Louis A. Ruprecht.
Kathryn Lofton’s luminous essay on the ritual form of the wedding announcement helped me to understand what has perplexed and fascinated me so about reportage of the Madoff scandal. The issue is one of tone, finding the right tone for a wedding announcement, or for a meditation on a scandal of such colossal proportions.
Lofton captures the melancholic heart of the thing—if it were not so, then why should death play such a prominent part in the very ceremony from which we should most wish to protect it? “Til death do us part,” we say, reminding ourselves in the very moment of joining that we are committing ourselves equally to an inevitable parting.
How should we look upon the smiling faces, the desperate notes, the brief snippets of biography, the inspiring hopes, the sense of infinite possibility? Lofton invites us into an almost terrifying honesty: when we gaze upon such pictures, we cannot help but imagine the whole thing unraveling, as fully half of these unions will, statistically speaking. As Susan Sontag noted long ago, photography has always enjoyed a special intimacy with catastrophe.
So I return to Vanity Fair, and its attempts to put a human face on the Bernie Madoff saga.
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