As we arrive at Trump’s 100-day landmark, there is an astonishingly wide array of catastrophic decisions to examine (the Korean peninsula, which is bubbling in the red zone as I write this, may turn out to be the most catastrophic of all).
Of the many abominable actions and statements we have had from this president and Congress since January, I think their hostility toward a free American press is among the most alarming. Trump’s characterization of the press as an “enemy of the American people” is straight out of Orwell. Not coincidentally, this governmental animosity is reflected in the 2017 World Press Freedom Index compiled by the non-profit, non-governmental group Reporters Without Borders (Reporters Sans Frontières). The U.S. slipped two places, to rank 43rd out of 180 countries surveyed. The United Kingdom also slipped two places, largely due to laws permitting generalized surveillance and a proposal for a new espionage act that could result in journalists and whistle-blowers being prosecuted as spies. Even so, at number 40, the UK still ranks ahead of America.
If you’ve heard of (or remember) COINTELPRO, the FBI’s “counterintelligence program” of some 50 years back which involved massive amounts of illegal surveillance, then having the president refer to the press as an “enemy of the people” should be especially chilling. The FBI of the 50s, 60s and 70s was not even close to today’s NSA in terms of surveillance capabilities. No wonder major news organizations like the New York Times go to great lengths to try to provide confidential access to members of the public who would like to submit tips. We’re way beyond Watergate days, when a reporter could safely meet an anonymous source in an underground parking garage.
Still, the First Amendment remains on the books. The Times can publish stories showing how deeply compromised the Trump administration is, and I can publish this humble blog. But—and it’s a big “but”—things can change very quickly.
Trump and his cronies are setting a very dangerous tone where press freedom is concerned. Already, a very large proportion of U.S. adults have been convinced that mainstream media is corrupt and untruthful. Already, U.S. education has been undermined (quite deliberately) to the point where today’s young people need to be taught how to distinguish truth from falsehood—the ability doesn’t come naturally any longer.
Ignorance is extremely dangerous. That’s why, upon Trump’s election, the Bulletin of the Atomic Scientists’ “Doomsday Clock” was moved forward by 30 seconds. We’re now at two and a half minutes to midnight. Let’s hope that the “major, major conflict” with North Korea which Trump is threatening doesn’t bring us any closer. Let’s also hope that a free American press keeps shining a light on this disastrous administration, for those are are still able and willing to see.
Sometimes America’s political fiascos and the world’s imminent threats become a little too much to bear. This is one of the reasons we have a “Golden Age of Television.” “Better Call Saul,” offshoot of the late, lamented “Breaking Bad” series, is one of the exemplars and Season Three is now underway.
It’s off to a somewhat slow start, especially in the season opener. Here, after a black-and-white sequence showing the erstwhile Saul as “Gene,” manager of a Cinnabon in Omaha, we have a plot line contrasting the warring McGill brothers, Jimmy (who is to become Saul Goodman) and the electromagnetic hypersensitive Chuck, with the dangerous but fascinating Mike Ehrmantraut.
The McGill brothers’ interaction is entertaining but leisurely. We learn that Chuck has secretly recorded Jimmy’s felonious confession, which Jimmy has offered in an attempt to help alleviate his brother’s (partially feigned) symptoms. Meanwhile, in a carryover from Season Two, someone has planted a tracking device somewhere in Mike’s car and he is determined to find out who and why. Again, this is interesting to watch but actual events seem in short supply.
Episode Two picks up the pace a bit: Jimmy learns about Chuck’s betrayal and is devastated by it (thus digging himself in deeper), while Mike begins to make progress in his quest to find out who’s tracking him. The extremely sinister Gus Fring pops up, which energizes things for “Breaking Bad” fans. At this point, one begins to realize this excellent series from co-creators Vince Gilligan and Peter Gould is likely to provide a compelling season after all.
As an unrelated bonus, Noah Hawley’s outstanding “Fargo” series starts its Season Three tonight as well.
With growing existential dangers abroad and a president ill-equipped to handle them (see Charles Blow’s excellent column in today’s Times), I’m going to direct your attention instead to a long-standing domestic problem: police misconduct. We may not have answers for dealing with North Korea, Syria or Russia at the moment (as I write this, a headline on my phone’s home screen informs me that the Pentagon is developing options for a military strike in Syria), but surely we can address a problem that plagues every American city (and many small towns and rural areas as well). Or at least we can try.
When I speak of police “misconduct,” I’m being euphemistic. What I really mean is criminal violence perpetrated by the police, up to and including murder. What I really mean is systemic brutality and racism and a larger culture that encourages and excuses criminal police behavior. What I really mean is a judicial system that kowtows to the police as sacred “public servants,” not to be penalized under any circumstances.
Here I will introduce the obligatory reference to the admirable service that “good” cops provide. “Good” cops risk their lives to help people in need. “Good” cops are altruistic when it counts, doing their utmost to protect people from harm. “Good” cops, unfortunately, are something of a rarity. And even they tend to keep their mouths shut when it comes to criminal behavior by their colleagues on the force.
The cops who “misbehave” are antisocial thugs with lifelong inferiority complexes. Guys too stupid or emotionally immature to handle college but who want to earn a decent living anyway. Guys who hunger for respect and deference, which were in short supply as they were growing up. Guys who perhaps couldn’t cut the armed forces but managed to find a haven in a local police force. Guys who, if they sense even a hint of disrespect, will make you pay for it. Sometimes with your life, especially if you’re black.
You’ve all met these people, I’ll wager more than once.
Jefferson Beauregard “Jeff” Sessions III is, in my view, an unreconstructed Southern bigot. It shows in his weaselly face—you can easily imagine spotting him in a photograph, standing in the front row at an old-fashioned lynching party in a Southern town square back in the fifties. No matter how many niceties and courtesies he tries to layer on top, his essential character still shines through.
We need to rally around the police reformers. They have two important jobs to do. The first is to get rid of the obvious “bad actors” on their forces. The second is to change their recruiting practices to avoid replacing current bad actors with new ones. If policing really is such a hallowed profession, then maybe it should be treated more like one: increase the requirements (educational, professional, personal) for joining the department, and increase the rewards proportionately.
The mindset that cops can do no wrong has got to go. So does Jeff Sessions.
Sometimes I wonder which category has grown fastest: the number of people aspiring to write in one form or another, the number of MFA or independent writing programs designed to serve them, or the number of writing applications created to address their every need—particularly their need to focus.
Ever since WriteRoom began the focused writing craze many years ago, its imitators and progeny have expanded exponentially. From direct copies like JDarkRoom and PyRoom to Markdown-enabled programs like Byword and iA Writer to full-scale writing environments such as Scrivener (and even Microsoft Word), virtually every writing software program available today offers a full-screen, “distraction-free” mode to aid writers’ ability to concentrate. Many take this a step further by enabling one to focus on individual paragraphs or sentences.
However, just as with MFA programs (and writers themselves), these programs diverge significantly in their overall capabilities. Some (Scrivener, Storyist, Ulysses) aim to fill the many diverse roles involved in creating longer works, including research, note-taking, formating and so on. Others seem intent on streamlining and doing one or two things well, and these latter programs tend to specialize in creating an aesthetically pleasing environment in which one can concentrate and be productive.
Write!, a program I had been aware of but not yet tried, is in this mode, but with some distinctive new twists of its own. Last week, a member of its marketing team reached out to inquire whether I’d consider doing a review. Intrigued, I decided to investigate further. I saw enough promise in the program to purchase a license and give it a test drive. A quick overview follows below.
Let’s start with what is immediately obvious: Write! is a beautifully designed piece of software. On purely aesthetic grounds, it rivals anything else in its field and surpasses most of its competitors. If you’re looking for a program that will get out of your way and let you focus on drafting your story, this is as good as anything out there. It’s also much more capable than the WriteRoom-style editors.
Write! began life as a Windows program; subsequent versions were quickly released for macOS and Linux. Since I write on Mac and Linux, this cross-platform compatibility is a big plus. The program looks and behaves the same on both platforms, as it should. (And it’s easily the best-looking writing program on Linux.) It also syncs your work seamlessly between platforms, thanks to its own, built-in cloud integration (which costs $4.95 per year, starting one year after the purchase date). The program itself costs $14.95. Rather than a traditional license, Write! sets up an account for you—you need to set up this account before you can download the software. There is no trial version, but you can cancel your account and get a refund within the first seven days, should you so choose.
The program is under very rapid development and the developers are quite responsive to users’ suggestions. For example, the program originally defaulted to saving documents in the cloud; there is now an option to save locally. I’m told that, very soon, there will be a localized version of the Cloud panel, which will make the program much more flexible in terms of organizing your work.
Write! is a text editor that supports Markdown, Wiki and Textile syntax. It can export to any of those formats, as well as to .docx, .odt, plain text (.txt), PDF or HTML. A unique feature of the software, visible in both of the above screenshots, is a pure prose take on the Sublime Text coding editor’s “Minimap,” running down from the upper right corner. This bird’s-eye view of your text shows you where you are in your document and you can use the map to navigate up and down.
Here’s a quick rundown of the program’s other features:
Tabs and writing sessions—you can save groups of tabs as a session and return to it later.
Thanks to Write’s built-in cloud storage, you can create links to your documents for sharing with others (NB: Write! uses AWS and 256-bit encryption for cloud storage).
Again thanks to cloud storage, there is an unlimited undo feature. Not that most of us would need that (I hope), but it is a unique feature nonetheless!
Productivity counters, which you can tweak.
Native spell-checking (in multiple languages!), plus online access (via links to your browser) to a thesaurus, Google lookups, translations and Wikipedia.
And here are the quirks and drawbacks, some of which the developers are already working on:
Proprietary cloud storage, as opposed to Dropbox or Google Drive. There are advantages to this, as noted, but you’ll need to determine whether it works for you.
Limited functionality with local files (this will soon be remedied, according to the developers).
Limited import capabilities (though export capabilities are quite strong).
Limited functionality for longer works. Documents can only be combined manually, which would make for extra work in something as long as a novel.
Style restrictions. The built-in styles are gorgeous, but you’ll need to export your work and reformat it to industry standards before submitting.
To summarize: Write! is a relatively new entrant in the highly competitive field of distraction-free text editors and it is already quite strong. The program has a great look and feel, and new features and functionality are being added regularly. If you’re okay with the caveats cited above (some of which are already being addressed) then you’ll find this program provides a satisfying and productive writing environment.