UNCHECKED, UNBALANCED
Eight years ago on Election Night, as the returns came in from North Carolina, where I was reporting, I made a panicked phone call to a friend. I told him that I feared the country was sliding into the hands of a demi-fascist, and that it might even be time to start considering an exit plan. My life, like those of many Black people of my generation, was shaped not by the brutality of segregation, as my parents’ lives had been, but by the success of the battles of the nineteen-fifties and sixties to uproot it. The prospect that a Presidential candidate could be embraced not only by white supremacists but also by one of the two major political parties and almost half the electorate triggered an enduring dread that the progress we had made was fragile and impermanent—and that, with the right incentives, the old order could resurrect itself in the present.
By the end of that late-night phone call, though, we had sorted through the “guardrails” theory of the various checks and precedents that would constrain Donald Trump. The advantage of the sprawling bureaucracy of the federal government is that it takes a brilliant level of orchestra-conducting to achieve anything significant—a skill set that a mercurial, chronically uninformed career real-estate developer did not likely possess. It was to be presumed that the Republican establishment, craven and increasingly reactionary but on the whole more sound than its presumptive leader, would curb Trump’s impulses, or at least dangle enough distractions in front of him to keep him from focussing for too long on any truly destructive goal. The press and the courts would be the redoubt of democracy; they were designed precisely for such a moment.
Diese Geschichte stammt aus der November 18, 2024-Ausgabe von The New Yorker.
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Diese Geschichte stammt aus der November 18, 2024-Ausgabe von The New Yorker.
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NO WAY BACK
The resurgence, in the past decade, of Paul Schrader as one of the most accomplished and acclaimed contemporary movie directors is part of a bigger trend: the self-reinvention of Hollywood auteurs as independent filmmakers.
PRIMORDIAL SORROW
\"All Life Long,\" the title of the most recent album by the composer and organist Kali Malone, is taken from a poem by the British Symbolist author Arthur Symons: \"The heart shall be weary and wonder and cry like the sea,/ All life long crying without avail,/As the water all night long is crying to me.\"
CHOPPED AND STEWED
The other day, at a Nigerian restaurant called Safari, in Houston, Texas, I peeled back the plastic wrap on a ball of fufu, a staple across West Africa.
TOUCH WOOD
What do people do all day? My daughter loves to read Richard Scarry's book of that title, though she generally skips ahead to the hospital pages.
HELLO, HEARTBREAK
Heartbreak cures are as old as time, or at least as old as the Common Era.
ENEMY OF THE STATE
Javier Milei's plan to remake Argentina begins with waging war on the government.
THE CHOOSING ONES
The saga of my Jewish conversion began twenty-five years ago, when I got engaged to my first husband.
OBSCURE FAMILIAL RELATIONS, EXPLAINED FOR THE HOLIDAYS
Children who share only one parent are half siblings. Children who have been bisected via a tragic logging accident are also half siblings, but in a different way.
NOTE TO SELVES
The Sonoran Desert, which covers much of the southwestern United States, is a vast expanse of arid earth where cartoonish entities-roadrunners, tumbleweeds, telephone-pole-tall succulents make occasional appearances.
BADDIE ISSUES
\"Wicked\" and \"Gladiator II.\"