces. The two myths inform a reactionary movement of hostility, fear, and dangerous nationalism.


Note: Can a perception of the past serve as a vision for the future?