Reporter's Notebook

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At 3 a.m. I’m jolted awake. The room is dark and still. I grab my phone and scan sports scores and Twitter. Still awake. A faceless physician whispers in my mind: To overcome middle-of-the-night insomnia, experts say you ought to get out of bed … I get out of bed. I pour a glass of water and drink it. I go back to bed. Still awake. Perhaps you know the feeling. Like millions of Americans and hundreds of millions of people around the world, I suffer from so-called mid-sleep awakenings that can keep me up for hours.

One day, I was researching my nocturnal issues when I discovered a cottage industry of writers and sleep hackers who claim that sleep is a nightmare because of the industrial revolution, of all things. Essays in The Guardian, CNN, The New York Times, and The New York Times Magazine recommended an old fix for restlessness called “segmented sleep.” In premodern Europe, and perhaps centuries earlier, people routinely went to sleep around nightfall and woke up around midnight—only to go back to sleep a few hours later, until morning. They slept sort of like I do, but they were Zen about it. Then, the hackers claim, modernity came along and ruined everything by pressuring everybody to sleep in one big chunk.

In the panicked spring of 2020, as health officials scrambled to keep communities safe, they recommended various restrictions and interventions, sometimes in the absence of rigorous science supporting them. That was understandable at the time. Now, however, two years into this pandemic, keeping unproven measures in place is no longer justifiable. Although no district is likely to roll back COVID policies in the middle of the Omicron surge, at the top of the list of policies we should rethink once the wave recedes is mandatory masks for kids at school.

The CDC guidance on school masking is far-reaching, recommending “universal indoor masking by all students (age 2 and older), staff, teachers, and visitors to K–12 schools, regardless of vaccination status.” In contrast, many countries—the U.K., Sweden, Norway, Denmark, and others—have not taken the U.S.’s approach, and instead follow World Health Organization guidelines, which recommend against masking children ages 5 and younger, because this age group is at low risk of illness, because masks are not “in the overall interest of the child,” and because many children are unable to wear masks properly. Even for children ages 6 to 11, the WHO does not routinely recommend masks, because of the “potential impact of wearing a mask on learning and psychosocial development.” The WHO also explicitly counsels against masking children during physical activities, including running and jumping at the playground, so as not to compromise breathing.

Pour one out for Delta, the SARS-CoV-2 variant that Season 3 of the pandemic seems intent on killing off. After holding star billing through the summer and fall of 2021, Delta’s spent the past several weeks getting absolutely walloped by its feistier cousin Omicron—a virus that’s adept at both blitzing in and out of airways and dodging the antibodies that vaccines and other variants raise. In late November, Delta made up essentially all the SARS-CoV-2 infections that researchers were sequencing in the United States. Now it’s a measly 0.1 percent. As for the rest? It’s an Omicron show.

The global portrait’s a bit patchier, but by and large, “Delta won’t be able to compete,” Karthik Gangavarapu, a computational biologist at UCLA, told me. “My suspicion is that Omicron will take over.” It’s a fair shift from the tune many experts were singing just weeks ago, when they wondered whether Delta and Omicron might co-circulate in a vicious variant one-two punch. Katia Koelle, an evolutionary virologist at Emory University, told me she used to worry about that possibility when the world knew little about Omicron’s competitive edge, but “less so now.” Katie Gostic, an infectious-disease modeler at the University of Chicago, agrees that Delta’s doom is probably nigh. And if so, “good riddance,” she told me.

A terrible thing may be impending in Ukraine. Undoubtedly, subversion, sabotage, and murder await, although such miseries have been going on for some time without the West paying much attention. But a Russian onslaught, to include air and missile strikes followed by an invasion, would be a lot worse. Thousands of people may die, and the foundations of European security would be rocked as they have not been since the early days of the Cold War.

Even so, the degree of public hand-wringing and even despair in the United States is excessive, and not just in comparison with the relative phlegmatism of the Ukrainian population. The commentary on the Russian buildup and threats has taken many forms—pointless quarter-century-old recriminations about NATO expansion, foolish psychotherapeutic diagnoses of Russian President Vladimir Putin’s need for “respect,” assertions that the Biden administration’s weakness created this situation, and, above all, the belief that Putin has not only Ukraine, but the whole West, including the United States, exactly where he wants it. A more balanced consideration is in order.

On the day before school resumed this past August, when the COVID-test positivity rate in our West Texas community was soaring past 25 percent and the local paper’s headlines trumpeted the rapidly worsening situation, my elder daughter, who was entering the fifth grade, told me she couldn’t wait for classes to start.

It was only August 2, weeks before the Midland Independent School District would ordinarily have opened. But in an effort to mitigate the academic losses associated with one and a half disrupted years, our public schools wanted more face-to-face time with students. Ready to coax and cajole my summer-loving children out the door, I was unprepared for my daughter’s enthusiasm. She was glad, she told me, that school would be back to normal. From her perspective, COVID was over.

Vladimir Putin likes to say that playing chess with the United States is like playing against a pigeon: It struts around the board, knocks over the pieces, shits everywhere, and then declares victory. Playing chess with Europe, in contrast, must be like playing with a child who has forgotten the rules of the game, claims to have invented new ones, and then sulks when no one wants to play.

For so long, many people in Europe, including the U.K., have comforted themselves with platitudes that “hard power” no longer matters, that spheres of influence are outdated, and, even, that geopolitics itself has become somewhat passé. Then Russia sent 100,000 troops to the Ukrainian border. Suddenly playtime was over and once again the future security of Europe was being decided by someone else, somewhere else.

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.

In the early phases of the pandemic, as the coronavirus spread in the United States and doctors and pharmacists and supermarket clerks continued to work and risk infection, some commentators made reference—metaphorical reference, fast and loose and over the top—to ritual human sacrifice. The immediate panicky focus on resuming business as usual in order to keep the stock market from crashing was the equivalent of “those who offered human sacrifices to Moloch,” according to the writer Kitanya Harrison. That first summer, as Republicans settled into their anti-testing, anti-lockdown, anti-mask, nothing-to-worry-about orthodoxy, Representative Jamie Raskin, a Democrat, said it was “like a policy of mass human sacrifice.” The anthropology professor Shan-Estelle Brown and the researcher Zoe Pearson wrote that people who continued to do their jobs outside their homes were essentially victims of “involuntary human sacrifice, made to look voluntary.” Meanwhile, people on the right likewise compared the inconvenience of closing down public places to ritual sacrifice.

The Gilded Age made its debut on HBO on January 24, which is also the writer Edith Wharton’s birthday—a detail that’s hard to ascribe to coincidence. Not only does the drama borrow Wharton’s milieu of 1880s New York City, but the show’s creator is also a self-proclaimed Whartonite. Julian Fellowes—or the Lord Fellowes of West Stafford, as he’s known in his native Britain—has said that The Custom of the Country, Wharton’s strikingly modern 1913 novel about a ruthless social climber, inspired him to start writing. His first major project, the Robert Altman–directed murder mystery Gosford Park, felt like a British homage to the American Wharton and her elegant skewering of social regimes via the ornate filigree of details that sustain them.

Like an air-horn blast at summer camp, the news of 83-year-old United States Supreme Court Justice Stephen Breyer’s imminent retirement is calling Democrats to attention. For the first time since 2016, when then-President Barack Obama tried and failed to appoint Merrick Garland to the bench, a Democratic president has the chance to fill an open seat on the Supreme Court, and this time around, he will likely be successful. But who will President Joe Biden choose?

We know that his nominee will almost certainly be a woman. In 2020, then-candidate Biden vowed that he would respond to a Supreme Court opening by nominating a Black woman. Dozens of candidates are being talked about, but nearly all of the Court watchers I interviewed for this story have their money on one in particular: Ketanji Brown Jackson.