july 1994

A joint bank account has, traditionally, been a sign of commitment. As newlyweds start their lives together, it is perhaps the clearest way for them to say, to each other and to the world, “What’s mine is yours, and what’s yours is mine.”

But these days, some young couples are skeptical. “There has been a generational change,” said Joanna Pepin, a doctoral candidate at the University of Maryland who studies the organization of money in romantic relationships. “The research we have shows that, cross-culturally, more people are keeping money separate.” Indeed, a Bank of America study published earlier this year seemed to suggest that Millennial married and cohabitating couples were more likely to hold separate accounts than previous generations were.

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.

By Heart is a series in which authors share and discuss their all-time favorite passages in literature. See entries from Colum McCann, George Saunders, Emma Donoghue, Michael Chabon, and more.

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.

With a guest in town occupying the second bedroom of our Manhattan apartment, my three-year-old son, a notorious sideways sleeper, bunked with my pregnant wife and me. Too many snores and little feet in the back of my neck, I relocated to the sofa, where I was blessed with the best night’s sleep I’ve had in months.

As a self-diagnosed insomniac, a good night’s rest for me lasts anywhere from three to five hours. I generally break up the slumber with walks around the apartment, followed by lying awake and unearthing inconsequential paranoia that, come morning, will not live up to the hype. When I hear people claim they get eight hours of sleep each night, they might as well be talking about the Loch Ness Monster, or alien life. All three are things I suppose it’s possible someone may have encountered, but I cannot personally confirm their existence.

Among the most strident critics of the nuclear deal with Iran are those who believe it furthers the survival of its leadership. By throwing Iran’s rulers an economic lifeline, they believe, the deal is an abject failure. America’s goal, they say, should never have been “denuclearization,” but regime change.

These days, those regime-change evangelists having shrugged off the lessons of the Iraq war, are back at the helm of U.S. foreign policy. John Bolton, Donald Trump’s new national-security adviser, has long advocated regime change in Iran, and more recently has argued that the administration should openly embrace it as a foreign-policy goal. At the same time, Bolton and his ilk are pushing for a denuclearization deal with North Korea ahead of Trump’s planned summit with Kim Jong Un, the country’s leader. Preparations for the meeting will likely be in full swing by May 12, the next deadline for extending the Iran deal. The Trump administration, in other words, could find itself in the odd situation of tearing down the nuclear deal with Iran while pursuing a similar deal with North Korea.

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.

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.

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.  

Every once in a while I’ll rewatch an old episode of Friends, because it’s familiar and soothing and there. The other day, Netflix served up one of those flashbacks the show would sometimes air to poke light fun at the friends and at the visual absurdities involved with being alive in the ’80s: Rachel in chintz, Ross and Chandler in tragicomic Flock of Seagulls bouffants, etc. Watching the meta-nostalgia, I was reminded of the existence of a minor character who nonetheless plays a major role in the show’s universe: Fat Monica.

Fat Monica is technically just a younger—and slightly larger—version of Standard Issue Monica; what becomes wincingly clear, though, as the Friends flashbacks play out, is that Fat Monica differs from the other Monica not just in scale, but in kind. Padded by her former girth, Monica Geller—the person who categorizes her hand towels and designates committees for the planning of birthday parties and is, in general, in thorough control of her life and her Type A-tastic self—undergoes a transformation: Her voice gets higher. Her movements become jerking and awkward. She giggles a lot, uncomfortably. Remember when, in those late-series episodes of Family Matters, Steve Urkel would go into that flashing box and emerge as the suave Stefan Urquelle? Fat Monica’s metamorphosis is a little like that, but in reverse: The transformation depletes her dignity rather than compounding it. She becomes bashful. Childish. Foolish. Watching the proceedings, you start to wonder whether Monica Geller, for the purposes of the flashback scenes, was given a fat suit or a lobotomy.

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.