Marco Rubio’s Hero System

The map hangs behind his right shoulder. May 5, 2026, the State Department, and Marco Rubio (b. May 28, 1971) stands beside the new commander of Southern Command for a photograph. The thing framed above the two men is the island of Cuba. A reporter asks him afterward why he chose that backdrop. He gives the logistical answer. Cuba falls inside Southern Command, he says, the closest part of it to the United States, and he thought a picture there fitting. The answer is true and it explains nothing. Every Cuban in Miami reads the photograph the way it asks to be read. The son of a banquet bartender and a hotel maid who left Havana in 1956 now carries the seal of the most powerful nation on earth, and he has arranged for the island his parents fled to stand at his shoulder while the shutter falls.

Ernest Becker (1924-1974) gives us the angle. A man knows he will die. He also fears to live as a separate self, to stand on his own legs in the open with no script around him. Otto Rank (1884-1939) named these the death fear and the life fear, and Becker built The Denial of Death on the pair. The first dread is annihilation, the going out without a trace. The second is individuation, the exposure of the small self that has to choose and might be wrong and ends anyway. A hero system answers both at once. It hands the man a drama larger than his body and a part to play inside it, so his striving counts toward something that does not rot, and so he never has to stand alone because the drama stands around him.

Rubio’s hero system arrives complete in the family story, and he has told it so many times the telling is part of the office. A bartender and a maid carried a boy out of a dying island so the boy might become what the regime could never permit. To rise is to vindicate the crossing. To matter is to settle the account of 1956. The drama is the exodus, the regime is the adversary the cosmos requires, and the boy’s whole life converts his parents’ menial labor into national consequence. Both terrors quiet inside that story. Death loses its sting because the name endures in the American record. The life fear loses its bite because the man never stands alone; he stands for the parents, the exiles, the island.

The deflationary account is easy to assemble, and his enemies have kept it polished for a decade. Little Marco. The thirsty man who lunged for the water bottle during the 2013 response to the State of the Union. The scripted man Chris Christie (b. 1962) caught in February 2016 in New Hampshire, looping the same memorized line about Barack Obama (b. 1961) four times while the machine showed through the skin. The senator who joined the Gang of Eight on immigration and then ran from his own bill. The man who swore he would not seek reelection and sought it. The candidate who called Donald Trump (b. 1946) a dangerous con man with small hands, then endorsed him, then served him, and now runs a foreign policy that buries the internationalism he once preached. Subtract the heroism and you get an ambitious man who bends toward power. That is the subtraction story, and it follows him into every room.

Becker’s reply is that the subtraction misses the terror under the bending. The man bends because he cannot let the crossing mean nothing. Strip the hero system and you do not find a cynic. You find someone holding the line against the second death, the death that comes when the parents’ sacrifice turns out to have bought an ordinary career and a forgotten name.

Watch the sacred words, because each one means a different thing inside a different cosmos, and Rubio’s meanings make sense only inside his.

Take freedom. For Rubio freedom is the empty space where Castro’s state is not, the negative liberty of the refugee, the absence of the boot. Fidel Castro (1926-2016) is the devil of his cosmos, and freedom is what the devil took and what America restores. Carry the word elsewhere and it changes shape. For a Havana dissident who stayed and went to prison, freedom is not the exit but the voice, the body that refuses to move, the cell as the place where a man is most himself. For a Trappist monk freedom is obedience, the surrender of will, release from the tyranny of the self that Rubio works so hard to assert. For a Galician fisherman freedom might be the boat paid off and no man set over him. For a Salt Lake City ward bishop, the faith Rubio’s family briefly kept when he was a boy in Las Vegas, freedom is agency exercised toward the family sealed across eternity. Same five letters, five different heavens. Rubio’s freedom is legible only where the regime is satanic and the crossing is exodus.

Take faith. Rubio’s road runs Catholic, then Mormon in the desert, then Catholic again, and now he takes communion at Mass and also worships at an evangelical congregation, and he calls the Pope the vicar of Christ. Faith for him is the floor that holds when the death fear rises, the cosmos that does not give way. Move the word. For a Greek Orthodox abbot on Mount Athos faith is unceasing prayer and the rejection of the world’s politics, and a secretary of state who fuses the cross to the flag might look to him like a man worshipping the nation. For a Bolivian tin miner faith holds the Virgin above ground and the devil below it without strain, the two kept apart by the mouth of the shaft. For a Swiss reinsurance actuary the word names a tolerance band on a model, a hedge, nothing that survives the grave. For a Maronite priest in Beirut faith is the survival of a cornered people, the liturgy sung as defiance. Each names a different hero. Rubio’s faith underwrites the American errand and gives the crossing a sacred grammar.

Take family. A banquet bartender, a hotel maid, and the debt the son owes them. Rubio’s hero system turns the son into the redemption of the parents’ labor, and the speeches return to it the way a tongue returns to a tooth. Carry family across the world. For a Sicilian grandmother family is the dead at the table, the line that will not break, the mass and the long memory, and the single person counts for nothing against the line. For a Hmong clan elder family is the soul-cord and the ancestors who must be fed or the living sicken. For an Afrikaner on land held five generations, family is the farm kept against the loss of a country he thought was his. For a Korean shipyard man’s son, the debt is filial piety paid by becoming the firm. Rubio’s version is the maid’s boy who converts hotel linens and banquet trays into the seal of the United States. The conversion is the heroism, and it answers the terror, because the crossing meant something the moment the boy rose.

Take the nation. The greatest country in the history of the world, the new American century, the redeemer state. Before the Senate Foreign Relations Committee in June 2026 he set the purpose of American policy as the defense of our people, our homeland, our sovereignty, our civilization, our future. For Rubio the nation is the vehicle that outlives the man. He dies; he pours himself into the American story and rides its endurance past his own end. Move the word again. For a Quebec sovereigntist the nation is the one that has no state yet, the language held against the anglophone sea, and America is the thing he resists. For a Kurdish peshmerga the nation is the betrayed promise, the flag with no border, the mountains the only ally. For an Icelander the nation is a home of a few hundred thousand, intimate, no empire at all. Rubio loves America the convert’s way, hotter than the native, because the island he can never reclaim has been replaced by a continent that took the family in.

The Trump turn is the pressure that tests the whole structure. The man who called him a danger now serves him, and there are two readings, and Becker lets us hold both. One reading is surrender, the subtraction story confirmed, the principled senator traded for the useful instrument. The other reading is that the hero system found a bigger vehicle than the one it had. Rubio poured the exile dream into Trump’s machine because the machine might do what a career of McCain-style speeches never did. By the spring of 2026 the United States has captured Maduro in Caracas, struck Iran, leaned on India and Pakistan back from a nuclear war, and sanctioned the military holding company that runs the Cuban economy, the one Rubio calls the heart of the regime. He gets to be the Cuban who reaches back across ninety miles of water and lays a hand on the island. The man who plays the effective servant of power tells himself the crossing demanded it, and the map on the wall behind his shoulder is the proof he offers himself.

How much of this does he see. He is fluent in his own story, fluent enough to have written An American Son, and he performs the exodus with a craftsman’s control. He knows the death fear; the Catholic reads the saints and the last things. What the Christie moment exposed is the seam, the hero so fused to his lines that under pressure the lines run on without him and the machine shows. He sees the family story to the bottom. The thing he keeps from himself sits one drawer lower. He keeps closed the question of whether the freedom he wants for Cuba is the dissident’s freedom or his own, whether the island is a country of living people or a stage built for the settling of a family account, and whether serving the man who humiliated him has converted the witness into an instrument. He keeps that ledger shut, and the office helps him keep it shut, because the work never stops long enough for the question to be asked.

Three coordinates, then.

The shape of the hero is the redeemer son. The maid’s boy who carries the seal of the superpower and reaches back across the water to the island his parents fled, to close the account opened in 1956. The exile who becomes the empire’s voice and tells himself the empire serves the exile.

The unnamed rival is Donald Trump. Castro is the devil of the cosmos, the necessary adversary, but the rival is the man who won by breaking every rule the hero system honored, called him small and thirsty in front of the country, and beat him, and whom Rubio now serves. Trump is the significance Rubio wanted, taken without the dues Rubio paid. To serve him is to grant that the rival read the world right, that power rewards the man who refuses the script, and then to spend the rival’s power on the crossing the script was supposed to redeem. The rival sits one office up and signs the orders, and behind the rival, fainter, stands the other rival Rubio never names, the cousin who stayed on the island and suffered and holds the moral weight of the body that did not run.

The cost the ledger cannot price is the candor he spent to buy the vehicle. There was a Rubio in 2016 who could call the man a danger and let that stand as the last word, and that man is gone, traded for access to the machine that might free Havana. The deeper cost is that he can never learn whether he serves Cuba or serves the crossing. The bartender and the maid bought him a name. He spends it on a power that may or may not free the island, and the line between liberation and vindication stays dark to him, which is the one thing the long rise was meant to light.

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Being Right: A Hero-System Essay on Ted Cruz

Cleveland, July 2016. Ted Cruz (b. 1970) stands at the lectern of the Republican convention and will not say the words the hall came to hear. He congratulates the nominee on winning. He talks about freedom. He tells the delegates to vote their conscience and stay true to the Constitution. He does not say the name. The men near the front understand before he finishes the sentence, and the floor turns. The boos roll up from the New York delegation and spread. Security walks Heidi Cruz (b. 1972) out for her safety while men shout at her. Cruz stands in it. He has the cadence of a champion debater who has just delivered the closing argument and watched the jury rise up to convict his client anyway. He keeps the principle and loses the room. Both at once, in front of cameras, by choice.

Ernest Becker (1924-1974) gives us the lens. A man builds a hero system to deny that he dies. He needs to feel that he counts in a drama larger than his own short life, that he earns a place that outlasts the body. The hero system tells him what counts and how to win at it. Watch a man under pressure and you see what immortality he reaches for. Cruz reaches for one thing his whole life. He reaches to be right.

Two terrors press on him. The first is the ordinary terror, the fear of vanishing without a mark. The second is sharper and his alone. It is the terror of being merely clever. Smart and unloved. The boy who wins every argument and empties every room. Cruz organizes his life so that the second terror cannot touch him, and the design is elegant, and it does not work.

Start with the subtraction. Rafael Cruz (b. 1939) leaves Cuba, leaves Batista’s jails and then Castro’s revolution, and lands in Texas with a hundred dollars sewn into his underwear and no English. Years later, married, a small son at home, he leaves again. He walks out on the family and flies to Houston to live the life he wants. Then a man at a Baptist church brings him to God, and Rafael comes back. He returns born again, forgiven, restored, the prodigal who was received without a hearing. The boy grows up inside that story. The lesson under the lesson is that belonging is not safe. It can be withdrawn and it can be granted, and the grown men around him talk about grace, about a love you receive because God gives it and not because you argued your way to it.

Ted draws a different lesson. He decides belonging will be earned. He memorizes the Constitution as a teenager and recites it for civic groups around Houston. He learns the founding the way other boys learn batting averages. He goes to Princeton and wins at debate at a level that frightens his opponents. He goes to Harvard Law and clerks for William Rehnquist (1924-2005). He argues before the Supreme Court nine times as Solicitor General of Texas. Every credential is a brick, and the wall they build says the same thing. I am right, and because I am right I cannot be sent away. He turns the father’s grace into a courtroom. He will not be received. He will win.

This is where the sacred words start to bend, because the words Cruz lives by mean one thing inside his hero system and other things everywhere else. Take courage. Cruz treats courage as the willingness to be right alone. In 2013 he holds the Senate floor for twenty-one hours against a government funding bill, against his own party’s leadership, and at one point he reads Green Eggs and Ham aloud to his daughters watching at home. The performance draws contempt from the men around him and devotion from the men who send him money. To Cruz the contempt confirms the courage. The lonelier the stand, the truer the brief. He writes a memoir and calls it A Time for Truth, and the title carries the whole theology. Courage is dissent recorded against the room, filed for a vindication that comes later.

That is not what courage means to the combat medic. To the medic courage is staying when every animal signal says run, and staying not to be right but to drag the wounded man back by his vest. The medic earns his immortality inside a brotherhood that will say, for the rest of their lives, he did not leave us. Being right has nothing to do with it. There is no argument to win. There is only the man bleeding and the choice to stay.

It is not what courage means to the hospice nurse either. She sits with the dying through the long afternoon when there is no fight left and no victory available and no record being kept. Her courage is presence without triumph. She wins nothing. She witnesses. The immortality she reaches for lives in the family who remember that someone held their father’s hand at the end, and it asks her to surrender the very thing Cruz cannot release, the need to come out ahead.

The Talmudic scholar shares more of Cruz’s shape and reveals the trap inside it. He preserves the minority opinion in the text. The ruling went against Rabbi Eliezer, and the page keeps Rabbi Eliezer anyway, his dissent carried forward for two thousand years so that some student in a far century might read it and say he was right after all. Here courage is being right against the room and trusting the centuries. Cruz wants this. He wants to be the dissent that history vindicates. The trouble is that the scholar accepts the ruling while he records the dissent. He bows to the majority and keeps his argument alive inside the bow. Cruz cannot make that peace. He needs the vindication now, in the room, from the men who booed, and a hero system that needs to win the present cannot wait the way the page can wait.

Freedom splits the same way. For Cruz freedom is the Constitution held as a fixed text, liberty as the chain that binds the government and frees the man, the exile’s inheritance from a father who lost a country to a strongman. Liberty is law. The fence around power.

The Carthusian monk hears the word and means the opposite. His freedom is obedience. He surrenders his will to the rule and the abbot and to God, whose pronoun he capitalizes and whose service he calls perfect liberty, and he finds his release from the tyranny of his own appetites by handing the appetites away. To him Cruz’s liberty, the liberty to want and to keep and to be left alone, sounds like a fresh prison.

The balsero hears it in the body. He is the Cuban who put to sea on a raft of inner tubes and lashed boards, ninety miles of open water toward Florida, freedom as the thing you might drown reaching for, freedom you can taste as salt. Rafael’s freedom. To the balsero, liberty is not a brief about the commerce clause. It is the absence of the man who can take your son and your house and your tongue, and you weigh it against the sharks because the other shore is worse. Cruz inherits this freedom and translates it into citations, and the translation gains a senator and loses the salt.

Even the word fight, which Cruz wears as a brand, comes apart on contact. He sells himself as a fighter and means a man who never folds an argument. The aikido master means the opposite by the same word. His fighting takes the force of the larger man and turns it past him so that the attacker throws himself to the mat. Strength used against strength is failure. The chess grandmaster means a third thing, the win seen twenty moves out, the sacrifice of a piece now for a mate the opponent cannot yet read on the board. Cruz fights like the first man and admires himself for it, and the men who beat him fight like the other two.

So the sacred words are not shared currency. Courage, freedom, fight. Each one means what it means only inside the hero system that issues it, and Cruz’s system issues a hard and lonely version of all three, a version where the prize is to be proven correct and the proof requires an audience that will not give him the verdict.

Then comes the test the design cannot survive. Donald Trump (b. 1946) descends the escalator and runs a campaign on a different theology. Trump does not argue. He does not need to be right, and he does not pretend to be, and the crowds love him for it in a way they never love the man with the memorized Constitution. Trump offers an older immortality than Cruz’s, the immortality of the dominant animal, vitality that needs no brief. He calls Cruz “Lyin’ Ted.” He spreads a story about Rafael and the Kennedy assassination. He mocks Heidi’s face next to a photograph of his own wife. He goes at the father and the wife, the two people the whole hero system exists to protect, and he wins.

Cruz fights him with the only weapons he owns, the better argument, the cleaner record, the sharper recitation, and the weapons fail because Trump is not playing the game where those weapons score. The room does not want the man who is right. It wants the man who is alive. Cruz stands at the convention and keeps his principle, vote your conscience, and the room throws him out.

And then, months later, he endorses. The man who called Trump a pathological liar and a serial philanderer and worse campaigns for him, raises money for him, becomes one of his most reliable votes, flies to see him, defends him through two impeachments and after January 6. The hero system built to make belonging unwithdrawable folds in front of the one rival it cannot beat, and Cruz defects into the rival’s system to stay near the source of life. He decides he would rather be close to power and wrong about Trump than be right about Trump and finished. Becker tells us why. A man will trade almost anything, including the thing he calls his honor, to keep his place in the drama that lets him feel he counts.

How much of this does Cruz see. He is far too smart to miss it, and the tell is the over-explanation. He writes a legal brief for his own conduct. The endorsement was about the Supreme Court, about the country, about the cause above his personal grievance, about putting the movement before his pride. The brief is good. Parts of it are true. A senator can serve the cause he believes in while the man who runs it disgusts him, and reasonable people make that trade. The brief is also exactly what a man produces when he needs to keep his self-respect and his proximity to power at the same time, and the polish is the proof of the strain. The man who reads Green Eggs and Ham on the Senate floor knows when he is performing. He knows what he traded. He has decided the trade keeps him alive in the only register that pays him, and he has filed the paperwork that lets him not look at it straight.

Three coordinates, to close.

The shape of the hero. Cruz is the man who would win the argument against death if death would take the stand. He treats every withheld thing, the verdict, the nomination, the love of the room, as a brief he can win with the right citation delivered with enough force. He learned as a boy that belonging is granted and withdrawn, and instead of trusting the grant the way his father’s church taught, he resolved to compel it. He prosecutes the universe and waits for the ruling in his favor.

The unnamed rival. Trump is the named rival, the one the cameras caught. The unnamed rival is older and closer. It is the boy in the back of the class who was loved without being right, the father who walked out and came home and was forgiven without a hearing, the grace that Rafael received and Ted refused to receive and tried instead to earn. Cruz’s true opponent is the unearned thing. He cannot litigate his way to it. He has spent a life trying, and the harder he argues the further it moves.

The cost the ledger cannot price. Lindsey Graham (b. 1955) makes the joke that everyone repeats. If you killed Ted Cruz on the floor of the Senate, and the trial were in the Senate, no one would convict you. The joke is cruel and it is the bill. Every brief he won and the room that emptied anyway. The colleagues who respect the mind and cannot stand the man. The wife walked out of an arena under guard while he kept his principle for one more night and surrendered it before the next election. He built the whole apparatus to make himself impossible to send away, and he is the man his peers would pay to see gone. He wanted to be right because he believed right was the price of love. He paid it in full, every year, and the love did not come, and the ledger has no column for the thing he was buying.

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The Man at the Gate

A secure room at Mar-a-Lago, January 3, 2026. Screens line one wall. Senior officers stand near Donald Trump (b. 1946) and watch a live feed from Caracas. Delta operators move through a compound and take Nicolás Maduro (b. 1962) alive. Stephen Miller (b. 1985) stands at the edge of the room and says little, which is rare for him.

Two days later he sits across from Jake Tapper (b. 1969). He does not hedge. He tells Tapper the world runs on strength, on force, on power, and calls these the iron laws of the world since the beginning of time.

A month after that, Minneapolis. Immigration agents shoot a man named Alex Pretti, an ICU nurse. Miller gets to the cameras first and calls the dead man a would-be assassin. Then the videos circulate and he walks it back. The pattern is the man. Speak before the facts settle, speak hard, hold the line, give ground only when the ground gives way under you.

Ernest Becker (1924-1974) wrote The Denial of Death in 1973. Man knows he will die. No animal carries the knowledge the way man carries it. The knowledge would freeze him, so he builds a hero system, a scheme of meaning that lets him feel he counts in a cosmos that will outlast him. He earns significance by serving something that does not die. The faith. The work. The bloodline. The nation. Becker takes the comforting falsehood at the center of each such scheme and names it a vital lie. Every culture is a hero system. Every man needs one. The need is not weakness. It is the price of knowing too much.

Once God held the cosmos and a man knew his place by birth and by the order above him. That order receded. What remains when the heavens empty is the problem Becker names. A man must still find a way to count past his own death, and now he must build the way himself. He reaches for whatever will outlast him. For some that is the species. For some the market. For Miller it is the people, bounded and continuous, persisting through time the way a family persists.

When Miller says the world runs on strength, he names a sacred word. The word splinters the moment it leaves his mouth.

A hospice nurse in Cleveland hears strength and thinks of the hours she sits with a dying man who has no family left, holding his hand so he does not cross alone. Strength to her is staying when everything in the body says leave. A Benedictine monk under a vow of stability hears strength and thinks of the cloister wall he entered at twenty and will not pass again until they carry him out. His strength is to stay in one place for life and let the staying work on him. A Kurdish fighter on a ridge above Sinjar hears strength and thinks of the rifle and the ground he will not give.

These three would not know one another’s strength. The nurse might call the fighter’s strength a failure of tenderness. The fighter might call the nurse’s strength a luxury of the safe. The monk might call both of them men who have not learned to be still. Each is a hero in a scheme the other two cannot enter. Becker’s point holds. The word is not a thing in the world. It is a role inside a scheme of meaning, and the scheme tells the man what counts as the heroic shape of the word.

Miller’s strength is the strength of the gate. The man at the gate holds the line between the people inside and the dissolution outside. He decides who enters. He does not flinch when the deciding turns ugly, because the alternative, as he reads it, is the slow death of a people who stop being a people once anyone at all can walk in and become one of them.

Home is his second sacred word, and it splinters wider than the first.

A Filipina who cleans apartments in Dubai and wires the wages to Cebu hears home and means the place she had to leave to keep it standing. Home is the thing she funds from a distance and may not live in again. A deaf couple in Rochester who choose a deaf child hear home and mean a language made with the hands, a belonging carried without a drop of shared blood, a people joined by what they share and not by where they came from. A woman in Nuuk hears home and means seventy thousand Greenlanders on the largest island on earth who would like to decide their own future, and who have just been told by a man in Washington that strength governs the world and the island should be American.

For Miller home is the homeland, and the homeland can sicken. It has a border the way a body has skin. What crosses without permission reads to him as infection. The figure turns a question of policy into a question of survival, and a man will defend his body in ways he never defends an argument.

Here the essay reaches the part it would rather skip. Miller descends from Jews who ran from the Russian pogroms and later from the shadow of the Holocaust. His family crossed a border to live. A relative of his said so in public, with heat, and called him a hypocrite for it. Becker does not call it hypocrisy. He calls it the logic of terror finding a new object. The annihilation his ancestors fled, the erasure of a whole people, did not end with their crossing. It went looking for a new home in the grandson and found one. The man who carries the memory of a people nearly wiped out can build his whole scheme around never being weak again, never standing at anyone’s mercy again, holding the gate so hard that no one will ever hold it against him. The refugee’s grandson becomes the gate. The terror did not disappear. It changed its address.

How much of this does he see? The reporting gives two readings. In one he is a troll who learned to love the mask until the mask became the face. In another he is a true believer who means every word, with no daylight between the man on television and the man at home. Becker frames the harder question. Can a man see his own hero system as a hero system, as one vital lie among many, and keep serving it with his eyes open? Few can. The post rewards certainty and punishes doubt. A man at the gate who wonders aloud whether the people inside are worth more than the people outside does not keep the post. So the role selects for men who do not ask. Whether Miller cannot ask or will not, the outside cannot say.

The men and women who oppose him run hero systems of their own, and Becker strips the halo off those too. The open gate carries its own promise of immortality, a single human family with no inside and no outside, every stranger already a neighbor, death undone by a love wide enough to cover the species. A beautiful scheme. Also a vital lie, because no man loves the species. A man loves his own and widens the circle by effort and never finishes the work. The cosmopolitan who calls Miller cruel defends a scheme in which his own goodness is the thing that does not die. Becker lets neither side keep its innocence.

So the shape of the hero. Miller is the gatekeeper, not the warrior who wins his glory in the open field. The man at the door, indoors, who gets no parade and wants none, who takes the hatred so the people behind him sleep without sparing him a thought. He tells ICE officers they carry immunity and that anyone who lays a hand on them commits a felony. The gatekeeper arms the other gatekeepers. His heroism is the heroism of the threshold, and the threshold is the oldest sacred ground there is, the line between the camp and the dark.

Then the unnamed rival. Every hero keeps an enemy hero he refuses to name a hero. Miller’s is not the cartel or the killer. Those are easy. His rival is the striving newcomer who arrives with nothing, works, and inside a generation raises children more American than the natives. That figure shows the people can be joined and the gate need not have closed. He threatens the whole scheme, because if the stranger turns into one of us by living among us, then the people were never a body with a skin and the gate was never a wall around a living thing. Miller’s grandfather might have been that rival. The scheme cannot let the rival stand as a hero, so it files him under threat.

And the cost the ledger cannot price. The hero system keeps books. Removals, crossings, the count at the line, the dollar figure of the scam he names. The ledger speaks plainly about what it measures and goes silent on what it cannot. It cannot price the child taken from a parent and held apart, a policy he helped build. It cannot price the asylum-seeker turned back to the thing he fled. It cannot price the cost to the man himself, the cost of building a life around the shut gate when your own line draws breath only because once, somewhere, a gate stood open. That entry appears in no book he keeps. Becker names it the one entry no hero system can afford to read, because to read it is to see the vital lie as a lie, and a man who sees that much can no longer hold the gate.

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Stay in the Back

Pat Summerall (1930-2013) calls the game, and then he walks to the back of the airplane and throws up blood. He has called football for CBS across two decades. The country knows the voice. The voice runs calm, spare, sure of itself. It tells the nation what happened on the field and the nation believes it. On the plane after the broadcast the body that carries the voice empties into a toilet, three times, and what comes up is not beer. The man swallows eight to ten Advil before noon and chases it. He thinks every man wakes at ten and opens a beer. He is the sound of Sunday afternoon and he is dying in private, and his daughter learns both halves of him before she learns much else.

Ernest Becker (1924-1974) held that a man lives under two terrors and spends his life keeping clear of them. The first terror is death. The body fails, the name thins out, the animal that knew it was an animal goes into the ground. The second terror sits beneath the first and asks whether the life counted for anything. Becker’s argument in The Denial of Death (1973) runs that every culture hands a man a hero system, a set of rules for earning significance, so he can tell himself he leaves a mark the grave will not erase. The broadcaster’s hero system is the voice. The voice goes onto tape. The tape outlives the throat. A man calling the Super Bowl can believe he has beaten the second terror, that he counts, that the country will carry the sound of him forward after the body quits.

Susie Wiles (b. 1957) grew up inside that hero system and watched it fail her father in the rooms the country never saw. She watched the voice command millions and command nothing at home. She helped her mother stage the interventions. A letter she wrote gets read aloud in one of them, and the line that breaks the man is hers: the few times they have gone out in public together, she has been ashamed they share a last name. He gets sober in his sixties and stays sober twenty-one years and dies anyway, at eighty-two, with a transplanted liver and a stopped heart. He wrote it all down in On and Off the Air (2006). The voice survives on tape. The man does not.

That is the subtraction at the root of her. The famous father, present to the country and absent to the daughter. The hero system of display, which earned him everything and saved him from nothing. A child raised next to that learns a hard lesson early. The microphone does not protect a man. Standing in front protects no one. The applause arrives and the body still goes to the back of the plane.

So she builds the opposite life.

She does not seek the microphone. She arranges the men who seek it. She schedules Ronald Reagan (1911-2004). She staffs Jack Kemp (1935-2009), her father’s old Giants teammate, the connection that opens the first door. She runs the mayors of Jacksonville and the campaigns of Florida and at last the campaign that returns Donald Trump (b. 1946) to the White House, and when he wins and calls her up to the microphone on victory night she will not take it. He tells the room she likes to stay in the back. He gives her the name in front of everyone. The ice baby. The ice maiden. She stands where she chose to stand, behind the man, and lets him say it.

Her hero system is the made man. The won race. The candidate she built and seated and kept alive. She earns her significance the way a producer earns it, not the way the voice earns it. The voice is the monument. She decides whose voice goes on the air. That is the whole architecture of her, and it grows straight out of the father. She will never again be the helpless daughter in the room with the drunk she loves. She will be the one who manages the big personality so he does not wreck the room. She has said as much. Her father, she says, made her an expert in big personalities. She says Trump has an alcoholic’s personality, the conviction that there is nothing he cannot do, nothing, zero, nothing. She knows the type from the inside of a childhood. She knows how to stand next to it and not get knocked down.

Now take a word she lives by and watch it come apart in other men’s hands.

Take loyalty. To Wiles loyalty is the long service to the principal, the willingness to take his temper as the cost of the work and stay. Trump berates her over Florida polling in 2016, as Maggie Haberman tells it in Confidence Man (2022), and Wiles stays. She wins him the state. The loyalty holds through the abuse because the abuse is the principal’s, and the principal is the project.

A boxing cornerman holds loyalty too, and means the reverse. His loyalty shows the night he stops his own fighter against the fighter’s will, throws the towel into the ring while the man he loves screams to keep going, because the loyal act is the one that ends the beating. A session musician calls it loyalty when he kills his own best run and serves the song, plays the part that makes the singer sound like God and leaves no trace of himself on the record. A Secret Service agent practices a loyalty that puts his body in the path of a bullet meant for a man whose politics he might despise; the loyalty attaches to the office, not the soul inside it. A defense lawyer keeps a loyalty that demands his full powers for a client he believes did the thing. Four men, four trades, one word, and the word means stay, means stop, means vanish, means defend the guilty. Wiles takes the first sense and the third together. She stays, and she leaves no trace. The two readings that fight each other in other men live at peace in her.

And when the principal breaks faith, the system shows its edge. She wins Florida for Ron DeSantis (b. 1978) in 2018, and he shuts her out of the inner circle, and then he tries to get Trump to cut her loose. Her loyalty survives a principal who screams at her. It does not survive a principal who betrays her. So she goes back to Trump and helps him take DeSantis apart in the 2024 primary. The deal underneath her loyalty comes clear in the wreckage. I make you, and you let me have made you. Break the second half and the maker turns.

Take silence. To Wiles silence is the trade. She stays out of the press, keeps her face still, controls what reaches the man at the top. Back in Jacksonville they worried she ran the flow of information to the mayor too tightly, decided too much of what he saw. The silence is not shyness. It is the work.

A Carthusian monk keeps silence and means communion, the soul emptied of chatter so it can sit before God and hear Him. A poker player keeps silence and means concealment, the dead face that takes the other man’s money. A funeral director keeps silence and means the dignity owed to grief, the held tongue that lets a family weep without being watched. A diplomat keeps silence and means leverage, the thing not said held back to be spent later at a better price. One discipline, and under it the love of God, the theft of a pot, the mercy shown the bereaved, the cold arithmetic of advantage. Wiles works the monk’s stillness and the diplomat’s reserve at once. She holds the quiet of a man at prayer and spends it like a man at the table.

Take the name they gave her. Ice. To the men who run the campaign it means the steadiness that does not crack when the principal melts down. A surgeon owns that ice. His hand does not shake while he cuts living tissue, and the steadiness is the gift, the reason the patient lives. An anesthesiologist owns a colder version, the calm of a man who holds a body in the country between sleep and death and brings it back. But ice reads as cruelty to anyone standing on the wrong side of it. To a grieving family the doctor’s flat affect looks like he does not care. To the public the woman who feels nothing in the storm looks like a woman with nothing under the skin. The same coldness is mastery to the men in the room and absence of heart to the men outside it, and the people who have worked for her insist on the third reading, the private one, that she holds everyone accountable through what they call love, that they would take a bullet for her. Three readings of one frozen surface. The hand that does not shake. The heart that is not there. The mother who keeps her people safe and lets no one see it.

Becker’s last test of a man is whether he sees his own hero system as a hero system or mistakes it for the way things simply are. Wiles passes more of this test than most. She names the source out loud. Alcoholism does bad things to relationships, she says, and so it did with her father and her. She names her own competence and where she got it. She can sit in a profile and explain that she manages Trump the way she learned to manage a drunk genius she loved, and she does not flinch from the word. She sees the structure she stands inside. That is rare and it is real.

The limit sits one layer down. She sees the big personalities and she sees that she handles them. What she might not name is that the handling is her answer to the two terrors, that arranging great men is how she keeps clear of the thing that took her father. She turned the wound into a vocation and the vocation guards the wound. She will not be the daughter who could not save the voice. She will be the maker who keeps the voice on the air and decides when it goes off. The father stood in front and drowned. She stands in the back and runs the broadcast. She knows the first half of that sentence. The second half does its work whether she names it or not.

Three things to conclude.

The shape of the hero. She is the maker of the made man, the hand on the door, the one who stands behind the figure the country watches and decides who reaches him. Her father was the voice. She is the producer who picks the voice and cuts the feed. The country never learns the producer’s name and the producer prefers it that way, because the whole point of her hero system is that significance comes from control, not from being seen. The man at the microphone is the monument. She poured the footing.

The unnamed rival. Every hero system defines itself against a rival it will not name. Hers is the man who needs the microphone, the principal who must be seen to feel that he counts. She built her life as the photographic negative of that man, and the first print of that man was her father, the voice that owned Sunday and could not own a sober Tuesday. She set significance against display because she watched display fail in the rooms with the door shut. The rival she will not name is the front man who took fame for proof that he mattered, and behind him, holding the same name she once was ashamed to share, the drunk she loved and could not keep.

The cost the ledger cannot price. A life spent making other men into monuments buys a hard thing. The monument is never yours. The won race carries another man’s name into the history books, and the maker goes home in the dark with the receipts. Then the body sends its own bill, the one no schedule and no message discipline can fix. In 2026 she is treated for breast cancer while she runs the West Wing, and the cancer does not consult her. Here Becker lands where he always lands. She managed the largest personality in American public life and arranged the election that the country will argue about for fifty years, and the cell does what the cell does regardless. The voice outlived Pat Summerall on tape, and Pat Summerall is in the ground. The made president outlives the maker, and the maker, in the end, meets the same two terrors she watched defeat her father, without the microphone, in the back, in the place she chose to stand.

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The Handover: A Hero-System Reading of Usha Vance

A woman who once stood before the Chief Justice of the United States now sits on a low chair and reads The Tale of Peter Rabbit into a microphone. She calls the podcast an advertisement for reading. The room is small. The audience is children. The voice that pressed appeals through the federal courts shapes itself around a rabbit who steals into a garden and runs home to his mother.

Ernest Becker (1924-1974) gives us the terms for that vertigo. Man knows he will die. No other animal carries the knowledge through every waking hour, and the knowledge would crush him if he let it sit on his chest, so he builds a hero system, a set of values and roles that promise him a place in something that does not die. Becker, borrowing from Otto Rank (1884-1939), names two terrors and not one. The first is the fear of death, of erasure, of the body going back into the ground and the name going quiet. The second is the fear of life, the fear of standing out, of becoming a separate self with separate weight, of being seen alone in the open. Most men flee the first terror by surrendering to a group that outlasts them. A few flee the second by becoming a group of one. Usha Vance (b. 1986) has lived both flights, and the second half of her life so far reads as a long handover from the one to the other.

Every hero system rests on a wound it promises to heal. For J.D. Vance (b. 1984) the wound is plain and famous. Appalachia, the addicted mother, the absent fathers, the chaos that Hillbilly Elegy turns into a ladder. For Usha the wound hides, because her life reads as addition and not subtraction. Her parents are Telugu Brahmins from Andhra Pradesh. Her grandfather taught physics at IIT Madras. A great-aunt wrote an English interpretation of the Bhagavad Gita and teaches physics still. The subtraction sits one generation back. The parents subtracted India. They gave up the known world, the language spoken in the street, the gods in the household shrine recognized by every neighbor, and they carried their daughter into a San Diego suburb where she would have to become excellent to justify the crossing. The immigrant ledger runs in one direction. The parents spend, the child repays, and the only currency the child can repay in is achievement.

So she achieves. Summa cum laude at Yale, Phi Beta Kappa, a Gates scholarship to Cambridge, the Yale Law Journal, three clerkships ending at the Supreme Court, where she worked on Azar v. Garza for John Roberts. There is a story she tells on her husband from their Yale days, that he once called her from a formal dinner to ask which fork to use. The story marks the class line between them. He is the boy from Middletown learning the silverware. She is already native to the room. Her merit is recognition. It is the clerkship offered, the brief praised, the name spoken with warmth in a room she has not yet entered.

The same word lives a different life in other hero systems. For the Calabrian stonemason merit is the retaining wall that still holds the hillside a century after he is buried under it. He needs no committee. The wall is the committee. For the Soviet violin prodigy merit is the gold medal at the conservatory, proof that the system that starved his grandmother also produced the finest bows in the world. For the Trappist monk merit is a snare, because the soul that counts its merits has already lost them. For the Brahmin scholar of her grandfather’s house, merit is the faithful transmission of the text, the verse carried without error from teacher to student across centuries, a relay where the runner counts less than the thing carried. Usha’s merit is none of these. Hers waits on the judgment of the men in robes.

Reading sits at the center of her public life now. She reads The Iliad to keep pace with a son obsessed with mythology. She launches a Summer Reading Challenge, twelve books between June and September, a certificate, a bookmark, a raffle for a trip to the White House. She calls the new podcast an advertisement for reading.

But reading splits in the hand. For the Trappist it is lectio divina, the slow chewing of a single psalm until the words dissolve and God stands behind them. For the Talmudic scholar it is argument, the page that surrounds the verse with the voices of dead men still quarreling, reading as a fight you join and never finish. For the Idaho mother who keeps her children off screens, reading is a wall against a culture she has judged and found corrupt. For the Bengali organizer of an earlier century, reading is the pamphlet that wakes the worker to his chains. For the Brahmin lineage Usha comes from, reading is dharma, the duty of carrying the word forward, and the word is the Gita, and behind the word stands God, His pronouns capitalized in the household without a second thought. Usha takes that inheritance, the duty to transmit the word, and she empties the specific scripture out of it and pours in Peter Rabbit and a raffle. The act stays sacred. The content goes democratic. She has secularized her great-aunt’s vocation and aimed it at fourth graders in all fifty states.

Family is the word that changes shape across hero systems faster than any other. She tells an interviewer the most important thing is a stable, normal, happy life for the children. When a gunman fires near an event her husband attends, she does not let the children hear it on the playground. She tells them in age-appropriate terms that Daddy is safe, the Secret Service was there, he will be home in the morning. For the Sicilian clansman the family is the only state that ever kept faith with him, and everything outside it, the courts, the parties, the church even, is weather to be survived. For the kibbutz founder the family is the bourgeois relic the collective must dissolve, the children raised in the children’s house so loyalty flows to the commune and not the womb. For the Confucian magistrate the family is the small mirror of the empire, the father a little emperor, filial duty the root of all order under heaven. For Usha family is a harbor she builds inside a storm she did not choose, three small children carried through inaugural balls and motorcades and racist sneers about their names, and the work is to make the abnormal feel ordinary, to keep the playground from teaching them what the country says about their father.

She describes her place beside her husband as the truth-teller. She says he deserves someone who hears it straight from him, and she tells it straight back, and he treats what she says with seriousness and respect. Truth divides like the rest. For the Quaker it is the inner light spoken to power in a plain coat. For the interrogator in a closed regime it is what the file confirms and the body admits. For the hospice nurse it is the thing you tell the dying and never withhold. For Usha truth runs inward, toward one man, and stops at the door. The litigator who once told it to judges in the open record now tells it to a husband in a kitchen. The arena shrinks from the courtroom to the marriage.

She says the Supreme Court and the federal judges should be treated with respect, and she says it while serving in an administration whose allies attack those judges by name. The word carries her whole apprenticeship. She clerked in the building she now defends. The institution ordained her before she married into the movement that throws stones at it. Here the hero systems do not just differ. They collide inside her own house. The movement her husband leads draws part of its charge from White American grievance, and some of its loudest voices, Nick Fuentes (b. 1988) among them, look at the Hindu daughter of Telugu immigrants and tell her she does not belong in the country they mean to restore. Becker calls this the scapegoat logic that every hero system carries in its lining. A people earns its immortality by drawing a line between the chosen and the alien, and Usha stands on the alien side of a line her own coalition draws. She answers with composure and reading challenges and three children whose names the internet mocks. The composure is a hero system of its own, the scholar’s poise, the clerk’s discipline, the litigator’s refusal to be rattled on the record.

How much of this does she see? Becker reserves his respect for the man who knows he stands inside a hero system and chooses it anyway, eyes open, rather than the man who mistakes his costume for his skin. Usha gives signs of the open eyes. She calls the transition disorienting, which is the word of someone watching herself from a small distance. She says she is not a politically ambitious person, that she would like to see her husband happy, and that states the surrender without dressing it as destiny. Yet the deepest move stays in shadow. She has subtracted her own distinction, the thing the immigrant ledger told her to accumulate, and folded it into her husband’s. The litigator argues no more cases. The woman who earned recognition from the men in robes now earns it secondhand, as the wife of the heir apparent, and pours her surplus excellence into a children’s podcast. Whether she reads this as a loss, a gift, or a different shape of the same hero system, she does not say, and the guardedness her friends describe keeps the question closed.

So the shape of the hero. A scholar’s daughter who carries the family duty of transmission across an ocean and a faith, who trades the verdict of judges for the role of the one truthful voice in a powerful man’s ear, and who builds a harbor of ordinary life for three children inside a storm that calls them aliens.

The unnamed rival. Every hero needs an opposite he refuses to become. Hers is not Fuentes and not the sneering voices, those she answers with composure. Her rival is the woman she might have been, the one who stayed at Munger, Tolles & Olson and argued before the Court for thirty years and built her own name in the open record. That woman is the road not taken, and the hero system Usha chose needs her to stay unbuilt.

The cost the ledger cannot price. The immigrant ledger counts achievement and counts it well. It cannot price the thing she handed over. A child of immigrants spends her childhood becoming excellent so the crossing makes sense, and then at the height of the excellence she gives it to a marriage and a movement, and the ledger has no column for what that costs, because the ledger was written by the parents who crossed, and they counted only what could be gained.

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The Restless Heart: A Hero-System Reading of JD Vance

A Dominican priory in Cincinnati, August 2019. A man of thirty-four kneels for baptism. He holds a Yale law degree, a wife who argues cases for a living, a venture fund seeded by a billionaire, and a memoir that has sold past a million copies. The water touches his head. He takes the name Augustine, after the bishop of Hippo (354-430) who wrote in his Confessions that the heart finds no rest until it rests in God. JD Vance (b. 1984), at the high point of his worldly arrival, chooses the saint of the restless heart.

Ernest Becker (1924-1974) would recognize the man on his knees. In The Denial of Death Becker argues that we are the animals who know we will die, and that the knowledge is more than we can carry. So we build. We raise hero systems, schemes of cosmic worth, and inside them we earn the right to feel we are more than meat for the worms. A man wants to be a hero. He wants his short span to register against the silence. Self-esteem, in Becker’s reading, is the conviction that you stand as an object of primary value in a world where your acts carry weight. Two terrors run underneath the whole performance. One is death. The other is the quieter dread that the life will add up to nothing.

Vance kneels against both at once.

Every hero builds on a loss, and Vance carries a loss with a name and a place. The place is Middletown, Ohio, and behind it Jackson, Kentucky, the Appalachian hollow his grandparents left for the northern mills. The mills gave a man a wage that bought a house, a truck, a seat in a church pew, a sense that his sweat earned him standing. Then the work thinned out and the standing went with it. The deaths came after. Opioids, overdoses, men his grandfather’s age dying without the dignity the wage once carried. This is the world Vance reports in Hillbilly Elegy: a place subtracted down to its grief.

The loss is also closer than a region. His birth name was James Donald Bowman. The Donald came from a father who gave him up for adoption. The name changed again under a stepfather, then a third time when he took the surname of the grandmother who raised him, the woman he called Mamaw. His mother fought addiction through his childhood, and the men in the home rotated like shift workers. A boy learns, in a house like that, that the people who are supposed to stay do not stay. The subtraction story Vance tells about Appalachia is also the subtraction story of his own front door. The father who left. The mother who could not hold. The home that kept dissolving and reforming around him.

A man shaped by that loss builds a self out of what will not leave. Becker borrowed from Otto Rank the idea of the causa sui project, the wish to be one’s own father, to author the self from scratch rather than inherit it from people who failed. Vance authors himself by adoption. He keeps choosing strong fathers and strong systems and letting them stand where the father did not. Mamaw first, the one fixed point. Then the Marine Corps, which takes a boy and hands him a code, a haircut, a chain of command that does not waver. Then Yale Law School, the citadel that teaches him the language of the people who run things. Then Peter Thiel (b. 1967), the mentor who funds the venture career and the worldview behind it. Then the Catholic Church, the oldest father of all, with its catechism and its hierarchy and its two thousand years of not dissolving. Then Donald Trump (b. 1946), the man Vance once called noxious and later served with a son’s devotion.

Each turn looks like a reversal to his critics. Read through Becker, each turn is the same act repeated. A man who fears the home that dissolves keeps building harder houses. He moves from the ones made of flesh, which break, to the ones made of institutions and doctrines, which promise to outlast the man who joins them. The hero system is the house that will not leave.

Now take the sacred words Vance lives by, and watch how each one means something specific only inside the house he built. The same word sits in other men’s mouths and points at other gods.

Start with loyalty. After 2016 loyalty climbs to the top of Vance’s order. He had called Trump unfit, even toyed in private with the worst comparisons, and then he knelt to him and became the most reliable man in the room. The cynic reads ambition, and ambition is in there. Becker reads something older underneath the ambition. A boy who learned that the deepest wound is the father who walks out will spend his life refusing to be the one who walks out. Loyalty becomes his proof against the one charge he cannot bear, the charge of being an abandoner. He will not do to his chosen fathers what his fathers did to him.

Set that loyalty beside other men’s. A Sicilian widow keeps her dead husband’s chair at the head of the table and will not let anyone sit in it, and for her loyalty means fidelity to the dead, a refusal to let death win the small victory of being forgotten. A Benedictine takes a vow of stability and dies in the same monastery he entered at twenty, and for him loyalty means staying put, the body’s answer to the restless heart, obedience to one rule and one abbot for the length of a life. A longshoreman in a union local crosses no picket line and names the man who does a scab for forty years, and for him loyalty means the brotherhood holds or the wage falls. A Pashtun host under the old code takes in the stranger and defends him to the death because the guest under the roof is sacred, and there loyalty means a debt of honor older than any state. A quant at a hedge fund speaks of loyalty too, and means it until the bonus clears, after which the firm is a counterparty and the loyalty is a price. One word. Five gods. Vance’s loyalty serves the god of the unbroken father, the one thing his childhood never gave him.

Take home, the word that made him famous. Vance left home for the Marines, for New Haven, for San Francisco and venture capital, and then made the leaving into the credential that let him speak for the place he left. He bought a hundred and fifty year old house in Cincinnati and a hundred acres in Kentucky. Home for him is a wound dressed as a banner, the thing he fled and then claimed the right to represent.

Other men hear the word and see other things. A Bedouin’s home is the migration, the tent struck at dawn and pitched at dusk, home as a people moving rather than a deed recorded. A Trappist’s home is the enclosure he will never leave again, four walls that hold the entire visible world, home as the renunciation of everywhere else. A Filipina nurse in a Gulf hospital calls home the village she left, and sends back the wages that keep it standing, so that home becomes the place you abandon to save. A Lakota grandmother counts home in generations, seven forward and seven back, and means a lineage rather than an address. Vance’s home is the one you escape and then carry like a debt, a place that exists most fully in the leaving and the looking back.

Take faith, the word at the center of his new book. In Communion: Finding My Way Back to Faith (2026) Vance tells the story of the conversion, the return, the restless arrival at Rome. His faith answers a specific terror. A man raised in a home that kept coming apart wants the God of order, the God of hierarchy, the Church that has a catechism for every question and an authority that does not depend on the mood of whoever is standing in the kitchen. The autonomous self of the meritocracy got him to Yale and left him empty, so he reaches past it for the thick belonging that liberalism, in his telling, dissolved.

A Pentecostal in a storefront in São Paulo means something else by faith. He means the Spirit falling now, the healing tonight, the immediate God who breaks into the week and rearranges it. A Talmudic scholar means the obligation to wrestle the text, doubt folded into devotion, the argument that is itself the worship. A Zen monk on the cushion means the dropping of the very self that Vance spends his days constructing, no doctrine, no hierarchy, the slow erasure of the ego that authority is supposed to shore up. Vance’s faith is the answer of a man who needs walls. To a man raised inside steady walls, that hunger might look strange. The hero system fits the wound it was built to cover.

How far does Vance see his own house as a house? The memoir shows real self-examination. He names his rage, his near misses, the violence he carried out of that childhood and almost passed on. The young writer holds his frameworks loosely enough to drop them, and he drops several. The convert does not. After 2019 the serial adopter of fathers has found the Father, and the man who once abandoned a political position now speaks with the certainty of one who has arrived. Becker says the rare healthy man sees partway through his own vital lie and keeps it anyway, knowing it for a lie he cannot live without. The Vance of Hillbilly Elegy sees that far. The Vance of the vice presidency speaks as a man who has stopped looking through the wall and started defending it.

A recent death shows the engine plainly. In 2026 Vance and his wife announced a fourth child, and he wrote that the 2025 killing of Charlie Kirk (1993-2025) moved Usha toward the decision. A man watches a friend murdered and answers the death by making a life. Becker could not script it cleaner. The terror arrives, and the hero meets it the only way the human animal knows how, by adding to the count of the living, by refusing the silence one more time.

The shape of the hero, first coordinate. Vance pursues the figure of the loyal son who restores the lost house. The boy from the dissolving home who entered the citadel of the elite, learned its tongue, and came back to speak for the people the citadel forgot. He carries shame upward and converts it into authority. The hero he wants to be is the one who does not abandon, who plants a hundred acres in Kentucky and three children and a fourth in the ground of a place, who makes himself the father the home never kept.

The unnamed rival, second coordinate. He defines himself against a man he will not name, the version of himself who stayed at Yale and in San Francisco and forgot. The deracinated meritocrat, fluent and rootless, the classmate who learned the language and kept it for himself. Behind that figure stands an older one, the father who gave him away, the man whose first name he carried and then shed. The rival Vance fights is the self that assimilates and disappears, the boy who could have climbed out of Middletown and simply never looked back.

The cost the ledger cannot price, third coordinate. A man who builds himself from adopted fathers might never sort which convictions are his own and which belong to the latest father. At each conversion he leaves selves behind, and the friends attached to those selves, and the cousin who went to fight in Ukraine and accused him from the trench of serving the wrong men. When loyalty climbs to the top of the order, independent judgment slides under it, and the price of never abandoning is the surrender of the right to dissent. Augustine wrote that the heart stays restless until it rests in God. The harder cost is the one the convert cannot let himself name: that each new house rises on the rubble of the last, and the boy who could not bear the home that kept dissolving has become a man who keeps dissolving the homes he was, building harder and harder walls against a terror that no wall has yet closed out.

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The Man Who Will Not Lose

A man turned eighty on June 14, 2026. He was born June 14, 1946. The body keeps its own count, and the body does not negotiate. Ernest Becker (1924–1974) opens The Denial of Death on this split down the center of every man. He is a god who defecates. He carries a mind that touches the stars inside a creature that rots. Two terrors live in that gap. Otto Rank (1884–1939) named the pair the fear of life and the fear of death. The fear of life is the dread of standing out alone, separate, a single self with no cover. The fear of death is the dread of going under, dissolving, ending. Most men split the difference. They individuate a little and merge a little and spend a lifetime managing the trade.

Donald Trump (b. 1946) went one way. He resolved the fear of life by leaping at it. He put his name on the towers in gold and stood apart from every room he entered and made separateness his whole brand. That terror he settled long ago. What stayed behind, uncovered, was the other one. The rallies, the brand, the lawsuits, the refusal to concede a single contest of any size all serve a single office. They keep death out of the room.

Watch how he treats the body. He shakes hands as though each one carries a contagion, and for years he said as much. He holds a theory that the body runs on a fixed charge, a battery that exercise drains rather than fills, so the wise man spends little and conserves. He eats food that comes sealed, predictable, hard to tamper with. The hair stays the same. The tan stays the same. The long red tie hangs to the belt. He praises men and women for looking the part, for central casting, because the surface has to broadcast strength every second. The body is the enemy inside the gates. It ages, it sickens, it quits. He cannot abide the sight of it failing in others and will not contemplate it in himself.

So the name has to do the work the body cannot. The body counts down. The gold letters do not.

His subtraction story sits at the center of everything, and he shares it with millions who feel it in their own towns. Make America Great Again. The word that carries the freight is the last one. Again means something was great and then was taken. The factory that closed. The main street that emptied. The country that used to win and started losing. To that national grievance he welded a private one. The outer-borough builder’s son walked into the Manhattan rooms and the rooms never let him sit at the head of the table. The magazine undercounted his worth. The critics laughed at the gold. He fused the two wounds into one, and the fusion is the engine. His slight and the country’s slight became the same slight, and the man who would avenge his own would avenge yours.

On June 16, 2015, he came down the escalator inside his own tower to announce that he would run. The atrium ran with brass and pink marble and a waterfall behind the glass, and he descended through all of it to the crowd at the bottom and told the country it had been robbed. A man rode down out of his monument to say the nation had been picked clean. The subtraction story made into a campaign, with the staging built years before anyone needed it.

Now the word that organizes the whole cosmos. Winning. And its shadow, the loser. His father, Fred Trump (1905–1999), divided the human race into killers and losers and raised his sons to land on the right side of the line. Roy Cohn (1927–1986) taught the grown man the operating code. Never settle. Never apologize. Attack, and when you lose attack harder, and never, under any circumstance, admit the loss. Inside Becker’s terms the loser is the man death erased while he still drew breath. The sucker the system grinds and forgets. The weak one, already half gone. To lose is to die early. To concede is to die on schedule. This is why concession of an election cannot be a political act for him. In his system it is a death, and a man does not sign his own death certificate.

Take the word winning and walk it through other men’s lives, and it changes shape in the hand each time.

A domestique rides the Tour de France and never wins a stage in his career. He buries himself at the front to break the wind for his captain. He hands up his bottle, gives up his wheel when the captain punctures, shreds his legs in the mountains, and rolls in near the back inside the time cut. He counts the year a triumph because the man he served wore yellow in Paris. Ask him and he says he never won a stage and he won seven Tours. His immortality lives in another man’s victory, and he gave his body to build it. Winning, for him, means the disappearance of the self into the result of the team.

A Carthusian monk enters the Grande Chartreuse and surrenders his name at the gate. No crowd will ever know him. He gets the cell, the silence, the hours that do not end, the long offices in the dark. He wins by vanishing so that God appears. Becker thought the religious answer the boldest of all, because the man hands the whole terror to God and stops carrying it himself. Trump grew up under Norman Vincent Peale (1898–1993), who sold a cheaper version of that surrender from the pulpit of Marble Collegiate. The Power of Positive Thinking taught the believer to deny the negative, refuse the down, picture only the win. The monk loses himself to find Him. Peale taught the boy never to lose at all. Same God on the letterhead. Opposite move underneath.

A poker professional measures winning across ten thousand hands. The pot in front of him means little. Expected value over the long run is the only score he keeps, and the man who needs to win the hand on the table is the fish he came to feed on. He folds aces when the math says fold and feels nothing in his chest. He lives inside a horizon the eye cannot see. Trump plays every hand as though his life rides on it, because in his system it does, and the long horizon does not exist, only this hand, this rally, this morning’s number.

A hospice nurse has no word for winning, and the word dissolves the moment she enters the room. Her work is a good death. She times the morphine, eases the breathing toward its end, lets the family in before the door closes for good. Her code honors the loser of the last contest every man on earth loses. She wins, if the word can be dragged this far, by helping a man lose well. To die well belongs to no part of Trump’s map. In his system it is a category that cannot be filled.

A revival preacher under the tent counts the house, and here the two men touch. He watches the crowd and feels the size of it in the chest the way Trump does. He tallies the souls at the altar, the hands raised, the harvest brought in. The empty seats convict him. But the preacher counts for God’s ledger and weeps over the rows that stay empty, while Trump counts for his own ledger, and so the inauguration crowd grew with each retelling, because a ledger with one name in it can carry no other figure. The same act, the counting of a crowd. Different god at the far end of the arithmetic.

A career infantry officer holds winning lighter than his men hold it. He will spend himself and lose the promotion to bring the platoon home. His immortality runs through the regiment, the long line of officers before him and after him, the colors that pass from hand to hand. He can lose a battle and keep his honor. He can be taken prisoner and keep it. Honor outlives defeat in his system, and that is the whole point of having honor at all. In Trump’s system honor cannot survive a loss, because winning is the only honor on offer.

That officer stands at the edge of the rival Trump cannot name, and the rival has a face.

On July 13, 2024, in Butler, Pennsylvania, a bullet grazed his ear at a rally. He dropped behind the lectern with agents on top of him. Then he stood, raised his fist with blood across the cheek and the flag at his back, and said the word three times. Fight, fight, fight. The photograph was made in that half second. The whole hero system stands inside one frame. The body took a live round, and the symbol got up off the ground. Death came as near as it comes and he turned it, in the open air with the cameras running, into an immortality image. The man who built his life against death met it and converted it on the spot into the Name.

How much of this does he see? At the level of the show, all of it. He knows the rally is a performance and tunes the set list night to night. He reads a room faster than the room reads itself. When Fulton County booked him in August 2023 he had the mug shot on merchandise before the day was out. Command of the surface, total. But the terror under the surface is the one thing he will not look at, because the surface exists to keep him from looking. A man who could see his own answer to death for what it is might rest. He never rests. The not-resting is the tell. Becker called the character armor a vital lie, the story a man cannot strip off without coming apart. This man’s armor is gold and his name is on it, and to doubt the armor is to doubt the name, and the name is the part he believes will not die. So the self-knowledge runs all the way up to the edge of the terror and stops there, on purpose, the way a man on a ledge does not look down.

Three coordinates, then, to fix him.

The shape of the hero. The man who will not lose. He is the one who never concedes, who treats every contest as the final contest because losing a single one is dying once. He stands when he is shot. He goes quietly out of no room and no office and no race. His heroism is refusal, and a great many people who were handed a story of managed decline find that refusal a deliverance, a man who will not agree to lose the things they were told to give up without complaint.

The unnamed rival. The good loser. The hero system of the gentleman who concedes the count and drives home, of the captain who holds faith in the cell, of the saint who loses his life to save it. John McCain (1936–2018) marks the named edge of that nameless rival. He said he would rather lose an election than lose a war. He endured the prison camp and turned down the early release his captors offered to embarrass his country. His heroism lived inside defeat and captivity, which is the one place Trump’s heroism cannot go. On July 18, 2015, Trump said he liked people who weren’t captured. The room gasped and the line drew no blood, because to his people the captured man is a loser and the loser is already dead. Two hero systems met in that sentence. One holds that honor outlives defeat. The other holds that there is no honor except the win. The rival he cannot name is the man for whom losing well is the whole of dignity.

The cost the ledger cannot price. He can never stop, and he can never be known. The man who must never show weakness can stand before millions who adore him and be held by no one, because to be held a man has to be weak for a moment, and he has spent eighty years making certain he never is. The crowd is not a friend. The ledger counts the crowd. It runs the poll, the net worth, the floors of the tower, the rating, the margin. It keeps no column for the friend, so it never books the absence and never sends the bill. He turned eighty ten days ago. The body keeps its count and will not be argued with. The name in gold does not. He bet the whole of it on the name, and the name will outlast him, and that is the win. It is the only immortality his system allows. It is not the kind a man can feel while he is still alive to want it.

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Lowell Cohn: ‘Shame on the New York Times’ (May 16, 2026)

Lowell Cohn wrote on Substack:

Then there’s the issue of dogs penetrating prisoners in the anus. Kristof’s sources say this routinely happens, but according to testimony from experts I read this is highly unlikely when you account for the physiology of dogs and people.

I grew up reading the New York Times. In my family it was the Bible, the writing, the reporting, the intelligence. When I left the SF Chronicle for the Santa Rosa Press Democrat, the PD was owned by the Times, and the Times treated me beautifully. They sent a big-deal editor to Santa Rosa to welcome me to the family, and when I covered a story in New York, the Times put me up at a private club and gave me a desk in the Times building. So, I used to love the Times…

Earlier in this piece I wrote the Times has crummy columnists. And how. Consider Michelle Goldberg and Thomas Friedman. Well, Goldberg, because of her atrocious prose style and limited ability to think, is irrelevant. But Friedman is a serious writer. Except that when it comes to the Iran War, he said he’s “torn.” What did he mean by torn?

He said he wants Iran defeated but he doesn’t want two people he disapproves of, Trump and Netanyahu, to be strengthened. Friedman is freaking torn? There’s no torn. Iran can’t have a nuclear bomb or continue to louse up Israel and the Middle East no matter who accomplishes that. I consider Thomas Friedman a sellout Jew.

First, the facts. The report Cohn treats as an “official Israeli report” was not the government’s. A group calling itself the Civil Commission on October 7th Crimes by Hamas released it on May 12, one day after Kristof’s column ran on May 11. Cohn reads Kristof as timing his piece to preempt and weaken an official report. Public suspicion from Israel critics such as Mondoweiss runs the other way, that pro-Israel strategists held the second report in reserve once they learned Kristof’s was coming, then released it to drown him out. Cohn picks the reading that flatters his side. The “official” label does real work in his paragraph, and it is wrong.
Second, his sourcing critique is his strongest move. The American Jewish Committee said the column read as an investigative report while falling short of that standard. Kristof ran it in the opinion section, not as news, and built it on interviews with people who mostly would not be named. That is a fair thing to press on. But Cohn presses it in a way that cuts his own hand. Anonymity for men and women alleging sexual assault, and for Palestinian detainees who fear reprisal, is standard practice. And the column did name some witnesses. Kristof identified Issa Amro, Sami al-Sai, Suhaib Abualkebash, and Mohammad Matar among the fourteen. Cohn’s “12 of them were anonymous” leaves that out. His own counter-sourcing is worse than what he attacks: “experts I read” on dog physiology, named nowhere.
Third, he never touches Kristof’s ask. Kristof proposed Red Cross and lawyer visits to the roughly 9,000 Palestinian security prisoners and argued that if the allegations are false, such monitoring would protect Israel. That is the falsifiable core of the column, and a critic who wanted to win on the merits would meet it. Cohn argues with the framing and the timing and leaves the proposal standing.
The piece is a breakup letter. The best writing in it is about his father’s house and the Times as the family Bible, the editor sent up to Santa Rosa, the desk in the building. He is grieving a tie to his childhood and dressing the grief as an argument about journalistic standards. The grief is real and the standards talk is mostly a vehicle for it.
Where the piece turns is the close. Netanyahu and his foreign minister called the column among the most distorted lies ever published against Israel and threatened a defamation suit; the Times stood by Kristof and called the threat without merit. Cohn’s move is quieter and uglier than that. He notes that Adolph Ochs (1858-1935) was a Jew, that the family running the paper now “is not Jewish anymore,” and that the current publisher “seems to have what we would have called in Brooklyn a hard-on for Israel.” Then he ends by calling Thomas Friedman (b. 1953) “a sellout Jew.” He spends the column accusing the Times of a tribal vendetta and closes by applying a tribal loyalty test of his own. He becomes the thing he names.
The sentence a hostile reader pulls is the last one. “I consider Thomas Friedman a sellout Jew” defines the piece, and it would define Cohn. Everything reasonable he says about anonymous sourcing dies under that line, because a reader can now file the whole essay as loyalty policing rather than press criticism. The Michelle Goldberg (b. 1975) aside, that she has “limited ability to think,” does smaller damage.
He had a real point and spent his credibility before he could land it.

One thing has surfaced in this story. B’Tselem’s January report documented forced anal penetration with objects and dogs set on prisoners, and one of its witnesses was also a Kristof source, but it did not include the claim that dogs raped prisoners. So a hostile-to-government Israeli rights group, working the same prisons, corroborated the broad pattern of sexual abuse and stopped short of the one claim that drew the blood-libel charge. That isolates the disputed item. The question is no longer whether abuse happened, which several bodies have documented, but whether that specific allegation holds. And that is exactly the claim no current process is set up to test.
The dog claim has been argued against, and by careful people, not just the Foreign Ministry. Eli Kowaz, an American-Israeli analyst formerly at the Israel Policy Forum, published an essay days before Kristof ran calling the dog-rape allegation not credible. A researcher traced the claim’s path to virality through an unsourced tweet by Shaiel Ben-Ephraim and said he could not confirm it true, and a dog-behavior expert was skeptical of the penetration claim while allowing the trained physical behaviors. The claim runs back to Euro-Med, the same group that has also claimed Israel exhumes Palestinians to steal organs, which medical experts call impossible. So the dog claim is not undebunked. It is wounded. What it is not is resolved, because no outsider can prove a negative about a cell with no record.
Otherwise, there is little movement on this story because the initial layout of incentives remains unchanged. Neither side has an interest in altering the current stasis.
The threatened lawsuit from Benjamin Netanyahu and Gideon Sa’ar remains unfiled. A defamation suit in a U.S. court would trigger broad discovery. The New York Times would demand access to internal Israel Prison Service logs, Shin Bet interrogation records, and medical files to establish substantial truth. The Israeli government is unlikely to trade control over those sensitive operational records for a public trial on the merits of prison conditions.
The Times maintains its position. Kathleen Kingsbury and Nicholas Kristof confirmed that the paper completed its standard fact-checking review after the initial backlash and found no basis for a retraction or correction. The specific allegation regarding trained dogs remains the core point of contention, isolated between the broader pattern of physical abuse documented by groups like B’Tselem and the specific, uncorroborated claim that provoked the state’s reaction.
Without an active lawsuit, a new third-party investigation, or an internal data leak, the story lacks a commercial or legal hook to generate fresh reporting. The public statements from May accomplished the immediate political and defensive goals for both camps, and the matter rests there.

A well-funded apparatus has every reason and resource to damage and debunk this column: the embassy, the Foreign Ministry, the Lawfare Project, the AJC, JNS, Quillette, and a stable of online researchers. Ambassador Leiter went on offense within a day, tying Euro-Med Monitor’s leaders to a 2011 photo with Ismail Haniyeh. If the column rested on fabricated testimony, that machine probably finds the smoking gun by now. It has not. The named sources took hits, but nobody has shown Kristof invented a witness. Survival under motivated fire carries information.
The base claim is that sexual abuse and torture in Israeli detention is widespread. That part is not Kristof’s. B’Tselem called the prison system a network of torture camps, Save the Children reported sexual violence against detained Palestinian children, and Euro-Med described systematic abuse. The West Bank Protection Consortium documented at least sixteen cases of sexual crimes by settlers and soldiers, and the Sde Teiman case produced arrests. You cannot debunk this tier because it is documented across bodies that do not share a source.
The Kristof column contains a bundle of claims against Israel and it is built so no single strike destroys it. Wound the dog claim and Kristof falls back on the documented abuse. Discredit Euro-Med and the UN commission and B’Tselem remain. The load-bearing claims are well sourced, and the vulnerable claim is unfalsifiable. A structure like that survives motivated attack whether or not its worst allegation is true. Non-debunkability and truth are not the same thing.
Mondoweiss, CounterPunch, Middle East Eye, the Grayzone, and the Intercept rushed to confirm and amplify, and sixty journalism professors asked the Times to commission an independent review. When both camps are this motivated, the absence of a knockout tells you mainly that there is no neutral arbiter with access to the prisons. The review that might settle it has not happened. That is missing process, not a verdict.

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Wayne Judd – Star Teacher

I never met a cooler man at Pacific Union College (PUC) than religion teacher Wayne Judd (b. 1942). He was high-energy, hilarious and his family hosted my family many times in the late 70s to watch wholesome things on TV.
One Sunday in January 1979, I went to the Judds to watch the devastating Super Bowl XIII where the Steelers edged my Cowboys 35-31. At half-time, we all played touch football in the yard. I was on Wayne’s team that day and I’ve been on Wayne’s team ever since.
I was a strange kid, prone to saying cruel things, and many people kept their distance. Not Wayne Judd, and for his tolerance I’m grateful.
His wife Audrey Judd was my seventh-grade teacher. She wore sunglasses and exuded her own star power. I was not a good student. I was rude to my teachers (I told them to “shut up” several times until I was put in my place), I lacked boundaries, and I was lucky to not get thrown out of school. The very prospect frightened me so much that I immediately committed to good behavior when Mrs. Judd suggested one morning on our way to chapel that I might be happier receiving home schooling.
In 1980, when my father Desmond Ford (1929-2019) lost his Adventist ministerial credentials, word got back to me that Wayne Judd said I would turn away from the church as a result. As soon as I heard the words, I felt permission to do exactly what I wanted, and to flee the church, just as his sons ended up doing (along with all of my Adventist friends from childhood).
When I was down for the count with chronic fatigue syndrome circa 1993, I reached out to the good man and he called me back and brought me energy and joy, the two things I needed most.
In 2022, he published a memoir, In Motion: My Stories.
Amazon says:

Wayne Judd has lived his entire life in motion, from birth all the way to his 80th birthday when he sat down at his computer long enough to write his life stories.

Born in a tiny farmhouse beside the Long Prairie River near Staples, Minnesota, Judd grew up in poverty. The Judds farmed with horses, milked cows by hand, lighted the tiny farmhouse and barn with kerosene lanterns, and used an outdoor toilet.

At the center of his life was his faith. . . until it wasn’t. In Motion captures his dramatic faith pursuits from childhood to retirement, from faith to unfaith.

He studied theology and music in college, then went to the seminary to become a minister.

Pastoring didn’t work for Judd, so he abandoned the pulpit for the classroom, first teaching religion in high schools, then in college. His flamboyant personality and revisionist ideas soon got him into trouble in his very conservative college. He was called upon to defend himself for five hours by a committee of the college board. When the board and administration decided to fire Judd, students raised such a ruckus that the board relented, and he left the college on his own volition two years later, finished an MBA, and completed his work life as a strategic planning and mission management executive in a 20-hospital health system.

Judd’s memoir captures both his energy and brash confidence that were his signature approach to life. He is both plain-spoken and fair with his antagonists, showing exuberant affection and joyousness for his collaborators and fellow mischief-makers.

The book reveals an astonishing level of detail. Over and over, Judd wrests the arc of meaning from ordinary moments—the sign of someone who has always told stories very successfully and who has lost none of the lecturer’s engaging knack for bringing forth a tale well-told.

One chapter is called, “Des Ford, Music and Me.” It’s delicious. It’s real. It’s a great read. There’s no false piety. Here’s a taste.

“Wayne, I don’t see any reason why we shouldn’t bring Desmond Ford in as a guest lecturer, do you?” Pacific Union College president Jack Cassell said to me one day. Adventist Church leadership in Australia had approached him, requesting relief from a major Australian theological debate. The controversy had created two highly polarized factions in the country with Desmond in the middle.
“We’re pretty secure here at PUC,” Cassell added. “Let’s give the Australians some time to cool down.”
When Ford arrived, I knew in our first handshake that the college was in for a rough ride.
“Hello, Wayne” (it sounded more like “wine” because of his Aussie accent). “I’ve appreciated reading your articles and papers.”
I responded that I was pleased to meet him, too. And I was. I liked Des, and we became good friends.
“You Americans are far too congenial,” he commented, an unusual thing to say on our first encounter. I didn’t respond but took note, aware that the Aussie scholars are fighters, clinging fiercely to their “positions,” as they called their approaches to theological and biblical studies.
The polarization immediately invaded the Pacific Union College campus, and in fact much of the West Coast of the United States and beyond.
What Cassell had apparently overlooked in his confidence that the college could provide relief for the Australians was that Des’s presence on the West Coast would create an even greater need for it in America.
Cassell had also missed another cue. One of the leading religion teachers on the PUC campus was an individual who had himself crossed swords with Desmond Ford in Australia. Erwin Gane had fiercely opposed bringing Des into PUC’s religion department, even though it was billed as a temporary arrangement…
We had asked Eric Syme, PUC’s church history teacher and a somewhat outspoken Brit, to give the response to Des’s presentation. On one occasion, after facilitating a closed department meeting in which Ford and Gane stated their positions, he had emphatically declared, “There’s not dime’s worth of difference between the two of you.” Still, Syme agreed to do the response.
Finally, Adrian, Charles, Eric, Des, and I walked onto the historic stage, surrounded by elaborate old wooden beams, pillars, pulpit, and a wonderful display of organ pipes overhead. Ellen White had
stood at this very pulpit many years before.
I followed directly behind Des. As we entered, I heard him say quietly, “It’s time. It’s time”—only with his Australian accent, it came out “It’s tawym, it’s tawym.” Aware of what he was doing, he
realized that his presentation would violently rock the denominational boat.
And he knew beyond doubt that the audience contained as many detractors as disciples. St. Helena, eight miles down the hill from PUC, was a coveted retirement destination for Adventist ministers and leaders, many of whom had showed up for the Forum meeting.
About halfway through Des’s presentation, Adrian Zytkoskee scribbled a quick note and handed it to Eric Syme, then gave it to me after Eric read it. Adrian understood the historic dynamic much better than I did. He wrote: “Eric, there are some fairly powerful people who are prepared to crucify Des on this issue and drum him out of the church! If there is any way in your response, even if you disagree strongly with his interpretations, that you can demonstrate your solidarity with scholarship in the church and your support of him personally so as not to give aid and comfort to those who want to push him out, it would be helpful. The only reason I am writing this is to let you know the intensity of his opposition.”

This is a participant memoir written more than 40 years after the events, with Judd as both narrator and hero.
He portrays himself as the moderate man caught between zealots. He coins “positionolatry” to put himself above the fight, then spends the rest of the piece settling scores. Because we shared friends and enemies, I love it.
He and three colleagues drove to Newcastle to visit our home, wrote hymn parodies on the way that named Neal C. Wilson (1920–2010) and accused Gerhard Hasel (1935–1994) of plagiarism in verse, sang them around Angwin, and let them leak. Then he marvels at the “vitriol and fear” of the conservatives who came after him. The mockery on his side reads as “cathartic” and “satire.” The response from the other side reads as persecution. He never quite measures the two against each other, and that asymmetry is the real story he half-tells. A man can set another man’s alleged plagiarism to the tune of “A Mighty Fortress” and still be surprised when the target’s allies fight back.
The honest passage comes near the end, on Bill Penner and forgiveness. Judd refuses the apology, calls easy repentance Bonhoeffer’s “cheap grace,” and adds “Character flaw? Maybe.” That admission does more for his credibility than the moderate pose does, because it concedes the grudge instead of dressing it as principle. The Larry Mitchel line he reproduces without comment (“I feel like you held me down, while Howard Hardcastle raped me”) tells you the temperature of the room and also Judd’s willingness to leave a brutal quote on the page.
My father Desmond Ford enters as a congenial saint who knows he is about to rock the boat (“It’s time, it’s time”), and the venue migrating from a 25-seat classroom to the 1,000-seat Irwin Hall chapel on October 27, 1979 captures his draw better than any sermon summary could. But Judd keeps my dad at arm’s length. He says he never attended the Newcastle meetings and grew “less and less interested in dogma.” So Judd is not a Fordite in any doctrinal sense. He is a free-speech partisan who got the label and resented it.
Judd sets historic Adventism’s “salvation by character” beside the nineteenth-century Unitarian creed and notes both rest on the ability of man. Ronald Numbers (1942–2023) and his Prophetess of Health sit in the background as the cautionary tale the students already knew, and the escalator exchange (“It was shoddy”) is good scene work even as it flatters the teller.
As a source, trust it for atmosphere and dialogue, discount it for proportion. Judd flags this when he walks back “hundreds” of student letters to “scores, probably not hundreds.” The memoir is strong on what a room felt like and weak as neutral history of who did what to whom.

Rust and Obey: The Hero System of Wayne Judd

Howard Hardcastle, registrar of Pacific Union College, walks out of a neighbor’s house on a warm Saturday circa 1981 and hears singing. Four professors stand in Larry Mitchel’s living room with the windows open. They are setting mockery to the tune of “A Mighty Fortress Is Our God.” Hardcastle does not walk on. He steps off the path, into the bushes, crouches, and counts the men as they leave. Later he tells one of them what the singing meant to him. “I couldn’t have been more shocked and offended if you men had been engaged in devil worship.”

Hold that sentence. A grown man hides in shrubbery to gather evidence against a hymn parody, and the parody strikes him as devil worship. Nothing in the doctrine of justification by faith accounts for a reaction at that pitch. Ernest Becker (1924-1974) accounts for it. In The Denial of Death he argues that every man builds a project to outlast his own body, a way to feel that his life counts forever, and that he will defend this project past all proportion because an attack on it lands as an attack on his immortality. Hardcastle is not defending a reading of Hebrews. He is defending the thing that lets him sleep at night against the certainty that he will die.

The whole Adventist quarrel runs on this terror, and Wayne Judd sits at the center of it, telling the story at eighty as a moderate caught between zealots. The self-portrait deserves a harder look.

Start with what the church was protecting. The Adventist hero system of 1981 was a literal answer to death. A man got ready. He lived a holy life, reproduced the character of Christ, and waited for the Lord to return and claim him. The remnant would vindicate God’s name before a watching universe, and only then would the atonement close. The system told a frightened animal exactly how to become eternal. Then Desmond Ford stood in the Irwin Hall chapel on October 27, 1979, and said the work finished at the cross. Grace, appropriated by faith, without good works. He did not soften a clause. He removed the ladder. If salvation arrives complete and free, the getting-ready loses its purpose, and the men who spent their lives getting ready lose the project that held back the dark. That is why retired ministers drove up the hill from St. Helena to shout him down. Ford had not changed their theology. He had threatened their way of not dying.

Judd reads their rage as fear, which is right, and then files it under the failings of the conservative wing, which lets him off the hook. Because Judd has a hero system too, and it runs on the same fuel.

His project is the classroom. He calls it the thing he loved most in his professional life, and the memoir tells you why. A teacher lives on in the minds he opens. His students carry the questions forward after the body quits. When the board moves to fire him, it does not threaten his salary. It threatens his route past death, the only immortality a man of inquiry permits himself. He weeps once at the phone, and the weeping comes the day they call him back to the committee, the day the project hangs by a vote. At eighty he writes the memoir and says the quiet part. “I want to finally control the narrative.” A man who has subtracted heaven still wants to live forever, and the manuscript is where he applies for the position.

Here is the subtraction story, the account of what Judd removed and what he kept. He removes the supernatural machinery. The investigative judgment, salvation by character, the authority of Ellen White (1827-1915), the soon return that organizes Adventist time. He keeps the furniture. He keeps the Sabbath, moving his Camelot performances to Sunday matinees while he plays King Arthur under a stage name. He keeps the hymns, well enough to parody them line for line. And he keeps the moral accounting, the ledger of sin and consequence, long after he has thrown out the God who audited it. Watch him refuse Bill Penner’s apology and lunch invitation years later in Carmichael. He will not let the offender erase the debt while the innocent still pay. “Character flaw? Maybe.” He subtracted the theology and kept the books. The accountant outlived the believer.

Now walk his sacred words through the hero systems where they live, because the same word carries a different cargo in each, and only inside Judd’s system do his words mean what he needs them to mean.

Take freedom. For Judd freedom is the classroom with the door open, the right to ask whether a doctrine is new truth or historic necessity and to follow the answer. Freedom is the teacher’s air, and a teacher suffocates without it. Set that beside other men who would swear by the word. For a parolee, freedom is the morning the ankle monitor comes off and no one owns his Tuesdays. For a Trappist under the Rule of Saint Benedict, freedom arrives through obedience, the surrender that frees him from the tyranny of choosing, the cell that frees him from the world. For a sideman in a Kansas City club at two in the morning, freedom is the eight bars where the chart goes silent and the hand follows the ear. For a Hong Kong bookseller in 2020, freedom is the shipment that clears customs and the title that stays on the shelf one more week. Five men, one word, five projects against death. Judd’s freedom looks like a universal good only from inside the hero system of the scholar, where the unexamined doctrine is the small death and the open question is the breath of life. The monk would pity him.

Take grace, the word that started the fire. For Ford and for Judd grace means a debt cancelled at the cross, a man saved by something done for him and not by him. For Erwin Gane and the traditionalists, grace without works means license, a church that stops getting ready, the floor giving way. For a borrower whose lender tears up the note, grace means the ledger drops to zero and he sleeps for the first time in a year. For a figure skater, grace means the landing that hides its own labor, the body telling a clean lie about gravity. For a chaplain walking a condemned man the last forty feet, grace means the man reaches the end without shaking. The Adventist conservatives did not misunderstand Ford’s grace. They understood it precisely, and they heard in it the collapse of the project that made them eternal, which is why they answered a theology of mercy with surveillance and hate mail. Grace is the kindest word in the language and it nearly ended careers, because in their hero system it read as the announcement of death.

Take justice, the word Judd reaches for when he asks the administration to seat an independent judicatory and submit his worthiness to peers. Justice for Judd means due process and a fair hearing, and it means something colder underneath, that the offender bears the weight of what he did. That is why he turns down Penner’s Sabbath lunch. Set his justice beside others. For a Calabrian who keeps the vendetta, justice means the books balance in blood across three generations and the family name stands. For a scholar in a Vilna study hall, justice means the case argued from every side until even the losing opinion is written down and preserved. For a witness before a truth commission in Johannesburg, justice means the killer says the crime aloud in open session and then walks home a free man. For a boxing referee, justice is a count you cannot buy and a bell that both men obey. Judd’s justice and the truth commission’s justice cannot share a room. One says the offender pays. One says the offender confesses and is released. Judd chose the ledger over the commission, and he chose it because his hero system runs on a balanced account, the same account the Adventist character-theology taught him before he threw the theology out.

Take witness. Judd climbs the platform after Hawaii and gives what he calls a testimony, borrowing Ellen White’s own opening, “I was shown,” naming the warriors of the right and the left as Brother A and Sister B so the students can decode them and laugh. Witness for him means standing up and telling the true story of the fight, and the memoir is the same act enlarged. Set it beside others who live by the word. For a photographer at the gate of a liberated camp, witness is the shutter, the proof no one can later wave away. For a martyr in the arena, witness is the death itself, the body offered as the argument. For a stenographer in a federal courtroom, witness is the verbatim record, neutral, complete, the thing that outlives everyone in the room. Judd’s witness leans toward the photographer and the stenographer, the man who fixes the record so the record favors him. He wants the narrative he controls to be the one that survives, and survival of the narrative is survival of the man.

How much of this does he see. More than most, less than all. The Penner passage is real self-knowledge, a man watching his own grudge and declining to dress it as virtue. But the larger blindness holds. Judd casts himself as the moderate who only wished the factions would love one another, and he tells you, in the same memoir, that he drove a hundred and three miles to write hymns mocking the General Conference president, that he accused Gerhard Hasel (1935-1994) of plagiarism in verse set to “A Mighty Fortress,” that he let the tape leak and labeled it from a fake address to cover his tracks. The mockery from his side is satire and catharsis. The surveillance from the other side is vitriol and fear. He never sets the two on the same scale, and the refusal to weigh them is the foundation of his self-portrait. The parodists and the men in the bushes perform the same act. Each defends a project against death by treating the other as the agent of death. Becker would say Judd cannot see the symmetry because seeing it would cost him the role of the reasonable man, and the role of the reasonable man is how he plans to be remembered.

So the shape of the hero. Wayne Judd is the teacher who means to outlast death in the minds he opened and in the story he controls, a man who subtracted the doctrine that promised him heaven and kept the appetite the doctrine fed. He traded salvation by character for vindication by record, and he kept the same grammar of debt and payment all the way down.

The unnamed rival is not Gane, not Penner, not Neal Wilson (1920-2010). The rival is Desmond Ford. Judd insists across the memoir that he was never a Fordite, that he never attended the Newcastle meetings, that he grew bored with dogma and walked beside the man without following him. He defines himself against the disciple he refused to become. Ford paid the whole price for the conviction Judd only flirted with. Ford lost his credentials, his classroom, his place in the tradition, and never taught again. Judd kept his job and drove down the mountain humming the doxology. The rival is the man who showed what conviction costs, and the memoir works hard to prove that Judd admired him from a safe distance.

And the cost the ledger cannot price. Judd kept the books and balanced them, and balancing them cost him the Sabbath table at Bill Penner’s house, the reconciliation his subtracted Christianity would have handed him for free. He won the freedom and lost the grace, and the proof sits in the file boxes he still keeps, the documents he leafs through forty-three years on, stunned again at the old fear. The classroom they took from him closed in 1984. He is still in the room. The freedom he fought for froze him at the moment of the fight, and a man who must control the narrative forever never gets to put it down.

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The Answered Letter: A Hero-System Essay on Philosopher Gary Chartier

Ernest Becker (1924-1974) says a man carries two terrors he cannot face at the same time. The first: he will die. The second runs deeper. His death will leave the world unchanged, the water closing over the spot where he went down. Against the second terror a man builds what Becker calls a hero system. He earns a place in a scheme of value that outlasts his body. He fathers sons, raises a barn, writes a book, salutes a flag, joins a church, takes a side. The scheme tells him his life counts in a story longer than his lifespan, and the story lets him sleep.

Gary Chartier (b. 1966) builds his hero system out of the one thing Becker warns us we crave and dread in the same breath. He builds it out of refusing to be ruled, and out of refusing to rule.

I knew him before either of us read Becker. We sat in the same seventh-grade classroom at Pacific Union College under star teacher Audrey Judd (wife of the hilarious PUC talker Wayne Judd), two Adventist boys raised to expect the world to end soon and to keep our rooms clean while we waited. We lost touch. Years passed. I came down with chronic fatigue syndrome, and a man learns fast who stays and who finds the exit when his body quits on him. Many found the exit. I wrote to Gary. He knew my letter was coming and he must have dreaded it because word got around that I was lost and needy, but he wrote back. His words held a sick man to the land of the living. The philosopher who later wrote a book called Understanding Friendship practiced the thing before he theorized it.

Chartier tells a subtraction story, as every serious man does. His runs like this. Take the world as you find it, with its presidents and police and prisons and borders and the long habit of obedience that holds them up. Subtract the part where some men command and other men obey or go in a cage. What remains holds together. People trade, help, promise, forgive, and keep faith with one another because they choose to. He gives this remainder a name that frightens the respectable. He calls it anarchy. In Anarchy and Legal Order he argues that law does not descend from a throne. It rises from below, from the agreements free men make and the courts they build by consent. Order without rulers. The phrase sounds like a contradiction to a man raised on Hobbes. To Chartier it names the only order worth the name.

Becker notices what the subtraction does for the man who performs it. The state, in his account, ranks among the grandest immortality vehicles men have built. The flag outlives the soldier. The nation hands the citizen a piece of forever and asks his life in return. To subtract the state is to refuse that consolation. Chartier gives up the largest immortality symbol on offer and stakes his hope on something smaller: that men will choose the good with no gun at their backs.

A word is a coin that buys different goods in different countries. Say the word “freedom” to Gary and he hears voluntary cooperation, the absence of the command, men ordering their lives by consent. Say it to a Trappist monk and he hears the reverse. The monk’s freedom comes through obedience, the surrender of self-will that releases him from the tyranny of his own appetites. Say it to a wildland firefighter on a burning ridge and freedom shrinks to the next choice under the next gust, the narrow room a man has to move before the fire moves for him. Say it to an old woman who spent forty years under a regime that read her mail, and freedom means the mail arrives unopened. One coin. Four countries. Each man spends it on what his hero system sells.

Take “friendship,” the word at the center of Gary’s life and work. For Gary friendship is a moral, political, and spiritual good, the shape love takes between equals, the bond men make without being bound. For a Marine rifleman friendship is the man on his left, the one he dies beside and for, a tie sealed by shared danger and enforced by shame. For a venture capitalist a “friend” is a useful node, a contact who returns the call, a line of credit drawn on goodwill. For a hospice nurse friendship lasts three weeks and ends every time at the same place, and she gives it anyway. Gary’s friendship asks nothing of danger, nothing of use, and does not close when the body fails. I have the letters to prove it.

Take “commitment.” Chartier wrote a book by that name, The Logic of Commitment. He means a vow freely given that then binds the giver, the free man who chains himself and calls the chain a gift. For a Las Vegas bail bondsman commitment means collateral and a signature and a man you can find again. For a midwife commitment means staying until the child comes, however long the night. For a Sicilian widow commitment means the black dress she wears until they bury her in it. The same word organizes a courtroom, a birth, and a grave, and each speaker thinks his meaning the obvious one.

Most men hide their hero system from themselves. They mistake it for the way things are. Chartier belongs to the rare class who name the thing they live by. He says love sits at the center. He wrote it in The Analogy of Love and again in Loving Creation, where the love that moves the world traces back to the God who is love. He knows he trades the consolation of power for the soft and risky one of consent. A man this awake to his own scheme earns a high mark on the one test Becker offers, which asks whether you know what you reach for when you reach for a way to outlast death. Gary knows.

One question stays open. The order Chartier rejects, for all its cages and commands, also shelters the weak who cannot defend themselves and have no strong friend to write to. Voluntary love is glorious for the man whose letter gets answered but a scheme built on the free choice to love holds no answer for the one whose neighbors choose not to.

Three coordinates, then, to fix the man.

The shape of the hero. Chartier stands as the man who refuses both the throne and the cage, who looks at the oldest bargain in politics, obey me and I will keep you safe, and declines it, and spends his life drawing the blueprint of an order held up by nothing but the word free men keep.

The unnamed rival. His true opponent never appears on the page by name. It lives in the longing of every frightened man for a strong father, a sovereign, a Leviathan to take the terror off his hands and tell him what to do. Thomas Hobbes (1588-1679) gave that longing its great argument. Gary spends his work answering a craving older than any state.

The cost the ledger cannot price. The anarchist of love bets everything on the answered letter. He trusts that men will choose one another, will write back, will stay. Sometimes they do. I am alive to say so. But a system of voluntary love cannot price the cost of the letter that goes unanswered, the sick man whose friends find the exit, the one for whom no Gary writes. That bill sits at the bottom of his beautiful arithmetic.

The Voice

The first thing about his voice on the page is how mild it runs against how radical it argues. The man wants the state gone, and he writes about that in the tone of a professor chairing a faculty committee. No heat, no rabble, no polemic. Reviewers keep landing on the same word for it. One found The Analogy of Love spare and lucid and free of jargon, and another said the case in Anarchy and Legal Order comes laid out so an ordinary reader can follow it. A third granted that the book does not show off its learning. The plainness is a choice. He holds a Cambridge doctorate and a higher doctorate and could write the dense Continental anarchist sentence in his sleep, and he declines to.
His signature move is the flat provocation followed by the hedge. He opens a piece by stating the bomb in a short declarative sentence, libertarianism is a redistributive project, market anarchism belongs to the socialist tradition, and then he spends the next paragraph qualifying it, surrounding it, asking which questions you have to answer before the claim holds. The shock sits in the content. The delivery cools it back down at once.
Under that runs the analytic philosopher and the lawyer braided together. He likes the formal definition with variables. He will say one man stands subordinate to another when the second holds significant and persistent power over the first, A and B, the way a logic text or a statute reads. He likes the clean triad, opposition to subordination, exclusion, and deprivation, the way the subtitle of Markets Not Capitalism lines up bosses, inequality, corporate power, and structural poverty. He draws distinctions for a living and the prose shows it, the careful sorting of a normative claim from a descriptive one, the border between applied and foundational ethics named as a border.
And he hedges without pause. I suggest, I take to be, it seems clear that, this is rightly seen as, what may be a thread. For a man whose conclusions sit at the far edge, the epistemic manner stays tentative and invitational, never thumping. He grants the other fellow’s view a fair hearing before he offers his own, and concedes that rival characterizations are not wrong-headed. The courtesy is constant and it is the rhetoric. A reader braced for a firebrand meets a host instead, and the welcome lowers the guard. You find yourself nodding at the abolition of the state because the man proposing it sounds so reasonable.
The register shifts when he turns from politics to God. In the devotional books, Vulnerability and Community, Understanding Friendship, Loving Creation, the variables drop away and the sentences warm and slow. Love, friendship, communion, the words carry the weight. The same lucidity holds, but the lawyer’s scaffolding comes down. One reviewer of the love book confessed that a few stretches grew abstract enough to wear him out, which fits a writer who reaches for the careful qualification even when the subject is the love of God.

Buffered and Porous Selves

Charles Taylor (b. 1931) draws a line down the modern self. On one side stands the porous self of the older world, open at its edge, pierced by grace and spirit and the love of God, holding its meaning out in a charged world that can reach in and move it. On the other stands the buffered self of the present age, sealed at the boundary, master of its own inside, conferring meaning rather than receiving it, disenchanted and safe and alone. A Secular Age tells the long story of the crossing from the first self to the second. Most modern men live buffered and call the condition reality.
Gary Chartier carries a porous self into a buffered age.
Read his theology and the porousness shows at once. The God of The Analogy of Love and Loving Creation is no watchmaker idling behind a closed cosmos. He acts, He loves, He draws persons into communion, and the love that moves Him moves through the world toward men. Chartier locates fullness, Taylor’s word for the place where life runs deeper and richer, in love and friendship and the bond freely kept. The man who answered a sick friend’s letters across two bad years, with no return in standing, lives out the porous self in plain view. Grace runs between persons. Meaning arrives from outside the skull. That is the older self, alive in a man of the buffered age.
Now read his politics, and the idiom flips. The case for the stateless order comes dressed in the language of the buffered world. Self-evident goods apprehended by any rational agent. Inalienable rights. Consent. Mutual benefit among free and equal persons. Taylor has a name for that picture of society. The modern moral order, the social imaginary that replaced the old hierarchical cosmos with an order of mutual advantage among rights-bearing individuals. Anarchy and Legal Order takes that imaginary and runs it to its far edge, dissolving even the sovereign the order threw up. Chartier does not stand outside the modern moral order to judge it. He stands at its furthest point and pushes.
Watch what he does with the remainder. Subtract the myth that some men hold the right to rule, he argues, and a voluntary order stays behind. Taylor built a career taking apart that shape of argument. He calls it a subtraction story, the tale of modernity as the clean residue left when illusion drops away. His answer holds here too. No neutral remainder waits under the state. What stays after the subtraction is a positive construction, a new moral order with its own goods and its own picture of the person, carried in practice and image and story rather than deduced from bare reason. Chartier presents his anarchy as what reason sees once the fog lifts. Taylor places it as one articulation among the many the modern age has thrown off, an option in the nova, not the floor beneath the options.
Here the seam opens, and the seam is the man. His moral source runs porous, communal, incarnate, particular, the love of a God who acts and the friendship of one man for another. His public argument runs buffered, universal, rationalist, the rights and reasons any agent anywhere might grant. Taylor names the strain without making him choose. The universalism is the buffered dress a porous source puts on to be heard in an age that will not take “God is love” as a premise. Chartier reaches for self-evident reason because the room has stopped listening to grace, and the reaching hides the true ground of the thing, which is communion.
The hidden ground turns out to be the part his politics needs most. A stateless order cannot live as argument. It has to live as a social imaginary, the way ordinary men picture and inhabit their common life, carried in habits and bonds and shared practice. The polycentric-law theory is buffered theory. The imaginary that might hold an order together without a throne is the sacramental one, church and friendship and mutual aid, the communion his theology already describes. His rationalist register conceals the resource his anarchy depends on.
One pressure stays unrelieved, and candor keeps it open. Taylor’s history says the modern moral order and the disciplining state came up together, the reforming, ordering, civilizing power growing alongside the imaginary of mutual benefit. Chartier keeps the order and discards the state. He bets the two pull apart. Taylor’s long account suggests they grew from one root, and the bet runs against the grain of the story that produced the very goods Chartier wants to save.
In an age that flattens the good into private preference, Chartier does the rare Taylorian labor. He articulates his moral source instead of leaving it tacit, and names love and God as the place his ethics draws its power. He scores lower where he takes that articulation for the voice of reason as such, one window held open in the immanent frame mistaken for the open sky. He writes from inside the buffered age with the window open, and his politics reads as the porous self trying to build a public world that lets the window stay open. The letters that reached a sick man were the same project in miniature. Communion first. The argument comes after, reaching for words the age will still accept.

Exit, Voice, and Loyalty (1970)

Albert O. Hirschman (1915-2012) names two things a man does when the firm or the church or the country he belongs to starts to fail. He leaves. Or he stays and complains. Hirschman calls the first exit and the second voice. Exit is the clean economist’s move. You take your custom elsewhere and the provider feels it in his receipts. Voice is the messier political one. You stay in the room and argue and organize and try to set the thing right from inside. A third force decides which a man reaches for. Hirschman calls it loyalty. Loyalty raises the price of leaving and holds a man in his seat long enough to use his voice, and without some of it the able and the quality-minded walk at the first sign of trouble and leave the failing thing to rot.
He cuts against the easy faith in choice. Cheap exit starves voice. When the door stands open and leaving costs little, the men most alert to decline, the ones who might have fixed the place, go first, and their leaving pulls out the pressure that might have forced repair. Exit turns into a safety valve that lets bad management sleep. Voice needs men who stay.
Gary Chartier builds the purest exit doctrine in modern political thought.
His anarchism runs on leaving. Anarchy and Legal Order hands a man competing providers of protection and law, courts and agencies he hires and fires, and the remedy for a bad one is to take his business down the road. He does not petition a sovereign. He does not outvote a majority. The state, in Chartier’s case against it, traps a man and gives him only the weakest voice, a single ballot counted against millions, take it or leave the country. The market gives him exit, and exit disciplines a provider as no vote can. Chartier prefers the open door to the long argument. He stakes the order on it.
Hirschman knew exit in his own body, a Jew who ran from Berlin and then from Paris ahead of the Germans, and he knew voice, the lifelong optimist who bet on reform from within and called himself a possibilist. He gave neither the last word. He spent his book warning against pure voice too, the trapped subject of the tyrant who cannot leave and cannot be heard. But he presses the question Chartier’s confidence skates past. What happens to voice in a world built for exit.
The answer runs against the anarchist hope. In an order where leaving costs nothing, the first to leave a souring community is the man who cares most and sees clearest, the one whose staying and arguing might have saved it. His exit is rational and his exit is a loss, because it strips the group of the voice that mends it. A community needs men who stay through a bad season and fight for the thing. An order that prices exit at zero teaches every able man to skip the fight.
Then loyalty, and here the pressure climbs. Loyalty does the work exit cannot. It carries a group through the year exit would empty out. A pure-exit order gives loyalty no anchor in its structure. Why bleed for a community a man can quit tomorrow at no cost.
Chartier has his answer. He wrote a book called The Logic of Commitment and another called Understanding Friendship. His left-libertarianism comes thick with mutual aid and bonds freely kept. Loyalty, he says, lives in those bonds. Men stay because they love one another and keep their word, not because the law bolts the door. The loyalty is real and the loyalty is chosen, and the two sit at peace.
Hirschman’s counter: Loyalty bites when a man stays though he could go. A tie he can dissolve at will, at no cost, holds him only while he wants to be held, which is the season loyalty is not needed. The test arrives in the bad year, the year a man has every reason to walk, and a loyalty with no grip in that year is a fair-weather thing. Chartier makes every bond exit-able by design. He has theorized loyalty with great care and built an order that taxes it lightly and gives it nothing to hold.
And then the man who cannot exit at all. The exit order rewards the mobile, the solvent, the connected, the customer with a second provider down the road and the cash to switch. It offers nothing to the one with no alternative and no means to reach it. The sick man cannot shop for a healthier town. The poor man cannot fire his only protector. The friendless man has no second friend to call when the first goes cold. In an order all exit and no voice, his decline draws no notice, because notice comes from the threat to leave, and he has nowhere to go. He is the cost the ledger cannot price, the figure who falls through the floor of a market in everything.
I have stood on that floor. When my body quit, the friends who could leave, left. They took their custom to healthier company, and the market in friendship cleared them out of my life at small cost to them. I could not exit my body. I had no second provider. I wrote to Gary, who owed me nothing and stood to gain nothing, and he wrote back, and kept writing across 1992 and 1993. That was not exit. That was loyalty, and the voice of a man who stays. The philosopher of the open door practiced the thing his politics leaves thin.
So Hirschman finds the missing half of Chartier’s philosophy. An order built all of exit needs loyalty and voice to live through a bad season, and the place that half already lives, in Chartier’s own work, is the theology of friendship and commitment he keeps in a separate book from the politics. The consent-and-providers language carries the exit. The love language carries the loyalty. He has written both and joined neither, and the bridge between them is the one a sick man crossed on paper thirty years ago, when a friend chose voice over exit and answered the letter that the market said to leave unopened.

Mancur Olson (1932-1998)

Mancur Olson broke a comfortable assumption, that men who share an interest will act on it. The old view ran that a group with something to gain together will organize to get it, the way a market of buyers and sellers finds its price. Olson found the opposite for any group past a certain size. In The Logic of Collective Action he argued that a rational man in a large group will not pay for a good the whole group enjoys, because his single share of the benefit is small, his single contribution moves the outcome not at all, and he collects the good whether he pays or not. So he waits for others. Everyone waits. The good goes unprovided, or under-provided, though every man in the group wants it and gains from it. Not because any man is wicked. Because each man is rational, and rational men ride free.
The good that fits this trap best is the one no man can be shut out of. Olson’s name for it, the collective or public good, covers the things that reach a man whether or not he chips in. Clean air. A levee. The peace of a street. Above all, defense. Hold off an army and you hold it off for the man who paid nothing as surely as for the man who paid. So the man who pays nothing comes out ahead, and the rational move runs to letting the neighbor fund the wall.
Gary Chartier asks free men to fund the wall.
His order runs on voluntary supply of the goods the state now monopolizes by force. Anarchy and Legal Order gives a society its law through customary courts and competing arbiters, its protection through agencies a man hires, its disputes settled by bodies that earn their standing rather than command it. No tax. No conscription. No sovereign compelling a man to pay for the common peace. Chartier’s hottest fire falls on the legitimacy of that compulsion. No man consented to the state. Its authority rests on a story. Strip the story and the coercion stands naked.
Olson grants all of it and asks a question the legitimacy argument never touches. Concede that the state holds no rightful claim. Concede every man sincere and decent and willing in principle to support the common order. Who pays for the courts. The free-rider problem does not care whether the state is legitimate. It bites on the supply of the good, not the right of the supplier. A town of honest men who all want a militia still under-funds the militia, because each honest man reasons that his own contribution will not decide whether the militia stands, and the militia, if it stands, guards him regardless. Goodwill does not dissolve the logic. This is the bite, and it lands with none of the cynicism that reads men as knaves. Olson’s free-rider wants the good. He sees that his coin will not buy it and that he gets it free if others buy.
Chartier has answers, and Olson handed him the best one. Olson’s own escape from the trap runs through what he called selective incentives, private rewards bundled with the public good and withheld from the man who will not pay. The union wins the wage for all workers and the trap should sink it, so it bundles the wage with members-only benefits and a closed shop, and the private lure funds the public win. Chartier’s protection agency works the same seam. It sells protection as a service a man buys for himself, excludable, like insurance, billed to the subscriber and denied to the man who skips the premium. Make the good excludable at the point of sale and the public-good framing falls away. A second reply runs through size. Olson said small groups supply collective goods well, because each member’s share grows large enough to move him. Chartier’s order is built of small things, mutual-aid societies, congregations, guilds, neighborhoods, the privileged small groups Olson exempted. A third runs through the social rewards Olson saw in face-to-face groups, the esteem and shame and standing that move a man among people who know his name, enforced by reputation and the door shut to the cheat.
Olson’s counter comes in three matching strokes, and they cut. The selective incentive funds the excludable rind and leaves the public core unpaid. A protection agency can sell a man a guard at his door. It cannot sell him deterrence, the peace that settles on a whole district when raiders learn the district fights back, because that peace falls on the subscriber and the holdout alike. You cannot repel an invasion for paying customers only. The big, lumpy, non-excludable goods, external defense and the general peace, are the ones no subscription captures, and they are the ones the state seized first. The agency model covers the part a man can be billed for and abandons the part he cannot.
The small-group reply meets the second stroke. Olson granted the small group and then pointed at the gap above it. A federation of small communities has to supply a good larger than any one of them, the peace among them all, and that larger good faces the same trap one floor up. Each small group rides free on the order of the whole. The mutual-aid society funds its own and lets the wider peace fend for itself, because the wider peace reaches it whether it pays in or not. Olson’s logic does not vanish when you stack small groups. It returns at the join.
The social reward meets the third. Esteem and shame govern a man among people who know him, and they thin as the circle widens and the faces turn anonymous, the scale at which the largest public goods live. Reputation polices the village. It does not raise an army or keep the peace among strangers across a thousand miles.
Chartier is a left-libertarian. He cares about the poor, the weak, the worker, the man at the bottom, and he built that care into his anarchism, against bosses and structural poverty. Olson’s logic falls hardest on the goods that care depends on. The protection of the man who can pay no premium is a public good in its purest form. Justice for the indigent, a hearing for the man with no retainer, defense for the district too poor to fund a guard, these reach people who cannot be billed and spill onto a wider public that need not pay. The selective incentive cannot fund them, because their beneficiary is the man with nothing to offer in trade. The state funds them, when it funds them, by compelling the man who can pay to cover the man who cannot. Chartier abolishes the compulsion. His leftism wants the poor man guarded. His libertarianism forbids the forced transfer that pays for the guard. Olson stands at that seam and asks which half gives way.
So Olson grants Chartier the whole moral case and presses the structural one beneath it, and the pressure runs to a fork. Either the voluntary order stays small, where shares are large and faces are known and the logic sleeps, and gives up the scale at which a modern society lives. Or it builds selective incentives strong enough to fund the public core, compulsory dues, exclusion, enforcement against the holdout, and starts to wear the coat of the thing Chartier undressed. The protection agency that must compel payment to fund the peace that spills onto non-payers collects a tax and calls it a fee. Scale or compel. Olson says a man cannot have large-scale voluntary supply of non-excludable goods, and that pairing is the one Chartier’s order needs.
An order built on what each man will pay for guards each man to the depth of his purse and stops at the goods that belong to everyone and are owed by no one in particular. The clean street. The kept peace. The open court for the man who arrives with empty hands. These are the goods a free-rider order under-buys, and the man they fail is the one who could never have paid his share, the one Chartier the leftist set out to defend. He wrote the case against the boss and the case against the state in the same breath. Olson points to the bill between them, the cost of the poor man’s peace, and asks, in a society of free men paying only for what they choose, whose name goes on it.

René Girard (1923-2015)

René Girard traced human war to one root and human peace to one crime.
The root is desire. A man does not want from the gut, on his own. He learns what to want by watching another man want it. Desire copies. Girard calls it mimetic. I reach for the thing my neighbor reaches for, not because I knew its worth first but because his reaching taught me, and now we both want the one thing and stand as rivals over an object our wanting made precious. Spread that across a community and the rivalries feed one another. Each man imitates his rival’s hatred as he once imitated his rival’s desire. The violence doubles and runs from hand to hand until the whole community stands at the edge of the war of all against all.
Then the crime that saves it. The mounting violence, with nothing left to settle it, settles on one man. The crowd turns as a single body against a single victim, an outsider, a cripple, a stranger, a king, someone marked and unable to strike back. They lay the whole crisis on him. They kill him or drive him out. And the fever breaks. The peace that floods in feels like his gift, so the dead man turns holy, guilty in the hour they fell on him and sacred once he lies still, and the community remembers the murder as a sacrifice and repeats it at an altar to keep the calm it bought. Violence and the Sacred lays this out. The scapegoat founds the order. Every archaic religion spends one life to spare the rest.
The state is the heir to that bargain. The court takes vengeance out of the hands of the wronged man and gives it to a third party he cannot strike back at, and the blood feud stops because the verdict comes from a power above the quarrel and answers to no one in it. The law is channeled violence, the old single victim refined into a standing institution that holds the monopoly on the sword and so keeps the rivalries from running to the crisis.
The Gospel breaks the spell. The Passion tells the scapegoat story for the first time from the side of the victim. It shows the crowd, the false charge, the expulsion, the death, and it declares the dead man innocent and the crowd wrong. Things Hidden Since the Foundation of the World and I See Satan Fall Like Lightning read the Cross as the unveiling of the founding murder as murder. The long fallout is the modern conscience, the concern for the victim, the instinct to check whether the accused crowd has it right. But the unveiling strips away the old cover without stripping away mimetic desire. It tells men the scapegoat is innocent and leaves them still wanting what their neighbors want. So the modern world comes out more tender toward victims and more exposed to its own violence at once, the brakes loosened, the calm no longer cheap. Girard turned apocalyptic at the end, in Battling to the End, watching for the restrainer that holds the crisis off and fearing its removal.
Gary Chartier wants to remove it.
He is a Christian theologian of non-aggression who looks at the institution holding the sword and judges its violence unowed and its authority a story. He wants the state gone. Set him beside Girard and the convergence runs deep, deeper than with any other man. Girard says the state is the scapegoat refined. Chartier says the state is a maker of victims, and he can point at the cell, the gallows, the conscript, the enemy named in a war, the foreigner at the line. He can quote Caiaphas, who told the council it was better for one man to die for the people, and name that the founding formula of the thing, the single victim spent for the peace of the rest, written into law and called justice. Chartier the anarchist refuses Caiaphas. He reads the Gospel’s defense of the victim straight through to its political end and asks why a community redeemed from sacrifice still keeps the great sacrificial house standing. On Girard’s own ground he looks like a man trying to build the post-sacrificial order the Cross made thinkable, the society that holds together with no victim buried under the foundation.
Then Girard turns and asks the dark question back. Can it hold.
The state, on his account, is also the restrainer. Its monopoly court ends the feud because no party can avenge a verdict that comes from above them all. Take the monopoly away and put competing agencies and rival arbiters in its place, the polycentric order of Anarchy and Legal Order, and the reciprocal shape returns. My protector against yours. My court against the court you hired. No final third that no one can strike back at, which is the office the sovereign filled. Girard has a name for two rivals who mirror each other with no power above to part them. He calls them doubles, and the doubles are the engine of the crisis. An anarchy of protection agencies, to Girard’s eye, is the mimetic crisis with the brake pulled out, and the crisis in his anthropology ends one way. It finds a victim.
Chartier has a strong reply. The unveiling is not the whole of it. Christ gives men a model to imitate whose desire grasps at nothing, and to copy that model is to drain the rivalry at its source instead of damming its overflow with a corpse. Good imitation. Converted desire. Forgiveness, love of the enemy, mutual aid, the bond freely kept. Chartier wrote The Analogy of Love and Understanding Friendship and built a politics on the claim that men can want with one another rather than against one another. His order does not contain violence by spending a victim. It dissolves the rivalry that breeds the victim. And the state, far from restraining that violence, is its largest organized supplier, so striking it down follows the anti-sacrificial logic to the floor.
Girard’s counter. The Cross removes the lie. It does not remove the desire. A man can know to the marrow that the scapegoat is innocent and still want what his neighbor holds and still escalate when his neighbor wants what he holds. Conversion is real. Conversion is partial and rare and slow. An order that runs on converted desire across a whole society bets on the sanctification of nearly everyone, and Girard spent fifty years showing that nearly everyone, under pressure, reaches for the victim. Pull out the restrainer before the conversion comes and you do not arrive at the Kingdom. You arrive at the crisis, and the crisis makes a fresh victim, worse than the old one because no ritual bounds it and no altar limits the count. The century behind us made its mass victims fastest where the old restraining order broke and the redeemed community was declared at hand. Chartier risks loosing the violence the crude state crudely holds, and the loosing ends not in friendship but in a new founding murder.
Chartier bets that love reshapes desire at the scale of a society. Girard bets that the Gospel unveils the victim and then leaves humanity standing between the Kingdom and the apocalypse with the archaic net cut away. Both read the Cross as the end of sacrifice. They split on what a man does the morning after the veil comes down. Chartier trusts the converted heart to carry a stateless order. Girard suspects the unconverted majority will slide back toward the crisis the moment no power above them holds the doubles apart, and that the suspicion is the sober reading of the record.
I knew the smaller version of this. A sick man is a soft scapegoat. The healthy keep their distance from the one whose body has failed, half blaming him for a thing he did not choose, treating the misfortune as a contagion to back away from, and the backing away clears the troubled figure out of the group and lets the group feel whole again. When my body quit, that is the move I watched. Friends found reasons to stand off. The crowd did not turn violent. It turned its back, which is the gentle face of the same act, the quiet expulsion of the marked man.
Gary did the other thing. He turned toward the one the others were easing out. He wrote, and kept writing, and named the marked man friend. That is the Gospel’s move in Girard’s own telling, siding with the victim against the crowd that casts him off, the good imitation that copies the model who stands with the expelled and not the model who throws the first stone. One man refused the expulsion. The converted desire Chartier builds his politics on is real, and I am the small evidence that it is real, because it reached me on paper when the market in healthy friends had cleared me out.
Whether the thing that saved one sick man scales to hold a whole society with no sovereign over it is the bet Girard will not cover. The frame leaves Chartier his sainthood and doubts his sociology. It grants that the Gospel makes the stateless order thinkable and warns that thinkable is not the same as safe, because the desire that builds the scapegoat outlives the lie that hid him, and an order that forgets this prepares, without meaning to, the altar for the next one.

Pierre Bourdieu (1930-2002)

Pierre Bourdieu says no man speaks from nowhere. He speaks from a spot on a field. A field is a structured game, the academy, the law, the church, the art world, each with its own prizes and its own referees and its own buried sense of what counts as a good move. Men enter carrying capital, and Bourdieu counts more kinds than the banker does. Economic capital, money. Cultural capital, the degree, the diction, the trained taste. Social capital, the web of useful ties. And symbolic capital, the prestige the other kinds turn into once a field grants them recognition. A man plays his capital for the stakes the field has set, and what he says, his position-taking, tracks the position he holds and the room left open to him on the board. Bourdieu calls the unspoken rules doxa, the water the fish forgets it swims in. He calls the player’s feel for the game habitus, the dispositions a whole life lays down so deep they pass for instinct and read like free choice.
In Homo Academicus he treated the professors as a tribe and mapped their feuds as struggles over position, and he drove the reflexive knife to the hilt. A scholar’s ideas, his own among them, carry the watermark of where he stands. What a man calls the truth, Bourdieu calls, more often, the misrecognition of his position as a truth.
Set Gary Chartier on that board and the picture comes up fast.
Start with the habitus and the path that laid it down. A Seventh-day Adventist boyhood in Glendale, a sabbatarian sect that built its identity standing apart from mainstream Protestant America, schools its children early in principled nonconformity, in the feel of being right while outside. A father who worked as accountant and physician and leaned libertarian, and a son who found the economic libertarian authors in high school following that lean. The dispositions came in matched, religious dissent and market dissent, the temperament of the reasoning outsider who keeps the room clean while he waits for a world the majority does not expect. Then Cambridge for the doctorate, UCLA for the law degree, Cambridge again for an earned higher doctorate, the LLD. The trajectory fits the position he came to fill the way a hand fits the glove cut for it.
Now the fields, because the same word lands differently in each, and the whole of the man sits at the border where they meet.
In the mainstream legal academy and in analytic political philosophy, anarchist is a near-disqualifying label at the center, a word that costs a man his seat at the high table. Chartier does not sit at that table. He holds a distinguished chair and an associate deanship at La Sierra’s business school, and that is a second field with its own doxa. An Adventist university prizes a morally serious Christian scholar carrying a Cambridge consecration, and his anarchism reads there as exotic rather than threatening, while his output and his prestige bring the institution symbolic capital it could not buy. The radical word costs him nothing in that field. The Cambridge LLD brings the school glory, and the school wrote it up when it came.
Then the third field, the small left-libertarian and market-anarchist subfield, the Molinari Society, the Center for a Stateless Society, Kevin Carson and Roderick Long, Reason, the radical micro-presses. Here anarchism is not heterodox. Here it is the doxa, the ticket of entry. And Chartier walks in carrying the one capital the subfield runs short of, academic consecration, a Cambridge doctorate and a higher doctorate and university-press books, in a corner of the world thin on credentials. He brings cultural capital into a field hungry for it, and the field hands him standing in return. The most credentialed man in the room.
See the position. One label, three fields, and Chartier occupies the spot where it pays in all three at once. Heterodox enough to stand out, consecrated enough to stay safe, Christian enough for La Sierra, radical enough for the stateless-society press. Anarchy and Legal Order is the brand object that performs the whole alchemy in its spine. Cambridge University Press, the summit of symbolic capital in his trade, publishing a defense of anarchy. The press that no one can dismiss as fringe lends its seal to the content no one can then dismiss as uncredentialed. The pairing is the capital play in physical form, the consecrating house married to the heterodox claim, and the marriage turns a word that ends careers into a mark of distinction.
This answers the question the merits alone never settle. Why this synthesis, natural law fused to market anarchism, from this man, in this place. Natural law gives the Christian field a moral grammar it honors and gives the secular academy a respectable analytic lineage to argue inside. Market anarchism gives the radical subfield its content and its membership. The hybrid is the position that stays legible and pays capital across every field he stands in at the same time. Bourdieu does not ask whether the synthesis is correct. He asks what shape the space of possible moves had, for a man with this habitus standing in this spot, and the synthesis is the move that maximized the return on every kind of capital he held.
The illusio is the player’s investment in the game, the lived conviction that the stakes are worth the fight. Chartier is no cynic working an angle. The habitus produces sincere belief, and that is the whole force of the idea. Misrecognition is the experience of a position-bound conviction as a universal truth. His natural law holds that any rational agent anywhere apprehends the same basic goods. Bourdieu reads the phrase any rational agent anywhere as the universalizing of one Cambridge-trained, Adventist-raised, American man’s well-schooled intuitions, felt from the inside as the voice of reason.

Interaction Ritual Chains

Randall Collins (b. 1941) says the smallest real thing in social life is the encounter. He builds on Durkheim (1858-1917) and Goffman (1922-1982) and names the unit the interaction ritual. Four things have to catch at once. Bodies in one place. A barrier that marks who is in and who is out. A single focus the group shares. And a common mood that climbs as the people feed it back and forth until it runs through all of them as one feeling. When the four lock, the encounter throws off three products. Solidarity, the sense of one body. Sacred symbols, the words and emblems the group will then defend as holy. And emotional energy, the current that fills a man when the ritual fires, the confidence and warmth and drive to go on. Collins makes that current the thing men seek above money and above truth. Encounters link into chains. A man walks a lifelong chain of them, charged by the ones that catch and drained by the ones that fall flat, steering by feel toward the rituals that pay him energy and away from the ones that leave him cold. Ideas ride the chains too. In The Sociology of Philosophies he mapped the great thinkers as networks of charged meetings, master to pupil, rival against rival, and found the creativity massed at the center of the network, where the energy ran hottest.
Gary Chartier runs hot on the chains.
Look at the production and the rituals behind it. Books at a clip few scholars hold, some years two across two presses, plus the edited volumes, Markets Not Capitalism with Charles Johnson, the Routledge anarchism handbook with Chad Van Schoelandt, the social-class volume with a four-man editorial table. Edited volumes are interaction rituals on paper, a barrier drawn around the contributors, a shared focus fixed, a common mood built from the introduction out. The conference circuit feeds the same current, the Molinari Society session at the Pacific APA, the panels, the symposia where five commentators gather around one book and charge it with a day of shared attention. The blog keeps a smaller ritual turning between the larger ones. And under all of it, the church, Adventist worship, the sabbath kept weekly, the oldest interaction ritual in his life, bodies gathered behind the sect’s barrier in a focus held since childhood. Collins reads a man this productive as a man wired into many charged networks at once, each meeting paying energy that the writing then spends. The output is the visible track of a chain running hot.
The sacred words come next. Consent. Voluntary order. Anarchy. Friendship. To the frame these are emblems, symbols charged in the rituals of his networks and defended after because the energy lives in them. The small market-anarchist subfield runs its solidarity the way every group does, on a shared sacred object and a shared profane one. The voluntary order is the holy emblem. The state is the profane thing the membership rejects together, and rejecting it together is part of what charges the room. Collins watches the word state become the object a network bonds against, and the bonding is what he tracks.

James C. Scott (1936-2024)

James C. Scott spent a career on one fact. The state cannot see most of what it governs, and what it cannot see it tries to flatten until it can.
The argument runs through legibility. A central power needs its subjects readable from the capital, so it remakes them into forms a clerk can file. It replaces the local land tenure no outsider could follow with a survey grid and a deed. It fixes the wandering surname into a registry. It clears the mixed old forest into rows of one tree planted for the timber yield, the scene that opens Seeing Like a State, and the planted forest dies in a generation because the tidy rows the foresters could measure left out the soil life the old tangle had carried. The lesson generalizes. High modernism, the faith that a clear plan from above beats the unplanned order below, builds the model village and the collective farm and the planned city, and the schemes fail where they erase the thing the planners could not see. Scott names that unseen thing metis, the practical feel a people carries in its hands and habits, the knowledge of this soil and this season and this neighbor that lives nowhere a survey reaches and dies when the grid lands on it.
In The Art of Not Being Governed Scott walks the highlands of Southeast Asia, the vast upland he calls Zomia, and reads its peoples not as backward holdouts the state had not yet reached but as men who fled the state on purpose. Their swidden farming, their loose and shifting leadership, their oral culture that keeps no records a tax man could use, their very location up where the rice state could not climb, all of it reads as a craft, the art of staying illegible, of ordering a common life below the reach of any throne. Stateless order is not the absence Hobbes feared. It is a built thing, chosen, maintained, and old.
Gary Chartier could not ask for a better witness.
Hand Scott to Chartier and the anarchist gets his evidence. Anarchy and Legal Order argues in the analytic key, from consent and basic goods, that men can supply law and peace without a sovereign over them, and the standard reply calls the picture utopian, a philosopher’s dream with no instance on the ground. Scott answers that reply with a map. Customary law that grew from below and bound men for centuries without a central court. Stateless peoples running real social order through kinship and reputation and the open exit up the hill. The legibility critique hands Chartier the deepest charge against the state he could want, not that it lacks consent, his own charge, but that its way of seeing is blind by design, that it must crush the local knowledge a good order runs on to make that order taxable and countable. Scott’s planted forest is Chartier’s parable ready-made. The state kills the living thing to file it. The metis that the central plan destroys is the very capital a voluntary order would keep. On point after point Scott supplies the worldly flesh for the bones of Chartier’s case.
A limit. Scott’s stateless peoples buy their freedom at a price Chartier might not want to pay, and Scott counts the price without flinching. The art of not being governed is also the art of staying poor, oral, and small. The upland orders that evade the state evade its literacy too, its accumulation, its scale, its long memory written down. Scott does not romanticize the hills. He shows that illegibility and statelessness come bundled with a ceiling on what a society can build, because the same records and standards and central reach that let the state see its people also let a civilization run a complex economy and a far-flung law. Chartier wants the stateless order and the modern goods at once, the polycentric law and the university and the press and the wide cooperation across millions of strangers. Scott’s evidence suggests the historical stateless orders held precisely where life stayed local and unwritten and modest in scale, and thinned as the scale grew, which is the same fork Olson drew by a different road. Stay small and illegible and keep your freedom, or grow large and legible and grow a state along with it. Scott documents the trade. He does not show the upland craft scaling up to run a continent without a capital, and Chartier needs exactly that scaling.
A second limit. Chartier’s own order would have to see its members somewhat to work. His courts must identify the parties, his protection agencies must hold records, his customary law must be known and citable. A polycentric legal order is not an illegible order. It trades one central eye for many smaller eyes, and Scott’s warning about what the seeing eye does to metis does not vanish when the eye is private and plural. The insurer and the arbitration firm and the credit bureau read a man the way the tax office does, and the modern stateless utopia of contract and arbitration may turn out more legible, not less, than the upland villages Scott admired. Chartier borrows Scott’s hostility to the state’s gaze while building an order that needs a gaze of its own.

The Great Delusion

In his 2018 book, The Great Delusion: Liberal Dreams and International Realities, John J. Mearsheimer wrote:

My view is that we are profoundly social beings from the start to the finish of our lives and that individualism is of secondary importance… Liberalism downplays the social nature of human beings to the point of almost ignoring it, instead treating people largely as atomistic actors… Political liberalism… is an ideology that is individualistic at its core and assigns great importance to the concept of inalienable rights. This concern for rights is the basis of its universalism—everyone on the planet has the same inherent set of rights—and this is what motivates liberal states to pursue ambitious foreign policies. The public and scholarly discourse about liberalism since World War II has placed enormous emphasis on what are commonly called human rights. This is true all around the world, not just in the West. “Human rights,” Samuel Moyn notes, “have come to define the most elevated aspirations of both social movements and political entities—state and interstate. They evoke hope and provoke action.”
[Humans] do not operate as lone wolves but are born into social groups or societies that shape their identities well before they can assert their individualism. Moreover, individuals usually develop strong attachments to their group and are sometimes willing to make great sacrifices for their fellow members. Humans are often said to be tribal at their core. The main reason for our social nature is that the best way for a person to survive is to be embedded in a society and to cooperate with fellow members rather than act alone… Despite its elevated ranking, reason is the least important of the three ways we determine our preferences. It certainly is less important than socialization. The main reason socialization matters so much is that humans have a long childhood in which they are protected and nurtured by their families and the surrounding society, and meanwhile exposed to intense socialization. At the same time, they are only beginning to develop their critical faculties, so they are not equipped to think for themselves. By the time an individual reaches the point where his reasoning skills are well developed, his family and society have already imposed an enormous value infusion on him. Moreover, that individual is born with innate sentiments that also strongly influence how he thinks about the world around him. All of this means that people have limited choice in formulating a moral code, because so much of their thinking about right and wrong comes from inborn attitudes and socialization.

If Mearsheimer is right, Chartier loses the floor he stands on.
John J. Mearsheimer (b. 1947) builds his anthropology on three claims. Man is social and tribal before he is anything else. Socialization and inborn sentiment set his values before his reason wakes up. Reason ranks last of the three drivers, behind both. Each claim cuts at a load-bearing wall in Chartier’s house.
Start with the consenting individual. Chartier rests his edifice on the person as the unit of moral concern, the one who holds rights and grants or withholds consent, and his case against the state turns on the point that no man agrees to be ruled. Mearsheimer answers that the man who “consents” arrived pre-loaded. Family and society infused him with a value code through a long childhood, before his critical faculties came online, so the agent Chartier needs as foundation shows up only after the formative work is done. Consent becomes a ratification of what socialization already wrote.
The point lands on Chartier’s own path. He found economic libertarian authors in high school, following his father’s lean. Mearsheimer reads that sequence as the rule rather than the exception. The value infusion arrives first. The reasons come later and dress it.
Next, natural law. Chartier grounds morality in practical reason apprehending basic goods, and he extends the result as a universal apprehensible by any rational agent. Put reason last, as Mearsheimer does, and the motor stalls. The “natural law” a man reads off the world starts to look like the moral grammar of his particular formation, Adventist, Anglo-American, Cambridge-trained, mistaken for the deliverances of universal reason. Flourishing Lives: Exploring Natural Law Liberalism and Radicalizing Rawls both reach for the whole planet. Mearsheimer treats that reach as the liberal delusion itself: everyone holds the same rights, so the liberal feels licensed to carry them abroad. Tribal man does not love mankind. He loves his own and will bleed for them.
Then the stateless order. Here Mearsheimer turns from inconvenient to lethal, because his social man predicts the state. If survival runs through the group, the group builds hierarchy, authority, and enforcement, and then it builds walls against the next group. The realist reads anarchy as the danger, the absence of authority that breeds fear and violence, not the prize. Anarchy and Legal Order asks free men to order their lives by consent and polycentric courts. Mearsheimer points at every state that ever formed and asks why social man, left alone, keeps reinventing the master Chartier wants abolished.
Love and friendship cut both ways. Mearsheimer agrees with the deepest thing in Chartier. We are profoundly social, we form strong attachments, we sacrifice for our fellows. Understanding Friendship and Vulnerability and Community sing the same social man Mearsheimer describes. But Mearsheimer’s bond runs thick inside the line and thin or hostile across it. In-group love implies the out-group edge. Chartier takes the bounded thing, tribal solidarity, and stretches it into a universal principle, friendship as the template for an order among all men everywhere. The stretch is the delusion Mearsheimer names.
So the fair verdict, with the comfort removed: under Mearsheimer, Chartier is a liberal at the root, an individual core, a universal right, a faith in reason, wearing anarchist dress, and the dress exposes him further rather than less, because he strips away even the coercive tribe his own social nature throws up and trusts a purer version of the consenting rational man.
Now the strongest reply Chartier has. He is not the atomist Mearsheimer attacks. His left-libertarianism comes thick with mutual aid, community, anti-capitalism, and the claim that men owe one another more than non-interference. He concedes most of the social anthropology going in. His quarrel narrows to a single bet: social man can order himself by consent without a sovereign over him. Mearsheimer answers that bet with the historical record, every state, everywhere, always. Chartier answers with customary law, polycentric courts, and the long history of cooperation that needs no throne. The disagreement turns empirical, about what social man builds when no one rules him, and the record leans Mearsheimer’s way while leaving Chartier his examples.
One convergence. Both men distrust the crusading universalist state and its wars, Mearsheimer because realism should restrain the liberal crusade, Chartier because the state holds no legitimate claim at all. They reach the same door from opposite rooms.
If Mearsheimer is right, then, Chartier has not been refuted so much as outbet. The realist has not shown that society needs a master. He has wagered that it always finds one, and handed Chartier the burden of proof.

‘A Big Misunderstanding’

David Pinsof says we should set the mission statement beside the deed and ask what a man’s behavior buys him in a world of status-climbing, coalition-building primates. Forget what he says he wants. Watch what he gets. Run Chartier through that test and the picture turns sharp and unkind, and then it turns on the frame.
Start with the sell. The anarchist case, Chartier’s included, leans on a belief about belief. Men prop up the state because they accept a myth, the myth that some men hold the right to rule. Strip the myth, show the citizen that authority rests on nothing he ever agreed to, and the voluntary order comes out from under it. Pinsof has a name for that shape. The misunderstanding myth. The flattering story that bad beliefs cause the trouble and the thinker who corrects beliefs saves the day. His answer comes blunt. Men do not back the state because they misread its legitimacy. They back it because it points guns at their rivals and they want their hands near the trigger. The voter is not confused. He is competing. Chartier asks him to set down the richest prize in the society, the coercive apparatus, on the strength of an argument, and the frame reads the request as the one move a competitor never makes.
So the philosophy, on this reading, aims at a target that is not there. No misunderstanding waits to be cleared. A fight over the machine runs underneath, and Chartier proposes that everyone walk away from the machine at once.
Pinsof treats a man’s stances as a portfolio. Left-libertarian market anarchism pays a dividend most positions cannot. It draws moral credit from the left, against bosses, inequality, corporate power, structural poverty, and draws the contrarian’s distinction from the libertarian refusal of the state, and it lets the holder stand above the left-right scrum claiming a purity neither side can match. The mainstream cost of wearing the word anarchist is the price of product differentiation in a crowded market of intellectuals. The man holding the position is a distinguished professor, an associate dean, a Cambridge LLD, prolific across two presses a year. The frame notes that the anarchism, far from costing him his place, made the place distinctive. Anarchy and Legal Order is the brand.
Now the hard part, love and friendship. Chartier’s stated center is love. He wrote The Analogy of Love and Loving Creation and built an ethic on Understanding Friendship. Pinsof’s first move is the Starbucks move. The elevated universal love reads as mission statement, and pretending to care differs from caring, and actions speak louder. Then comes the deed. The man answered a sick man’s letters across two years, with no return in status. Actions speak louder, and these actions say the words were not empty.

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