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What Researching the AR-15 Revealed About the ‘Zelig of Guns’

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What Researching the AR-15 Revealed About the ‘Zelig of Guns’

As reporters at The Wall Street Journal, Zusha Elinson and Cameron McWhirter have covered more mass shootings than anyone would care to recall: San Bernardino, Sutherland Springs, Las Vegas, Orlando.

But when they set out to write an article about the business behind the AR-15 — the gun often associated with this most American of tragedies — they found that its story was more revealing of the country’s recent history than they had imagined.

“It’s almost like a Zelig of guns,” McWhirter said. “It keeps popping up, from the 1950s of its invention until Jan. 6, when they’re waving flags that say, ‘Come and take it,’ with an image of the AR-15 on them.”

Elinson and McWhirter’s reporting evolved over the course of years into a deep dive into the personalities and circumstances that took the AR-15 from an idea literally sketched on the back of a napkin to one of the most powerful symbols of America’s contemporary political divide.

The resulting book, “American Gun: The True Story of the AR-15,” centers on the life of Eugene Stoner, the weapon’s inventor. The book traces the story of Stoner’s creation alongside a disparate cast of characters, from John Wayne, who by happenstance was the first civilian to fire the gun, to Cold War figures strategists like Curtis LeMay, to the many people whose lives have been altered irreversibly by the gun’s destructive force.

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Elinson and McWhirter spoke about their research and the role they hope their book will play in the national conversation on gun violence. This interview has been edited for concision and clarity.

How did you come to this story?

McWhirter: Once you start to study this rifle, this fascinating story unravels about its inventor, this guy who was really an unknown, tinkering in his garage in Los Angeles, yet was somehow able to think in a new way about firearms. As soon as he created the AR-15, he lost control of it. That’s the story that we wanted to explain: How do you get from a guy tinkering in his garage, a former marine trying to invent a rifle to help American soldiers and their allies during the Cold War, to children running for their lives in a school shooting.

Did your research take you in directions you didn’t expect?

Elinson: When you think of America as an ideal, this story is what’s promised to us: A guy has an idea; he believes he can change the world. He has no college education, no training in gun design, but with his ingenuity he comes up with this very futuristic (at the time), lightweight rifle that the military ends up adopting. So from the beginning, it’s a very American story.

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One of the things that we’re really proud of is that we’re telling Stoner’s story for the first time. There’s been a lot written about him and a lot of people think they know about him, but we were really fortunate to earn the trust of his family and talk with them over months and years to better understand who this guy was. They also provided us with documents showing his thoughts about the gun. One of the key things we try to answer in this book is: What would Stoner think about what’s going on today?

Why is it that the AR-15 became this symbol, and not some other gun?

McWhirter: There are a lot of events that played into this gun becoming the country’s most popular rifle, but certainly one of those is Stoner’s focus on using new materials that made it very easy to shoot, and very easy for a soldier to shoot rapidly and carry lots of ammunition with him into the field. Those design elements are having a big impact today.

Elinson: Politics was a huge factor as well. Going back to the 1994 assault weapons ban, the AR-15 was kind of an afterthought at the time. But once it was included in the ban, many of the people who owned the gun suddenly started to see it as much more than a gun. We talked to people who owned AR-15s at the time and they said, “This is the line in the sand. I know they aren’t going to touch my handgun; I know they aren’t going to take away my hunting rifle.” So suddenly, the AR-15 became the embodiment of the fight over the Second Amendment.

Do you expect people on different sides of the gun debate to read this book differently?

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McWhirter: We don’t want anyone to walk away from our book saying this is pro-gun or anti-gun, or pro-AR-15 or anti-AR-15. This is an amazing object that has changed our world and we need to understand it. But we’re anti-mass shooting. We want people to know this history so that all Americans think about how we solve the problem we’re facing.

Elinson: Unfortunately, a lot of our culture’s opinions and views of firearms are framed by very partisan lenses. What we wanted to do was lay out the history as objectively as possible. But we also wanted to show what it’s like for people who survive these mass shootings to live with the injuries. A lot of times, after the news vans leave, people forget. We really wanted to show the impact on their lives.

McWhirter: It’s become this object that we’re all fighting about, and yet there’s such little understanding of how it was created and how it became the American gun.

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Culture

Finding a Moral Center in This Era of War

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Finding a Moral Center in This Era of War

Phil Klay, as both a participant and a writer, has been thinking deeply about war for a long time. In his two acclaimed works of fiction, the book of short stories “Redeployment,” which won a 2014 National Book Award, and the novel “Missionaries” (2020), and in the nonfiction collection “Uncertain Ground: Citizenship in an Age of Endless, Invisible War” (2022), Klay has interrogated, to profound effect and with a deeply humane and moral sensibility, what war does to our hearts and minds, individually and collectively, here and abroad. “I’m interested in the kinds of stories that we tell ourselves about war,” says Klay, who is a 40-year-old veteran of the Iraq war. “I’m interested in the uncomfortable ones, but also in the ones that feel too comfortable and need to be told alongside other types of stories that make it more troubling.”

This is maybe overly cynical, but why do you think that having a less ideologically rigid point of view is more effective in the long term than the opposite? In the long term, if you blinker yourself to reality, it limits your ability to formulate positions that are based in reality and therefore formulate positions that will achieve something lasting and moral. You need to be open to complexity because whatever narrow thing that you want to achieve in the real world will, if it gets put into practice, be put into practice in the real world. Not in the ideologically antiseptic world that you’ve created in your head.

What might crack open in someone that they’re able to see the suffering of civilian others as just as grave a human concern as the suffering of civilians on the side they support ideologically? In war, there’s a primary experience: a terrified father in Gaza as bombs are falling, unsure of whether he can protect his family; or the Israeli soldier trying to deal with Hamas’s tunnel network. There is a responsibility when you’re thinking these things through to sit with some of those primary experiences to the extent that you can, and think about them without immediately seeking to churn them into something politically useful. Because they mean more than whatever policy cash-out we get from them.



Phil Klay (center, with camera) in Iraq in 2007.

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From Phil Klay


We’ve entered this awful period, with the Russian invasion of Ukraine and then the conflict between Israel and Hamas, when war is present in many people’s minds in a way that, perhaps, it hasn’t been before. But has this moment changed anything fundamental in how we think about war? I think that Ukraine represents not a good war — because the closer you get to war, the more obvious it is that a phrase like “a good war” has no valid meaning — but rather a necessary war. The clear moral case for Ukraine is about as straightforward a case of a just defense against a vicious aggressor as you could find. There is a certain appeal for that, especially for Americans accustomed to interminable, murky operations where military activities were ranging from trying to strengthen host nations to counterterrorism as well as more straightforward combat. Here is a war with a clear front line with a clear moral imperative. That, I think, has shifted people’s perceptions.

You’ve written about the need for soldiers to be able to connect their missions to the broader values of their society. How might that apply to American soldiers today, given that there seems to be less and less consensus about our shared values? The debate over what America means is nothing new. To me, the crucial aspect of American identity is a certain embrace of change. I think of American identity as being like Heraclitus’ river that you can never step in twice. It doesn’t mean that there are no riverbanks. It’s not an amorphous pool of water spilling out in all directions. Nevertheless, a certain degree of turbulence is important for growth and allows for necessary changes to come about.

You mean as far as belief? I don’t know what other option there is then on a personal level to get on one’s knees and beg for forgiveness. We’re so unequal to responding to the challenges of the world that we nevertheless have a responsibility to. I mean, we’ve been talking about the current conflict, and don’t you just feel stupefied by the horror of it?

It’s completely shattering. It is.

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This interview has been edited and condensed for clarity from two conversations.

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Can You Name These Famous Short Stories Based on Their Descriptions?

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Can You Name These Famous Short Stories Based on Their Descriptions?

Welcome to Lit Trivia, the Book Review’s multiple-choice quiz designed to test your knowledge of literature. This week’s installment asks you to identify the titles and authors of memorable short stories and novellas — based on a simple plot description. The answer section reveals a bit more about the work from articles in the Times archive. After the last question, you’ll find links to the novellas or story collections themselves if you’d like to read (or reread) them.

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Culture

Interview: Tracy K. Smith

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“I have a lot of books on near-death experiences, psychic phenomena and past-life regression on my shelves,” says the two-time poet laureate, whose new book is the memoir “To Free the Captives.” “These kinds of books nudge me to remember our world is but one facet of an enormous continuity.”

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