november 1974

Farhad Yusef-Zadeh was observing the center of the Milky Way galaxy in radio waves, looking for the presence of faint stars, when he saw it: a spindly structure giving off its own radio emissions. The filament-like feature was probably a glitch in the telescope, or something clouding the field of view, he decided. It shouldn’t be here, he thought, and stripped it out of his data.

But the mystery filament kept showing up, and soon Yusef-Zadeh found others. What the astronomer had mistaken for an imperfection turned out to be an entire population of cosmic structures at the heart of the galaxy.

More than 100 filaments have been detected since Yusef-Zadeh’s first encounter in the early 1980s. Astronomers can’t completely explain them, but they have given them familiar labels, naming them after the earthly things they resemble: the pelican, the mouse, the snake. The menagerie of filaments is clustered around the supermassive black hole at the center of our galaxy. “They haven’t been found elsewhere,” says Yusef-Zadeh, a physics and astronomy professor at Northwestern University.

The president of the United States reportedly sought the help of a foreign government against an American citizen who might challenge him for his office. This is the single most important revelation in a scoop by The Wall Street Journal, and if it is true, then President Donald Trump should be impeached and removed from office immediately.

Until now, there was room for reasonable disagreement over impeachment as both a matter of politics and a matter of tactics. The Mueller report revealed despicably unpatriotic behavior by Trump and his minions, but it did not trigger a political judgment with a majority of Americans that it warranted impeachment. The Democrats, for their part, remained unwilling to risk their new majority in Congress on a move destined to fail in a Republican-controlled Senate.

If you’ve paid any attention to press retrospectives on the 2016 election, you’ve seen the term false equivalence. It refers to the mismatch between a long-standing procedural instinct of the press and the current realities of the Era of Trump.

Under normal circumstances, the press’s strong preference is for procedural balance. The program’s supporters say this, its critics say that, so we’ll quote both sides and leave it to you, the public, to decide who is right.

This approach has the obvious virtue of seeming fair, as a judge is fair in letting the prosecution and defense each make its case. It has a less obvious but very important advantage for news organizations, that of sparing reporters the burden of having to say, “Actually, we think this particular side is right.” By definition, most reporters most of the time are covering subjects in which we’re not expert. Is the latest prime-rate move by the Fed a good idea? Or a bad one? I personally couldn’t tell you. So if I am covering the story, especially on a deadline, I’ll want to give you quotes from people “on both sides,” and leave it there.

Once a month or so Tommy Kidd and I get together for lunch at our favorite taco joint. Over the carnitas and barbacoa and guacamole we catch up on how our writing projects are going, and perhaps gossip a bit about what’s happening at Baylor University, where we both work. And more often than not, we end up talking about our complicated relationship with American evangelical Christianity. Because the future of that movement, which is our movement, matters to us—and, we think, matters to America.

Tommy is a Southern Baptist; I’m an Episcopalian, in the Anglican tradition descending from the Church of England. Very different things, one might think, and in some ways one would be right. Where Tommy’s Church has a praise band, mine has organ music; the central event on Sunday morning at his church is the sermon, while at mine it’s the Eucharist. And yet both of our traditions are closely connected, if in different ways, to evangelicalism.

Sometimes it feels hard to remember that Silicon Valley is an actual place, a collage of parched suburbs, and not just the collective noun for information-technology companies. But before it was the idea center of the internet, it was a group of factory towns, the blinking heart of “clean” manufacturing, the hallmark of the Information Age.

Silicon Valley was a major industrial center for much of the 20th century. Semiconductors and microprocessors rolled out of factories scattered all over the area (known on maps as Santa Clara County) from the 1950s to the early 1990s—AMD, Apple, Atari, Fairchild, Hewlett-Packard, Intel, and Xerox, to name just a few. From the mid-1960s to the mid-1980s, Santa Clara County added 203,000 manufacturing jobs, 85 percent of them in tech. Beginning in the 1980s, as government contracts disappeared, Silicon Valley companies moved toward creating software, and beginning in the 1990s, companies there largely focused on internet-based applications. Now the area trades mostly in the rarefied and intangible realm of apps and software.

Updated at 11:14 p.m. ET on September 22, 2019.

Phoebe Waller-Bridge has had a wild year. In May, the second and final season of her dark-comedy series, Fleabag, was released to widespread critical acclaim. Months later, she performed the one-woman play on which the Amazon show was based for the final time at London’s 760-seat Wyndam’s Theatre. Just last week, the theater company announced it would screen a taping of that production in cinemas across the United States.

And tonight, Waller-Bridge won her first-ever Emmy—for Outstanding Writing for a Comedy Series for Fleabag. “I’m properly shaking. Oh my god, look at her!” Waller-Bridge said, pointing to the trophy after taking the stage at the 71st Primetime Emmy Awards. “I find writing really, really hard and really painful,” she said. “I’d like to say, honestly, from the bottom of my heart, that the reason I do it is this,” she said, addressing both the massive auditorium crowd and audiences at home.

Gabi Abrao, better known as @sighswoon on Instagram, is “developing a language with the invisible.” Her page is half memes, half photos of her—eating fresh fruit, or trying out a metal detector, or posing in a museum bathroom wearing an incredible maxi dress, or staring sleepily into the middle distance in a satin pollution mask—often accompanied by poetic text about the past, the present, and the universe.

She has close to 94,000 followers, about 400 of whom are her “Close Friends,” a privilege won by paying $3.33 a month on Patreon. Those followers get access to exclusive “rants, theories, and personal updates,” including “silly details” of Abrao’s love life, big ideas about “existence and wellness,” and poetry and prose from her personal archives. She’s one of many who have figured out that the Instagram feature—originally intended as something like an image-based inner-circle group text—can also be used to make some extra money.  

They can be identified by their independent-bookstore tote bags, their “Book Lover” mugs, or—most reliably—by the bound, printed stacks of paper they flip through on their lap. They are, for lack of a more specific term, readers.

Joining their tribe seems simple enough: Get a book, read it, and voilà! You’re a reader—no tote bag necessary. But behind that simple process is a question of motivation—of why some people grow up to derive great pleasure from reading, while others don’t. That why is consequential—leisure reading has been linked to a range of good academic and professional outcomes—as well as difficult to fully explain. But a chief factor seems to be the household one is born into, and the culture of reading that parents create within it.

"Dave, stop. Stop, will you? Stop, Dave. Will you stop, Dave?” So the supercomputer HAL pleads with the implacable astronaut Dave Bowman in a famous and weirdly poignant scene toward the end of Stanley Kubrick’s 2001: A Space Odyssey. Bowman, having nearly been sent to a deep-space death by the malfunctioning machine, is calmly, coldly disconnecting the memory circuits that control its artificial “ brain. “Dave, my mind is going,” HAL says, forlornly. “I can feel it. I can feel it.”

I can feel it, too. Over the past few years I’ve had an uncomfortable sense that someone, or something, has been tinkering with my brain, remapping the neural circuitry, reprogramming the memory. My mind isn’t going—so far as I can tell—but it’s changing. I’m not thinking the way I used to think. I can feel it most strongly when I’m reading. Immersing myself in a book or a lengthy article used to be easy. My mind would get caught up in the narrative or the turns of the argument, and I’d spend hours strolling through long stretches of prose. That’s rarely the case anymore. Now my concentration often starts to drift after two or three pages. I get fidgety, lose the thread, begin looking for something else to do. I feel as if I’m always dragging my wayward brain back to the text. The deep reading that used to come naturally has become a struggle.

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To be a parent is to be compromised. You pledge allegiance to justice for all, you swear that private attachments can rhyme with the public good, but when the choice comes down to your child or an abstraction—even the well-being of children you don’t know—you’ll betray your principles to the fierce unfairness of love. Then life takes revenge on the conceit that your child’s fate lies in your hands at all. The organized pathologies of adults, including yours—sometimes known as politics—find a way to infect the world of children. Only they can save themselves.

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Our son underwent his first school interview soon after turning 2. He’d been using words for about a year. An admissions officer at a private school with brand-new, beautifully and sustainably constructed art and dance studios gave him a piece of paper and crayons. While she questioned my wife and me about our work, our son drew a yellow circle over a green squiggle.