The Accidental Truth-Tellers of the Post-Privacy Era

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The Accidental Truth-Tellers of the Post-Privacy Era
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A new book argues that we would all do well to treat the state—any state, but especially the sprawling post-9/11 American security apparatus—with a reflexive wariness, even if we believe we have nothing to hide.

” that we properly get to Satan. The previous two hundred pages have traced an odyssey through the post-9/11 American security state, searching for rhymes and resonance among the lives of its whistle-blowers, accidental truth-tellers, targets, and victims—and also the rest of us, tapping at our phones, constantly feeding data onto the Internet, aware that it’s all accumulating somewhere, much of it accessible to the government.

,” which was about mixed-martial-arts fighters, and concerned with questions of artifice and truth. “To the extent that “Bottoms Up” has a main character, it’s Winner, whommagazine in 2017, and who represents, to a remarkable degree, a convergence of the author’s preoccupations in a single, colorful character . When Reality—as Howley typically refers to her heroine—is on the page, we feel the intimacy of a novel.

Howley’s central claim—the thread with which she seeks to string her wide-ranging material, including Winner’s story—is that American life since the early two-thousands has been increasingly marked by two developments. First: the mass collection of personal data by the state, with help from tech companies.

Even though Winner is the center of Howley’s narrative mosaic, she doesn’t appear much in the first hundred pages. Instead, quickly drawn character studies form a montage of the post-9/11 era in which Winner came of age, the mood board of her psychocultural inheritance. There’s John Walker Lindh, the American who, at twenty, joined the Taliban, and, after being captured on the battlefield in Afghanistan, became a national symbol of treachery.

For another, more conventional book, objections like this might be fatal. But “Bottoms Up” proceeds less by the sequential logic of the proof, or of typical journalism, and more by the associative logic of the mood board. And it works.

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