We're all impostors to ourselves. By that I mean that we know instinctively, intimately, the difference between whom we are inside and who we appear to be to others. Most of the time - when we aren't flat lying about something or playing a particularly stylized role in some heightened dramatic situation - this difference between the internal and the external is modest and manageable.

've always defined a truly alluring story as a journey we're not equipped to take ourselves with a person we're tempted but afraid to emulate. Impostor narratives are exactly that. When they end in disaster, as Clark's did, or as Gatsby's did, we can congratulate ourselves for our own wisdom. We can also experience, safely, at no cost, the terrible thrill of radical self-invention, of trading who we are for who we might be.

It looked like just the sort of family Americans dream of having: dumb and loving.

In the age of networked everything, life moves sideways and covers lots of ground while barely touching the earth.

I love reference books, especially collections of memorable quotations, almanacs, and atlases. Facts to me are like candy or popcorn - small, tasty delights - and I like to gorge on them now and then.

When Loughner himself speaks and we find out his real influences are Spiderman, 'Gnome Chomsky,' Taylor Swift, and Dr. Bronner, then what?

There are moments when it frightens us, threatening to expose us as inauthentic. Well, the big-time impostors we read about in literature run this risk constantly, flirting with destruction, not just humiliation or embarrassment. It's a spectacle that we can't help but find compelling, and it involves a certain level of courage that we sneakily admire, perhaps.