Trump, early on, dropped any last vestiges of what a modern political campaign should look like, continuing to stump in rallies across swing states, even after multiple assassination attempts forced the former president to encase himself in a cube of agony. He whittled down his campaign into a simple message: “I will make you wealthy and hurt everyone you hate.”

unlike the Harris campaign, he only relied on the internet for propaganda, following his son Barron’s advice, who reportedly was the one pushing him to spend his time doing manosphere podcast interviews. Meanwhile, his vice presidential pick, JD Vance, gave him an important line to Silicon Valley’s most radicalized CEOs and the country’s two most-brainrotted men, Elon Musk (metaphorical brainrot) and Robert F. Kennedy Jr. (literal brainrot).

In terms of what we can expect from Trump’s second term, conservatives have already laid out their blueprint online. They’ve spent the last four years reshaping the architecture of the social web to match their designs for American society at large. It has been easy to laugh off Musk’s purchase of Twitter and its subsequent drop into irrelevance. But irrelevance was never a bug, but a feature. Big Tech monopolists, many of whom are now congratulating Trump on his win today, have successfully created an internet of paranoid cul-de-sacs, where no one trusts each other and nothing can break through the noise.

I find it tremendously hopeful that “Stoner” is thriving in a world in which capitalist energies are so hellbent on distracting us from the necessary anguish of our inner lives. “Stoner” argues that we are measured ultimately by our capacity to face the truth of who we are in private moments, not by the burnishing of our public selves.

The story of his life is not a neat crescendo of industry and triumph, but something more akin to our own lives: a muddle of desires and inhibitions and compromises.

The deepest lesson of “Stoner” is this: What makes a life heroic is the quality of attention paid to it.

Americans worship athletes and moguls and movie stars, those who possess the glittering gifts we equate with worth and happiness. The stories that flash across our screens tend to be paeans to reckless ambition.

It’s the staggering acceleration of our intellectual and emotional metabolisms: our hunger for sensation and narcissistic reward, our readiness to privilege action over contemplation. And, most of all, our desperate compulsion to be known by the world rather than seeking to know ourselves.

The emergence of a robust advertising culture reinforced the notion that Americans were more or less always on stage and thus in constant need of suitable costumes and props.

Consider our nightly parade of prime-time talent shows and ginned-up documentaries in which chefs and pawn brokers and bored housewives reinvent their private lives as theater.

If you want to be among those who count, and you don’t happen to be endowed with divine talents or a royal lineage, well then, make some noise. Put your wit — or your craft projects or your rants or your pranks — on public display.

Our most profound acts of virtue and vice, of heroism and villainy, will be known by only those closest to us and forgotten soon enough. Even our deepest feelings will, for the most part, lay concealed within the vault of our hearts. Much of the reason we construct garish fantasies of fame is to distract ourselves from these painful truths. We confess so much to so many, as if by these disclosures we might escape the terror of confronting our hidden selves.

revelation is triggered by literature. The novel is notable as art because it places such profound faith in art.