july/august 2004

Several weeks ago, I met up with a friend in New York who suggested we grab a bite at a Scottish bar in the West Village. He had booked the table through something called Seated, a restaurant app that pays users who make reservations on the platform. We ordered two cocktails each, along with some food. And in exchange for the hard labor of drinking whiskey, the app awarded us $30 in credits redeemable at a variety of retailers.

I am never offended by freebies. But this arrangement seemed almost obscenely generous. To throw cash at people every time they walk into a restaurant does not sound like a business. It sounds like a plot to lose money as fast as possible—or to provide New Yorkers, who are constantly dining out, with a kind of minimum basic income.

Just under a century ago, the Soviet Union embarked on one of the strangest attempts to reshape the common calendar that has ever been undertaken. As Joseph Stalin raced to turn an agricultural backwater into an industrialized nation, his government downsized the week from seven to five days. Saturday and Sunday were abolished.

In place of the weekend, a new system of respite was introduced in 1929. The government divided workers into five groups, and assigned each to a different day off. On any given day, four-fifths of the proletariat would show up to their factories and work while the other fifth rested. Each laborer received a colored slip of paper—yellow, orange, red, purple, or green—that signified his or her group. The staggered schedule was known as nepreryvka, or the “continuous workweek,” since production never stopped.

Where in the pantheon of American commercial titans does Jeffrey Bezos belong? Andrew Carnegie’s hearths forged the steel that became the skeleton of the railroad and the city. John D. Rockefeller refined 90 percent of American oil, which supplied the pre-electric nation with light. Bill Gates created a program that was considered a prerequisite for turning on a computer.

At 55, Bezos has never dominated a major market as thoroughly as any of these forebears, and while he is presently the richest man on the planet, he has less wealth than Gates did at his zenith. Yet Rockefeller largely contented himself with oil wells, pump stations, and railcars; Gates’s fortune depended on an operating system. The scope of the empire the founder and CEO of Amazon has built is wider. Indeed, it is without precedent in the long history of American capitalism.

The country is entering a new and precarious phase, in which the central question about President Donald Trump is not whether he is coming unstrung, but rather just how unstrung he is going to get.

The boiling mind of Trump has spawned a cottage industry for cognitive experts who have questioned whether he is, well, all there. But as the impeachment inquiry barrels ahead on Capitol Hill, several associates of the president, including former White House aides, worry that his behavior is likely to get worse. Angered by the proceedings, unencumbered by aides willing to question his judgment, and more and more isolated in the West Wing, Trump is apt to lash out more at enemies imagined and real, these people told me. Conduct that has long been unsettling figures to deteriorate as Trump comes under mounting stress. What unfolded Wednesday inside the West Wing’s walls might be only a foretaste of what House Speaker Nancy Pelosi described that day, after a meeting with Trump, as a presidential “meltdown.”

It is easy to look at today’s crop of sinking IPOs—like Uber, Lyft, and Peloton—or scuttled public offerings, like WeWork, and see an eerie resemblance to the dot-com bubble that popped in 2000.

• Both then and now, consumer-tech companies spent lavishly on advertising and struggled to find a path to profit.

• Both then and now, companies that bragged about their ability to change the world admitted suddenly that they were running out of money.

• Both then and now, the valuations of once-heralded tech enterprises were halved in a matter of weeks.

• Both then and now, there was a widespread sense of euphoria curdling into soberness, washed down with the realization that thousands of workers in once-promising firms were poised to lose their jobs.

On a third-down play last season, the Washington Redskins quarterback Alex Smith stood in shotgun formation, five yards behind the line of scrimmage. As he called his signals, a Houston Texans cornerback, Kareem Jackson, suddenly sprinted forward from a position four yards behind the defensive line.

Legal ethicists no doubt cringed earlier this year when Attorney General William Barr preempted Special Counsel Robert Mueller’s report by announcing that “no collusion” had occurred between President Donald Trump’s campaign and Russia. That was not what Mueller had actually said. Instead, the special counsel emphasized that “collusion” is not a legal concept and therefore made no finding on that point. As the top prosecutor in the nation, Barr had an ethical obligation to describe the law and the facts accurately to the American people.

But Barr’s misrepresentation was only the first of several legal abominations from federal-government attorneys—whose duty is to the American public and the agencies that act on the public’s behalf—behaving instead like Trump’s personal lawyers. This is no small ethical lapse.

For more than three decades Harold Bloom, Cassandra-like, warned America that the literary culture that sustained him and other lovers of the word was in the process of being sacrificed on the altar of social justice. “We are,” he said, “destroying all intellectual and aesthetic standards in the humanities and social sciences.” We eviscerate literary works to uncover the presence of exclusionary and discriminatory impulses and gestures; we feast on their contributions to social justice or their failures to contribute to social justice, and then discard the carcass. There is nothing more to be done with them, and surely no reason to reread them.

Rereading for Bloom, who died last weekend, was the hallmark of the aesthetic experience. Something that has, in Bloom’s words, aesthetic dignity is not disposable. It is not instrumental in relation to some other value. It is its own value, and it is not, Bloom wrote, “for hire.” Aesthetic dignity is not to be subordinated to some cause, however noble. It does not offer itself up for “rapid ingestion.” It does not exist to give the reader pleasure. Instead it gives the “high unpleasure or more difficult pleasure that a lesser text”—one in the service of an ideology—“will not provide.”

The Wildlife Photographer of the Year competition, founded in 1965, is an annual international showcase of the best in nature photography. This year, the contest attracted more than 48,000 entries from 100 countries. Wildlife Photographer of the Year is developed and produced by the Natural History Museum, London. The owners and sponsors have once again been kind enough to share the following 15 winning images from this year’s competition. The museum’s website has images from previous years and more information about the current contest and exhibition. Captions are provided by the photographers and WPY organizers, and are lightly edited for style.

Gordon Sondland is a busy man. He recently testified to Congress about his role in President Donald Trump’s attempt to extort campaign dirt from the government of Ukraine. That testimony follows from Sondland’s previous deft maneuvering to insert himself as Trump’s point man on Ukraine. All of these many plots and schemes appear to have left Sondland with little time to do his actual job: representing the United States as ambassador to the European Union, of which Ukraine is not a member.

This is the week, and now the weekend, when the Brexit negotiations have reached their decisive moment: the U.K.’s last clear chance to reach a withdrawal agreement with the European Union. It’s a big moment for the U.K. You’d never know it, but it’s also a big moment for the United States.