He wrote to the justices to ask if he could put their words to music. Scalia and Ginsburg quickly responded that Wang did not need their permission, in view of the First Amendment. But he got their blessing anyway.
Grief is not the same for everyone. And it does not always go away. The closest one can find to a consensus about it among today’s therapists is the conviction that the healthiest way to deal with trauma is to lean into it, rather than try to keep it at bay. The reflexive rush to normal is counterproductive. In the attempt to fit in, to be normal, the traumatized person (and this is most of us) feels estranged.
While we are accustomed to thinking of trauma as the inevitable result of a major cataclysm, daily life is filled with endless little traumas. Things break. People hurt our feelings. Ticks carry Lyme disease. Pets die. Friends get sick and even die.
"You must stand quietly and lean forward slightly, hands loosely clasped in a faintly prayerful arrangement. You will be in the gate agent’s peripheral vision—close enough that he can’t escape your presence, not so close that you’re crowding him—but you must keep your eyes fixed placidly on the agent’s face at all times. Assemble your features in an understanding, even beatific expression. Do not speak unless asked a question. Whenever the gate agent says anything, whether to you or other would-be passengers, you must nod empathically.
"Continue as above until the gate agent gives you your seat number. The Kindly Brontosaurus always gets a seat number."
I love this so much.
"The best airline-safety-card artists know how to amplify these details without creating too much noise. They are, after all, artists. They work within and bend the conventions of their form by playing with allusions to earlier work. Take, for example, a current US Airways safety card that portrays the conventional water flotation scene. We see a beautiful woman, with lush red hair, floating effortlessly, gazing ahead in an attitude of easeful melancholy. The airline artist has recruited Dante Rossetti’s 1877 Mary Magdalene, with perhaps an ironic nod to Botticelli’s Venus, as the heroine of our worst-case scenario. Thus the “fallen woman” motif is reimagined in the most urgent terms: this airline Magdalene is a woman who has quite literally fallen. And this is where we find her, floating in limbo, clutching a lily-white life preserver to her breast (instead of a vase, as in the 1877 portrait). ”
(Source: The Paris Review)