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There comes a frustration when you know you're a unique human being who knows some things about the world, but somehow the writing isn't showing that. That's the most maddening thing. That’s the gateway to style, really—to say, "I'm going to accept all those things about me that I normally deny." The way to do that is to see when the prose lights up. If you're writing in a certain mode and the prose is boring, that means you're keeping yourself out of it somehow, whereas when the prose lights up and even you can't help but read your own prose, that means you're letting yourself in.

The working world expects so much of your soul. That’s where our lives are taking place, actually, in the pressure cooker that work makes on our grace.

"I want you to recreate your reading experience. When did you start to love or hate this piece of writing? Go down to the phrase level.” That's actually how it works. If you pick up a book in a bookstore, a book that's gotten a lot of great reviews, written by someone who's one year younger than you, god forbid—you read it, and instantly you're opining about it. That's a really valuable thing for a young writer: what do you really love about prose, and what do you hate about it? It’s maybe the one part of our lives where we get to be so opinionated without being obnoxious.

We have crazily refined micro-opinions about things. That, I think, is the hidden superpower. The pathway to the uniqueness we're talking about is turning down your inner nice guy who’s always trying to like everything. Turn that down, and when you read a bit of prose, watch that little needle flicker. That's where a person's uniqueness lies. If you then make a career of radically honoring those little preferences with every sentence, pretty soon the whole book has your stamp on it, which is ultimately what we're looking for. When I pick up your book, I want you to be there. I want you specifically to be there. And the way you get yourself in there is by those 10,000 micro-choices.

Science and technology are understood to be great because they get you a job, but this very essential human thing of asking, "What are we doing here, and how should I behave?"—that has somehow become considered a bit of an indulgence. And it isn't.

These Russians remind us that a really good story is eternal. That Tolstoy story in the book, “Master and Man,” is about power dynamics. You could easily make that story a commentary about racism, because whatever it is that's actually behind racism, which is power, is totally opened up in that story. I've been trying to think that whatever the pandemic is "teaching" me will come out eventually. It'll come out in some form. It won't be a story about face masks, but somehow it'll be there.

When any person walks into a grocery store, they're basically writing a novel. They see a woman with two little kids, and they make a story up about her, even if they don't realize it. It's called projection. A novel or a short story is not something foreign to us. We do it all the time. We generalize without very much information, and we make assumptions about the world, about, "This is how we stay alive." If we're good at it, we not only stay alive, but we stay alive compassionately, and we become better at being patient with other people. By imagining their circumstances, we make a more spacious universe. That's a skill you have to practice.

if we practice the opposite of it, which I’d argue we practice every time we're on social media about politics—then what we're doing is short-circuiting the process of generous projection. We're projecting hateful caricatures of each other. Obviously that has an effect on our neurology. It makes us more anxious, more nervous, more accusatory, quicker to act.

Now, that moment where I felt drawn to her was every bit as real as the moment where I felt aversion to her. That's a short story. That energy is short-story energy, which is, “I thought I knew her, and I thought I knew what I thought of her. But just by abiding there a little bit, I found out that I was capable of a little bit more.” That's essentially what reading is. It's not a complete antidote, but I think we all could all stand a little more of it. Sometimes you have to act. Sometimes you have to arrest people who go into the Capitol. That's a no-brainer. But even in that process, if you have some fellow feeling for them, you're going to do a better job.

By creating a character who can’t be written off as another predictably problematic man, “Tár” draws our attention to how Lydia learned to become one. And, by following Lydia closely, the film relieves the audience of a neurotic cultural obsession with the artistic legacies of real-life powerful figures, focussing instead on their tools. In lieu of asking “Can you separate the art from the artist?” or “But what will happen to these poor, bad men?,” “Tár” asks, “What does power look like, feel like, not only within an institution but within an individual psyche?”

At nineteen, I wrote in a private journal that “the knowledge that anything I feel has already been expressed in a work of art” was my version of feeling watched over by a higher power.

I do not mean to suggest that art works can be divorced from social context, only that our reactions to them are not, in themselves, public statements, acts of harm, or good deeds.

Every aspect of interacting with the various institutions that monitored and managed my kids—ACS, the foster care agency, Medicaid clinics—produced new data streams. Diagnoses, whether an appointment was rescheduled, notes on the kids’ appearance and behavior, and my perceived compliance with the clinician’s directives were gathered and circulated through a series of state and municipal data warehouses. And this data was being used as input by machine learning models automating service allocation or claiming to predict the likelihood of child abuse.

The dominant narrative about child welfare is that it is a benevolent system that cares for the most vulnerable. The way data is correlated and named reflects this assumption. But this process of meaning making is highly subjective and contingent. Similar to the term “artificial intelligence,” the altruistic veneer of “child welfare system” is highly effective marketing rather than a description of a concrete set of functions with a mission gone awry.

Child welfare is actually family policing. What AFST presents as the objective determinations of a de-biased system operating above the lowly prejudices of human caseworkers are just technical translations of long-standing convictions about Black pathology. Further, the process of data extraction and analysis produce truths that justify the broader child welfare apparatus of which it is a part.

As the scholar Dorothy Roberts explains in her 2022 book Torn Apart, an astonishing 53 percent of all Black families in the United States have been investigated by family policing agencies.

The kids were contractually the property of New York State and I was just an instrument through which they could supervise their property. In fact, foster parents are the only category of parents legally obligated to open the door to a police officer or a child protective services agent without a warrant. When a foster parent “opens their home” to go through the set of legal processes to become certified to take a foster child, their entire household is subject to policing and surveillance.

Not a single one was surprised about the false allegations. What they were uniformly shocked about was that the kids hadn’t been snatched up. While what happened to us might seem shocking to middle-class readers, for family policing it is the weather. (Black theorist Christina Sharpe describes antiblackness as climate.)