april 2002

It may be time to stop talking about “red” and “blue” America. That’s the provocative conclusion of Michael Podhorzer, a longtime political strategist for labor unions and the chair of the Analyst Institute, a collaborative of progressive groups that studies elections. In a private newsletter that he writes for a small group of activists, Podhorzer recently laid out a detailed case for thinking of the two blocs as fundamentally different nations uneasily sharing the same geographic space.

“When we think about the United States, we make the essential error of imagining it as a single nation, a marbled mix of Red and Blue people,” Podhorzer writes. “But in truth, we have never been one nation. We are more like a federated republic of two nations: Blue Nation and Red Nation. This is not a metaphor; it is a geographic and historical reality.”

Paying pregnant women’s bills was not exactly part of Nathan and Emily Berning’s life plan—until they realized that doing so actually helped dissuade women from getting abortions. One of the first was Atoria Foley, who was living in her car when she found out that she was pregnant. Atoria had scheduled an abortion and the Bernings sprang to action. They flew to Sacramento, California, where she lived, and put her up in a hotel. What Atoria needed—groceries, gas, car payments—they covered, sometimes with their own money. They signed her up for every government benefit they could. When Atoria finally canceled her abortion appointment, the Bernings were elated. Her son, Kiahari, turned 2 years old in March.

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“The very first symptom of the general collapse was an old one: nothing worked.” The sentiment is old—it comes from Doris Lessing’s 1969 novel, The Four-Gated City—but it’s hard to think of a better epitaph for the economic vibes of 2022. From the oil markets to the baby-formula markets to the general sense of safety and disorder, the U.S. seems to suffer from chronic Nothing Works Syndrome.

The latest victim of acute NWS is air travel. Around the world, security lines are getting brutally long and cancellations and delays are spiking. The major carriers JetBlue, American Airlines, and Delta canceled nearly 10 percent of their flights last weekend, creating mayhem at major airports.

We blew it.

That is the queasy feeling I have as I watch borrowing costs surge, housing starts fall, and politicians rush to subsidize fossil-fuel consumption. Americans had a decade-plus in which interest rates were low and millions of workers were unemployed or underemployed. We could have made investments that would have benefited all of us. And we wasted that chance.   

This period of unusually low interest rates, which lasted from the 2008 global financial crisis until now, was horrible in many ways. Too many people were unemployed for too long, and too many found themselves trapped in dead-end, no-security jobs while the cost of living climbed to astronomical levels. But it was an opportunity too. Borrowing was cheap, and the government  could have built and built and built without crowding out private investment or overheating the economy.

As best as I can tell, the puff-sleeve onslaught began in 2018. The clothing designer Batsheva Hay’s eponymous brand was barely two years old, but her high-necked, ruffle-trimmed, elbow-covering dresses in dense florals and upholstery prints—bizarro-world reimaginings of the conservative frocks favored by Hasidic Jewish women and the Amish—had developed a cult following among weird New York fashion-and-art girls. Almost all of her early designs featured some kind of huge, puffy sleeve; according to a lengthy profile in The New Yorker published that September, the custom-made dress that inspired Hay’s line had enough space in the shoulders to store a few tennis balls.

Batsheva dresses aren’t for everyone. They can cost more than $400, first of all, and more important, they’re weird: When paired with Jordans and decontextualized on a 20-something Instagram babe, the clothes of religious fundamentalism become purposefully unsettling. But as described in that cerulean-sweater scene from The Devil Wears Prada, what happens at the tip-top of the fashion hierarchy rains down on the rest of us. So it went with the puff sleeve. Batsheva and a handful of other influential indie designers adopted the puff around the same time, and the J.Crews and ASOSes and Old Navys of the world took notice. Puff sleeves filtered down the price tiers, in one form or another, just like a zillion trends have before—streamlined for industrial-grade reproduction and attached to a litany of dresses and shirts that don’t require a model’s body or an heiress’s bank account. And then, unlike most trends, it stuck around.