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The Observer has an admiring piece on Eliot Spitzer's phoenix-like public image "resurrection." First came the Slate column. This week, there's a Newsweek byline, an interview, and a Nation nomination for treasury secretary. "[H]e says what he thinks!" Slate editor David Plotz crows. "[I]t's back-to-square-one time, and Mr. Spitzer seems to be bringing all of his Sisyphean strength to bear on the project," the Observer admires. "At rare moments, I’ll do my best to add to the public conversation," Spitzer demurs. What struck me as interesting was less this latest installment of a fallen politician's return from a sex scandal (yawn) but the contrast with the media's portrayal of his wife, Silda. The March issue of Vogue makes it more than clear how we're expected to see Mrs. Spitzer a year later: as a victim. "The survivor," the headline slapped next to her reads. I guess, in the end, it's all pretty typical. The public's initial stance of scorn at Spitzer's sexual transgression was just that—a show, designed by a public that wishes to perceive itself as above the very behaviors that its members partake in regularly. Meanwhile, Silda gets stuck in the victim rut, where America will keep her, if it has its way. If we had to perceive her any other way, we'd have to ask ourselves if we would do the same thing that she did—and, if we did so, if we were right in doing so.
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