The angriest and most pessimistic people in America aren’t the hipster protesters who flitted in and out of Occupy Wall Street. They aren’t the hashtavists of #BlackLivesMatter. They aren’t the remnants of the American labor movement or the savvy young dreamers who confront politicians with their American accents and un-American legal status.

The angriest and most pessimistic people in America are the people we used to call Middle Americans. Middle-class and middle-aged; not rich and not poor; people who are irked when asked to press 1 for English, and who wonder how white male became an accusation rather than a description.

You can measure their pessimism in polls that ask about their expectations for their lives—and for those of their children. On both counts, whites without a college degree express the bleakest view. You can see the effects of their despair in the new statistics describing horrifying rates of suicide and substance-abuse fatality among this same group, in middle age.

Last Friday, at 10:30 a.m., ob-gyn Rebekah McCurdy was seeing patients in her office when she got the call. Hello, said the voice on the line. It’s us. We’re thinking of doing a C-section, and we’re ready to put her under anesthesia. Weird, thought McCurdy. She wasn’t covering deliveries that morning, and in any case, she didn’t have any C-sections scheduled. “Who is this?” she said.

“It’s the zoo,” said the voice. “It’s for Kira.”

McCurdy dropped everything and ran to her car. A few hours later, she was delivering a baby gorilla into the world.

Philadelphia Zoo has a long history of raising great apes: In 1928, it became the first American zoo to successfully breed both chimpanzees and orangutans. In 2009, when it restarted its breeding program in a newly built primate house, vets contacted Stuart Weiner, a director at Thomas Jefferson University Hospital and a specialist in high-risk obstetrics. They wanted someone on standby in case any of the pregnancies became complicated.

Day by day, revelation after revelation, the legitimacy of the Trump presidency is seeping away. The question of what to do about this loss is becoming ever more urgent and frightening.

The already thick cloud of discredit over the Trump presidency thickened deeper Friday, June 23. The Washington Post reported that the CIA told President Obama last year that Vladimir Putin had personally and specifically instructed his intelligence agencies to intervene in the U.S. presidential election to hurt Hillary Clinton and help Donald Trump.

Whether the Trump campaign knowingly coordinated its activities with the Russians remains uncertain. The Trump campaign may have been a wholly passive and unwitting beneficiary. Yes, it’s curious that the Russians allegedly directed their resources to the Rust Belt states also targeted by the Trump campaign. But it’s conceivable they were all just reading the same polls on FiveThirtyEight and RealClearPolitics.

When Rufus Edmisten was 31 years old, he delivered a subpoena to the president of the United States asking for tape recordings from the Oval Office. It was July 23, 1973, and “it had to be the hottest day in the world,” he told me last week, 44 years later.

Edmisten had recently been appointed deputy chief counsel on the Senate’s newly formed Select Committee on Presidential Campaign Activities, also known as the Watergate Committee. Its chairman, North Carolina Democrat Sam Ervin, was leading an investigation into the break-in at Democratic National Committee headquarters, which had occurred the year before in the midst of President Richard Nixon’s reelection campaign.

It would take another year of firings, cover-ups, and claims of executive privilege, but the committee’s evidence-gathering would ultimately lead to the indictment of 40 administration officials and the first-ever resignation of an American president.

The United States has never had a Senate leader as ruthless, as willing to bend, distort and break the rules, traditions and precedents of the Senate as Mitch McConnell. And the Senate has probably never had a majority leader as effective at accomplishing his goals as Mitch McConnell—making even Lyndon Johnson look like a neophyte in comparison.

That is why no one should believe that the McConnell-crafted health-policy bill is dead, despite the growing opposition and the fact that the overwhelming majority of health-policy analysts and health providers say the bill is a walking disaster. It eviscerates Medicaid—a program widely misunderstood as simply insurance for poor people, but which uses most of its money for long-term care for the elderly, and basic protection for the disabled and mentally ill populations. The overall Medicaid cuts, while spread over a longer time frame, are more severe than the draconian House bill.

In spring 2011, the six Democratic members of Maryland’s congressional delegations tasked Eric Hawkins with two key jobs: Draw new district lines that get us re-elected easily for another five terms, while also taking direct aim at the state’s last two Republicans.

Behind closed doors, Democratic insiders and high-ranking aides referred to it as “the 7-1 map.” Hawkins—an analyst at a Beltway data firm called NCEC Services—not only made it happen, but imagined an 8-0 map that might have shut Republicans out of power altogether. That, however, would have required spreading Democratic voters a little too thin and made some incumbents slightly less safe; these congressmen were partisans, sure, but they were also reluctant to risk their own seats.

If power were a prescription drug, it would come with a long list of known side effects. It can intoxicate. It can corrupt. It can even make Henry Kissinger believe that he’s sexually magnetic. But can it cause brain damage?

When various lawmakers lit into John Stumpf at a congressional hearing last fall, each seemed to find a fresh way to flay the now-former CEO of Wells Fargo for failing to stop some 5,000 employees from setting up phony accounts for customers. But it was Stumpf’s performance that stood out. Here was a man who had risen to the top of the world’s most valuable bank, yet he seemed utterly unable to read a room. Although he apologized, he didn’t appear chastened or remorseful. Nor did he seem defiant or smug or even insincere. He looked disoriented, like a jet-lagged space traveler just arrived from Planet Stumpf, where deference to him is a natural law and 5,000 a commendably small number. Even the most direct barbs—“You have got to be kidding me” (Sean Duffy of Wisconsin); “I can’t believe some of what I’m hearing here” (Gregory Meeks of New York)—failed to shake him awake.

The ashes filled a black plastic box about the size of a toaster. It weighed three and a half pounds. I put it in a canvas tote bag and packed it in my suitcase this past July for the transpacific flight to Manila. From there I would travel by car to a rural village. When I arrived, I would hand over all that was left of the woman who had spent 56 years as a slave in my family’s household.

Pronounce the word artist, to conjure up the image of a solitary genius. A sacred aura still attaches to the word, a sense of one in contact with the numinous. “He’s an artist,” we’ll say in tones of reverence about an actor or musician or director. “A true artist,” we’ll solemnly proclaim our favorite singer or photographer, meaning someone who appears to dwell upon a higher plane. Vision, inspiration, mysterious gifts as from above: such are some of the associations that continue to adorn the word.

Yet the notion of the artist as a solitary genius—so potent a cultural force, so determinative, still, of the way we think of creativity in general—is decades out of date. So out of date, in fact, that the model that replaced it is itself already out of date. A new paradigm is emerging, and has been since about the turn of the millennium, one that’s in the process of reshaping what artists are: how they work, train, trade, collaborate, think of themselves and are thought of—even what art is—just as the solitary-genius model did two centuries ago. The new paradigm may finally destroy the very notion of “art” as such—that sacred spiritual substance—which the older one created.