1. Glidden, Rolling Blackouts, 7.
2. Ibid.
3. Ibid., 6.
4. Shifts in print journalism and glossy magazines also contributed to the changing, more aesthetic role of photojournalism. As Julian Stallabrass has argued, the consolidation of media ownership under neoliberalism has pushed more conventional photojournalism into the art museum. “Even once serious publications” now focus on “food, fashion, cars, and the lives of TV personalities,” and photographers such as Sebastião Salgado shift to “broad, synthetic work outside the daily pressures of conventional news coverage.” Stallabrass, “Sebastião Sagado and Fine Art Photojournalism,” 133–34.
5. Buffett, letter to the shareholders of Berkshire Hathaway Inc., 15.
6. Hayek, “Use of Knowledge,” 526.
7. David Harvey characterizes contemporary financialization as an escalation of capitalism’s drive to find profit through “fictitious capital” generated through complex financial instruments, the mechanisms of which “consisted of a labyrinth of countervailing claims that were almost impossible to value except by way of some mix of future expectations, beliefs and outright crazy short-term betting in unregulated markets.” Harvey, Seventeen Contradictions and the End of Capitalism, 241.
8. See Jones, Masters of the Universe, as well as Mirowkski, “Postface.” The longer intellectual history compliments and expands on the historical scope of neoliberalism that commonly finds neoliberalism’s origins in 1970s reforms, as in Harvey, Brief History of Neoliberalism.
9. For an account of the Great Inflation period, see Bryan, “The Great Inflation.”
10. See Jameson, “Postmodernism, or, the Cultural Logic of Late Capitalism.”
11. There are many ways in which this historical and structural vertigo has been theorized. For prominent examples, see Crary, 24/7; Fisher, Capitalist Realism; Jameson, The Seeds of Time; and Toscano and Kinkle, Cartographies of the Absolute.
12. See Nichols, Speaking Truths with Film, 13–33.
13. Grierson, “The Documentary Producer,” 8.
14. Benjamin, “The Author as Producer,” 771.
15. Agee, Let Us Now Praise Famous Men, 12.
16. Coles, Doing Documentary Work, 6.
17. Tagg, “Melancholy Realism,” 38.
18. For an account of how documentary and journalistic forms have shifted due to digital, interactive interfaces, see Uricchio et al., Mapping the Intersection of Two Cultures.
19. On institutional critique’s place in the art museum, see Fraser, “From the Critique of Institutions to an Institution of Critique.”
20. White, Figural Realism, 24.
21. For an influential account of how documentary films by Claude Lanzmann and Errol Morris engage with history in relation to Jameson’s definition of postmodernism, see Williams, “Mirrors without Memories.”
22. For a historical account of the development of the “standard of objectivity” in American journalism, see Schudson, Discovering the News, and for a critique of classic documentary practice, see Rosler, “In, Around, and Afterthoughts.”
23. Sontag, On Photography, 4.
24. Sontag, Regarding the Pain of Others, 81
25. Sontag’s essay on the Abu Ghraib photographs was published shortly after Regarding the Pain of Others. See Sontag, “Regarding the Torture of Others.”
26. The concept of art in the “expanded field” of postmodernism is in Krauss, “Sculpture in the Expanded Field.”
27. Powaqqatsi.
28. Joselit, After Art, 92.
29. Stallabrass, “Sebatião Salgado and Fine Art Photojournalism,” 145.
30. Michaels, The Beauty of a Social Problem, 36.
31. Campt, Listening to Images, 107.
32. The 2015 Baltimore Uprisings, n.p. For a reflection on the Baltimore uprising volume that has influenced my thinking here, see Clover, “Baltimore Riot. Baltimore Commune?”
33. Mailer, The Presidential Papers, 18.
34. Mailer, “The Armies of the Night, Handwritten Draft.”
35. See Geyh, Leebron, and Levy, Postmodern American Fiction.
36. One of the key implications of this argument is that the way that we think about postmodern or postwar literature must be revised to more fully include and account for literary nonfiction, especially since critics and scholars of post-1945 literature have begun to seek alternate modes of periodizing late twentieth- and early twenty-first-century literature. The broader critical and literary historical context of this claim is laid out in Gladstone, “Introduction.” While the overhauling of post-1945 literary studies has significantly changed the terms through which we view the period, nonfiction is still often absent from these considerations. In Mark McGurl’s The Program Era, for example, literary nonfiction, though a part of the creative writing programs that he is analyzing, is not treated in any significant detail. Instead, McGurl notes that journalism and magazine writing are “importantly ‘on the map’ of the field of literary production to this day,” though largely, as in his analysis of Kay Boyle’s essay about the student strike at San Francisco State, as a kind of practical exercise on the way to producing literary fiction “in quieter times” (30, 224). Michael Szalay’s study of how postwar novelists such as Ralph Ellison, Norman Mailer, and William Styron were part of “a generation of novelists who helped a new technical elite . . . facilitate the transition of state-sponsored capitalism into a more properly neoliberal dispensation” has informed my thinking as well, especially insofar as cross-racial identification forms neoliberal styles (Szalay, Hip Figures, 28). But, again, Szalay’s study focuses on novels, despite a writer like Mailer’s major shift from novel writing to nonfiction prose in the 1960s and beyond.
1. Jameson, Postmodernism, or, the Cultural Logic of Late Capitalism, 44.
2. Ibid., 44–45.
3. Ibid., 45.
4. Herr, Dispatches, 3.
5. Ibid., 43.
6. Ibid., 218.
7. Ibid., 188.
8. This is borne out by the fact that scholarship on Herr’s Dispatches focuses on topics that we typically associate with reportage, such as ethics and accuracy, as well as its possible status as a work of “postmodern fiction.” That the book can be read as both points to its documentary aesthetic, synthesizing journalistic modes with aesthetic practice. See Bartley, “The Hateful Self”; Lighter, “Michael Herr’s Lurp Tale”; and Carpenter, “It Don’t Mean Nothin’.”
9. For thorough critiques of documentary from this perspective, see Kael, “Current Cinema”; Rosler, “In, Around, and Afterthoughts”; and Sontag, On Photography.
10. Rosler, “In, Around, and Afterthoughts,” 177.
11. Balsom and Peleg, “Introduction: The Documentary Attitude,” 13.
12. The term “expanded field” is influentially used to describe postmodern aesthetics in Krauss, “Sculpture in the Expanded Field.”
13. See Toscano and Kinkle, Cartographies of the Absolute; and Michaels, The Beauty of a Social Problem.
14. Michaels, “The Politics of a Good Picture,” 183.
15. Crimp, “The Photographic Activity of Postmodernism,” 100.
16. Beattie, Dont Look Back, 33.
17. Hall, “‘Don’t You Ever Just Watch?,’” 250.
18. Monteyne, “The Sound of the South Bronx,” 101.
19. See Chang, Can’t Stop, Won’t Stop; Clover, 1989; and Quinn, Nothin’ But a “G” Thang.
20. Chang, Can’t Stop, Won’t Stop, 319.
21. Clover, 1989, 36–37.
22. Quinn, Nothin’ but a “G” Thang, 7.
23. Wallace and Costello, Signifying Rappers, 137.
24. Tate, “What Is Hip-Hop?,” 240.
25. For accounts of rap and its connection to tropes of authenticity, see Keyes, Rap and Street Consciousness, 122–53; and the “authenticity debates” section of Forman, That’s the Joint!, 69–224.
26. Bradley, Book of Rhymes, 168.
27. Chute, Disaster Drawn, 4.
28. See Nixon, Slow Violence; and Harvey, The New Imperialism.
29. Piskor, Hip Hop Family Tree, Book 1, 40.
30. Ibid., 109–11.
31. Ibid., 94.
32. Ibid., 60.
33. Ibid., 82.
34. Piskor, Hip Hop Family Tree, Book 4, 51, 81.
35. Piskor, Hip Hop Family Tree, Book 1, 90.
36. Ibid.
37. See Piskor, Hip Hop Family Tree: Hip Hop/Comics Connection Pt. 2.
38. Piskor, Hip Hop Family Tree, Book 1, 85–88.
39. “Kahlil Joseph.”
40. Brown, “Side B (Dope Song).”
41. Pusha T, “M.F.T.R.”
42. Leovy, Ghettoside, 241.
43. California Legislative Black Caucus, The State of Black California, 18.
44. Ibid., 33.
45. See Knafo and Kirkham, “For-Profit Prisons Are Big Winners of California’s Overcrowding Crisis.”
46. Leovy, Ghettoside, 317.
47. Williams, “Intertextuality and Lineage,” 304.
48. Rose, Hip Hop Wars, 236.
49. Ascher, Portfolio Society, 123.
50. Ibid., 124.
51. Quinn, “Occupy,” 94–95.
1. Didion, The White Album, 11.
2. Ibid.
3. For accounts of the New Journalism’s problematization of the divide between fact and fiction, as well as its connections to more conventional forms of journalism, see Hartsock, A History of American Literary Journalism; Hellman, Fables of Fact; Hollowell, Fact and Fiction; Lehman, Matters of Fact; and Sims, Literary Journalism. The collection that gives “New Journalism” its force as a term for describing narrative or immersive journalism, the nonfiction novel, and literary reportage, is Wolfe and Johnson, The New Journalism.
4. Nelson, Tough Enough, 147.
5. Ibid., 149.
6. Codinha, “Céline Unveils Its Latest Poster Girl.”
7. Jacobs, “Joan Didion on the Céline Ad.”
8. See Harvey, Brief History of Neoliberalism; and Jones, Masters of the Universe.
9. Mirowski, “Postface: Defining Neoliberalism,” 431.
10. Joan Didion, Slouching Towards Bethlehem, 85.
11. Ibid., 128.
12. Ibid., 123.
13. Sontag, “One Culture and the New Sensibility,” 303.
14. See Hutcheon, A Poetics of Postmodernism; and Jameson, “Third-World Literature.”
15. Almeida, Waves of Protest, 178.
16. Pratt, Imperial Eyes, 221.
17. Ibid., 205.
18. See Jameson, “Postmodernism.”
19. Didion, Salvador, 13.
20. Didion, Political Fictions, 54.
21. Stuelke, “Reparative Politics,” 767.
22. Didion, Salvador, 14.
23. Ibid.
24. Ibid., 26.
25. Ibid., 31.
26. Ibid., 34–35.
27. Ibid., 108.
28. See Almeida, Waves of Protest.
29. Didion, The White Album, 206.
30. Ibid., 208.
31. Haacke, Shapolsky et al., 92.
32. Ibid., 93.
33. Ibid., 96.
34. Messer qtd. in Deutsche, “Property Values,” 153.
35. Buchloh, “Hans Haacke,” 49.
36. Deutsche, “Property Values,” 155.
37. Schwabsky, “Inside Out.”
38. Ibid.
39. Deutsche, “Property Values,” 157.
40. Mirowski, Never Let a Serious Crisis Go to Waste, 15.
41. Friedman and Friedman, Two Lucky People, 400.
42. Long, “Chile Recognises 9,800 More Victims of Pinochet’s Rule.”
43. Friedman and Friedman, Two Lucky People, 408.
44. Ibid., 399.
1. West with Jay-Z, “Diamonds from Sierra Leone.”
2. The subject position of the “entrepreneurial individual,” or, more broadly, “homo economicus,” is central to Foucault’s early analysis of neoliberalism in The Birth of Biopolitics. See also Lemke, “The Birth of Bio-politics”; and Read, “A Genealogy of Homo Economicus.”
3. As Adam Bradley remarks, Jay-Z’s sense of rap as a kind of competition is central to the form: “Far from disqualifying rap as a poetic form, rap’s combative nature actually binds it more securely to the spirit of competition at the heart of the some of the earliest poetic expressions” (Bradley, Book of Rhymes, 177). What Bradley sees as predominantly aesthetic—Jay-Z’s emphasis on competitive (or entrepreneurial) individualism—I see as also an element of neoliberal ideology. My approach to rap music here has been influenced by the reading of rap in relation to free market economics in Clune, American Literature and the Free Market, 127–46.
4. In Decoded, Jay-Z notes that there are “two kinds of rhythm”: the beat and the flow. While the beat is “like time itself, ticking off relentlessly in a rhythm that never varies and never stops,” the flow is “like life. . . . Flow is what we do with that time, how we live through it.” This form/content schema is unified through the hustle, which “is the ultimate metaphor for the basic human struggles.” Jay-Z, Decoded, 10–11, 18.
5. Rose, Hip Hop Wars, 202.
6. Jay-Z, Decoded, 309.
7. Norris qtd. in Jay-Z, Decoded, 311.
8. The book’s layout and use of images also reinforces its aesthetic and political purposes. For an analysis of Decoded in relation to other hip-hop memoirs, see Balestrini, “Strategic Visuals.”
9. Jay-Z, Decoded, 311.
10. For an extended reading of Jay-Z’s performance at Pace Gallery and its relation to both celebrity and the art world, see Gabrillo, “The Rapper Is Present.”
11. Jay-Z, Decoded, 311.
12. For other histories of neoliberalism’s emergence, see Duggan, The Twilight of Equality; Harvey, Brief History of Neoliberalism; Peck, Constructions of Neoliberal Reason; and Steger and Roy, Neoliberalism.
13. Brown, “The End of Educated Democracy,” 23.
14. “Structure of feeling” is a reference to Raymond Williams’ influential concept, one which accompanies and even anticipates economic change. Neoliberal style functions this way, as it emerges in nonfiction narrative before neoliberal reforms become hegemonic under, for example, the Reagan presidency or the Thatcher premiership. See Williams, Marxism and Literature, 128–35.
15. Harvey, Brief History of Neoliberalism, 4.
16. De Saussure, Course in General Linguistics, 68. Neoliberalism has become a key term, as evidenced by the following, just a sampling of some recent works on the subject: Dávila, Culture Works; Elliot and Harkins, Genres of Neoliberalism; Gilbert, Neoliberal Critique; Harkins, Everybody’s Family Romance; Huehls, After Critique; Jones, Masters of the Universe; Ouellette, Better Living through Reality TV; Peck, Constructions of Neoliberal Reason; and Smith, Affect and American Literature.
17. Harvey, Brief History of Neoliberalism, 12.
18. Ibid., 13.
19. On the decline of per capita GDP growth in Europe and the United States from 1950 to 2012, see Piketty, Capital in the Twenty-First Century, 96–99.
20. Miller, Jane Austen, 48.
21. Foucault, Birth of Biopolitics, 279.
22. The neoliberal style that I am charting in Haley and Thompson extends to contemporary literature as well, as can be seen in Caren Irr’s reading of William T. Vollmann’s “intensely monadic anti-political aesthetic, his monster of self-consciousness absorbing and obsessively scrutinizing its relation to all that crosses its path” (Irr, “Anti-Capitalism and Anti-Realism,” 189). This first-person obsession is indicative of neoliberal style’s persistence into contemporary prose.
23. Jay-Z, Decoded, 30.
24. Thompson, Fear and Loathing at Rolling Stone, 512.
25. Haley does not appear in the Norton Anthology’s table of contents, though an excerpt from The Autobiography of Malcolm X, attributed only to Malcolm X, is included. In the biographical and contextual sketch before the excerpt, it is noted that the Autobiography was “written in conjunction with Alex Haley,” that it “became a best-seller in 1964, the year that it was published,” and that it “remains a classic of American autobiography” (Gates, Norton Anthology of African American Literature, 1816). The unproblematized use of “autobiography” to describe the text, along with the misidentification of the book’s publication date as 1964, when it was actually published after Malcolm X’s assassination in 1965, elides Haley’s pivotal role in shaping the text.
26. Ferguson, Reorder of Things, 192.
27. Haley, Alex Haley: The Playboy Interviews, 4.
28. Ibid., 5.
29. Fraterrigo, Playboy and the Making of the Good Life, 149.
30. Haley, Alex Haley: The Playboy Interviews, 10.
31. Ibid., 14.
32. Ibid., 18.
33. Marable, Malcolm X, 220.
34. Balk, “Black Merchants of Hate,” 72–73.
35. Ibid., 73.
36. Ibid., 74.
37. For an account of this article’s differences from the Autobiography, see Abernethy, The Iconography of Malcolm X, 76–80. As Marable has argued, the Autobiography ultimately casts Malcolm X as “a pragmatic liberal, not a revolutionary,” and it “does not read like a manifesto for black insurrection, but much more in the tradition of Benjamin Franklin’s autobiography” (Marable, Malcolm X, 466).
38. Glass, Counterculture Colophon, 155.
39. Graeme Abernethy describes the Autobiography as “leav[ing] one with an impression of a series of selves cultivated under constant (if mutating) apprehension of death,” which he links to the iconographic tradition in Christianity (Abernethy, Iconography of Malcolm X, 74). Abernethy’s reading of the mutability of Malcolm X as an icon meshes well with my reading of Haley here, as Malcom X’s ideological and iconographic functions point to the ways in which neoliberal economics penetrate and transform radical politics.
40. Berlant, Cruel Optimism, 23–50.
41. Malcolm X and Haley, Autobiography of Malcolm X, 358–59.
42. Ibid., 416.
43. Ibid., 418.
44. Ibid., 4.
45. Ibid., 523.
46. In a letter to Playboy, Acosta would claim that he and Thompson were equally responsible for the creation of “gonzo journalism”: “In point of fact, Doctor Duke [Thompson] and I—the world famous Doctor Gonzo—together we both, hand in hand sought out . . . the term and methodology of reporting crucial events under fire and drugs, which are of course essential to any good writing in this age of confusion” (Acosta, Oscar Zeta Acosta, 109). For a reading of Acosta’s conflicted relationship with the white counterculture and Thompson, see Martinez, Countering the Counterculture, 149–80.
47. Thompson, Fear and Loathing at Rolling Stone, 25.
48. Thompson, Fear and Loathing in Las Vegas, 4.
49. Ibid.
50. Thompson, Fear and Loathing at Rolling Stone, 29.
51. Ibid., 46–47.
52. Ibid., 65–66.
53. Thompson, Fear and Loathing in Las Vegas, 44.
54. DeKoven, Utopia Limited, 89.
55. Thompson, Fear and Loathing in Las Vegas, 68.
56. Ibid.
57. Venturi, Brown, and Izenour, Learning from Las Vegas, 52.
58. See Panitch and Gindin, The Making of Global Capitalism, 133–59.
59. Thompson, Hey Rube, 222.
1. Didion, Slouching Towards Bethlehem, 13.
2. Ibid.
3. Ibid., 21.
4. Ibid., 22.
5. Wakefield, “Slouching Towards Bethlehem.”
6. Didion, Slouching Towards Bethlehem, 29.
7. Bugliosi with Gentry, Helter Skelter, 629.
8. Ibid., 359.
9. Rule, The Stranger Beside Me, 219.
10. Ibid., 78.
11. Wilson, Learning to Live with Crime, 16.
12. Cooper, Family Values, 313.
13. Malcolm, The Journalist and the Murderer, 3, 71, 72.
14. Ibid., 5.
15. McGinniss, Fatal Vision, 848.
16. Morris, A Wilderness of Error, 382.
17. Ibid., 490.
18. Segal qtd. in ibid., 246.
19. “A Wilderness of Error.”
20. Chapter 7 transcript, S Town, http://stownpodcast.org.
21. Kael, “Current Cinema,” 112.
22. “Chapter 6: What the Hell Did I Do?,” The Jinx.
23. See Seltzer, “Serial Killers (II),” 124–25.
24. Simon, The Innocents, 70.
25. Nelson, The Red Parts, 2.
26. Ibid., 11.
27. Ibid., 113.
28. Ibid., 174.
29. Ibid.
30. Ibid., 174–75.
31. Ibid., 27.
32. Ibid., 194.
33. Ibid., 195.
34. Ibid., 180.
35. Ibid., 109.
36. For an account of the complexities of women’s testimony in particular, see Gil–more, Tainted Witness.
37. Michaels, The Beauty of a Social Problem, 22.
38. Khan-Cullors and bandele, When They Call You a Terrorist, 11.
39. Ibid., 204.
1. Haacke, “On Social Grease,” 143.
2. See Clover, Riot Strike Riot.
3. For an account of modes of imagining a post-oil future and their limits, see Szeman, “Crude Aesthetics.”
4. The concept of “slow violence” comes from Nixon, Slow Violence.
5. Gore, An Inconvenient Truth, 11.
6. Kroll, “The ‘Silent Springs’ of Rachel Carson,” 404.
7. See Souder, On a Farther Shore, 113–14.
8. Nixon, “Rachel Carson’s Prescience.”
9. Souder, On a Farther Shore, 23.
10. As Gary Kroll has noted about The Sea Around Us, the bestseller that allowed Carson to leave the U.S. Fish and Wildlife Service to work as a full-time writer, the book is “part nature writing” and “an equal participant in the literature of science writing. As an established form of journalism, science writing emerged in the 1920s as an effort to inform the lay public of the many scientific advances of the day.” Kroll, “Rachel Carson’s The Sea Around Us,” 120.
11. As Kroll argues, Carson’s ocean books participated in and documented the scientific discoveries gained from the “federal patronage lavished [on] the oceanographic sciences in return for important data on a large range of ocean statistics that were crucial for the military’s execution of the war effort—a new partnership that lasted well into the Cold War.” Kroll, “Rachel Carson’s The Sea Around Us,” 120.
12. Cafaro, “Rachel Carson’s Environmental Ethics,” 68.
13. Carson qtd. in Kroll, “Rachel Carson’s The Sea Around Us,” 128.
14. For more on science fiction and environmentalism, see Canavan, Green Planets.
15. Schudson, Discovering the News, 160–94.
16. Ibid., 187.
17. Buell, “Toxic Discourse,” 645.
18. Ibid., 639–40.
19. Heise, Sense of Place and Sense of Planet, 140.
20. Heise, “Martian Ecologies and the Future of Nature,” 469.
21. Carson, The Sea Around Us, 147.
22. Carson, Under the Sea-Wind, 3.
23. Rowan, “The New York School of Urban Ecology,” 603.
24. Carson, Silent Spring, 1–2.
25. Ibid., 3.
26. Ibid., 226.
27. Ibid., 233.
28. Ibid, 105.
29. Carson, Silent Spring, 68.
30. Ibid., 293.
31. Ibid., 32.
32. Ibid., 32–33.
33. See Nixon, Slow Violence.
34. Dunaway, Seeing Green, 31.
35. McGurl, “The Posthuman Comedy,” 538.
36. For a reading of how Carson’s ecology mirrors Jane Jacobs’s urban planning vision, and how both reinforce social hierarchies within late capitalism, see Kinkela, “The Ecological Landscapes of Jane Jacobs and Rachel Carson.”
37. See Morton, Ecology without Nature.
38. Nixon, “Rachel Carson’s Prescience.”
39. Carson, Under the Sea-Wind, 162.
40. Carson, The Sea Around Us, 15.
41. Sekula, Fish Story, 49.
42. For an account of Fish Story and labor, see Entin, “Working Photography.”
43. Misrach, Petrochemical America, 6.
44. Ibid., 120–21.
45. Palmer, In the Aura of a Hole, 51.
46. Ibid.
47. Chakrabarty, “The Climate of History,” 220.
1. Yagoda, Memoir, 28.
2. For a reading of the James Frey controversy, see Rak, Boom!, 179–205.
3. Michaels, “Going Boom”; Thoma, “What Julia Knew,” 130. See also Gilmore, “American Neoconfessional”; Williams, “Eat, Pray, Love”; and, for a related take on reality television, McCarthy, “Reality Television.”
4. Rak, Boom!, 44.
5. See Habermas, The Structural Transformation of the Public Sphere; and Warner, The Letters of the Republic.
6. Leonard, “The Black Album.”
7. Didion, The Year of Magical Thinking, 104.
8. Ibid., 227.
9. Didion, Blue Nights, 188.
10. Eggers, What Is the What, 5.
11. Ibid.
12. Ibid., 474–75.
13. Eggers, Zeitoun, 7.
14. Ibid., 335.
15. Ibid., 246.
16. Ibid., 303.
17. Ibid., 9.
18. See Goldsmith, Uncreative Writing, 6–8.
19. Iyer, “Desert Pitch”
20. Eggers, A Hologram for the King, 135.
21. For scholarly accounts of comics memoir, see Chute, Graphic Women; and Chaney, Graphic Subjects.
22. Bechdel, Fun Home, 27.
23. Gloeckner, The Diary of a Teenage Girl, xv. The podcast Mortified features adults who share embarrassing materials from their adolescence, in a way that is both reminiscent of Gloeckner’s use of the diary form and yet another example of the force that memoir has in our contemporary culture. See http://getmortified.com/podcast/.
24. Gloeckner, The Diary of a Teenage Girl, 65.
25. Ibid., xvi.
26. See Powers, “Ed Ruscha.”
27. See Lejeune, On Autobiography, 3–30; and on Oprah Winfrey, see Peck, The Age of Oprah, 175–210.
28. Heti, How Should a Person Be?, 305.
29. Ibid., 305–6.
30. Ibid., 306.
31. Lin, Taipei, 16.
32. Nelson, Bluets, 20.
33. Nelson, “All That Is the Case,” 156.
34. Lovell, Dear Erin Hart.
35. Ibid.
36. LeBlanc, Random Family, 403–4.
37. Altman, “‘Random Family’ Ten Years On.”
38. St. Germain, Son of a Gun, 95.
39. Ward, Men We Reaped, 250.
40. Solnit, “Men Explain Things to Me,” 3.