William Langewiesche, “American Ground: Unbuilding the World Trade Center” (part two, excerpts); Charles C. Mann, “Homeland Insecurity”; P. J. O'Rourke, “Letter From Egypt”; Witold Rybczynski, “The Bilbao Effect”; Caitlin Flanagan on Martha Stewart; Christopher Hitchens on Martin Amis; fiction by Roxana Robinson; and much more.
"There is a question," our correspondent writes, "that less-sophisticated Americans ask (and more-sophisticated Americans would like to): Why are people in the Middle East so crazy? Here, at the pyramids, was an answer from the earliest days of civilization: People have always been crazy."
The New York Times’ 1619 Project launched with the best of intentions, but has been undermined by some of its claims.
With much fanfare, The New York Times Magazine devoted an entire issue in August to what it called the 1619 Project. The project’s aim, the magazine announced, was to reinterpret the entirety of American history. “Our democracy’s founding ideals,” its lead essay proclaimed, “were false when they were written.” Our history as a nation rests on slavery and white supremacy, whose existence made a mockery of the Declaration of Independence’s “self-evident” truth that all men are created equal. Accordingly, the nation’s birth came not in 1776 but in 1619, the year, the project stated, when slavery arrived in Britain’s North American colonies. From then on, America’s politics, economics, and culture have stemmed from efforts to subjugate African Americans—first under slavery, then under Jim Crow, and then under the abiding racial injustices that mark our own time—as well as from the struggles, undertaken for the most part by black people alone, to end that subjugation and redeem American democracy.
Netflix’s new docuseries doesn’t flinch at the danger that cheerleaders regularly subject themselves to.
Days after finishing Cheer, Netflix’s popular new docuseries about a cheerleading team’s pursuit of its 14th national championship in 19 years, two scenes keep replaying in my head. In one, an athlete named TT arrives to practice with a back injury sustained at an event with a club cheerleading team, and Navarro College’s head cheerleading coach, Monica Aldama, forces him to practice, punishing him for failing to put her team first. As practice wears on, TT’s injury is exacerbated while catching female cheerleaders as they plunge to the ground. By the end of the scene, he’s sobbing.
In the second, an athlete named Morgan clutches her ribs and writhes in pain on the floor. She was injured on the opposite end of competitive cheerleading’s basic tandem: repeatedly falling from great heights with only the arms of her teammates to cushion her. She’s ignored by the coaches and, afraid to tell Aldama that she’s injured, confides in a teammate that she might sneak off to the hospital for treatment in between practices. At the ER, Morgan refuses treatment because the muscle relaxers she’s prescribed would keep her from participating in that afternoon’s practice. She leaves, against medical advice and with a warning that more stress on her ribs could damage her organs or kill her, and returns to the gym. When told that Morgan had been to the ER, Aldama appears annoyed. Morgan practices.
With the recent victory, the association has shown signs that it cannot defend its amateurism model for much longer.
College-sports fans have generally become desensitized to the cognitive dissonances of the NCAA’s amateurism policies. The rules, which prevent the payment of cash or other “extra benefits” to student athletes or their families, are necessary to retain the purity of amateur competition, according to the association. Without such restrictions, supporters argue, NCAA sports would devolve into just another minor league of professional sports, with capitalism becoming the athletes’ sole driving source of loyalty to their university. These guidelines usually operate in the public consciousness as a low hum—background noise that doesn’t distract from the compelling sporting events that audiences allow themselves to enjoy. But every now and then, the humming erupts into a roar. And in those moments, viewers are forced to confront the system they have embraced. Odell Beckham Jr. delivered one of those moments last week.
The epidemics of the early 21st century revealed a world unprepared, even as the risks continue to multiply. Much worse is coming.
Image above: Workers at the University of Nebraska Medical Center's biocontainment unit practicing safe procedure on a mannequin
At 6 o’clock in the morning, shortly after the sun spills over the horizon, the city of Kikwit doesn’t so much wake up as ignite. Loud music blares from car radios. Shops fly open along the main street. Dust-sprayed jeeps and motorcycles zoom eastward toward the town’s bustling markets or westward toward Kinshasa, the Democratic Republic of the Congo’s capital city. The air starts to heat up, its molecules vibrating with absorbed energy. So, too, the city.
By late morning, I am away from the bustle, on a quiet, exposed hilltop some five miles down a pothole-ridden road. As I walk, desiccated shrubs crunch underfoot and butterflies flit past. The only shade is cast by two lines of trees, which mark the edges of a site where more than 200 people are buried, their bodies piled into three mass graves, each about 15 feet wide and 70 feet long. Nearby, a large blue sign says in memory of the victims of the ebola epidemic in may 1995. The sign is partly obscured by overgrown grass, just as the memory itself has been occluded by time. The ordeal that Kikwit suffered has been crowded out by the continual eruption of deadly diseases elsewhere in the Congo, and around the globe.
Approximately half of the luxury-condo units that have come onto the market in the past five years are still unsold.
In Manhattan, the homeless shelters are full, and the luxury skyscrapers are vacant.
Such is the tale of two cities within America’s largest metro. Even as 80,000 people sleep in New York City’s shelters or on its streets, Manhattan residents have watched skinny condominium skyscrapers rise across the island. These colossal stalagmites initially transformed not only the city’s skyline but also the real-estate market for new homes. From 2011 to 2019, the average price of a newly listed condo in New York soared from $1.15 million to $3.77 million.
But the bust is upon us. Today, nearly half of the Manhattan luxury-condo units that have come onto the market in the past five years are still unsold, according to The New York Times.