december 2011

We were in the white room in 10 Downing Street, and Boris Johnson was joking around with the photographer who was taking his portrait. “You’re like the kind-of taxidermist in The Godfather,” Johnson said, laughing. “Do you remember? The funeral—the undertaker?” He then launched into his Don Corleone impression. “‘Buona sera, buona sera, see what a massacre they’ve made of my son.’ Do you remember? ‘Use all your arts, use all your arts.’”

The scene was almost perfectly Johnsonian, capturing the British prime minister’s instinct to amuse and distract, to pull a veil of humor over anything remotely serious. Watching him can be like watching a child, in this instance a child shuffling uncomfortably having his picture taken, desperate to grin and ruffle his hair, to mock and undermine, to play up to the inherent absurdity of the situation.

Old songs now represent 70 percent of the U.S. music market, according to the latest numbers from MRC Data, a music-analytics firm. Those who make a living from new music—especially that endangered species known as the working musician—should look at these figures with fear and trembling. But the news gets worse: The new-music market is actually shrinking. All the growth in the market is coming from old songs.

The 200 most popular new tracks now regularly account for less than 5 percent of total streams. That rate was twice as high just three years ago. The mix of songs actually purchased by consumers is even more tilted toward older music. The current list of most-downloaded tracks on iTunes is filled with the names of bands from the previous century, such as Creedence Clearwater Revival and The Police.

Even before Omicron hit the United States in full force, most of our bodies had already wised up to SARS-CoV-2’s insidious spike—through infection, injection, or both. By the end of October 2021, some 86.2 percent of American immune systems may have glimpsed the virus’s most infamous protein, according to one estimate; now, as Omicron adds roughly 800,000 known cases to the national roster each day, the cohort of spike-zero Americans, the truly immunologically naive, is shrinking fast. Virginia Pitzer, an epidemiologist at Yale’s School of Public Health and one of the scientists who arrived at the 86.2 percent estimate, has a guess for what fraction of the U.S. population will have had some experience with the spike protein when the Omicron wave subsides: 90 to 95 percent.

Hundreds of thousands of books are published in the United States each year, and this dramatic influx of titles largely runs the calendars of the publishing and media industries—usually to the detriment of any work that isn’t brand new. Even best sellers or novels by famous authors get lost in the deluge, and books that were beloved on release can fall off readers’ radar quickly. But many were popular or critically acclaimed for good reasons, and they’re worth revisiting.

Here is a list of 15 fiction titles from the past two decades that you may have forgotten about in the years since. Some are from familiar names such as Kazuo Ishiguro, Margaret Atwood, and Louise Erdrich; others are by authors you may not have heard of at all. These selections include plenty of drama, and there’s an undercurrent of gentle comedy, even in novels with dark themes or plots. Their characters define love in many different ways, and they seek fulfillment across geographies and time periods—contemporary London, Vichy France, Nigeria, North Korea. Ultimately, these stories are bound together by a compassion for their characters’ struggles and shortcomings—a quality that only our finest writers are able to cultivate.

Last Thursday, a group of 20 mothers in Boston met up outside a local high school. Their goal wasn’t to socialize, drink wine, or even share COVID-related tips. They were there for one reason and one reason only: to stand in a circle—socially distanced, of course—and scream.

“I knew that we all needed to come together and support each other in our rage, resistance and disappointment,” Sarah Harmon, the group’s organizer, wrote on Instagram before the gathering. Ironically, some 20 other moms who had RSVP’d “yes” had to cancel at the last minute because they or other family members had COVID, Harmon told me.

When mothers feel there is no more appealing way to spend an evening than to yell into the frigid January darkness, something is very, very wrong. Parents in the United States are living through a universally terrible moment. For two years, we’ve been spending each and every day navigating an ever-changing virus that’s threatening not only our well-being but our livelihoods. The situation has reached a fever pitch during this wave, when we’re expected to function normally even though nothing is normal and none of the puzzle pieces in front of us fit together.