Thanassis Cambanis

Of the three Bowlin sisters, Margaret, the middle one, was the first to show signs. She began having seizures as a toddler. Then the eldest, Bettina, had a brief and mysterious episode of weakness in her right hand. In 1986, as an adult, she had a two-week migraine that got so bad, she couldn’t hold food in her mouth or money in her right hand. The youngest, Susan, felt fine, but her parents still took her for an exam in 1989, when she was 19. A brain scan found abnormal clusters of blood vessels that, as it turned out, were in her sisters’ brains too. These malformations in the brain can be silent. But they can also leak or, worse, burst without warning, causing the seizures, migraines, and strokelike symptoms Bettina and Margaret experienced. If the bleeding in the brain gets bad enough, it can be deadly.

In the early phases of the pandemic, as the coronavirus spread in the United States and doctors and pharmacists and supermarket clerks continued to work and risk infection, some commentators made reference—metaphorical reference, fast and loose and over the top—to ritual human sacrifice. The immediate panicky focus on resuming business as usual in order to keep the stock market from crashing was the equivalent of “those who offered human sacrifices to Moloch,” according to the writer Kitanya Harrison. That first summer, as Republicans settled into their anti-testing, anti-lockdown, anti-mask, nothing-to-worry-about orthodoxy, Representative Jamie Raskin, a Democrat, said it was “like a policy of mass human sacrifice.” The anthropology professor Shan-Estelle Brown and the researcher Zoe Pearson wrote that people who continued to do their jobs outside their homes were essentially victims of “involuntary human sacrifice, made to look voluntary.” Meanwhile, people on the right likewise compared the inconvenience of closing down public places to ritual sacrifice.

Old songs now represent 70 percent of the U.S. music market, according to the latest numbers from MRC Data, a music-analytics firm. Those who make a living from new music—especially that endangered species known as the working musician—should look at these figures with fear and trembling. But the news gets worse: The new-music market is actually shrinking. All the growth in the market is coming from old songs.

The 200 most popular new tracks now regularly account for less than 5 percent of total streams. That rate was twice as high just three years ago. The mix of songs actually purchased by consumers is even more tilted toward older music. The current list of most-downloaded tracks on iTunes is filled with the names of bands from the previous century, such as Creedence Clearwater Revival and The Police.

It certainly might not seem like it given the pandemic mayhem we’ve had, but the original form of SARS-CoV-2 was a bit of a slowpoke. After infiltrating our bodies, the virus would typically brew for about five or six days before symptoms kicked in. In the many months since that now-defunct version of the virus emerged, new variants have arrived to speed the timeline up. Estimates for this exposure-to-symptom gap, called the incubation period, clocked in at about five days for Alpha and four days for Delta. Now word has it that the newest kid on the pandemic block, Omicron, may have ratcheted it down to as little as three.

If that number holds, it’s probably bad news. These trimmed-down cook times are thought to play a major part in helping coronavirus variants spread: In all likelihood, the shorter the incubation period, the faster someone becomes contagious—and the quicker an outbreak spreads. A truncated incubation “makes a virus much, much, much harder to control,” Jennifer Nuzzo, an epidemiologist at the Johns Hopkins Center for Health Security, told me.

Last Thursday, a group of 20 mothers in Boston met up outside a local high school. Their goal wasn’t to socialize, drink wine, or even share COVID-related tips. They were there for one reason and one reason only: to stand in a circle—socially distanced, of course—and scream.

“I knew that we all needed to come together and support each other in our rage, resistance and disappointment,” Sarah Harmon, the group’s organizer, wrote on Instagram before the gathering. Ironically, some 20 other moms who had RSVP’d “yes” had to cancel at the last minute because they or other family members had COVID, Harmon told me.

When mothers feel there is no more appealing way to spend an evening than to yell into the frigid January darkness, something is very, very wrong. Parents in the United States are living through a universally terrible moment. For two years, we’ve been spending each and every day navigating an ever-changing virus that’s threatening not only our well-being but our livelihoods. The situation has reached a fever pitch during this wave, when we’re expected to function normally even though nothing is normal and none of the puzzle pieces in front of us fit together.

The world’s most powerful space telescope was ready to uncover the wonders of the universe, but first it needed some help from a little blue truck. The truck had to haul the James Webb Space Telescope, perched atop a more than 165-foot-tall rocket, to the launchpad at a spaceport in South America in late December. Next to the rocket, the vehicle looked almost decorative. I asked Bruno Gérard how the Ariane 5 rocket, standing crane-your-neck tall in front of us, on a platform hitched to the truck, would make the journey without tipping over.

Like me, Gérard—a vice president at Arianespace, which operates rockets like this one—was wearing a blue hard hat and gripping a gas mask. The rocket wasn’t completely fueled for launch yet, but its firecrackerlike boosters, one on each side, were packed with highly explosive propellant. How was this whole thing tied down?

On September 13, I took my first plane trip in 18 months: Kansas City to Boise with a layover in Denver. The trip itself was largely uneventful, with one exception. After I boarded my connecting flight in Denver, a pilot announced that we would be briefly delayed because Air Force One was also en route to Boise. President Biden was responding to yet another record-setting wildfire season, during which 5.3 million acres of the U.S., an area the size of New Jersey, had already burned. “We can’t ignore the reality that these wildfires are being supercharged by climate change,” he would say later that day. “It isn’t about red or blue states. It’s about fires. Just fires.”

The wildfires had both everything and nothing to do with my trip to Boise and, from there, to the Salmon-Challis National Forest, a five-hour drive northeast of the city. For me, the area’s most immediate draw was cobalt, a hard, silvery-gray metal used to make heat-resistant alloys for jet engines and, more recently, most of the lithium-ion batteries for electric vehicles. The Salmon-Challis sits atop what is known as the Idaho Cobalt Belt, a 34-mile-long geological formation of sedimentary rock that contains some of the largest cobalt deposits in the country. As the global market for lithium-ion batteries has grown—and the price of cobalt along with it—so has commercial interest in the belt. At least six mining companies have applied for permits from the U.S. Forest Service to operate in the region. Most of these companies are in the early stages of exploration; one has started to build a mine. In Idaho, as in much of the world, the clean-energy revolution is reshaping the geography of resource extraction.

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If Russian President Vladimir Putin isn’t about to invade Ukraine—or, more accurately, isn’t about to expand his previous invasion—he’s certainly making a good show of it.

Russian military forces have been moving into position for weeks. Russia and Belarus announced snap exercises that will continue for at least a month. President Joe Biden says he is expecting an invasion, and there are reports that the U.S. embassy in Kyiv is planning to evacuate families and nonessential personnel. Some NATO members are stepping up military aid and assistance. The British government says it has outed a Russian scheme to topple the government in Kyiv and replace it with Russian stooges (probably in the hope that exposing the plan will foil it).

Six years ago, on a Saturday afternoon, I got a call from a law-enforcement officer telling me that my husband had died in a bike wreck during a charity race for cancer research. I had a toddler and was pregnant with my second daughter at the time. Three days later, I spoke at a memorial for Jake. The eulogy wasn’t just a tribute to him, but a mission statement for me. I asked that my friends and family hold me accountable for living life unafraid. A traumatic loss meant that I was primed to see threats everywhere. But I knew that my big fears would make the lives of my children small if I couldn’t control them. They deserved more from me than that.

I think about this pledge often as year two of the pandemic comes to a close. I had to relearn my bravery after my husband died. A lot of people will have to do the same now that we’re entering what looks like the endemic stage of COVID.

Hundreds of thousands of books are published in the United States each year, and this dramatic influx of titles largely runs the calendars of the publishing and media industries—usually to the detriment of any work that isn’t brand new. Even best sellers or novels by famous authors get lost in the deluge, and books that were beloved on release can fall off readers’ radar quickly. But many were popular or critically acclaimed for good reasons, and they’re worth revisiting.

Here is a list of 15 fiction titles from the past two decades that you may have forgotten about in the years since. Some are from familiar names such as Kazuo Ishiguro, Margaret Atwood, and Louise Erdrich; others are by authors you may not have heard of at all. These selections include plenty of drama, and there’s an undercurrent of gentle comedy, even in novels with dark themes or plots. Their characters define love in many different ways, and they seek fulfillment across geographies and time periods—contemporary London, Vichy France, Nigeria, North Korea. Ultimately, these stories are bound together by a compassion for their characters’ struggles and shortcomings—a quality that only our finest writers are able to cultivate.