Wriggling Malia into her first ballet tights. Baby Sasha’s laugh as he nibbles her feet. Michelle’s breath slowing as she falls
asleep against his shoulder. His mother sucking ice cubes, her glands destroyed by cancer. The narrative is rooted in a storytelling tradition, with the accompanying tropes, as with the depiction of a staffer in his campaign for the Illinois State Senate, “taking a drag from her cigarette and blowing a thin plume of smoke to the ceiling.” The dramatic tension in the story of his gate-crashing, with Hillary Clinton by his side, to force a meeting with China at a climate summit is as enjoyable as noir fiction; no wonder his personal aide Reggie Love tells him afterward that it was some “gangster shit.” His language is unafraid of its own imaginative richness. He is given a cross by a nun with a face as “grooved as a peach pit.” The White House groundskeepers are “the quiet priests of a good and solemn order.” He questions whether his is a “blind ambition wrapped in the gauzy language of service.” There is a romanticism, a current of almost-melancholy in his literary vision. In Oslo, he looks outside to see a crowd of people holding candles, the flames flickering in the dark night, and one senses that this moves him more than the Nobel Peace Prize ceremony itself.
The New York Times
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