Quite a good essay by Gopnick. I liked the last couple of paragraphs in particular, even though I'm not keen on the very last sentence:
Again and again, the investigation discloses bizarre figures and coincidences within a web of incident that seem significant in themselves. The case of Judith Campbell Exner is famous. She really was J.F.K.’s mistress, and a Sinatra girlfriend, and the mistress of the Chicago Mob boss Sam Giancana, all within a few years. Even if she wasn’t actually a go-between from one to the other, that would not alter the reality that she had slept with all three, and so lived in worlds that, in 1963, no one would have quite believed could penetrate each other so easily. Still more startling is the case of the painter Mary Pinchot Meyer, who was also unquestionably one of Kennedy’s mistresses. She was the ex-wife of a high-ranking C.I.A. officer (who himself had once had pacifist leanings), an intimate of Timothy Leary, at Harvard, and an LSD user. She was murdered, in 1964, on the towpath in D.C., in murky circumstances. Even if none of this points toward a larger occult truth—even if her death was just a mugging gone wrong—the existence of such a figure says something about the weave of American experience. Worlds that seemed far apart at the time are now shown to have been close together, unified by men and women of multiple identities, subject to electric coincidences—no one more multiple than J.F.K. himself, the prudent political pragmatist who was also the reckless erotic adventurer, in bed with molls and Marilyns, and maybe even East German spies.
The passion of J.F.K. may lie in the overlay of all those strands and circles. The pattern—weaving and unweaving in front of our eyes, placing unlikely people in near proximity and then removing them again—is its own point. Mailer was right when he claimed that the official life of the country and the real life had come apart, but who could have seen that it would take a single violent act, rather than “existential” accomplishment, to reveal how close they really were? Oswald acted alone, but the hidden country acted through Oswald. This is the perpetual film-noir moral lesson: that the American hierarchy is far more unstable than it seems, and that the small-time crook in his garret and the big-time social leader in his mansion are intimately linked. When Kennedy died, and the mystery of his murder began, we took for granted that the patrician in tails with the perfect family and the sordid Oswald belonged to different worlds, just as Ruby’s Carousel Club and the White House seemed light-years apart. When Kennedy was shot, the dignified hierarchy seemed plausible. Afterward, it no longer did. What turned inside out, after his death, was that reality: the inner surface and the outer show, like a magician’s bag, were revealed to be interchangeable. That’s why the death of J.F.K., even as it fades into history, remains so close, close as can be, and closer than that. ♦
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