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.

Last week, CDC Director Rochelle Walensky said that COVID-19 is “becoming a pandemic of the unvaccinated.” President Joe Biden said much the same shortly after. They are technically correct. Even against the fast-spreading Delta variant, the vaccines remain highly effective, and people who haven’t received them are falling sick far more often than those who have. But their vulnerability to COVID-19 is the only thing that unvaccinated people universally share. They are disparate in almost every way that matters, including why they haven’t yet been vaccinated and what it might take to persuade them. “‘The unvaccinated’ are not a monolith of defectors,” Rhea Boyd, a pediatrician and public-health advocate in the San Francisco Bay Area, tweeted on Saturday.

After the end of the world, there will be birdsong. I used to imagine this when everything was going awry. I would lie in bed in my college dorm room and listen to the lone mockingbird who sang all night outside my window in the spring months. I was worried about something or other; he was getting on with things. It’s what birds do. They have a knack for it. In the Book of Genesis, after the devastation of the Earth by God’s cataclysmic flood, Noah releases from his ark a dove; he knows that the trial has ended when the bird does not return, having alighted somewhere out in the damp and dreary world, the first land-dwelling creature to begin the work of carrying on.

What else is there to do? When COVID-19 began to spread in the United States, late in the winter of 2020, I told myself as much. In plagues, as in life, there is a morally arbitrary hierarchy of luck, and it didn’t take long for me to realize that my family and I were among the lucky ones. I was in my late 20s, hale and hearty, my husband the same plus a couple of years. Our children were young—our baby was, in fact, under a year old, something I eventually mentioned in a meekly anxious aside to a doctor I was interviewing for a story on the emerging pandemic. He acknowledged certain risks in the way that doctors do, and then said: “Don’t worry. Kids are kicking ass with this thing.” I was both comforted and chastened; this wasn’t mine to panic about. The best I could do for those in peril was to carry on.

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.

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.

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.

Sid Miller, the Texas agriculture commissioner, sat atop his stallion Smokey and faced the camera. It was Saturday, August 1, 2020. Miller had a message to share.

“Good morning, patriots,” Miller began, raising the coiled lasso in his right hand by way of greeting. “I don’t know about you, but I’m getting tired of all these surprises coming out of China. First it was the Chinese virus, then we had the murder hornets, then we had to close the embassy in Houston because of espionage … Now we’ve got all these mystery seeds coming in in the mail.”

It was the seeds that Miller wanted to speak about. By then, news of the seeds had been circulating for several days. Packets were turning up at homes across the United States; residents of every state would eventually report receiving them. Their address labels and Customs declarations indicated that they had been sent from China. The contents were usually described as an item of jewelry—something like “rose stud earrings”—but inside would be a small packet of unidentified seeds. There was no evident reason why particular people were receiving particular seeds, or why people were receiving seeds at all.

No company does progressive politics quite like Ben & Jerry’s. The Vermont-based ice-cream maker has a reputation for corporate activism, owing to its support for a wide array of left-wing causes, including marriage equality, Occupy Wall Street, and Black Lives Matter. But when the company announced this week that it will no longer sell its products in the Israeli-occupied Palestinian territories, it faced an outcome that every ice-cream maker fears most: a meltdown.

The matter of Israel’s settlements, which the international community regards as illegal under international law but which the Trump administration said will need to be resolved through a political and not a judicial process, has long been a thorny issue in Israel. (The Biden administration has yet to articulate its own policy on this.) When it comes to ice cream, though, the country’s notoriously fractious political sphere is virtually unanimous. Israel’s right-wing prime minister, Naftali Bennett, said that Ben & Jerry’s has decided to brand itself as an “anti-Israel ice cream.” His centrist coalition partner, Yair Lapid, called the move a “shameful surrender to anti-Semitism.” Israeli President Isaac Herzog of the center-left, who once committed to removing Israeli settlements in the West Bank, called Ben & Jerry’s decision to shun them “a new kind of terrorism.” The newly minted opposition leader, Benjamin Netanyahu, suggested that Israelis should boycott the brand. One centrist cabinet minister dutifully posted a TikTok of herself chucking a pint of what looked like Dulce de Leche into the trash.

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.

For more than half a century, the modern industry of sex therapists, educators, and experts has been eager to tell us whether we’re having enough sex, or the right kind of sex. But this industry is, like any other, shaped by the broader culture—it took for granted that the goal was to “get everybody to the point where they have a type of desire and quality of desire that fits within the cultural norms and values,” the sex therapist and researcher Michael Berry says. Decades ago that meant: straight, monogamous, within marriage, private, nothing too kinky.

As American culture has become more expansive in its understanding of sexuality, so has sex therapy. But this kind of sex positivity often doesn’t leave room for those who don’t want sex at all. The prevailing idea remains that, as Berry puts it, “if people are coming to see a sex therapist, the intent would be to get them to have sex.”