Artists and creative writers for nine months. Of sustained work at the library the peerless collections of this library while they make their own work. Giving me the freedom to read nothing or nothing immediately clear to me. To deal with what i thought i was doing. A history in 19th century paris. The next i tried of old maps of berlin. I kept reading. The third floor you will find made at ny pl which shows the products of 34 writers who read wildly here over the last century and more. Most of them, half of them are Common Center fellows and you will see the new and lasting books that they made through their research. The words are displayed alongside some of the Collection Items that inspired and informed them including the 2016 novel alongside a 1960s arab berlin tourist map that is in our archives. The show is free and it will stay up until june of next year. We welcome you on the occasion, my goodness, the new collection busted in new york. In which we follow his roving and orthodox questioning mind on important questions of our recent racial history from the million man march to katrina to ferguson always informed by a reader in history and scholarship that brings centuries of the past to bear on the questions of today. The book is available for purchase on side after this program. Signing books, all proceeds from your purchases go to benefit the new york epic library. I would like to draw your attention to your printed programs for a couple of reasons you hopefully notice the recommended reading. These books are available to you here. All you need is your library card. The organizers of this event has asked those of you that do not have a library card to be shamed. Consider yourselves ashamed. Secondly, you will find on the back other Upcoming Events here. Tomorrow Michael Frank will speak about his new novel what is missing. December 3, and other journalists will deliver the annual lecture named in honor of the review of books editor on december 10 we will have a night of true crime readings. Featuring crime writer Sarah Weinman and keith morrison. On december 17, journalists will be here to talk about her new book dont be evil. First, tonight, Margot Jefferson is a longtime critic for newsweek in the new york times. The leader of the book leader award. The author of michael jackson. They will speak for about 45 minutes after which they will take a few questions from the audience. We hope, of course, for questions from the audience at that time. Please join me in welcoming them. [applause] i know that everyone has Something Better to do. They dont think they do. Hello. Hello. Im going to begin perhaps a little bit pretentiously. Bear with me. One of the first things that interested me about this book, everyone talks talks about the range. Pessimism. Watching moonlight. Leslie howard. You are in berlin. You move across generations. The book starts with you as a young man. You move into considering. Two boys as old men. This book very deliberately joins the literary and cultural criticism that i think any of us know you first and possibly best for with this very sustained scholarship. I was curious, seem to have emerged you have two novels. 2014 came the black vote. What and now comes this compendium. What led you to begin, to move. So, fully and richly from cultural writing to this very complicated political reportage and scholarship. As a writer. I think it was mostly my surprise that a body of material existed. I had forgotten that id sort of done some of these things or had written about them in this way. Also, the passage of time, i suppose i wanted to mark something. The passing of a certain kind of a world that i grew up in. It is also a work of farewell. Would you say more about that world . Seems like there are many aspects of it. Your history began long before your life did. There are so many points of historical and cultural entry here. Which world are you saying farewell to . Sort of daily conversation or description of how everyone you knew lived. There was always, no matter how bad the time scott, and they got very bad, we sort of think the outcome was an inevitability. That is not true. We forget how dangerous and tentative things felt at the time. Maybe we forgot how relentless and sleepless the opposition was in the Voting Rights act was more or less overturned. I sort of remember that, the opposition to it had begun as soon as it had passed and never stopped. Even then, we felt that justice was on our side. Truth was on our side. No matter how violently. Suddenly that sense of destiny vanished. You say suddenly. Since i came out of the movies and realized clinton was losing. [laughter] may be something had been happening all along and i had not been paying attention. I have that feeling that night. I also had the feeling that maybe i did not know the country that i grew up in anymore at all. Not only that, it was some sorrow of watching everything that it happened. Week came this far only for it all to fall apart. Are things falling apart or as a Justice Administration . I cannot tell. Ruining everything he touches almost irreparably. Looking back on some of these pieces. It is hard to think of kind of an innocence, but in the pre9 11, preiraq world, it does sort of look like that. You know. Thinking about time going by. The answer is we always had, i still believe. It is just that they seem more impossible to get to. Yes. I believe in the vote. There is no such thing is not voting. Very true. Reminds me of a passage in the book where you speak about the pole between american individualism and how much of ones life as a black person is given over to consideration of oneself as a member of the group the group will always tell you that you are a member of the group. I did not mind that because other people were doing this stuff for me. Here is my contents and you can sort of do with it what you want. I will be over here in the meantime. Much of the book is. Suddenly, there you are. You are in berlin, oxford. A line may have been the first Foreign Language you learned. That is true. I am from the midwest. I remember once i was taken to the offer. The audience, what would you like to walk her backstage. This was amazing. I said i am from indianapolis, too. She looked at me and i sort of rebelled. I was wearing a brown suit and a red tie. Platform shoes. [laughter] she looked me up and out and said ive not been back since 1921 and i would advise you to do the same. [laughter] i was always planning to get out of indianapolis. At first i wanted to go on the stage. No. Say a little more. What kind of stage where did you want . Anything eliza minelli. I do very embarrassing adolescents. I was not somebody that you wanted to know. That may have gone both ways. [laughter] being weird was fine. I became president of the school what year was that . 1971. Suddenly it was okay to be weird. Looked around and there is a black eye. Oh, thats great. Mostly white meaning what percentage of blacks. You know. Two or three others. Then the next year, many more. Then the next year many more. I was in a real transitional period. And you came to columbia. Was this a midwestern wanting to go to new york. If i applied to another school and did not get in. I thought im not going to school. They said yes you are. I ran away and joined the committee to free angela davis. That is not in this book. They said you cant do that. I said i will do this and they said all right. As soon as i got to columbia, i abandoned politics for poetry. I got very deeply involved in that. The renaissance choir. Which poets were you immersed in . I had kenneth coke as teachers. Tone asbury, franco hair. I had elizabeth harvard. I have already done the thing upset civil. I was ready for that. Then you sort of discover a much larger world. Then you are reading more. The thing that really got me where these elizabethan poets. Still makes me tremble. Making you a better citizen a neighbor. I felt. Was there tension, pressure, in those days, between your cultural interests . No. The black ones were at home with my parents. Representing that straight line. The black world with a very straight and fierce kind of place. Who is not so much the white world. It was yes. You know. My women professors to me represented that more than anything else. Even though now looking back it was because they were women professors. I used to sneak across the street to read and things like that. Have this writing class a change my life. She said you are the worst poet ive ever met. You should read poetry before you write. I like that. [laughter] it is true. You know, you write a lot of poetry, perhaps you should try not writing any. [laughter] i i understood what she meant, but always had this thing for poets. You know. What was it that led you to these two books about the black literary tradition . You mean the ones i wrote . Indeed. You know, it is not something that i had in school. I was just a bit ahead of the rediscovery of the harlem renaissance when i began to write criticism. Sort of trying to write fiction. Your stories all seem to be about one thing. You can write reviews. Young writers would write reviews. Those that got very offended that i was offended about reviewing. She said im not talking about that. I mean criticism. Bring them back because i still use them. You know, she had me read randle. Blackmore was hard for me. I could not do that. All of those things that you read in high school, read your emerson again. This is Great American language. That kind of thing. Very adamant. Once i then found the harlem renaissance writers, because it was not a subject that i studied , i began to sort of study it on my own and found these writers. It sort of reconnected me with my family. Always my fathers favorite poet i really look down on Langston Hughes as not having enough difficulty for me. [laughter] it sort of changed my feeling. My parents casually mentioned, well, havent you spoken to, you know, sterling brown turns out to be a relative which i did not know. I went to see him and he really disliked me. You should write poetry, not criticism. He really hated allen tate any associated the laws with allen tate. That was very much on his mind. A way to kind of read that. Every generation has its voice and people do identify. Yes. There was and remains a tradition of literary critics and chroniclers and keepers of various things. I took it as another. Forgetting that the ambition for all of this was to be successful. Et cetera. That may be another motive for the book. Black culture becoming mainstream. Saying goodbye. People can worry about black culture being less pure and authentic if it is mainstream. Yet, that is always been the whole point to make it known and have all americans share it and feel a part of it. Write as much as we made fun of him at the time. The language by which and the language by which is for the young quite different. Absolutely. If any of that made any sense. Yes. One of the figures that keeps appearing, but appears in a different mode each time a different stage in his life and in yours is baldwin. I like that he is not static. A baldwin who becomes when you are young and kind of glittering leaf naive, im going to go abroad. Sexy and exciting. Then there was a baldwin that was humiliated. And all of them masculine us of black power who you revisited at a moment. He wrote a response. It never got published. He could never actually during his life come back at it. Combat it. You examined that. Then we see him again as moving from paradox to paradox, as you put it. A complicated character. Also in here that essay where, finally, as you say, joyously and brilliantly he right. Personally and in the voice that is the voice about being gay. He keeps changing positions. Your relation to a keeps changing when i first read waldman, i did not really get it why was so drawn to it. I think i was interested in first because my grandfather really hated the fire next time. It was antichurch, as far as he was concerned. He was a preacher. Baldwin was so famous it drove my grandfather crazy with jealousy. With this a grandfather who wrote his own elaborate detail and tiny script question mike. No. That was a great uncle that wrote this. The autobiography. Church published Family History that is useless because it is mostly fantasy except for his story which was rather interesting. He had a brother who was told he could not be a concert pianist so he became a jazz musician in the family stop speaking to him. He wrote his autobiography. 400 pages. All all in capital letters. Singlespaced letters. Using initials for everybody. My grandfather hid it in his vacuum cleaner and we did not find it until after he was gone. This is in the book. Suppressed it. So he hated the fire next time. He hated the fire next time. I was reading before i really understood what it was. My family was looking at me finally, i discovered the essays that was quite a revelation. The finish, the title essay notes of a native son. You know, its still kind of sends shivers through me. One of the greatest things ever to sort of discover. Somehow, you know, i dont know how one new these things, but somehow, one new about baldwin. I think i must have read another and figured out what giovannis room was about. He was the only one. Once parents and one friend. Sometimes say, oh, he is so brilliant. A little light on his feet. Something like that. They used to say i was never afraid to leave my wife along with him, dont you know. Dont you know. [laughter] he also was our only. They were proud. I the time we read the essays i knew about the attack but i had not read it. Leroy jones had sort of attacked in the same language. People knew him. I remember once walking by and i saw him in the window. I ran in. He signed them. He was a very sweet and gracious guy. More importantly, baldwin and angela davis were the first writers, black writers, they said it was all all right to be bookish. Such an antiintellectual streak that you could read. You could not read, i dont know, the stuff i tend to read. They sort of made it okay. I remember mccarthy writing about sitting on a jury with james baldwin. Being very surprised that he was so literary. James baldwin. He is not a natural. [laughter] he worked hard, too. Very liberating in that way. He denounced the other text that i, at the time, was really into. He was very much against in that way. Already made of so many different things. The one thing reading has always meant for me is freedom and restoration. I hate that word diversity. People are made up of so many different things. Range. Yes. I noticed that the books, excuse me [laughter] what are we doing . Posture. Sorry. It is partly to remember that feeling of first reading. Its also that, you know, whitman is almost insane in his optimism. But that quote, i contain multitudes is but the quote is more modest. No. And subtle to me. Well, maybe, but he i just thought for something so uncertain in its conclusions that maybe whitman was a bit reassuring, it seems to me, because i do think of him as this rather, you know, determined to find, i dont know, the best, almost, you know, thats why William James sees him as a religious poet because of this, you know, idea of transcending and human possibility and community and adhesiveness and athletic democracy. In terms of the range, i see the connection, this kind of theres plenty of melancholy in your prose that there is a kind of this for this range of experience, encounters. You know, the promise is always on the other side of the mountain. And you keep going, maybe, i dont know. The melancholy because these are not pieces that are about literary figures or but more social. You want to be truthful and accurate about what you see or your limitations as an observer, and since its these events from the march to ferguson to the tone is going to be a bit melancholy because even the lives of the figures, you know, valiant and elegant swordsman and composer who supports the french revolution and ends up being thrown aside. Much more than just the but a sad end. Yes, but i find myself identifying with him a bit just because, you know, he did well under a system that was unfair to everyone else. To the majority. To put it mildly since, you know, the codes of french slave were worse than anything, but this 18th century composer thrived in that. It takes black exceptionalism to another level, doesnt it, all together. That sort of thing. Then when he tried to sort of join up, it was too late. He was rather marked for his past associations. Which you also link very much to the expatriate tradition as you put it somewhere else blacks rejecting and being rejected by america, but also looking for other kinds of adventures. Yeah. I mean there is a tradition in black culture as europe in particular as an individual solution, not a mass solution. Exactly. The reason i think it was resented for so long is, you know, it was like passing in that way, that you were just removing yourself from this particular jurisdiction or you could, you know, and so its something that for me it got me put an ocean between me and my family which was what i wanted. You know, i mean, in the book i remember them at their best, but actually my family had a sort of terrible story, and my parents had a very sad end, and, you know, i in the end couldnt sort of keep my distance. You know, but one thing about expatriatism you think time stands still, but it doesnt. Thats why Richard Wrights voice was sort of frozen because of his expatriatism and when he tried to write about the new themes, you know, he was too out of date in a way he found it or in his own sort of terms and i think the danger of being away is that certainly back then before communications were constant, your voice kind of fell behind, fell out of date. We had these friends who british who lived in italy for years and years, and they sounded so 1950s, when they spoke english because that was when they left, but there was a lot of that. In the vocabulary, yeah. He was different in a way because his written voice never aged, no matter how old he got. Elizabeth was the same way, her voice never aged. They sort of found this tone very early. So the responses to baldwin as he got older definitely indicated in terms of his idea, oh, hes in, hes out, both from the black power contingent but also from many white critics who were by the 80s were saying oh, please, cant he stop [inaudible]. Thats our response to it. Thats not necessarily him. He certainly did sort of lose faith or said he did, but there was always a strain in his work of threatening america with moral collapse. Yes. Unless this or that happened, and, you know, you underestimate how much america doesnt care. Theres a new book what it is by clifford thompson. One of the things he sort of emphasizes is, you know, it is not that people are racist or not only that they are ignorant, they are also indifferent. They sort of dont care. And i think the hardest thing for black people because we think about race all the time. You know, you go into a store and youre slightly badly treated, and, you know, theres this moment in your head, am i crazy or am i not . Is this person just having a bad day, or is it because, you know, they dont like sort of black people . You have all these kinds of this man did not hold the door open for me when he belongs to that generation that holds doors open for women. That kind of thing, all of that what was i saying . Shoot. Oh, shoot, that was me. Oh, the indifference, so we think about race all the time, at least i do even when im not thinking about it, but, you know, a lot of people it has nothing to do with what they do during the day. It doesnt impend on them. They can watch blacks on tv, you know, giving the news or, you know, any program, and it is not going to come up in their mind the same way. Thats i think a very big matter. You know, it is not necessarily hostile or anything like that, it is just human. I agree, but it can feel as if it is another form of injustice. Theres one of the psychological to a black person, you dont have to think about this i suppose, yeah. Another source of race tension. I was thinking the other day another legacy of blackness is i complain all the time. And im sure thats because of the sort of black family i come from where they just you know, you sort of always wonder just a little bit if you got the short end of the stick. It drives my partner crazy. I will go in a restaurant and they will put us at a table and i think is this a good table . [laughter] it is because my father was like this. It was the one thing he had with him from his up bringing in the south, is he was always sure he got a bad table, you know. Its in me. I cant stop it and so james just says just sit down. [laughter] not in that tone. Hes never that impatient. You know how poets are. Do you see what i mean about that being another source of tension . Yes, but, you know im not im just saying. Im not saying it is justified or not, but i think it is another i know, as i read a lot of new books by the new generation and every generation has to restate these problems for itself, i understand that, im trying to look for those books that kind of connect the history of africanamericans and the africanamerican conditions and the problems of it, with something larger, you know. I dont think, you know, this kind of territoriality or isolation, you know, it does any good. The future is in kind of linking this to something larger. You know, there was a great argument the whole time that, you know, the black struggles actually universal in its meanings. It is not just about black people. All the freedom movements since have modelled themselves on black liberation, not only in the u. S. With the Womens Movement and gay liberation, but also all those colonial anticolonial movements in africa, they were reading, you know, sort of sort of the harlem renaissance writers and things like that. So, you know, i think thats the only way i dont know, its sort of what kind of interests me because i think that identity politics and that kind of thing has a kind of limit after all in what it can do in the social sphere that we dont talk enough about things like class, you know. Never in america do we talk about no, i was listening to a panel not so long ago, a couple of months ago, they were talk ago degree advantages the second tier billionaires have against first tier billionaires, i thought where have i been . I had no idea there were sort of distinctions among billionaires never mind resilience. That they had a language. Yeah. [inaudible]. There we go. [laughter] i know, yeah. May i ask you to read dont look at me like that. A passage from the book, and i will tell you why. It actually embodies everything you were just saying about range and i feel like i never got to the point. Think about this book as a narrative and the essays are really like chanters or like in old novels you would have book one, book two, book three, book four because its chronological its not only that its chronological okay, you are very kind. Its that history are characters as much as they are forces. As i said before, each time you encounter a new landscape or work of art, whatever, you shift as well. Well, you are very kind. Aretha franklin was not among my mothers albums or my fathers fitzgerald and washington albums. Think and respect were anthems of a new edgy blackness and i remember one of my sisters playing baby baby behind closed doors in tearful darkness after an argument with my mother over why she could not get an afro. In 1970 Aretha Franklin threatened to pay daviss bail when she understood how to disturb the peace when you couldnt get any peace. At my first party over, one of the slower songs, if you came and didnt come with anybody, perhaps you might want to turn around and say to the next person, hey, we were making out and she was conceding if not now, later, some other time when the alarms spread that the cops were on the way. I lost a guy. A black woman and i held hands on the street as if we had not been in a packed house of girls wearing suspenders and boys in bell bottoms getting together thanks to the queen of soul. The 1970s, years of strangers and cigarettes. All that time Aretha Franklin was my late night and sad morning sound track of music and desire, consolation and repair. I would lift the needle and put it back on the same spot and then again. Maybe everyone who loves Aretha Franklin feels an intimate relationship with her voice. Maybe everyone she moves has a particular period of her career to be passionate about. My aretha zone goes from spirit in the dark through young hey now hey the other side of its sky with its coded album illustrations including a black guy dressed as a matador, a giant syringe sweeping by his cape. During a Christmas Party in 74 when our parents were away, the last track of that album, the masquerade is over put a stop to the noise. The room folded hands, fell silent and just listened. [applause] and now we will open for questions. For questions, yeah. We have a microphone coming your way. Okay. Standing up, thank you very much. You talked about melancholy in the book, and i didnt read the whole book, but its melancholy, but its extremely entertaining and makes you laugh at times. Maybe you could comment on that. If its sad, how come it brought so much happiness . [laughter] hes witty. I guess trying to kind of tell the story and put in everything, not everything but, you know, often these events are picked over and picked over and it is hard to find something to say. And so you kind of swim along swim along and look for the thing that might reveal the meaning to you of where you are and why this is happening. And many things are mixed even as they happen. You know, terrible tragedies have unbelievable comedy sometimes, as well. Anyway. Thats very true of busted in new york where darrell is down on the Lower East Side revisiting his youth and gets picked up for smoking weed and arrested. Yeah, that was bad. [laughter] my parents were furious. I had to tell them because i had written something about it. You know, you can get arrested for politics, but not for doing something that lets you feed black stereotypes. So for my father my father i was arrested for doing drugs, you know, and he was just furious. I had a very right wing uncle who once i came to boston to visit him, and while i was out he read my journal and called my parents. I would get these clips that the harm marijuana could do to chromosomes. This was like 73, 74. When i was home for christmas, they were giving me a lecture about drugs, and i said i dont i dont use drugs. I dont smoke marijuana. My mother says yes you do because your uncle read your diary and told us. You know, i was so shocked, but i could tell that they also thought that was probably a little creepy of him, so not too much more was said after that. But i didnt really visit him for years after that. Anyway. I dont know where that came from. Darrell, when you read the yes, professor. Give me a break. You read the passage, and i was thinking it is very rare for prose to be okay to listen to, and so that brought me back to what you said about your studying with Elizabeth Hartwick and she drove you away from poetry to prose. Would you be willing to say a little bit about why that might have been right, in other words, why prose was your medium rather than poetry . Probably because of the way i think or cant think, you know. I think poetry has these kind of leaps and surprises and a certain economy of expression, and i dont feel that, but i do have the kind of well, i hope i have i would like to convey an excitement about language. And so thats there. Then too my models have always i mean prose has a certain kind of poetic quality or its own music. Its music and tone, its a question of ear. Elizabeth hartwick certainly had an ear. Thats the kind of prose im most drawn to, that isnt afraid to be literary performance. Exactly. You know, because we write for Different Reasons and different audiences, and, you know, the only kind of writing i know assumes a literary audience. Its just what i grew up in, from the people i learn from and the things they got me to love. And i because poetry was the first things i read, i would always stick with that, and i people who can write poetry i find very compelling in the way they express themselves, the good ones. Did that make any sense . Uhhuh. I worry that i ramble and babble, but there it is. You used two words together that i have never heard together athletic democracy. Whats that . Thats whitman. So did he mean this kind of a, you know, brotherhood in his imagination . I think so. You know, so its whitman, so he wasnt sort of thinking about the womens vote and the way that Frederick Douglas eventually did. I hope im not doing him an injustice, but i think thats what he meant, yeah. Hi. Im intrigued by your feeling that identity politics can be somewhat limiting. Largely for two reasons, one is that i think that historically identity politics, whether its black identity politics, female identity politics, has basically they have all kind of foundational premise that this group deserves the same right as white men, and so its a belief in the universal rights of people, i think that drives groups that have not had the rights of white men to say, hey, we deserve rights. So its not really identity politics as much as universal humanity politics. And i also when i look at america today, it seems to me that, i dont know, 35 to 40 percent of this country does not believe in universal humanity. And so thinking that a more universal approach could lead to Better Outcomes is somewhat problematic for me because it just seems apparent that so many of our counterparts as citizens dont believe that. I just want you to respond to that. Well, when i was growing up, we talked more about the individual and what rights the individual had protected by the state or protected from the state, and for us the classic definition of democracy was not majority anything, majority rule or any of those things, but the protection of minorities and vulnerable citizens by the state as they are sort of one of the responsibilities of the state. The language of individual rights was one of the things that helped you to escape your group and recreate yourself. Back when identity politics didnt exist, the way we talk about them now, but there were these ethnic identities that people had, polish, irish, italian, that at one time were much stronger than they are now, especially when they were connected to a working class culture that people are ashamed of now. But, you know, even this sort of black Group Identity could have felt sometimes oppressive or sacrificing individual i dont know what to call it, what the word would be individual life for the sake of, you know, a sort of larger thing was always the struggle in the 60s when mass consciousness said that blackness was this and this and that, for the middle class black person wasnt necessarily living these experiences, your individualism was, you know, attacked as privilege or false exemption, so individualism for me was always something to defend and strive for because it was, you know, something that was yours and was your chance for selfactualization. At some point this point of view became politicized and sort of taken over by those who wanted to say their individualism was being attacked by this Group Identity, and what they really minded was the black vote being a block vote and they were trying to sort of say there wasnt a one black thing, that we should be this and that, which is all true, but it had not been politicized before in quite that way. And then the cultural wars sort of brought in a lot of this identity politics. I perhaps have a very dated or limited idea of what identity politics are. But i sort of dont want to read anything else about someones hurt feelings or i dont want to read more attacks on white men. I dont find any of this particularly stimulating to my imagination. I dont think we live in a moment where people are held back in intellectual artistic endeavors by the group they belong to or were born into. Culture is one of the places where all this stuff i dont mean to denigrate it by calling it stuff somehow has an audience or some value and people listen to it and are responding to it but i dont really see how far identity politics can really take us, you know. I want something new or sort of beyond it. Im not against it, and, you know, we can say everything is universal or universal in its meanings, etc. Everyone can say this now, but for me, you know, identity politics is just slightly boring. And also maybe something generational enters into it as well. I find a lot of hashtag me too for all the justice that it asks for. Theres a kind of antibaby boomer message tucked inside. I remember on the climate march being rather shocked to find that i wasnt black. I was an older person who had helped to screw up the climate. This was a big shock. [laughter] for me. So i dont know if i answered your question, or if were even talking the same about the same thing when we say identity politics, and so my apologies, but [inaudible]. Do we have time . Not exactly. We can take time. I was just told we shouldnt. Okay, never mind. Well speak afterwards . Okay. Thank you all for coming and listening. Thank you very much for coming. [applause] book tv continues now on cspan 2. Television for serious readers. We want to welcome back the author. The book is called the great revolt inside the populist coalition reshaping american politics. Good sunday morning. Thank you for being with us. Thanks for having me. A lot to talk about in your book, but overall the message is what . Well, the message is what brad and i wanted to understand was is the 2016 election or was it a fluke or is this the new sort of conservative Republican Coalition that is the Republican Party . And we decided that this that 2016 wasnt a fluke. This is the new Republican Party, and i think that both establishment parties, democrat and republicans and larger institutions