Poems / May 13, 2025

For the Last American Century

Robert Wood Lynn

First, they didn’t let me on the moon. Then didn’t let anyone
after a while. So children let their dreams get smaller, enough
to fit the pocket of the jean jackets each generation wore
every time they invented irony. Soon, in the cities, down
in their white noise canyons, people got on with the getting on.
Looked at their feet, mostly. Or they practiced glancing
slightly away when eyes met accidentally on the train.
Like shoes under a table. Like sheep bumbling a mountain pass.
The trick, we learned, was to pretend you’ve always been
looking just over your stranger’s left shoulder, reading
for the thousandth time that list of things you’re not allowed,
hoping there might be a prize in it. People got used to doing less
with less. Hoarded their sorrys. People learned something
happens to an old friendship when one visits the other’s city
but doesn’t give notice. There are reasons for this, always.
Business to attend to. Kids in their ironic jackets to shepherd
someplace new. I used to think the moon lived west of the earth,
which was why you’d see it after the sun went down. I studied
the scriptures. Became convinced that’s where they hid Eden
from us. This was back when I too believed in big punishment
for small mistakes. Then I saw the moon forget itself
in the day’s sky as if waiting, like the rest of us, for an apology.

Your support makes stories like this possible

From illegal war on Iran to an inhumane fuel blockade of Cuba, from AI weapons to crypto corruption, this is a time of staggering chaos, cruelty, and violence. 

Unlike other publications that parrot the views of authoritarians, billionaires, and corporations, The Nation publishes stories that hold the powerful to account and center the communities too often denied a voice in the national media—stories like the one you’ve just read.

Each day, our journalism cuts through lies and distortions, contextualizes the developments reshaping politics around the globe, and advances progressive ideas that oxygenate our movements and instigate change in the halls of power. 

This independent journalism is only possible with the support of our readers. If you want to see more urgent coverage like this, please donate to The Nation today.

Robert Wood Lynn

More from The Nation

Early movie house interior with audience and piano player, 1913.

Esther Kinsky’s Celluloid Dreams Esther Kinsky’s Celluloid Dreams

In Seeing Further, a novel obsessed with the tactile feeling of arthouse cinema, the sad state of our moviegoing comes into focus.

Books & the Arts / Walker Rutter-Bowman

Susan Te Kahurangi King’s “Untitled,” 2022.

Revisiting the Advent of the Abstract Revisiting the Advent of the Abstract

A recent gallery exhibition on abstract art and self-taught artists proposes a new story for the rise of abstraction.

Books & the Arts / Barry Schwabsky

Wolfgang Koeppen, 1986.

Wolfgang Koeppen—“Poet of Failure” Wolfgang Koeppen—“Poet of Failure”

The German writer’s postwar works were ruthless in their condemnation of a country that, in its inability to reckon with historical atrocity, was beyond reform.

Books & the Arts / Pankaj Mishra

Lea Ypi, 2022.

Lea Ypi’s Family Secrets Lea Ypi’s Family Secrets

In the political theorist’s genre-bending book on Albania and historical memory, Indignity, she interrogates how much one family can be implicated in a country’s becoming.

Sam Stark

Georg Simmel, 1914.

The Conflicted Origins of Sociology The Conflicted Origins of Sociology

Kwame Appiah Anthony’s Captive Gods examines how the founders of the discipline responded to a widespread decline in Christianity in the late 19th century.

Books & the Arts / Alec Gewirtz

Larry McMurtry, 1978.

Larry McMurtry’s Tall Tales Larry McMurtry’s Tall Tales

By questioning the myth of the cowboy, he offered a different kind of legend, one more suited to this country and its contradictions.

Books & the Arts / Gus O’Connor