"If you live in the same small place long enough, something you don't like is bound to happen"
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Small towns sell themselves as stability: the same streets, the same faces, the same rituals that let you pretend time can be managed. Kidder punctures that fantasy with a sentence that reads like homespun wisdom but carries a reporter-novelist's bite. "If you live" is conditional, almost gentle, yet the logic is ruthless: duration guarantees disruption. Not because small places are uniquely cursed, but because proximity is unforgiving. In a tight radius, everybody's choices land on everybody else's porch.
The line also smuggles in a critique of nostalgia. We romanticize the small place as moral and coherent, a refuge from big-city chaos. Kidder flips the premise: the very features that make it feel safe - repetition, familiarity, limited options - also concentrate conflict. The longer you stay, the more you can't outrun the local power structure, old grudges, or the slow accretion of disappointment. In a place with few exits, every bad break becomes communal weather.
Context matters with Kidder, whose nonfiction often treats American communities as systems, not postcards. He's attentive to how institutions, economies, and personalities grind together over years. "Something you don't like" is deliberately vague, widening the target from scandal to tragedy to the everyday abrasions of living among people who remember you before you became who you think you are. The sentence is a quiet argument against the idea that belonging is purely comforting: it's also exposure, and time is the force that makes the bill come due.
The line also smuggles in a critique of nostalgia. We romanticize the small place as moral and coherent, a refuge from big-city chaos. Kidder flips the premise: the very features that make it feel safe - repetition, familiarity, limited options - also concentrate conflict. The longer you stay, the more you can't outrun the local power structure, old grudges, or the slow accretion of disappointment. In a place with few exits, every bad break becomes communal weather.
Context matters with Kidder, whose nonfiction often treats American communities as systems, not postcards. He's attentive to how institutions, economies, and personalities grind together over years. "Something you don't like" is deliberately vague, widening the target from scandal to tragedy to the everyday abrasions of living among people who remember you before you became who you think you are. The sentence is a quiet argument against the idea that belonging is purely comforting: it's also exposure, and time is the force that makes the bill come due.
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