Philip Jenkins, “The Next Christianity”; Joseph Stiglitz, “The Roaring Nineties”; William Langewiesche, “American Ground: Unbuilding the World Trade Center” (part three, excerpts); P. J. O'Rourke, “Anything Goes”; Caitlin Flanagan on working mothers; Christopher Hitchens on Lord Byron; fiction by Liza Ward; and much more.
We stand at a historical turning point, the author argues—one that is as epochal for the Christian world as the original Reformation. Around the globe Christianity is growing and mutating in ways that observers in the West tend not to see. Tumultuous conflicts within Christianity will leave a mark deeper than Islam's on the century ahead
As the chairman of Bill Clinton's Council of Economic Advisers, and subsequently as the chief economist of the World Bank during the East Asian financial crisis, Joseph Sitglitz was deeply involved in many of the economic-policy debates of the past ten years. What did this experience tell him? That much of what we think we know about the prosperity of the 1990s is wrong. Here is a revised history of the decade, by the winner of the 2001 Nobel Prize in Economics
The preponderance of the evidence suggests that social media is causing real damage to adolescents.
Social media gets blamed for many of America’s ills, including the polarization of our politics and the erosion of truth itself. But proving that harms have occurred to all of society is hard. Far easier to show is the damage to a specific class of people: adolescent girls, whose rates of depression, anxiety, and self-injury surged in the early 2010s, as social-media platforms proliferated and expanded. Much more than for boys, adolescence typically heightens girls’ self-consciousness about their changing body and amplifies insecurities about where they fit in their social network. Social media—particularly Instagram, which displaces other forms of interaction among teens, puts the size of their friend group on public display, and subjects their physical appearance to the hard metrics of likes and comment counts—takes the worst parts of middle school and glossy women’s magazines and intensifies them.
Omicron, also known as B.1.1.529, was first detected in Botswana and South Africa earlier this month, and very little is known about it so far. But the variant is moving fast. South Africa, the country that initially flagged Omicron to WHO this week, has experienced a surge of new cases—some reportedly in people who were previously infected or vaccinated—and the virus has already spilled across international borders into places such as Hong Kong, Belgium, Israel, and the United Kingdom. Several nations are now selectively shutting down travel to impede further spread. For instance, on Monday, the United States will start restricting travel from Botswana, South Africa, Zimbabwe, Namibia, Lesotho, Eswatini, Mozambique, and Malawi.
These statements relieve the speaker and the audience of the responsibility to think about Indigenous peoples, at least until the next public event.
In David Mamet’s film State and Main, a Hollywood big shot tries to shortchange a set hand by offering him an “associate producer” credit on a movie. A screenwriter overhears the exchange and asks, “What’s an ‘associate producer credit’?” The big shot answers: “It’s what you give your secretary instead of a raise.”
The practice of “land acknowledgment”—preceding a fancy event by naming the Indigenous groups whose slaughter and dispossession cleared the land on which the audience’s canapés are about to be served—is one of the greatest associate-producer credits of all time. A land acknowledgment is what you give when you have no intention of giving land. It is like a receipt provided by a highway robber, noting all the jewels and gold coins he has stolen. Maybe it will be useful for an insurance claim? Anyway, you are not getting your jewels back, but now you have documentation.
The pandemic has been a near-perfect mass hair-loss event.
When I first suspected that I was losing my hair, I felt like maybe I was also losing my grip on reality. This was the summer of 2020, and although the previous three months had been difficult for virtually everyone, I had managed to escape relatively unscathed. I hadn’t gotten sick in New York City’s terrifying first wave of the pandemic. My loved ones were safe. I still had a job. I wasn’t okay, necessarily, but I was fine. Now my hair was falling out for no appreciable reason. Or at least I thought it was—how much hair in the shower drain is enough to be sure that you’re not imagining things?
The second time it happened, a little more than a year later, I was sure—not because of what was in the shower drain, but because of what was obviously no longer on my head. One day, after washing and drying my hair, I looked at my hairline in the mirror and it was thin enough that I could make out the curvature of my scalp beneath it. I still had enough hair, but notably less than I’d had before the pandemic. Feeling a sense of dull panic at the no-longer-refutable idea that something might be wrong, I tipped my head forward to take a picture of my scalp with my phone’s front-facing camera. When I looked at it, the panic became sharp.
Diners, Drive-Ins and Dives is a mainstay of basic cable—and a rallying cry for a country that is losing touch with itself.
In 2007, in one of the first episodes of Diners, Drive-Ins and Dives, Guy Fieri visited Patrick’s Roadhouse, a railway-station-turned-restaurant in Santa Monica, California. The diner’s chef, Silvio Moreira, walked Fieri through the preparation of one of Patrick’s most notable dishes, the Rockefeller—a burger topped with mushrooms, sour cream, jack cheese, and … caviar. Fieri, looking playfully trepidatious, lifted the burger with both hands, said a fake prayer, and did what he would proceed to do thousands of times on the show: He took an enormous bite. And then he fell silent. “Wooow,” he commented, finally, shooting Moreira a what-have-you-done-to-me look.
“Different, huh?” Moreira said, grinning. “Yeah,” Fieri replied. The show’s camera discreetly cut away to the next scene.
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