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There's a sense in Nancy Harris's new play, The Beacon, that her thumb is permanently hovering close to her nose. One-liners that undermine current fashionable pre-occupations flash briefly on the verbal and mental screen only to disappear into the play's impeccably adult foundations. Harris is, in the best possible way, outside her work, the observer of a society that in her writing seems permanently on the point of implosion, something she regards in part with despair, part wry amusement. New to Independent. Create an account.

Kelly buchanan playboy

Kelly buchanan playboy

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The two men, real and fictional, mirror each other in superficial but telling ways.

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The two men, real and fictional, mirror each other in superficial but telling ways. Tom moves like Trump, aggressive and restless, and talks like him, with ponderous pride.

Tom—the Yale man, the football star, the spender of old money, the scion of what he calls the Nordic race—embodies the peak of social status in his century. And their shared personality traits are the product of their shared relationship to power—the casual unreflective certainty that comes from inheritance, and enables its holders to wield its blunt force as both a weapon and a shield. Such power has its own logic; it responds not to social or moral rules, but to what it perceives as danger.

For as much as it is a story about the American dream, it is also a story about power under threat, and of how that power, lashing out, can render truth irrelevant. Daisy is married to Tom, who has a lover, Myrtle Wilson. And Myrtle, in turn, is married to a struggling mechanic, whose emasculation is just thorough enough to leave him the strength for revenge.

Nick sums up this dynamic:. They were careless people, Tom and Daisy—they smashed up things and creatures and then retreated back into their money or their vast carelessness, or whatever it was that kept them together, and let other people clean up the mess they had made. Money is a shield between the careless wealthy and the consequences of their actions, cutting them off from the reality of what they have done and what it means. Yet Tom is far from the only character to use his wealth and status as a means for deceit.

Gatsby acquires a new identity when he acquires his fortune, the excess of his belongings—shirts and books and oranges and flowers—matched only by the proliferation of stories about his roots. Even Daisy, idealized as she is, demonstrates the relationship between money and its power to override reality. Trump displays a similar carelessness. Amid the cloud of easily disprovable statements that surrounds his administration, he has also, strikingly, used falsehoods to define himself and his office—spinning claims of the largest-ever inauguration crowd and a landslide electoral victory and a record number of Time covers into the mythical biography of a superlatively powerful self.

What can rouse such complacency into action? Nobody from Nowhere. Like Trump, who ran on promises to ban Muslims and deport Mexicans, Tom scapegoats an outsider as a threat to what his community values. Tom assigns an identity to hazy, formless discontents and fears, just as Trump has declared a national crisis that he alone can fix. The president lives in a widening circle of disgraced former aides and advisers ; likewise, Tom leaves behind him the bodies of those who have done, or been blamed for, his dirty work.

In the penultimate scene of The Great Gatsby , Nick confronts Tom about what he told Wilson—and Tom is so certain of the justice of his actions that the only thing Nick can do is shake his hand.

We want to hear what you think about this article. Submit a letter to the editor or write to letters theatlantic. Rosa Inocencio Smith is an assistant editor at The Atlantic. Twitter Email.

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Kelly buchanan playboy

Kelly buchanan playboy

Kelly buchanan playboy

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Kelly buchanan playboy

Kelly buchanan playboy