Participants in DACA—for all their model behavior—do not access hardly any social programs available to U.S. citizens. They are persons in limbo, living in the only country they have known, having literally arrived under the supervision of their parents, and now asked to leave that country, expelled into a country they do not know.
The stories of The Refugees do not follow one single thread, save this: leaving one world and entering another is not a zero-sum game. For the figures of Nyguen’s stories, travelling over the ocean does not mean that the past resides in family homes; the present is a constant act of integration, bricolage performed over and over again, carving out space for the past.
In constructing an entire world, The Wire highlights a much more complicated way of approaching moral life than is often attempted.
Moonglow somehow captures the inner workings of actual memory in ways which humanize this fictional Grandfather as the linear celebrity tell-alls cannot do, for this very reason: Grandfather recounts his life as we actually recall our lives—in truthful half-starts and drawn out threads.
As I, like the narrators of his albums, work out the big questions, Springsteen’s music has been both a puzzle and provocation. Not every album was a home run, but for him, that wasn’t really the point as much as it was a true chronicle of his own questions and pursuit of better answers.