october 2015

In the United States, this pandemic could’ve been over by now, and certainly would’ve been by Labor Day. If the pace of vaccination through the summer had been anything like the pace in April and May, the country would be nearing herd immunity. With most adults immunized, new and more infectious coronavirus variants would have nowhere to spread. Life could return nearly to normal.

Experts list many reasons for the vaccine slump, but one big reason stands out: vaccine resistance among conservative, evangelical, and rural Americans. Pro-Trump America has decided that vaccine refusal is a statement of identity and a test of loyalty.

In April, people in counties that Joe Biden won in 2020 were two points more likely to be fully vaccinated than people in counties that Donald Trump won: 22.8 percent were fully vaccinated in Biden counties; 20.6 percent were fully vaccinated in Trump counties. By early July, the vaccination gap had widened to almost 12 points: 46.7 percent were fully vaccinated in Biden counties, 35 percent in Trump counties. When pollsters ask about vaccine intentions, they record a 30-point gap: 88 percent of Democrats, but only 54 percent of Republicans, want to be vaccinated as soon as possible. All told, Trump support predicts a state’s vaccine refusal better than average income or education level.

Behold California, colossus of the West Coast: the most populous American state; the world’s fifth-largest economy; and arguably the most culturally influential, exporting Google searches and Instagram feeds and iPhones and Teslas and Netflix Originals and kimchi quesadillas. This place inspires awe. If I close my eyes I can see silhouettes of Joshua trees against a desert sunrise; seals playing in La Jolla’s craggy coves of sun-spangled, emerald seawater; fog rolling over the rugged Sonoma County coast at sunset into primeval groves of redwoods that John Steinbeck called “ambassadors from another time.”

This landscape is bejeweled with engineering feats: the California Aqueduct; the Golden Gate Bridge; and the ribbon of Pacific Coast Highway that stretches south of Monterey, clings to the cliffs of Big Sur, and descends the kelp-strewn Central Coast, where William Hearst built his Xanadu on a hillside where his zebras still graze. No dreamscape better inspires dreamers. Millions still immigrate to my beloved home to improve both their prospects and ours.

The board game “Puerto Rico” begins after everyone around the table receives a mat printed with the verdant interior of the game’s namesake island. Players are cast as European tycoons who have trekked across the Atlantic at the height of the Age of Exploration. “In 1493 Christopher Columbus discovered the easternmost island of the Great Antilles,” read the back of the game box that once sat on my living-room shelf. “About 50 years later, Puerto Rico began to really blossom.” To win, one must “achieve the greatest prosperity and highest respect.”

In practice, that means the mechanics of “Puerto Rico” are centered around cultivation, exploitation, and plunder. Each turn, a player takes a role—the “settler,” the “builder,” the “trader,” the “craftsman,” the “captain,” and so on—and tries to slowly transform their tropical enclave into a tidy, 16th-century imperial settlement. Perhaps they uproot the wilds and replace them with tobacco pastures or corn acreage, or maybe they outfit the rocky reefs with fishing wharfs and harbors, in order to ship those goods back across the ocean. All of this is possible only with the help of a resource that the game calls “colonists,” —represented by small, brown discs in the game’s first edition, which was published by Rio Grande Games and is available in major retailers—who arrive by ship and are sent by players to work on their plantations.

This article was published online on July 22, 2021.

The dentist was a few minutes late, so I waited by the barn, listening to a northern mockingbird in the cypress trees. His tires kicked up dust when he turned off Drew Ruleville Road and headed across the bayou toward his house. He got out of his truck still wearing his scrubs and, with a smile, extended his hand: “Jeff Andrews.”

The gravel crunched under his feet as he walked to the barn, which is long and narrow with sliding doors in the middle. Its walls are made of cypress boards, weathered gray, and it overlooks a swimming pool behind a white columned house. Jeff Andrews rolled up the garage door he’d installed.

Our eyes adjusted to the darkness of the barn where Emmett Till was tortured by a group of grown men. Christmas decorations leaned against one wall. Within reach sat a lawn mower and a Johnson 9.9-horsepower outboard motor. Dirt covered the spot where Till was beaten, and where investigators believe he was killed. Andrews thinks he was strung from the ceiling, to make the beating easier. The truth is, nobody knows exactly what happened in the barn, and any evidence is long gone. Andrews pointed to the central rafter.

Regardless of whether you loved Anthony Bourdain—and the striking thing is that so many people who had even a spotty acquaintance with him or his work felt like they did—the end of Roadrunner is devastating to watch. Morgan Neville’s new documentary about the chef and TV star runs through two decades of Bourdain’s life onscreen before concluding with present-day scenes of his friends still struggling to parse his death by suicide in 2018, at the age of 61. “I don’t think he was cruel, and there’s such a cruelty to that [act],” the musician Alison Mosshart says. “What the hell is everyone supposed to do?” The artist David Choe weeps on camera, and then spray-paints over a mural of Bourdain, as if to challenge the hagiographic portraits of the Parts Unknown host that proliferated after his death. “Going out in a blaze of glory was so fucking lame,” he says.