NEW ORELANS native Nick Lemann on Treme in the New York Review of Books — thanks, Richard.
Just now wading into it. . . .
I can’t help looking at Treme as a long-departed native, and judging it for accuracy and acuity. I grew up more or less inside the world represented by Davis Mc-Alary’s parents, which takes up very little time on camera and didn’t seem to me especially well drawn—it’s generically Southern la-de-da rather than specifically New Orleanian. (In fairness, it would be quite difficult to capture that highly ritualized and private world, in which a plurality of the people are connected to ancient local Creole tribes, Villeres and Livaudais and Charbonnets and Lapeyres, that have opened their ranks to some but not all and have entered modern business and professional mores to an extent but not completely.) Treme is essentially populist, and it’s interested in elites far more as objects of ordinary people’s well-deserved scorn than as fully realized subjects. What limited negative attention it gives to the subject is directed more at the light-skinned black elite—public officials who appear briefly as unfeeling jerks, or the dullards at a society ball where Antoine has reluctantly accepted a gig in a big band—than the entirely separate white one.