The problem is that it’s utterly trivial, but deeply emblematic, as well.
It shouldn’t matter to me that a guy named Rob Reiner got killed (allegedly) by his son on Saturday. Reiner’s wife also got killed. The son got arrested within hours, and the story of his (sigh) struggle with addiction came out by noon the next day.
None of this is important because Rob Reiner isn’t important, at least to me. Rob Reiner is this century’s equivalent to the great Jullien. You don’t know who he is, and neither do I, and that’s the point. Wikipedia, of course, has the answer.
Jullien seemed unburdened by the weight of his thirty-six names, perhaps knowing that he would achieve fame and recognition throughout his lifetime. He gave the people what they want, and that’s…
Well, Mahler may have had the Symphony of a Thousand, but did he require three firemen’s brigades to combat the fire that erupted musically on cue in the Fireman’s Quadrille? As memory serves (meaning I’m too lazy to check on this detail, since we’ve all forgotten about Jullien—so who cares), the fire broke out, the firemen extinguished it, the crowd went wild. It was a sensation—like Bad Bunny today. And like Jullien yesterday, Bad Bunny will be forgotten tomorrow.
I pay no attention to Jullien or Bad Bunny, and I like to be high-minded about it. I paid not attention to the fact that Reiner had been killed until I heard that Trump had expertly pinpointed the cause of Reiner’s death: Trump derangement syndrome. Let’s get this out of the way:
Reiner is trivial, of course, and so is Trump, of course. Who knows whether history will “judge” Reiner as an important figure in American cultural life of the mid to late twentieth century? Who knows whether Donald Trump will sink to the level of Adolf Hitler / Josef Stalin or merely be forgotten with all the other unimportant presidents.
Remember this guy?
No worries—nobody else remembers James Buchanan either, except that he was (probably) the worst president to have at the time and he was gay (again probably).
So a ridiculous, meanspirited narcissist wrote a hateful comment about an unimportant person. It shouldn’t matter, but it does, and I wish I could tell you why it does.
Our commentators go on overtime with Trump’s posts, which they all characterize as “unpresidential,” or “bringing down the moral tone,” or stuff like that. The problem seems to be that Trump is saying all this stuff.
I have no problem with Trump saying all of this stuff.
I have a problem with him being all this stuff.
Actually, I have a problem with us dealing with Trump at all.
Trump is a perfectly wonderful crazy uncle, and if he wants to tear down part of his house without any plan (or permit) about what to build later, that’s fine.
But we don’t elect dudes that are crazy enough to bulldoze the East Wing to be president.
We used to care, and we used to bother.
It was fun, for a while, not to care, and hate (for immigrants, black people, gay people, etc.) lasted for a while. But like any other drug, our tolerance went up and so did the price. We could bulldoze the White House last week—what’s up today?
‘Why bother,’ I think, and then remember a guy I watch on YouTube. He’s an art restorer, and he does these amazing videos, which is how I’ve stayed sober (or at least dry) during this first year of Trump’s unveiled presidency (too many adults in the room, the first time around).
Julian (unlike—and I swear I didn’t plan this—his non-namesake Jullien) takes sharp scalpels and then dulls them to scrape off barely-scopic flecks of yellowing varnish from old paintings that nobody but their owners want to look at.
Julian step up to the easel!
Julian scrapes and scrapes at the stuff only he can see. Wrong—there’s the next conservator, breathing down Julian’s neck, even though he (or she) probably hasn’t been conceived, yet. But Julian scrapes away until even he is satisfied, and then he rewards himself by making extra work for himself on the back of the painting.
And he loves to tell us about it. He knows perfectly well that NOBODY is going to be looking at the back of his canvas, and that nobody will see (or care) that Julian has not just lopped off the extra canvas on the back of the canvas and left it to hang there. No—a thousand times no!
Julian has done the same stupid thing that he has done all his life and will die doing. He has neatly folded the remaining canvas and secured them in a straight line to the back of the frame with sterile tacks that are slightly lighter than the tack used to secure the actual canvas on tacking edge. He also folds the corners so that no fraying would be even imaginable. He tacks them down—one tack through the folded corner, one tack immediately adjacent to it.
I watch him do this nonsense religiously (both of us), since I have just watched Nicole Wallace attempt to control her disgust at Trump’s smear of Rob Reiner. So I am in a state, which means that I am shouting…
…GET SOME SUPERGLUE!
…YANK IT!
…OH FOR GOD’S SAKE!!!
…at Julian, who can’t hear me because he’s in Chicago. Anselmo, the cat, however, is flying in terror up the spiral staircase to the loft.
Julian doesn’t know why he does this completely stupid thing, but he does. He even gets a little defensive about it—it’s his studio and he can do what he wants.
I got part of the answer by watching an English guy on The Repair Shop talk about the difference between true craftsmen and all the rest of us. The craftsman will do things that make no difference and that nobody will see. They regard it as a guilty pleasure, at best, and an annoying quirk at worst.
It’s not either of those things.
It’s actually an intrinsic part of being a craftsman. Julian does his thing on the back of a canvas as the pope might take communion: it’s not a sip of wine but a celebration of life itself. He might contain himself if I walked into his studio, paid for whatever work he had done on my canvas, and then ripped off that canvas on the back (hey, I’m the customer!)
But he wouldn’t sleep that night.
Every craftsman has something stupid like that—so the theory goes.
I do, as you will see if you remove the endpaper from the inside of the front and back covers. The whole point of endpapers is to hide the untidy edges of the corner—so why am I busy trimming them off, forming that beautiful pattern, which is no more than three sides of a square, but do I care?
No, Julian is in his studio cleaning up the back of his canvas and I am in the loft squaring up the back of my covers.
And Jack is in heaven, having told me to sand the undersides of the floor boards.
Jack, my father.
It was the first time I realized both that he (and all parents) are crazy and that I didn’t have to do anything about it.
We were building a house, sometime in the 1970’s, and Jack had gotten some cheap lumber from the US government, which had painted it progressively-more-awful shades of green.
My job with the green paint was the same as Julian’s, with the varnish.
I had to do a certain number of floorboards every day after high school, which meant that after three hours of sanding I was deaf and numb. Fortunately, I had an electric sander, and not a dulled scalpel. Unfortunately, I didn’t know about Julian yet, nor did I understand why we needed to sand the side of the floorboard that was going to face the dark crawl space under the house.
Who was going to see it?
“WE will know,” said my father, in much the same tone of voice that Moses had used, reading the ten commandments to whoever-it-was wherever-it-was.
A Charlton Heston voice and impressive, certainly. I dismissed it as more of the parental nonsense I was drowning in at the time.
I find it comforting, nowadays. I need to live in a world where Julian is finishing off tidying the canvas at the back of an oil painting and I am squaring up the corners of my book.
I need to live in a world where guys are doing the right thing, even when nobody will notice…
…and not doing the wrong thing because it gets attention.








