The Republican health plan fixes a problem Paul Ryan feels passionately about

This idea is, to many liberals, perverse. It means that Ryancare doesn’t give the neediest families enough help to afford decent insurance while blowing a substantial chunk of change on families who don’t really need much help.

.. One school of thought holds that a major problem with the Affordable Care Act is that it creates a structure where a hypothetical near-poor person has very little financial incentive to increase his labor market earnings. Ryan’s American Health Care Act restructures the subsidies in a way that doesn’t accomplish anything from a health insurance point of view, but does directly address this labor market issue.

.. But Ryan has a pretty consistent and somewhat metaphysical theory of poverty whereby helping poor people by directly providing them with additional material resources doesn’t count. What he wants is for the government to help poor people become more like middleclass people and raise their labor market earnings.

Hence, in Ryan’s view, all means-tested benefits create what he calls a “poverty trap,” where the existence of benefits reduces the incentive to bootstrap your way up the income ladder.

The New Evangelical Moral Minority

If the Southern Baptist church can’t be bigger, Russell Moore wants it to be better.

.. Moore was respectful, but he seemed puzzled by Land’s eagerness to defend Palin. “Dr. Land thinks that Governor Palin’s resignation was a shrewd move,” he said. “I don’t. I don’t understand it at all.” Later in the show, after Land had hung up, Moore offered a broader critique. “We, as evangelical Christians, are really, really prone, it seems to me, to become so enthused with political figures that we just automatically impute to them almost superheroic status,” he said. “Put not your trust in princes,” he added—Psalm 146:3. “Or in princesses, either.”

There’s Something About Mary Bennet

The things that make Pride and Prejudice’s middle sister so unappealing as a supporting character are precisely what make her compelling as a star.

.. In a fantastic essay for The Guardian, Charlotte Jones describes the current attempt to reimagine and reanimate Mary as largely missing the point of her creator’s novel. Austen is not George Eliot, after all; she is neither copious nor comprehensive in her empathies. She is Jane Austen, OG Gossip Girl. Her narrator, in Pride and Prejudice, is judgy. She plays favorites. She mocks. She deploys her wit with surgical strikes.

.. Mary is “the forgotten sister” because Austen chose, on behalf of her readers, not to remember her.

.. How many times have you wished to say something very sensible, but knew not how?

.. And “with nearly all of her sisters married and gone from the household,” The Pursuit of Mary Bennet announces, “the unrefined Mary has transformed into an attractive and eligible young woman in her own right.”

.. The character who once informed her youngest sister that she would not be dancing at the ball, for “I should infinitely prefer a book,” is now an author herself.

That serves as a mild rebuke not only to Lydia—it is hard to imagine such self-fulfillment materializing for Wickham’s wife—but also to Pride and Prejudice’s Mary-mocking narrator.

.. And to all of Jane Austen’s narrators, really, who—being judgmental and cruel and kind and omnipotent and arbitrary—mimic history’s own ruthless whims. They decide, as the victors in battles of everyday banality, who will be acknowledged, and who will not. They take it for granted that some people (the people, often, with the “fine eyes” and the “light and pleasingfigures) deserve attention, while others (the “plain” ones) do not.

.. the current renaissance of Mary Bennet is literary revisionism that suggests a more sweeping ethical project—one that celebrates the dignity of the marginalized.

Change Comes From the Margins

Indeed, there is a strong sense that not only Dada but also avant-garde in general is very much about a rebellion of the margins against the center. A remarkable number of avant-garde artists of the 19th and 20th centuries came — in person or vicariously, through their work — from the margins: Munch, Malevich, Brancusi, Picasso, Chagall, Kafka, Borges, Joyce, Frida Kahlo, Paul Celan and Fernando Pessoa, to name just a few.

.. By definition, any center is a site of concentration and intensity — after all, it’s the place toward which everybody is attracted in some way or another. That’s also what makes it so formidable. The center possesses a wealth of prospects, opportunities and resources, but also anxieties — it is the place where the possibility of collapse, disintegration or descent into chaos figure prominently. To keep such dangers at bay, life at the center has to be regulated in every detail, its energy well managed, impulses properly channeled and spontaneity standardized. Sophisticated and expensive bureaucracies are developed to make sure that the pursuit of happiness does not turn into a stampede.

.. For all these elaborate protocols are also meant to ensure that not everybody gets in and that enough are left out; this way the center makes itself perpetually desirable.

.. What usually happens as a result is that an inordinate amount of talent, energy and time is spent on figuring out the best ways to elbow one’s way to the core of the mainstream. Then, once there, one has to behave in a way that will never jeopardize one’s position.

.. If the center manages to recruit the marginals to work for its own purposes, then it is saved.