I have seen the future, and it is in the United States.

After a several-year immersion in parts of the country that make the news mainly after a natural disaster or a shooting, or for follow-up stories on how the Donald Trump voters of 2016 now feel about Trump, I have a journalistic impulse similar to the one that dominated my years of living in China. That is the desire to tell people how much more is going on, in places they had barely thought about or even heard of, than they might have imagined.

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In the case of China, that impulse matched the mood of the times. In the years before and after the world financial crisis of 2008, everyone knew that China was on the way up; reporters like me were just filling in the details. In the case of the modern United States, I am well aware that this message runs so counter to prevailing emotions and ideas as to seem preposterous. Everyone knows how genuinely troubled the United States is at the level of national politics and governance. It is natural to assume that these disorders must reflect a deeper rot across the country. And indeed, you can’t travel extensively through today’s America, as my wife, Deb, and I have been doing in recent years, without being exposed to signs of rot, from opioid addiction to calcifying class barriers.

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When I was her student at the Iowa Writers’ Workshop, the novelist Marilynne Robinson told our class it was almost unthinkable for women of her generation to become writers. Society afforded women with an extremely limited range of opportunity: You could be a teacher, nurse, or homemaker, she said, and that was about it. Other paths—especially professionalized, artistic ones—were possible, but extremely hard-won.

That was the challenge facing Mary Morris, author of Gateway to the Moon, after she dropped out of grad school in the 1970s. For years, she’d worked in secret, living a kind of creative double life—writing constantly, but never sure she was really a writer. No one ever told her how the verb might earn the noun.

Hours after news of allegations of misconduct emerged against Rear Admiral Ronny Jackson, the White House physician and President Trump’s pick to be the next secretary of veterans affairs, the president had a bizarre commentary to offer.

“I told Admiral Jackson just a little while ago, what do you need this for? This is a vicious group of people. … What do you need it for?” Trump said Tuesday, during a joint news conference with French President Emmanuel Macron. “I wouldn’t do it. I wouldn’t do it. What does he need it for? I don’t think personally he should do it. It would be totally his decision.”

I don’t think personally he should do it.

Could there be a stranger thing to say about the man who you nominated to take the job—whom you delivered over to an “ugly” and “disgusting” confirmation process?

I. A Broken Office

Donald Trump often appears to be a president in rebellion against his office. A president, we have come to expect, hastens to the scene of a natural disaster to comfort the afflicted. After Hurricane Maria devastated Puerto Rico, President Trump arrived tardily and behaved unseriously, tossing rolls of paper towels at storm-battered residents as if he were trying to drain three-point shots.

We have come to expect that when the national fabric rends, the president will administer needle and thread, or at least reach for the sewing box of unity. After white supremacists marched through Charlottesville, Virginia, shouting “Jews will not replace us,” President Trump’s instinct was to emphasize that there were good people among the neo-Nazis.

For the past 18 months, many political scientists have been seized by one question: Less-educated whites were President Trump’s most enthusiastic supporters. But why, exactly?

Was their vote some sort of cri de coeur about a changing economy that had left them behind? Or was the motivating sentiment something more complex and, frankly, something harder for policy makers to address?

After analyzing in-depth survey data from 2012 and 2016, the University of Pennsylvania political scientist Diana C. Mutz argues that it’s the latter. In a new article in the Proceedings of the National Academy of Sciences, she added her conclusion to the growing body of evidence that the 2016 election was not about economic hardship.

Yesterday’s headline writers took the afternoon off, it seems, and engaged the newsroom’s cliché machine: A van “plowed” into crowds on Toronto’s Yonge Street, killing at least 10 and wounding several. That many readers no longer blanch at this agricultural metaphor—indeed they expect it—is a mark of how far the technique of mass vehicular homicide has spread. The alleged driver does not appear to have anything to do with the Islamic State, with whom the technique is now most associated. But of course we all waited (or rather, some of us did) to discover whether his name was Muslim, and we were ready to deploy our opinions to the crime scene, depending on the result.

In fact the alleged driver turns out to be a Canadian of likely Armenian descent, and sympathetic not to ISIS but, according to a Facebook post the company confirmed to be from the suspect’s since-deleted account, to “incels,” short for “involuntarily celibate.” Incels, mostly male, want to have sex but find no willing partners. They often resent the sexually active for spurning them. In 2014, in Santa Barbara, a 22-year-old killed six people, two of them Tri Delta sorority women, as “retribution” (his word, in a manifesto) for his celibate misery. The Toronto police added that yesterday’s van suspect might be “mentally ill,” and by implication defective not in morals but in mind. The evidence we see now points to pure violent sexual frustration. That is most definitely a moral impairment.

For the third time in four months, Rear Admiral Ronny Jackson is at the center of a surprising report.

The first time came in January, when Jackson, the White House physician, announced that President Trump was in excellent physical and mental health, offering an endorsement so effusive that some were led to question Jackson’s judgment.

The second came in March, when President Trump fired Veterans Affairs Secretary David Shulkin and announced that he would nominate Jackson to succeed him. Though Jackson is a flag officer in the Navy, he had never run anything nearly as large and complicated as the federal government’s second-largest bureaucracy.

The third came Monday night, with a series of vague reports about “allegations” against Jackson that threatened to slow down or derail his nomination. Senators were tight-lipped about what they might mean, including an elegantly tautological comment from Jon Tester, a Montana Democrat, who said the allegations were troubling “only if true.” Since then, a few new details have emerged. CBS News and The New York Times report the allegations include a hostile work environment in the White House medical office, drinking on the job, and overprescribing medications.

Emmanuel Macron had something surprising to say about the United States last week, given that the president of the United States would soon be hosting his French counterpart for an elaborate state visit. Hard-edged “national selfishness”—of the kind that plunged the world into war nearly eight decades ago, long before the 40-year-old leader was born—is resurgent and endangering Europe’s “model” of liberal, pluralist democracy and international cooperation, Macron said in a speech before the European Parliament. And the threat to Europe is coming not just from without (“authoritarian powers”) and within (“illiberal” politics in certain European countries), but from its centuries-old ally across the Atlantic.  

In 1986, the famed comic-book creator Frank Miller wrote a seven-part story for Daredevil called “Born Again,” a dark tale of betrayal and redemption that helped usher in the gritty modern age of the medium. Though Miller’s recent turn toward more extreme politics in his work has alienated many fans, his influence in the mid-’80s was crucial to the evolution of mainstream comics. Near the end of “Born Again,” Daredevil, the costumed protector of Hell’s Kitchen, fights a villain named Nuke, whose powers are cataclysmic enough that more epic heroes have to get involved: the Avengers, represented by their best-known members, Captain America, Iron Man, and Thor.

The artist David Mazzucchelli draws those three heroes in mythic fashion, with Captain America cradling an injured child in his arms, Thor silhouetted against the storm he has summoned, and Iron Man standing like an immovable sentry, collectively commanding Daredevil to back off. They’re powerful, but entirely inhuman—gods among men who are worlds removed from a street-level hero like Daredevil. With this scene, their grandeur had transmuted from something that was previously soapy and colorful to something remote and frightening. It was a clear sign of a necessary shift in comic-book storytelling, one that no longer easily assumed might made right.