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<!DOCTYPE html><html lang="en-US"><head><title>Living in the Shadow of an American Election | The New Yorker</title><meta charSet="utf-8"/><meta content="IE=edge" http-equiv="X-UA-Compatible"/><meta name="msapplication-tap-highlight" content="no"/><meta name="viewport" content="width=device-width, initial-scale=1"/><meta name="author" content="Naomi Fry"/><meta name="copyright" content="Copyright (c) Condé Nast 2025"/><meta name="description" content="Naomi Fry speaks to the photographer Sinna Nasseri, who took a road trip across the United States during the 2024 Presidential race."/><meta name="id" content="6719499313626ae2f863d060"/><meta name="keywords" content="election 2024,photographer,presidential campaigns,roadtrip,2024 presidential election,audio"/><meta name="news_keywords" content="election 2024,photographer,presidential campaigns,roadtrip,2024 presidential election,audio"/><meta name="robots" content="index, follow, noarchive, max-image-preview:large"/><meta name="content-type" content="article"/><meta name="parsely-post-id" content="6719499313626ae2f863d060"/><meta name="parsely-metadata" content="{"description":"Naomi Fry speaks to the photographer Sinna Nasseri, who took a road trip across the United States during the 2024 Presidential race.","image-16-9":"https://media.newyorker.com/photos/671945c6ae3d7e3ddd6ab87c/16:9/w_1000,c_limit/Nasseri-PB-1.jpg","image-1-1":"https://media.newyorker.com/photos/671945c6ae3d7e3ddd6ab87c/1:1/w_1000,c_limit/Nasseri-PB-1.jpg"}"/><meta property="og:description" content="A photographer took a road trip across the country during the Presidential race. 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{"channel":"culture","content":{"copyCount":1603,"imageCount":20,"embedCount":22,"ratio":38.166666666666664,"midContentCadence":900},"contentType":"article","experiments":{},"keywords":{"copilotid":["6719499313626ae2f863d060"],"platform":["verso"],"tags":["culture","photo-booth","critics-notebook","election-2024","photographer","presidential-campaigns","roadtrip","2024-presidential-election"]},"server":"production","slug":"living-in-the-shadow-of-an-american-election","subChannel":"photo-booth","subSubChannel":"","templateType":"mt_article"};</script><link rel="preconnect" href="https://ads-static.conde.digital"/><script id="ads-v6" src="https://ads-static.conde.digital/production/cns/builds/the-new-yorker/v6.js" async=""></script><script type="application/ld+json">{"@context":"http://schema.org","@type":"NewsArticle","articleBody":"For Nasseri, politics are, first and foremost, about people—their faces, their gestures, their often mundane interactions and environments—and he’s interested in exploring this theme even when not on explicitly newsy assignments. Luckily, the R.N.C. provided opportunities for additional discovery: instead of flying to the Convention, Nasseri decided to drive from Los Angeles to Milwaukee and back, spending three weeks on the road capturing what he encountered in some seventeen states. “I wanted to see how we live as Americans in the shadow of the Presidential election,” he told me recently.\nThis was not Nasseri’s first time going on the road. A lawyer who made the transition to professional photography around 2020, he first began exploring this very American mode of travel after the pandemic prompted a radical reshuffling of daily life. “COVID had taken over, everyone was stuck at home, and I decided to kind of drop everything and go out and document the country,” he said. In the period leading up to that year’s election, Nasseri took two months-long road trips—one to a Trump rally in Tulsa, Oklahoma, in June, and the other to a biker rally in Sturgis, North Dakota, later that summer. He wanted to “visit places that were underseen, where not a lot of people were going,” he told me. In the shorter trip he took earlier this year, to Milwaukee and back, he chose to revisit many of the places he had encountered four years ago.\nAs I spoke with Nasseri about his project, I was reminded of Michael Apted’s “Up” series, in which, beginning in 1964, the British filmmaker documented the same group of people in seven-year intervals, starting when they were around seven years old. (The most recent installment, “63 Up,” was released in 2019.) Apted’s intention was to examine not just the individual lives of the subjects he chose to follow but also the broader social, cultural, and political environment that those subjects matured in, turning “Up” into an ongoing portrait of contemporary England in the late twentieth and early twenty-first centuries. Nasseri, returning to some of the same locations he captured in 2020, approached his own undertaking as a kind of temperature-taking mission on the subject of America, and the country he found this time around felt very different from the one he travelled four years prior. “During the 2020 trips I took, the pandemic was happening, George Floyd had just happened, there was a lot of activism from both the left and the right on the question of Confederate monuments,” he said. “Trump was still President, and politics was the first thing people wanted to talk about. On this trip, there wasn’t much political activity at all. It was very muted.”\nAs an immigrant who has adopted America as my home, I’ve often sensed that this is a country whose ideal state is a politics-free utopia, animated by a kind of hands-off individualism, which, as Alexis de Tocqueville presciently noted in the mid-nineteenth century, inclines “each member of the community to sever himself from the mass of his fellow-creatures; and to draw apart with his family and his friends; so that, after he has thus formed a little circle of his own, he willingly leaves society at large to itself.” Such rejection of the public sphere is, however, a political stance, too. Politics don’t just crop up in protest banners and slogans, in convention halls or in town squares; sometimes they reveal themselves by their overt absence.\nCOVID, the Black Lives Matter protests, and the existential battle for the soul of the Republic impelled by the Trump Presidency made 2020 a capital-P political year. But when Nasseri embarked on his road trip, in early July, Joe Biden had still not pulled out of the Presidential race, and the country was in stasis. Places that Nasseri had experienced previously as hotbeds of agitation were now sleepy, as if forgotten. In a picture he took in Minneapolis, near the site of George Floyd’s murder, we see a little girl on a blue bicycle riding past the “Say Their Names” memorial art installation—rows of headstones put up in June of 2020 to commemorate Black lives lost to police brutality. “When I visited the city four years ago, activists had blocked off the area, and wouldn’t allow police or government to come in. It was basically a semi-autonomous zone,” Nasseri told me. Now the scene was quiet, unremarkable. One would not be faulted, perhaps, for passing the cemetery and not giving it a second glance. The grass was growing.\nThe grass has grown, too, in New Orleans—so much so that in one of Nasseri’s photographs the bottom of a welcome sign by the side of a thoroughfare is obscured by it. “Welcome to”—where? New Orleans, a city nearly obliterated almost two decades ago by the rising waters of Katrina, could now be Anytown, U.S.A., just another nondescript, overlooked place on the map. In a picture that Nasseri captured in Gillette, Wyoming, we see a man hanging half out the window of a white Chevy, a firearm at his shoulder aimed at seemingly nothing, as the car speeds down a dirt road. “Gillette is a town built on coal mining. You see people in bars, coming off a shift with ash on their face,” Nasseri said.\nNasseri’s words reminded me of a moment in Sean Baker’s 2021 movie, “Red Rocket,” in which the weed-dealer protagonist, played by Simon Rex, is told that the oil-refinery workers who live in his small Texas city could become his most loyal customers, because “at the end of their shift . . . they want to kill themselves” and are ready for some relief. (Or, as the hair-metal band Poison sang in their 1988 hit “Nothin’ but a Good Time,” “I’m always workin’, slavin’, every day / Gotta get a break from the same old same old / I need a chance to just get away / If you could hear me think, this is what I’d say.”) The hunger for a good old American time is evident in several other photographs in Nasseri’s series. In one picture, taken at a bar in Chicago, we see three tan, blond women, all dressed in shades of white and gold, their faces flushed from drinking and dancing; in another picture, at a bar in Houma, Louisiana, a woman in Daisy Dukes twirls on a stripper pole. This image, however, also contains a more unsettling thrum: nearby, a life-size cutout of Trump leans against a wall, side by side with an American-flag-adorned plastic skeleton.\nA feeling of impending doom hovers over many of Nasseri’s pictures. On the first day of the road trip, which happened to fall on the Fourth of July, Nasseri and a friend arrived in Bishop, California, a small city in the Eastern Sierra. “We first went to a watermelon-eating contest, real American small-town stuff, and then we found these springs in the middle of the mountains,” Nasseri told me. “It was absolutely stunning, and everyone was just hanging out, blasting music, drinking beers, in good spirits.” One image in the series captures the deep release of the springs: a young woman in the water with her back to the camera, her hair wet and slick down her back, while her male companion dunks his head back, only his face visible, upturned to the sky above. But if in one moment all was calm, in the next everything changed. “All of a sudden, I’m not sure what precipitated it, but this giant brawl broke out,” Nasseri said. “Punches were flying, women were pulling each other’s hair, dust everywhere, a couple of people were lying bloodied on the ground. The party was over.” In another image, taken after the fight broke out, two young men appear to hold back a third one, who is facing the camera, staring blankly ahead. We can’t tell what he’s looking at, but we can be pretty sure that it’s nothing good. In a photograph taken later in the trip, in Nashville, on the way back from the R.N.C., we see a group of neo-Nazis handing out flyers in broad daylight. “When I captured that, I realized that extremism never went away,” Nasseri told me. “It was there, simmering all along.”","isBasedOn":"","articleSection":"photo booth","author":[{"@type":"Person","name":"Naomi Fry","sameAs":"https://www.newyorker.com/contributors/naomi-fry"},{"@type":"Person","name":"Sinna Nasseri","sameAs":"https://www.newyorker.com/contributors/sinna-nasseri"}],"dateModified":"2024-10-26T06:00:00.000-04:00","datePublished":"2024-10-26T06:00:00.000-04:00","headline":"Living in the Shadow of an American 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United States during the 2024 Presidential race.","description":"Naomi Fry speaks to the photographer Sinna Nasseri, who took a road trip across the United States during the 2024 Presidential race.","mainEntityOfPage":{"@type":"WebPage","@id":"https://www.newyorker.com/culture/photo-booth/living-in-the-shadow-of-an-american-election"},"publisher":{"@context":"https://schema.org","@type":"Organization","name":"The New Yorker","logo":{"@type":"ImageObject","url":"https://www.newyorker.com/verso/static/thenewyorker-us/assets/the-new-yorker-seo-logo.jpg","width":"1200px","height":"630px"},"url":"https://www.newyorker.com"}}</script><script type="application/ld+json">{"@context":"https://schema.org/","@type":"BreadcrumbList","itemListElement":[{"@type":"ListItem","position":1,"name":"Culture","item":"https://www.newyorker.com/culture"},{"@type":"ListItem","position":2,"name":"Election 2024","item":"https://www.newyorker.com/tag/election-2024"},{"@type":"ListItem","position":3,"name":"Living 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aria-hidden="true"><div class="consumer-marketing-unit__slot consumer-marketing-unit__slot--paywall-bar-call-to-action"></div><div class="journey-unit"></div></div></aside></div><main id="main-content" tabindex="-1" class="BasePageMainContent-kFvAuh jfZsNj page__main-content"><article class="article main-content" lang="en-US"><div class="ArticlePageLedeBackground-EufvU ittFsh"><header class="ContentHeaderWrapper-clujbs ldzxDV content-header article__content-header"><div data-testid="ContentHeaderContainer" class="ContentHeaderContainer-cGKRbE gXTBMX"><div class="ContentHeaderHedAccreditationWrapper-GFiQf cDNVlV"><div data-testid="ContentHeaderTitleBlockWrapper" class="ContentHeaderTitleBlockWrapper-cjmSKp eKCYkz"><div data-testid="ContentHeaderRubric" class="ContentHeaderRubricBlock-LmpbT iaArlP"><div data-testid="ContentHeaderRubricDateBlock" class="ContentHeaderRubricDateBlock-kAQcZP fTFWxD"><div class="RubricWrapper-dKmCNX cXTooZ rubric ContentHeaderRubricContainer-eTudtt iRsSlw"><a class="RubricLink-gRWSOU fgWnkQ rubric__link" href="/culture/photo-booth"><span class="RubricName-fVtemz cLxcNi rubric__name">Photo Booth</span></a></div></div></div><h1 data-testid="ContentHeaderHed" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ ContentHeaderHed-NCyCC iUEiRd kOQxwh hpJvIc">Living in the Shadow of an American Election</h1></div><div class="ContentHeaderAccreditation-lfctVB etVsnJ content-header__accreditation" data-testid="ContentHeaderAccreditation"><div class="ContentHeaderDek-bIqFFZ cFMTQw">A photographer took a road trip across the country during the Presidential race. What did he see?</div><div class="ContentHeaderByline-kmPyCa gvUmxJ"><div class="ContentHeaderBylineContent-dpPmNn DRFq"><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk jYjxgY bylines ContentHeaderBylines-cZqgyJ bHLeKI"><span class="BylineWrapper-jWHrLH iBybbt byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn eJwCwq byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ uhfVi byline__preamble">By </span><a class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLink-eNWuiM BylineLink-gEnFiw iUEiRd dTCiYp bVAERN brYZgj byline__name-link button" href="/contributors/naomi-fry">Naomi Fry</a></span></span></span><span class="BylineWrapper-jWHrLH iBybbt byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn eJwCwq byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ uhfVi byline__preamble">Photography by </span><a class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLink-eNWuiM BylineLink-gEnFiw iUEiRd dTCiYp bVAERN brYZgj byline__name-link button" href="/contributors/sinna-nasseri">Sinna Nasseri</a></span></span></span></div><time data-testid="ContentHeaderPublishDate" dateTime="2024-10-26T06:00:00-04:00" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ ContentHeaderPublishDate-eIBicG iUEiRd hkjWCS iINaCX">October 26, 2024</time></div></div></div></div><div class="ContentHeaderLeadAsset-hGbumP kByCgj lead-asset ContentHeaderLeadAssetWrapper-hfXHEc frGrck lead-asset--width-fullbleed" data-testid="ContentHeaderLeadAsset"><figure class="ContentHeaderLeadAssetContent-kOfYSG dRGWbI"><div class="ContentHeaderLeadAssetContentMedia-bLEIpi jjhWdS lead-asset__content__photo"><span class="SpanWrapper-umhxW jvZaPI responsive-asset ContentHeaderResponsiveAsset-bREgIb hONbnm"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz gOkWog"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa ContentHeaderResponsiveAsset-bREgIb hONbnm responsive-image"><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/671945c6ae3d7e3ddd6ab87c/master/w_120,c_limit/Nasseri-PB-1.jpg 120w, https://media.newyorker.com/photos/671945c6ae3d7e3ddd6ab87c/master/w_240,c_limit/Nasseri-PB-1.jpg 240w, https://media.newyorker.com/photos/671945c6ae3d7e3ddd6ab87c/master/w_320,c_limit/Nasseri-PB-1.jpg 320w, https://media.newyorker.com/photos/671945c6ae3d7e3ddd6ab87c/master/w_640,c_limit/Nasseri-PB-1.jpg 640w, https://media.newyorker.com/photos/671945c6ae3d7e3ddd6ab87c/master/w_960,c_limit/Nasseri-PB-1.jpg 960w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/671945c6ae3d7e3ddd6ab87c/master/w_120,c_limit/Nasseri-PB-1.jpg 120w, https://media.newyorker.com/photos/671945c6ae3d7e3ddd6ab87c/master/w_240,c_limit/Nasseri-PB-1.jpg 240w, https://media.newyorker.com/photos/671945c6ae3d7e3ddd6ab87c/master/w_320,c_limit/Nasseri-PB-1.jpg 320w, https://media.newyorker.com/photos/671945c6ae3d7e3ddd6ab87c/master/w_640,c_limit/Nasseri-PB-1.jpg 640w, https://media.newyorker.com/photos/671945c6ae3d7e3ddd6ab87c/master/w_960,c_limit/Nasseri-PB-1.jpg 960w, https://media.newyorker.com/photos/671945c6ae3d7e3ddd6ab87c/master/w_1280,c_limit/Nasseri-PB-1.jpg 1280w, https://media.newyorker.com/photos/671945c6ae3d7e3ddd6ab87c/master/w_1600,c_limit/Nasseri-PB-1.jpg 1600w, https://media.newyorker.com/photos/671945c6ae3d7e3ddd6ab87c/master/w_1920,c_limit/Nasseri-PB-1.jpg 1920w, https://media.newyorker.com/photos/671945c6ae3d7e3ddd6ab87c/master/w_2240,c_limit/Nasseri-PB-1.jpg 2240w" sizes="100vw"/><img alt="A person swings on a pole in a bar wearing cowboy boots jean shorts and a plaid shirt. Beside the person on the wall is..." class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/671945c6ae3d7e3ddd6ab87c/master/w_2560%2Cc_limit/Nasseri-PB-1.jpg"/></picture></div></div></span></div></figure></div><div class="ContentHeaderLeadContentFullWidth-cvJzX hHaBOT"><figure class="ContentHeaderLeadContentCaptionCredit-hSIIqJ kQVfzg"><div class="CaptionWrapper-jSZdqE koIZQP caption ContentHeaderLeadAssetCaption-hPWmSN kuCzGS" data-testid="caption-wrapper"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptionText-bHjzlu iUEiRd xOinq iXWezO caption__text">Houma, Louisiana.</span></div></figure></div></div></header></div><div data-attribute-verso-pattern="article-body" class="ArticlePageContentBackGround-cNiFNN bIesAh article-body__content"><div class="ActionBarWrapperContent-lasBkU jrRtuw"><div class="ActionBarWrapperComponent-cjwxLS bEeSLb"><div data-attr-viewport-monitor="" class="ActionBarWrapper-dhxmQh hDHofQ viewport-monitor-anchor"><button id="bookmark" aria-label="Save this story" class="ActionBarButton-dyFOZU hNBMHq bookmark large-screen"><span class="ActionBarSecondaryButtonPrimaryIcon-isbvyN cAwccV bookmark-button-icon"><svg class="icon icon-bookmark" width="24" height="24" viewBox="0 0 24 24" fill="none" xmlns="http://www.w3.org/2000/svg"><title>Save this story</title><path class="icon-bookmark-fill" d="M20 23.9508L12.5 19.7312L5 23.9508V2.95081H14V3.93211H6V22.1845L12.5 18.5536L19 22.1845V8.83866H20V23.9508Z"></path><path class="icon-bookmark-fill" d="M23 3H20V0H19V3H16V4H19V7H20V4H23V3Z"></path></svg></span><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ ActionBarButtonText-bYXYuh iUEiRd bYbRbe gkccfO">Save this story</span></button></div><div data-attr-viewport-monitor="" class="ActionBarWrapper-dhxmQh dupdPP viewport-monitor-anchor"><button id="bookmark" aria-label="Save this story" class="ActionBarButton-dyFOZU jbWTJi bookmark mobile"><span class="ActionBarSecondaryButtonPrimaryIcon-isbvyN cAwccV bookmark-button-icon"><svg class="icon icon-bookmark" width="24" height="24" viewBox="0 0 24 24" fill="none" xmlns="http://www.w3.org/2000/svg"><title>Save this story</title><path class="icon-bookmark-fill" d="M20 23.9508L12.5 19.7312L5 23.9508V2.95081H14V3.93211H6V22.1845L12.5 18.5536L19 22.1845V8.83866H20V23.9508Z"></path><path class="icon-bookmark-fill" d="M23 3H20V0H19V3H16V4H19V7H20V4H23V3Z"></path></svg></span><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ ActionBarButtonText-bYXYuh iUEiRd bYbRbe gkccfO">Save this story</span></button></div></div></div><div class="LightboxWrapper-dxsWBV hhylRt"><div class="ArticlePageChunksContent-etcMtP imbgVA"><div data-testid="ArticlePageChunks" class="ArticlePageChunks-fLyCVG lmuXQm"><div class="GridWrapper-cAzTTK jXvsWG grid grid-margins grid-items-0 ArticlePageChunksGrid-hfxaau hgViLH"><div class="GridItem-buujkM kHPPIF grid--item"><div class="BodyWrapper-kufPGa isZwGb body body__container article__body" data-journey-hook="client-content" data-testid="BodyWrapper"><div class="body__inner-container"><figure class="CneAudioEmbedFigure-bRoyFa cjLQOE"><div><div id="js-audioembed-d9etq"></div></div></figure><p class="has-dropcap has-dropcap__lead-standard-heading paywall">This past July, Sinna Nasseri was <a href="https://www.newyorker.com/culture/photo-booth/the-spectacle-of-donald-trumps-rnc">commissioned</a> by <em>The New Yorker</em> to photograph the Republican National Convention, in Milwaukee. It was the sort of assignment he had undertaken before—in the past few years, he’s shot, among other political events, the 2020 New Hampshire <a href="https://www.vogue.com/article/new-hampshire-primary-2020-photo-essay">Democratic primary</a> and the January 6th <a data-offer-url="https://www.nytimes.com/2022/06/23/us/politics/jan-6-hearings-photos.html" class="external-link" data-event-click="{"element":"ExternalLink","outgoingURL":"https://www.nytimes.com/2022/06/23/us/politics/jan-6-hearings-photos.html"}" href="https://www.nytimes.com/2022/06/23/us/politics/jan-6-hearings-photos.html" rel="nofollow noopener" target="_blank">hearings</a> in the House of Representatives—and the resulting pictures, published on this Web site, were marked by the off-kilter sensibility that has become his signature. In the pictures, an elderly Wyoming delegate wearing a Trump-branded cowboy hat sits by a mirrored wall, his mouth open in a wide yawn, while a cowboy-booted female delegate raises her skinny arms in adulation; a smiling boy trots down a convention corridor past a poster of Donald Trump’s <a href="https://www.newyorker.com/culture/annals-of-appearances/trumps-mug-shot-is-his-true-presidential-portrait">glaring mug shot</a> captioned with a reminder to “Never Surrender”; a woman in a red bedazzled cap takes a closeup with her iPhone of J. D. Vance’s smiling face as it appears on a TV screen. Nasseri’s photographs of the R.N.C. highlighted not whatever pomp and circumstance he could find in the occasion but, rather, moments he spotted on its margins. Even when key Republican figures such as the former President or his V.P. pick were featured, they appeared not as lead actors but as ghostly traces, marking the lives of the figures they affect.</p></div></div></div></div><div data-testid="RowWrapper" class="BaseWrap-sc-gjQpdd RowWrapper-UmqTg iUEiRd HEhan"><div class="BodyWrapper-kufPGa beQqI body ArticlePageBodyGridContainer-jrMoA-d itxjuw body__grid-container" data-testid="BodyWrapper"><div data-testid="feature-large-callout" class="CalloutFeatureLargeWrapper-cGjDsT NdRGS"><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContainer-eJxoAx dBHGoQ asset-embed__asset-container"><span class="SpanWrapper-umhxW kGxnNB responsive-asset AssetEmbedResponsiveAsset-cXBNxi eCxVQK asset-embed__responsive-asset"><picture class="ResponsiveImagePicture-cWuUZO KhjZz AssetEmbedResponsiveAsset-cXBNxi eCxVQK asset-embed__responsive-asset responsive-image responsive-image--expandable" tabindex="0" role="button"><noscript><img alt="A sign on the side of the road that says Welcome to with grass growing high around it." class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/671945c8ffd6310fe01d9312/master/w_1600%2Cc_limit/Nasseri-PB-2.jpg" srcSet="https://media.newyorker.com/photos/671945c8ffd6310fe01d9312/master/w_120,c_limit/Nasseri-PB-2.jpg 120w, https://media.newyorker.com/photos/671945c8ffd6310fe01d9312/master/w_240,c_limit/Nasseri-PB-2.jpg 240w, https://media.newyorker.com/photos/671945c8ffd6310fe01d9312/master/w_320,c_limit/Nasseri-PB-2.jpg 320w, https://media.newyorker.com/photos/671945c8ffd6310fe01d9312/master/w_640,c_limit/Nasseri-PB-2.jpg 640w, https://media.newyorker.com/photos/671945c8ffd6310fe01d9312/master/w_960,c_limit/Nasseri-PB-2.jpg 960w, https://media.newyorker.com/photos/671945c8ffd6310fe01d9312/master/w_1280,c_limit/Nasseri-PB-2.jpg 1280w, https://media.newyorker.com/photos/671945c8ffd6310fe01d9312/master/w_1600,c_limit/Nasseri-PB-2.jpg 1600w" sizes="100vw"/></noscript></picture></span></div><div class="CaptionWrapper-jSZdqE koIZQP caption AssetEmbedCaption-fNQBPI fmQnYP asset-embed__caption" data-testid="caption-wrapper"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptionText-bHjzlu iUEiRd xOinq iXWezO caption__text">New Orleans, Louisiana.</span></div></figure></div></div></div><div data-testid="RowWrapper" class="BaseWrap-sc-gjQpdd RowWrapper-UmqTg iUEiRd HEhan"><div class="BodyWrapper-kufPGa beQqI body ArticlePageBodyGridContainer-jrMoA-d itxjuw body__grid-container" data-testid="BodyWrapper"><div data-testid="feature-large-callout" class="CalloutFeatureLargeWrapper-cGjDsT NdRGS"><div class="GroupCalloutWrapper-bPWknp cIoSON callout callout--group callout--group-2" data-testid="GroupCalloutWrapper"><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed callout--group-item callout--group-item-1"><div class="AssetEmbedAssetContainer-eJxoAx dBHGoQ asset-embed__asset-container"><span class="SpanWrapper-umhxW kGxnNB responsive-asset AssetEmbedResponsiveAsset-cXBNxi eCxVQK asset-embed__responsive-asset"><picture class="ResponsiveImagePicture-cWuUZO KhjZz AssetEmbedResponsiveAsset-cXBNxi eCxVQK asset-embed__responsive-asset responsive-image responsive-image--expandable" tabindex="0" role="button"><noscript><img alt="A piece of toast on a pile of newspapers." class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/671945c48aebc447168d8e12/master/w_1600%2Cc_limit/Nasseri-PB-3.jpg" srcSet="https://media.newyorker.com/photos/671945c48aebc447168d8e12/master/w_120,c_limit/Nasseri-PB-3.jpg 120w, https://media.newyorker.com/photos/671945c48aebc447168d8e12/master/w_240,c_limit/Nasseri-PB-3.jpg 240w, https://media.newyorker.com/photos/671945c48aebc447168d8e12/master/w_320,c_limit/Nasseri-PB-3.jpg 320w, https://media.newyorker.com/photos/671945c48aebc447168d8e12/master/w_640,c_limit/Nasseri-PB-3.jpg 640w, https://media.newyorker.com/photos/671945c48aebc447168d8e12/master/w_960,c_limit/Nasseri-PB-3.jpg 960w, https://media.newyorker.com/photos/671945c48aebc447168d8e12/master/w_1280,c_limit/Nasseri-PB-3.jpg 1280w, https://media.newyorker.com/photos/671945c48aebc447168d8e12/master/w_1600,c_limit/Nasseri-PB-3.jpg 1600w" sizes="100vw"/></noscript></picture></span></div><div class="CaptionWrapper-jSZdqE koIZQP caption AssetEmbedCaption-fNQBPI fmQnYP asset-embed__caption" data-testid="caption-wrapper"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptionText-bHjzlu iUEiRd xOinq iXWezO caption__text">New Orleans, Louisiana.</span></div></figure><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed callout--group-item callout--group-item-2"><div class="AssetEmbedAssetContainer-eJxoAx dBHGoQ asset-embed__asset-container"><span class="SpanWrapper-umhxW kGxnNB responsive-asset AssetEmbedResponsiveAsset-cXBNxi eCxVQK asset-embed__responsive-asset"><picture class="ResponsiveImagePicture-cWuUZO KhjZz AssetEmbedResponsiveAsset-cXBNxi eCxVQK asset-embed__responsive-asset responsive-image responsive-image--expandable" tabindex="0" role="button"><noscript><img alt="A neoNazi hands out papers in downtown Nashville. The person wears a red tanktop with a swastika and Hello Kitty on it." class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/671945caa6db82bc742e9c2b/master/w_1600%2Cc_limit/Nasseri-PB-4.jpg" srcSet="https://media.newyorker.com/photos/671945caa6db82bc742e9c2b/master/w_120,c_limit/Nasseri-PB-4.jpg 120w, https://media.newyorker.com/photos/671945caa6db82bc742e9c2b/master/w_240,c_limit/Nasseri-PB-4.jpg 240w, https://media.newyorker.com/photos/671945caa6db82bc742e9c2b/master/w_320,c_limit/Nasseri-PB-4.jpg 320w, https://media.newyorker.com/photos/671945caa6db82bc742e9c2b/master/w_640,c_limit/Nasseri-PB-4.jpg 640w, https://media.newyorker.com/photos/671945caa6db82bc742e9c2b/master/w_960,c_limit/Nasseri-PB-4.jpg 960w, https://media.newyorker.com/photos/671945caa6db82bc742e9c2b/master/w_1280,c_limit/Nasseri-PB-4.jpg 1280w, https://media.newyorker.com/photos/671945caa6db82bc742e9c2b/master/w_1600,c_limit/Nasseri-PB-4.jpg 1600w" sizes="100vw"/></noscript></picture></span></div><div class="CaptionWrapper-jSZdqE koIZQP caption AssetEmbedCaption-fNQBPI fmQnYP asset-embed__caption" data-testid="caption-wrapper"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptionText-bHjzlu iUEiRd xOinq iXWezO caption__text">Nashville, Tennessee.</span></div></figure></div></div></div></div><div class="GridWrapper-cAzTTK jXvsWG grid grid-margins grid-items-0 ArticlePageChunksGrid-hfxaau hgViLH"><div class="GridItem-buujkM kHPPIF grid--item"><div class="BodyWrapper-kufPGa isZwGb body body__container article__body" data-journey-hook="client-content" data-testid="BodyWrapper"><div class="body__inner-container"><p class="paywall">For Nasseri, politics are, first and foremost, about people—their faces, their gestures, their often mundane interactions and environments—and he’s interested in exploring this theme even when not on explicitly newsy assignments. Luckily, the R.N.C. provided opportunities for additional discovery: instead of flying to the Convention, Nasseri decided to drive from Los Angeles to Milwaukee and back, spending three weeks on the road capturing what he encountered in some seventeen states. “I wanted to see how we live as Americans in the shadow of the Presidential election,” he told me recently.</p><p class="paywall">This was not Nasseri’s first time going on the road. A lawyer who made the transition to professional photography around 2020, he first began exploring this very American mode of travel after the pandemic prompted a radical reshuffling of daily life. “<em class="small">COVID</em> had taken over, everyone was stuck at home, and I decided to kind of drop everything and go out and document the country,” he said. In the period leading up to that year’s election, Nasseri took two months-long road trips—one to a Trump rally in Tulsa, Oklahoma, in June, and the other to a biker rally in Sturgis, North Dakota, later that summer. He wanted to “visit places that were underseen, where not a lot of people were going,” he told me. In the shorter trip he took earlier this year, to Milwaukee and back, he chose to revisit many of the places he had encountered four years ago.</p></div></div></div></div><div data-testid="RowWrapper" class="BaseWrap-sc-gjQpdd RowWrapper-UmqTg iUEiRd HEhan"><div class="BodyWrapper-kufPGa beQqI body ArticlePageBodyGridContainer-jrMoA-d itxjuw body__grid-container" data-testid="BodyWrapper"><div class="GenericCalloutWrapper-tojWn efCprP callout--has-top-border" data-testid="GenericCallout"><div class="GroupCalloutWrapper-bPWknp cIoSON callout callout--group callout--group-2" data-testid="GroupCalloutWrapper"><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed callout--group-item callout--group-item-1"><div class="AssetEmbedAssetContainer-eJxoAx dBHGoQ asset-embed__asset-container"><span class="SpanWrapper-umhxW kGxnNB responsive-asset AssetEmbedResponsiveAsset-cXBNxi eCxVQK asset-embed__responsive-asset"><picture class="ResponsiveImagePicture-cWuUZO KhjZz AssetEmbedResponsiveAsset-cXBNxi eCxVQK asset-embed__responsive-asset responsive-image responsive-image--expandable" tabindex="0" role="button"><noscript><img alt="Two people outside of a courthouse. One leans against the base of a statue." class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/671945c613626ae2f863d05f/master/w_1600%2Cc_limit/Nasseri-PB-5.jpg" srcSet="https://media.newyorker.com/photos/671945c613626ae2f863d05f/master/w_120,c_limit/Nasseri-PB-5.jpg 120w, https://media.newyorker.com/photos/671945c613626ae2f863d05f/master/w_240,c_limit/Nasseri-PB-5.jpg 240w, https://media.newyorker.com/photos/671945c613626ae2f863d05f/master/w_320,c_limit/Nasseri-PB-5.jpg 320w, https://media.newyorker.com/photos/671945c613626ae2f863d05f/master/w_640,c_limit/Nasseri-PB-5.jpg 640w, https://media.newyorker.com/photos/671945c613626ae2f863d05f/master/w_960,c_limit/Nasseri-PB-5.jpg 960w, https://media.newyorker.com/photos/671945c613626ae2f863d05f/master/w_1280,c_limit/Nasseri-PB-5.jpg 1280w, https://media.newyorker.com/photos/671945c613626ae2f863d05f/master/w_1600,c_limit/Nasseri-PB-5.jpg 1600w" sizes="100vw"/></noscript></picture></span></div><div class="CaptionWrapper-jSZdqE koIZQP caption AssetEmbedCaption-fNQBPI fmQnYP asset-embed__caption" data-testid="caption-wrapper"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptionText-bHjzlu iUEiRd xOinq iXWezO caption__text">Memphis, Tennessee.</span></div></figure><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed callout--group-item callout--group-item-2"><div class="AssetEmbedAssetContainer-eJxoAx dBHGoQ asset-embed__asset-container"><span class="SpanWrapper-umhxW kGxnNB responsive-asset AssetEmbedResponsiveAsset-cXBNxi eCxVQK asset-embed__responsive-asset"><picture class="ResponsiveImagePicture-cWuUZO KhjZz AssetEmbedResponsiveAsset-cXBNxi eCxVQK asset-embed__responsive-asset responsive-image responsive-image--expandable" tabindex="0" role="button"><noscript><img alt="American flags hang on the ceiling a person is in the right corner." class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/671945c87bb0aca1e5e8ea62/master/w_1600%2Cc_limit/Nasseri-PB-6.jpg" srcSet="https://media.newyorker.com/photos/671945c87bb0aca1e5e8ea62/master/w_120,c_limit/Nasseri-PB-6.jpg 120w, https://media.newyorker.com/photos/671945c87bb0aca1e5e8ea62/master/w_240,c_limit/Nasseri-PB-6.jpg 240w, https://media.newyorker.com/photos/671945c87bb0aca1e5e8ea62/master/w_320,c_limit/Nasseri-PB-6.jpg 320w, https://media.newyorker.com/photos/671945c87bb0aca1e5e8ea62/master/w_640,c_limit/Nasseri-PB-6.jpg 640w, https://media.newyorker.com/photos/671945c87bb0aca1e5e8ea62/master/w_960,c_limit/Nasseri-PB-6.jpg 960w, https://media.newyorker.com/photos/671945c87bb0aca1e5e8ea62/master/w_1280,c_limit/Nasseri-PB-6.jpg 1280w, https://media.newyorker.com/photos/671945c87bb0aca1e5e8ea62/master/w_1600,c_limit/Nasseri-PB-6.jpg 1600w" sizes="100vw"/></noscript></picture></span></div><div class="CaptionWrapper-jSZdqE koIZQP caption AssetEmbedCaption-fNQBPI fmQnYP asset-embed__caption" data-testid="caption-wrapper"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptionText-bHjzlu iUEiRd xOinq iXWezO caption__text">Near Buffalo, Wyoming.</span></div></figure></div></div></div></div><div data-testid="RowWrapper" class="BaseWrap-sc-gjQpdd RowWrapper-UmqTg iUEiRd HEhan"><div class="BodyWrapper-kufPGa beQqI body ArticlePageBodyGridContainer-jrMoA-d itxjuw body__grid-container" data-testid="BodyWrapper"><div data-testid="feature-large-callout" class="CalloutFeatureLargeWrapper-cGjDsT NdRGS"><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContainer-eJxoAx dBHGoQ asset-embed__asset-container"><span class="SpanWrapper-umhxW kGxnNB responsive-asset AssetEmbedResponsiveAsset-cXBNxi eCxVQK asset-embed__responsive-asset"><picture class="ResponsiveImagePicture-cWuUZO KhjZz AssetEmbedResponsiveAsset-cXBNxi eCxVQK asset-embed__responsive-asset responsive-image responsive-image--expandable" tabindex="0" role="button"><noscript><img alt="A person looks through a tower viewer at Mount Rushmore." class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/671945c2321dfa92c8e3a3b5/master/w_1600%2Cc_limit/Nasseri-PB-7.jpg" srcSet="https://media.newyorker.com/photos/671945c2321dfa92c8e3a3b5/master/w_120,c_limit/Nasseri-PB-7.jpg 120w, https://media.newyorker.com/photos/671945c2321dfa92c8e3a3b5/master/w_240,c_limit/Nasseri-PB-7.jpg 240w, https://media.newyorker.com/photos/671945c2321dfa92c8e3a3b5/master/w_320,c_limit/Nasseri-PB-7.jpg 320w, https://media.newyorker.com/photos/671945c2321dfa92c8e3a3b5/master/w_640,c_limit/Nasseri-PB-7.jpg 640w, https://media.newyorker.com/photos/671945c2321dfa92c8e3a3b5/master/w_960,c_limit/Nasseri-PB-7.jpg 960w, https://media.newyorker.com/photos/671945c2321dfa92c8e3a3b5/master/w_1280,c_limit/Nasseri-PB-7.jpg 1280w, https://media.newyorker.com/photos/671945c2321dfa92c8e3a3b5/master/w_1600,c_limit/Nasseri-PB-7.jpg 1600w" sizes="100vw"/></noscript></picture></span></div><div class="CaptionWrapper-jSZdqE koIZQP caption AssetEmbedCaption-fNQBPI fmQnYP asset-embed__caption" data-testid="caption-wrapper"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptionText-bHjzlu iUEiRd xOinq iXWezO caption__text">Mt. Rushmore, Keystone, South Dakota.</span></div></figure></div></div></div><div class="GridWrapper-cAzTTK jXvsWG grid grid-margins grid-items-0 ArticlePageChunksGrid-hfxaau hgViLH"><div class="GridItem-buujkM kHPPIF grid--item"><div class="BodyWrapper-kufPGa isZwGb body body__container article__body" data-journey-hook="client-content" data-testid="BodyWrapper"><div class="body__inner-container"><p class="paywall">As I spoke with Nasseri about his project, I was reminded of Michael Apted’s “Up” series, in which, beginning in 1964, the British filmmaker documented the same group of people in seven-year intervals, starting when they were around seven years old. (The most recent installment, “63 Up,” was released in 2019.) Apted’s intention was to examine not just the individual lives of the subjects he chose to follow but also the broader social, cultural, and political environment that those subjects matured in, turning “Up” into an ongoing portrait of contemporary England in the late twentieth and early twenty-first centuries. Nasseri, returning to some of the same locations he captured in 2020, approached his own undertaking as a kind of temperature-taking mission on the subject of America, and the country he found this time around felt very different from the one he travelled four years prior. “During the 2020 trips I took, the pandemic was happening, George Floyd had just happened, there was a lot of activism from both the left and the right on the question of Confederate monuments,” he said. “Trump was still President, and politics was the first thing people wanted to talk about. On this trip, there wasn’t much political activity at all. It was very muted.”</p></div></div></div></div><div data-testid="RowWrapper" class="BaseWrap-sc-gjQpdd RowWrapper-UmqTg iUEiRd HEhan"><div class="BodyWrapper-kufPGa beQqI body ArticlePageBodyGridContainer-jrMoA-d itxjuw body__grid-container" data-testid="BodyWrapper"><div data-testid="feature-large-callout" class="CalloutFeatureLargeWrapper-cGjDsT NdRGS"><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContainer-eJxoAx dBHGoQ asset-embed__asset-container"><span class="SpanWrapper-umhxW kGxnNB responsive-asset AssetEmbedResponsiveAsset-cXBNxi eCxVQK asset-embed__responsive-asset"><picture class="ResponsiveImagePicture-cWuUZO KhjZz AssetEmbedResponsiveAsset-cXBNxi eCxVQK asset-embed__responsive-asset responsive-image responsive-image--expandable" tabindex="0" role="button"><noscript><img alt="A large cross on the side of the road with a LED sign that says REAL MEN" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/671945c2ae3d7e3ddd6ab87a/master/w_1600%2Cc_limit/Nasseri-PB-8.jpg" srcSet="https://media.newyorker.com/photos/671945c2ae3d7e3ddd6ab87a/master/w_120,c_limit/Nasseri-PB-8.jpg 120w, https://media.newyorker.com/photos/671945c2ae3d7e3ddd6ab87a/master/w_240,c_limit/Nasseri-PB-8.jpg 240w, https://media.newyorker.com/photos/671945c2ae3d7e3ddd6ab87a/master/w_320,c_limit/Nasseri-PB-8.jpg 320w, https://media.newyorker.com/photos/671945c2ae3d7e3ddd6ab87a/master/w_640,c_limit/Nasseri-PB-8.jpg 640w, https://media.newyorker.com/photos/671945c2ae3d7e3ddd6ab87a/master/w_960,c_limit/Nasseri-PB-8.jpg 960w, https://media.newyorker.com/photos/671945c2ae3d7e3ddd6ab87a/master/w_1280,c_limit/Nasseri-PB-8.jpg 1280w, https://media.newyorker.com/photos/671945c2ae3d7e3ddd6ab87a/master/w_1600,c_limit/Nasseri-PB-8.jpg 1600w" sizes="100vw"/></noscript></picture></span></div><div class="CaptionWrapper-jSZdqE koIZQP caption AssetEmbedCaption-fNQBPI fmQnYP asset-embed__caption" data-testid="caption-wrapper"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptionText-bHjzlu iUEiRd xOinq iXWezO caption__text">Sturgis, South Dakota.</span></div></figure></div></div></div><div class="GridWrapper-cAzTTK jXvsWG grid grid-margins grid-items-0 ArticlePageChunksGrid-hfxaau hgViLH"><div class="GridItem-buujkM kHPPIF grid--item"><div class="BodyWrapper-kufPGa isZwGb body body__container article__body" data-journey-hook="client-content" data-testid="BodyWrapper"><div class="body__inner-container"><p class="paywall">As an immigrant who has adopted America as my home, I’ve often sensed that this is a country whose ideal state is a politics-free utopia, animated by a kind of hands-off individualism, which, as Alexis de Tocqueville presciently noted in the mid-nineteenth century, inclines “each member of the community to sever himself from the mass of his fellow-creatures; and to draw apart with his family and his friends; so that, after he has thus formed a little circle of his own, he willingly leaves society at large to itself.” Such rejection of the public sphere is, however, a political stance, too. Politics don’t just crop up in protest banners and slogans, in convention halls or in town squares; sometimes they reveal themselves by their overt absence.</p></div></div></div></div><div data-testid="RowWrapper" class="BaseWrap-sc-gjQpdd RowWrapper-UmqTg iUEiRd HEhan"><div class="BodyWrapper-kufPGa beQqI body ArticlePageBodyGridContainer-jrMoA-d itxjuw body__grid-container" data-testid="BodyWrapper"><div data-testid="feature-large-callout" class="CalloutFeatureLargeWrapper-cGjDsT NdRGS"><div class="GroupCalloutWrapper-bPWknp cIoSON callout callout--group callout--group-2" data-testid="GroupCalloutWrapper"><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed callout--group-item callout--group-item-1"><div class="AssetEmbedAssetContainer-eJxoAx dBHGoQ asset-embed__asset-container"><span class="SpanWrapper-umhxW kGxnNB responsive-asset AssetEmbedResponsiveAsset-cXBNxi eCxVQK asset-embed__responsive-asset"><picture class="ResponsiveImagePicture-cWuUZO KhjZz AssetEmbedResponsiveAsset-cXBNxi eCxVQK asset-embed__responsive-asset responsive-image responsive-image--expandable" tabindex="0" role="button"><noscript><img alt="A person sits at the side of a bar wearing a shirt that says I ONLY GET ON MY KNEES FOR JESUS. Beside the person another..." class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/671945c983adb320a87caeaf/master/w_1600%2Cc_limit/Nasseri-PB-9.jpg" srcSet="https://media.newyorker.com/photos/671945c983adb320a87caeaf/master/w_120,c_limit/Nasseri-PB-9.jpg 120w, https://media.newyorker.com/photos/671945c983adb320a87caeaf/master/w_240,c_limit/Nasseri-PB-9.jpg 240w, https://media.newyorker.com/photos/671945c983adb320a87caeaf/master/w_320,c_limit/Nasseri-PB-9.jpg 320w, https://media.newyorker.com/photos/671945c983adb320a87caeaf/master/w_640,c_limit/Nasseri-PB-9.jpg 640w, https://media.newyorker.com/photos/671945c983adb320a87caeaf/master/w_960,c_limit/Nasseri-PB-9.jpg 960w, https://media.newyorker.com/photos/671945c983adb320a87caeaf/master/w_1280,c_limit/Nasseri-PB-9.jpg 1280w, https://media.newyorker.com/photos/671945c983adb320a87caeaf/master/w_1600,c_limit/Nasseri-PB-9.jpg 1600w" sizes="100vw"/></noscript></picture></span></div><div class="CaptionWrapper-jSZdqE koIZQP caption AssetEmbedCaption-fNQBPI fmQnYP asset-embed__caption" data-testid="caption-wrapper"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptionText-bHjzlu iUEiRd xOinq iXWezO caption__text">Ten Sleep, Wyoming.</span></div></figure><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed callout--group-item callout--group-item-2"><div class="AssetEmbedAssetContainer-eJxoAx dBHGoQ asset-embed__asset-container"><span class="SpanWrapper-umhxW kGxnNB responsive-asset AssetEmbedResponsiveAsset-cXBNxi eCxVQK asset-embed__responsive-asset"><picture class="ResponsiveImagePicture-cWuUZO KhjZz AssetEmbedResponsiveAsset-cXBNxi eCxVQK asset-embed__responsive-asset responsive-image responsive-image--expandable" tabindex="0" role="button"><noscript><img alt="Three people dancing side by side each wears a white dress. The person in the middle is gesturing towards the camera." class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/671945c57bb0aca1e5e8ea60/master/w_1600%2Cc_limit/Nasseri-PB-10.jpg" srcSet="https://media.newyorker.com/photos/671945c57bb0aca1e5e8ea60/master/w_120,c_limit/Nasseri-PB-10.jpg 120w, https://media.newyorker.com/photos/671945c57bb0aca1e5e8ea60/master/w_240,c_limit/Nasseri-PB-10.jpg 240w, https://media.newyorker.com/photos/671945c57bb0aca1e5e8ea60/master/w_320,c_limit/Nasseri-PB-10.jpg 320w, https://media.newyorker.com/photos/671945c57bb0aca1e5e8ea60/master/w_640,c_limit/Nasseri-PB-10.jpg 640w, https://media.newyorker.com/photos/671945c57bb0aca1e5e8ea60/master/w_960,c_limit/Nasseri-PB-10.jpg 960w, https://media.newyorker.com/photos/671945c57bb0aca1e5e8ea60/master/w_1280,c_limit/Nasseri-PB-10.jpg 1280w, https://media.newyorker.com/photos/671945c57bb0aca1e5e8ea60/master/w_1600,c_limit/Nasseri-PB-10.jpg 1600w" sizes="100vw"/></noscript></picture></span></div><div class="CaptionWrapper-jSZdqE koIZQP caption AssetEmbedCaption-fNQBPI fmQnYP asset-embed__caption" data-testid="caption-wrapper"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptionText-bHjzlu iUEiRd xOinq iXWezO caption__text">Chicago, Illinois.</span></div></figure></div></div></div></div><div data-testid="RowWrapper" class="BaseWrap-sc-gjQpdd RowWrapper-UmqTg iUEiRd HEhan"><div class="BodyWrapper-kufPGa beQqI body ArticlePageBodyGridContainer-jrMoA-d itxjuw body__grid-container" data-testid="BodyWrapper"><div data-testid="feature-large-callout" class="CalloutFeatureLargeWrapper-cGjDsT NdRGS"><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContainer-eJxoAx dBHGoQ asset-embed__asset-container"><span class="SpanWrapper-umhxW kGxnNB responsive-asset AssetEmbedResponsiveAsset-cXBNxi eCxVQK asset-embed__responsive-asset"><picture class="ResponsiveImagePicture-cWuUZO KhjZz AssetEmbedResponsiveAsset-cXBNxi eCxVQK asset-embed__responsive-asset responsive-image responsive-image--expandable" tabindex="0" role="button"><noscript><img alt="A person displaying money in a tent selling Donald Trump merchandise." class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/671945c258da376bebbed64c/master/w_1600%2Cc_limit/Nasseri-PB-11.jpg" srcSet="https://media.newyorker.com/photos/671945c258da376bebbed64c/master/w_120,c_limit/Nasseri-PB-11.jpg 120w, https://media.newyorker.com/photos/671945c258da376bebbed64c/master/w_240,c_limit/Nasseri-PB-11.jpg 240w, https://media.newyorker.com/photos/671945c258da376bebbed64c/master/w_320,c_limit/Nasseri-PB-11.jpg 320w, https://media.newyorker.com/photos/671945c258da376bebbed64c/master/w_640,c_limit/Nasseri-PB-11.jpg 640w, https://media.newyorker.com/photos/671945c258da376bebbed64c/master/w_960,c_limit/Nasseri-PB-11.jpg 960w, https://media.newyorker.com/photos/671945c258da376bebbed64c/master/w_1280,c_limit/Nasseri-PB-11.jpg 1280w, https://media.newyorker.com/photos/671945c258da376bebbed64c/master/w_1600,c_limit/Nasseri-PB-11.jpg 1600w" sizes="100vw"/></noscript></picture></span></div><div class="CaptionWrapper-jSZdqE koIZQP caption AssetEmbedCaption-fNQBPI fmQnYP asset-embed__caption" data-testid="caption-wrapper"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptionText-bHjzlu iUEiRd xOinq iXWezO caption__text">South Dakota.</span></div></figure></div></div></div><div class="GridWrapper-cAzTTK jXvsWG grid grid-margins grid-items-0 ArticlePageChunksGrid-hfxaau hgViLH"><div class="GridItem-buujkM kHPPIF grid--item"><div class="BodyWrapper-kufPGa isZwGb body body__container article__body" data-journey-hook="client-content" data-testid="BodyWrapper"><div class="body__inner-container"><p class="paywall"><em class="small">COVID</em>, the Black Lives Matter protests, and the existential battle for the soul of the Republic impelled by the Trump Presidency made 2020 a capital-P political year. But when Nasseri embarked on his road trip, in early July, Joe Biden had still not pulled out of the Presidential race, and the country was in stasis. Places that Nasseri had experienced previously as hotbeds of agitation were now sleepy, as if forgotten. In a picture he took in Minneapolis, near the site of George Floyd’s murder, we see a little girl on a blue bicycle riding past the “Say Their Names” memorial art installation—rows of headstones put up in June of 2020 to commemorate Black lives lost to police brutality. “When I visited the city four years ago, activists had blocked off the area, and wouldn’t allow police or government to come in. It was basically a semi-autonomous zone,” Nasseri told me. Now the scene was quiet, unremarkable. One would not be faulted, perhaps, for passing the cemetery and not giving it a second glance. The grass was growing.</p></div></div></div></div><div data-testid="RowWrapper" class="BaseWrap-sc-gjQpdd RowWrapper-UmqTg iUEiRd HEhan"><div class="BodyWrapper-kufPGa beQqI body ArticlePageBodyGridContainer-jrMoA-d itxjuw body__grid-container" data-testid="BodyWrapper"><div data-testid="feature-large-callout" class="CalloutFeatureLargeWrapper-cGjDsT NdRGS"><div class="GroupCalloutWrapper-bPWknp cIoSON callout callout--group callout--group-2" data-testid="GroupCalloutWrapper"><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed callout--group-item callout--group-item-1"><div class="AssetEmbedAssetContainer-eJxoAx dBHGoQ asset-embed__asset-container"><span class="SpanWrapper-umhxW kGxnNB responsive-asset AssetEmbedResponsiveAsset-cXBNxi eCxVQK asset-embed__responsive-asset"><picture class="ResponsiveImagePicture-cWuUZO KhjZz AssetEmbedResponsiveAsset-cXBNxi eCxVQK asset-embed__responsive-asset responsive-image responsive-image--expandable" tabindex="0" role="button"><noscript><img alt="A person stretches their arms over their head in front of a large billboard that reads ABORTION THE CHOICE THAT KILLS" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/671945c483adb320a87caead/master/w_1600%2Cc_limit/Nasseri-PB-12.jpg" srcSet="https://media.newyorker.com/photos/671945c483adb320a87caead/master/w_120,c_limit/Nasseri-PB-12.jpg 120w, https://media.newyorker.com/photos/671945c483adb320a87caead/master/w_240,c_limit/Nasseri-PB-12.jpg 240w, https://media.newyorker.com/photos/671945c483adb320a87caead/master/w_320,c_limit/Nasseri-PB-12.jpg 320w, https://media.newyorker.com/photos/671945c483adb320a87caead/master/w_640,c_limit/Nasseri-PB-12.jpg 640w, https://media.newyorker.com/photos/671945c483adb320a87caead/master/w_960,c_limit/Nasseri-PB-12.jpg 960w, https://media.newyorker.com/photos/671945c483adb320a87caead/master/w_1280,c_limit/Nasseri-PB-12.jpg 1280w, https://media.newyorker.com/photos/671945c483adb320a87caead/master/w_1600,c_limit/Nasseri-PB-12.jpg 1600w" sizes="100vw"/></noscript></picture></span></div><div class="CaptionWrapper-jSZdqE koIZQP caption AssetEmbedCaption-fNQBPI fmQnYP asset-embed__caption" data-testid="caption-wrapper"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptionText-bHjzlu iUEiRd xOinq iXWezO caption__text">South Dakota.</span></div></figure><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed callout--group-item callout--group-item-2"><div class="AssetEmbedAssetContainer-eJxoAx dBHGoQ asset-embed__asset-container"><span class="SpanWrapper-umhxW kGxnNB responsive-asset AssetEmbedResponsiveAsset-cXBNxi eCxVQK asset-embed__responsive-asset"><picture class="ResponsiveImagePicture-cWuUZO KhjZz AssetEmbedResponsiveAsset-cXBNxi eCxVQK asset-embed__responsive-asset responsive-image responsive-image--expandable" tabindex="0" role="button"><noscript><img alt="People watch fireworks outside of a nursing home." class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/671945c845ee334a402fa388/master/w_1600%2Cc_limit/Nasseri-PB-13.jpg" srcSet="https://media.newyorker.com/photos/671945c845ee334a402fa388/master/w_120,c_limit/Nasseri-PB-13.jpg 120w, https://media.newyorker.com/photos/671945c845ee334a402fa388/master/w_240,c_limit/Nasseri-PB-13.jpg 240w, https://media.newyorker.com/photos/671945c845ee334a402fa388/master/w_320,c_limit/Nasseri-PB-13.jpg 320w, https://media.newyorker.com/photos/671945c845ee334a402fa388/master/w_640,c_limit/Nasseri-PB-13.jpg 640w, https://media.newyorker.com/photos/671945c845ee334a402fa388/master/w_960,c_limit/Nasseri-PB-13.jpg 960w, https://media.newyorker.com/photos/671945c845ee334a402fa388/master/w_1280,c_limit/Nasseri-PB-13.jpg 1280w, https://media.newyorker.com/photos/671945c845ee334a402fa388/master/w_1600,c_limit/Nasseri-PB-13.jpg 1600w" sizes="100vw"/></noscript></picture></span></div><div class="CaptionWrapper-jSZdqE koIZQP caption AssetEmbedCaption-fNQBPI fmQnYP asset-embed__caption" data-testid="caption-wrapper"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptionText-bHjzlu iUEiRd xOinq iXWezO caption__text">Bishop, California.</span></div></figure></div></div></div></div><div data-testid="RowWrapper" class="BaseWrap-sc-gjQpdd RowWrapper-UmqTg iUEiRd HEhan"><div class="BodyWrapper-kufPGa beQqI body ArticlePageBodyGridContainer-jrMoA-d itxjuw body__grid-container" data-testid="BodyWrapper"><div data-testid="feature-large-callout" class="CalloutFeatureLargeWrapper-cGjDsT NdRGS"><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContainer-eJxoAx dBHGoQ asset-embed__asset-container"><span class="SpanWrapper-umhxW kGxnNB responsive-asset AssetEmbedResponsiveAsset-cXBNxi eCxVQK asset-embed__responsive-asset"><picture class="ResponsiveImagePicture-cWuUZO KhjZz AssetEmbedResponsiveAsset-cXBNxi eCxVQK asset-embed__responsive-asset responsive-image responsive-image--expandable" tabindex="0" role="button"><noscript><img alt="A child gets an American flag painted on their face. Two other children stand behind them." class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/671945ca321dfa92c8e3a3b9/master/w_1600%2Cc_limit/Nasseri-PB-14.jpg" srcSet="https://media.newyorker.com/photos/671945ca321dfa92c8e3a3b9/master/w_120,c_limit/Nasseri-PB-14.jpg 120w, https://media.newyorker.com/photos/671945ca321dfa92c8e3a3b9/master/w_240,c_limit/Nasseri-PB-14.jpg 240w, https://media.newyorker.com/photos/671945ca321dfa92c8e3a3b9/master/w_320,c_limit/Nasseri-PB-14.jpg 320w, https://media.newyorker.com/photos/671945ca321dfa92c8e3a3b9/master/w_640,c_limit/Nasseri-PB-14.jpg 640w, https://media.newyorker.com/photos/671945ca321dfa92c8e3a3b9/master/w_960,c_limit/Nasseri-PB-14.jpg 960w, https://media.newyorker.com/photos/671945ca321dfa92c8e3a3b9/master/w_1280,c_limit/Nasseri-PB-14.jpg 1280w, https://media.newyorker.com/photos/671945ca321dfa92c8e3a3b9/master/w_1600,c_limit/Nasseri-PB-14.jpg 1600w" sizes="100vw"/></noscript></picture></span></div><div class="CaptionWrapper-jSZdqE koIZQP caption AssetEmbedCaption-fNQBPI fmQnYP asset-embed__caption" data-testid="caption-wrapper"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptionText-bHjzlu iUEiRd xOinq iXWezO caption__text">Bishop, California.</span></div></figure></div></div></div><div class="GridWrapper-cAzTTK jXvsWG grid grid-margins grid-items-0 ArticlePageChunksGrid-hfxaau hgViLH"><div class="GridItem-buujkM kHPPIF grid--item"><div class="BodyWrapper-kufPGa isZwGb body body__container article__body" data-journey-hook="client-content" data-testid="BodyWrapper"><div class="body__inner-container"><p class="paywall">The grass has grown, too, in New Orleans—so much so that in one of Nasseri’s photographs the bottom of a welcome sign by the side of a thoroughfare is obscured by it. “Welcome to”—where? New Orleans, a city nearly obliterated almost two decades ago by the rising waters of Katrina, could now be Anytown, U.S.A., just another nondescript, overlooked place on the map. In a picture that Nasseri captured in Gillette, Wyoming, we see a man hanging half out the window of a white Chevy, a firearm at his shoulder aimed at seemingly nothing, as the car speeds down a dirt road. “Gillette is a town built on coal mining. You see people in bars, coming off a shift with ash on their face,” Nasseri said.</p></div></div></div></div><div data-testid="RowWrapper" class="BaseWrap-sc-gjQpdd RowWrapper-UmqTg iUEiRd HEhan"><div class="BodyWrapper-kufPGa beQqI body ArticlePageBodyGridContainer-jrMoA-d itxjuw body__grid-container" data-testid="BodyWrapper"><div data-testid="feature-large-callout" class="CalloutFeatureLargeWrapper-cGjDsT NdRGS"><div class="GroupCalloutWrapper-bPWknp cIoSON callout callout--group callout--group-2" data-testid="GroupCalloutWrapper"><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed callout--group-item callout--group-item-1"><div class="AssetEmbedAssetContainer-eJxoAx dBHGoQ asset-embed__asset-container"><span class="SpanWrapper-umhxW kGxnNB responsive-asset AssetEmbedResponsiveAsset-cXBNxi eCxVQK asset-embed__responsive-asset"><picture class="ResponsiveImagePicture-cWuUZO KhjZz AssetEmbedResponsiveAsset-cXBNxi eCxVQK asset-embed__responsive-asset responsive-image responsive-image--expandable" tabindex="0" role="button"><noscript><img alt="A person touches a sign that describes the Lewis and Clark Bicentennial. Someone has written Land Back on the sign...." class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/671945c275cedb6c6c862443/master/w_1600%2Cc_limit/Nasseri-PB-15.jpg" srcSet="https://media.newyorker.com/photos/671945c275cedb6c6c862443/master/w_120,c_limit/Nasseri-PB-15.jpg 120w, https://media.newyorker.com/photos/671945c275cedb6c6c862443/master/w_240,c_limit/Nasseri-PB-15.jpg 240w, https://media.newyorker.com/photos/671945c275cedb6c6c862443/master/w_320,c_limit/Nasseri-PB-15.jpg 320w, https://media.newyorker.com/photos/671945c275cedb6c6c862443/master/w_640,c_limit/Nasseri-PB-15.jpg 640w, https://media.newyorker.com/photos/671945c275cedb6c6c862443/master/w_960,c_limit/Nasseri-PB-15.jpg 960w, https://media.newyorker.com/photos/671945c275cedb6c6c862443/master/w_1280,c_limit/Nasseri-PB-15.jpg 1280w, https://media.newyorker.com/photos/671945c275cedb6c6c862443/master/w_1600,c_limit/Nasseri-PB-15.jpg 1600w" sizes="100vw"/></noscript></picture></span></div><div class="CaptionWrapper-jSZdqE koIZQP caption AssetEmbedCaption-fNQBPI fmQnYP asset-embed__caption" data-testid="caption-wrapper"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptionText-bHjzlu iUEiRd xOinq iXWezO caption__text">South Dakota.</span></div></figure><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed callout--group-item callout--group-item-2"><div class="AssetEmbedAssetContainer-eJxoAx dBHGoQ asset-embed__asset-container"><span class="SpanWrapper-umhxW kGxnNB responsive-asset AssetEmbedResponsiveAsset-cXBNxi eCxVQK asset-embed__responsive-asset"><picture class="ResponsiveImagePicture-cWuUZO KhjZz AssetEmbedResponsiveAsset-cXBNxi eCxVQK asset-embed__responsive-asset responsive-image responsive-image--expandable" tabindex="0" role="button"><noscript><img alt="Two people point at each other over the counter of a convenience store." class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/671945c23c0f9243fbe8d091/master/w_1600%2Cc_limit/Nasseri-PB-16.jpg" srcSet="https://media.newyorker.com/photos/671945c23c0f9243fbe8d091/master/w_120,c_limit/Nasseri-PB-16.jpg 120w, https://media.newyorker.com/photos/671945c23c0f9243fbe8d091/master/w_240,c_limit/Nasseri-PB-16.jpg 240w, https://media.newyorker.com/photos/671945c23c0f9243fbe8d091/master/w_320,c_limit/Nasseri-PB-16.jpg 320w, https://media.newyorker.com/photos/671945c23c0f9243fbe8d091/master/w_640,c_limit/Nasseri-PB-16.jpg 640w, https://media.newyorker.com/photos/671945c23c0f9243fbe8d091/master/w_960,c_limit/Nasseri-PB-16.jpg 960w, https://media.newyorker.com/photos/671945c23c0f9243fbe8d091/master/w_1280,c_limit/Nasseri-PB-16.jpg 1280w, https://media.newyorker.com/photos/671945c23c0f9243fbe8d091/master/w_1600,c_limit/Nasseri-PB-16.jpg 1600w" sizes="100vw"/></noscript></picture></span></div><div class="CaptionWrapper-jSZdqE koIZQP caption AssetEmbedCaption-fNQBPI fmQnYP asset-embed__caption" data-testid="caption-wrapper"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptionText-bHjzlu iUEiRd xOinq iXWezO caption__text">New Mexico.</span></div></figure></div></div></div></div><div data-testid="RowWrapper" class="BaseWrap-sc-gjQpdd RowWrapper-UmqTg iUEiRd HEhan"><div class="BodyWrapper-kufPGa beQqI body ArticlePageBodyGridContainer-jrMoA-d itxjuw body__grid-container" data-testid="BodyWrapper"><div data-testid="feature-large-callout" class="CalloutFeatureLargeWrapper-cGjDsT NdRGS"><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContainer-eJxoAx dBHGoQ asset-embed__asset-container"><span class="SpanWrapper-umhxW kGxnNB responsive-asset AssetEmbedResponsiveAsset-cXBNxi eCxVQK asset-embed__responsive-asset"><picture class="ResponsiveImagePicture-cWuUZO KhjZz AssetEmbedResponsiveAsset-cXBNxi eCxVQK asset-embed__responsive-asset responsive-image responsive-image--expandable" tabindex="0" role="button"><noscript><img alt="Children at a rodeo. In the foreground a child is pulled on a fake metal horse." class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/671945c875cedb6c6c862445/master/w_1600%2Cc_limit/Nasseri-PB-17.jpg" srcSet="https://media.newyorker.com/photos/671945c875cedb6c6c862445/master/w_120,c_limit/Nasseri-PB-17.jpg 120w, https://media.newyorker.com/photos/671945c875cedb6c6c862445/master/w_240,c_limit/Nasseri-PB-17.jpg 240w, https://media.newyorker.com/photos/671945c875cedb6c6c862445/master/w_320,c_limit/Nasseri-PB-17.jpg 320w, https://media.newyorker.com/photos/671945c875cedb6c6c862445/master/w_640,c_limit/Nasseri-PB-17.jpg 640w, https://media.newyorker.com/photos/671945c875cedb6c6c862445/master/w_960,c_limit/Nasseri-PB-17.jpg 960w, https://media.newyorker.com/photos/671945c875cedb6c6c862445/master/w_1280,c_limit/Nasseri-PB-17.jpg 1280w, https://media.newyorker.com/photos/671945c875cedb6c6c862445/master/w_1600,c_limit/Nasseri-PB-17.jpg 1600w" sizes="100vw"/></noscript></picture></span></div><div class="CaptionWrapper-jSZdqE koIZQP caption AssetEmbedCaption-fNQBPI fmQnYP asset-embed__caption" data-testid="caption-wrapper"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptionText-bHjzlu iUEiRd xOinq iXWezO caption__text">Bridgeport, California.</span></div></figure></div></div></div><div class="GridWrapper-cAzTTK jXvsWG grid grid-margins grid-items-0 ArticlePageChunksGrid-hfxaau hgViLH"><div class="GridItem-buujkM kHPPIF grid--item"><div class="BodyWrapper-kufPGa isZwGb body body__container article__body" data-journey-hook="client-content" data-testid="BodyWrapper"><div class="body__inner-container"><p class="paywall">Nasseri’s words reminded me of a moment in Sean Baker’s 2021 movie, “Red Rocket,” in which the weed-dealer protagonist, played by Simon Rex, is told that the oil-refinery workers who live in his small Texas city could become his most loyal customers, because “at the end of their shift . . . they want to kill themselves” and are ready for some relief. (Or, as the hair-metal band Poison sang in their 1988 hit “Nothin’ but a Good Time,” “I’m always workin’, slavin’, every day / Gotta get a break from the same old same old / I need a chance to just get away / If you could hear me think, this is what I’d say.”) The hunger for a good old American time is evident in several other photographs in Nasseri’s series. In one picture, taken at a bar in Chicago, we see three tan, blond women, all dressed in shades of white and gold, their faces flushed from drinking and dancing; in another picture, at a bar in Houma, Louisiana, a woman in Daisy Dukes twirls on a stripper pole. This image, however, also contains a more unsettling thrum: nearby, a life-size cutout of Trump leans against a wall, side by side with an American-flag-adorned plastic skeleton.</p></div></div></div></div><div data-testid="RowWrapper" class="BaseWrap-sc-gjQpdd RowWrapper-UmqTg iUEiRd HEhan"><div class="BodyWrapper-kufPGa beQqI body ArticlePageBodyGridContainer-jrMoA-d itxjuw body__grid-container" data-testid="BodyWrapper"><div data-testid="feature-large-callout" class="CalloutFeatureLargeWrapper-cGjDsT NdRGS"><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContainer-eJxoAx dBHGoQ asset-embed__asset-container"><span class="SpanWrapper-umhxW kGxnNB responsive-asset AssetEmbedResponsiveAsset-cXBNxi eCxVQK asset-embed__responsive-asset"><picture class="ResponsiveImagePicture-cWuUZO KhjZz AssetEmbedResponsiveAsset-cXBNxi eCxVQK asset-embed__responsive-asset responsive-image responsive-image--expandable" tabindex="0" role="button"><noscript><img alt="A child rides a bike in front of Say Their Names Cemetery in Minneapolis Minnesota." class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/671945c8ffd6310fe01d9313/master/w_1600%2Cc_limit/Nasseri-PB-18.jpg" srcSet="https://media.newyorker.com/photos/671945c8ffd6310fe01d9313/master/w_120,c_limit/Nasseri-PB-18.jpg 120w, https://media.newyorker.com/photos/671945c8ffd6310fe01d9313/master/w_240,c_limit/Nasseri-PB-18.jpg 240w, https://media.newyorker.com/photos/671945c8ffd6310fe01d9313/master/w_320,c_limit/Nasseri-PB-18.jpg 320w, https://media.newyorker.com/photos/671945c8ffd6310fe01d9313/master/w_640,c_limit/Nasseri-PB-18.jpg 640w, https://media.newyorker.com/photos/671945c8ffd6310fe01d9313/master/w_960,c_limit/Nasseri-PB-18.jpg 960w, https://media.newyorker.com/photos/671945c8ffd6310fe01d9313/master/w_1280,c_limit/Nasseri-PB-18.jpg 1280w, https://media.newyorker.com/photos/671945c8ffd6310fe01d9313/master/w_1600,c_limit/Nasseri-PB-18.jpg 1600w" sizes="100vw"/></noscript></picture></span></div><div class="CaptionWrapper-jSZdqE koIZQP caption AssetEmbedCaption-fNQBPI fmQnYP asset-embed__caption" data-testid="caption-wrapper"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptionText-bHjzlu iUEiRd xOinq iXWezO caption__text">Minneapolis, Minnesota.</span></div></figure></div></div></div><div data-testid="RowWrapper" class="BaseWrap-sc-gjQpdd RowWrapper-UmqTg iUEiRd HEhan"><div class="BodyWrapper-kufPGa beQqI body ArticlePageBodyGridContainer-jrMoA-d itxjuw body__grid-container" data-testid="BodyWrapper"><div data-testid="feature-large-callout" class="CalloutFeatureLargeWrapper-cGjDsT NdRGS"><div class="GroupCalloutWrapper-bPWknp cIoSON callout callout--group callout--group-2" data-testid="GroupCalloutWrapper"><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed callout--group-item callout--group-item-1"><div class="AssetEmbedAssetContainer-eJxoAx dBHGoQ asset-embed__asset-container"><span class="SpanWrapper-umhxW kGxnNB responsive-asset AssetEmbedResponsiveAsset-cXBNxi eCxVQK asset-embed__responsive-asset"><picture class="ResponsiveImagePicture-cWuUZO KhjZz AssetEmbedResponsiveAsset-cXBNxi eCxVQK asset-embed__responsive-asset responsive-image responsive-image--expandable" tabindex="0" role="button"><noscript><img alt="Two people in water. One person is looking up with their head sticking out of the water the other person is photographed..." class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/671945c245ee334a402fa386/master/w_1600%2Cc_limit/Nasseri-PB-19.jpg" srcSet="https://media.newyorker.com/photos/671945c245ee334a402fa386/master/w_120,c_limit/Nasseri-PB-19.jpg 120w, https://media.newyorker.com/photos/671945c245ee334a402fa386/master/w_240,c_limit/Nasseri-PB-19.jpg 240w, https://media.newyorker.com/photos/671945c245ee334a402fa386/master/w_320,c_limit/Nasseri-PB-19.jpg 320w, https://media.newyorker.com/photos/671945c245ee334a402fa386/master/w_640,c_limit/Nasseri-PB-19.jpg 640w, https://media.newyorker.com/photos/671945c245ee334a402fa386/master/w_960,c_limit/Nasseri-PB-19.jpg 960w, https://media.newyorker.com/photos/671945c245ee334a402fa386/master/w_1280,c_limit/Nasseri-PB-19.jpg 1280w, https://media.newyorker.com/photos/671945c245ee334a402fa386/master/w_1600,c_limit/Nasseri-PB-19.jpg 1600w" sizes="100vw"/></noscript></picture></span></div><div class="CaptionWrapper-jSZdqE koIZQP caption AssetEmbedCaption-fNQBPI fmQnYP asset-embed__caption" data-testid="caption-wrapper"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptionText-bHjzlu iUEiRd xOinq iXWezO caption__text">Bishop, California.</span></div></figure><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed callout--group-item callout--group-item-2"><div class="AssetEmbedAssetContainer-eJxoAx dBHGoQ asset-embed__asset-container"><span class="SpanWrapper-umhxW kGxnNB responsive-asset AssetEmbedResponsiveAsset-cXBNxi eCxVQK asset-embed__responsive-asset"><picture class="ResponsiveImagePicture-cWuUZO KhjZz AssetEmbedResponsiveAsset-cXBNxi eCxVQK asset-embed__responsive-asset responsive-image responsive-image--expandable" tabindex="0" role="button"><noscript><img alt="Two people embrace another person who is looking ahead." class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/671945c4321dfa92c8e3a3b7/master/w_1600%2Cc_limit/Nasseri-PB-20.jpg" srcSet="https://media.newyorker.com/photos/671945c4321dfa92c8e3a3b7/master/w_120,c_limit/Nasseri-PB-20.jpg 120w, https://media.newyorker.com/photos/671945c4321dfa92c8e3a3b7/master/w_240,c_limit/Nasseri-PB-20.jpg 240w, https://media.newyorker.com/photos/671945c4321dfa92c8e3a3b7/master/w_320,c_limit/Nasseri-PB-20.jpg 320w, https://media.newyorker.com/photos/671945c4321dfa92c8e3a3b7/master/w_640,c_limit/Nasseri-PB-20.jpg 640w, https://media.newyorker.com/photos/671945c4321dfa92c8e3a3b7/master/w_960,c_limit/Nasseri-PB-20.jpg 960w, https://media.newyorker.com/photos/671945c4321dfa92c8e3a3b7/master/w_1280,c_limit/Nasseri-PB-20.jpg 1280w, https://media.newyorker.com/photos/671945c4321dfa92c8e3a3b7/master/w_1600,c_limit/Nasseri-PB-20.jpg 1600w" sizes="100vw"/></noscript></picture></span></div><div class="CaptionWrapper-jSZdqE koIZQP caption AssetEmbedCaption-fNQBPI fmQnYP asset-embed__caption" data-testid="caption-wrapper"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptionText-bHjzlu iUEiRd xOinq iXWezO caption__text">Bishop, California.</span></div></figure></div></div></div></div><div class="GridWrapper-cAzTTK jXvsWG grid grid-margins grid-items-0 ArticlePageChunksGrid-hfxaau hgViLH"><div class="GridItem-buujkM kHPPIF grid--item"><div class="BodyWrapper-kufPGa isZwGb body body__container article__body" data-journey-hook="client-content" data-testid="BodyWrapper"><div class="body__inner-container"><p class="paywall">A feeling of impending doom hovers over many of Nasseri’s pictures. On the first day of the road trip, which happened to fall on the Fourth of July, Nasseri and a friend arrived in Bishop, California, a small city in the Eastern Sierra. “We first went to a watermelon-eating contest, real American small-town stuff, and then we found these springs in the middle of the mountains,” Nasseri told me. “It was absolutely stunning, and everyone was just hanging out, blasting music, drinking beers, in good spirits.” One image in the series captures the deep release of the springs: a young woman in the water with her back to the camera, her hair wet and slick down her back, while her male companion dunks his head back, only his face visible, upturned to the sky above. But if in one moment all was calm, in the next everything changed. “All of a sudden, I’m not sure what precipitated it, but this giant brawl broke out,” Nasseri said. “Punches were flying, women were pulling each other’s hair, dust everywhere, a couple of people were lying bloodied on the ground. The party was over.” In another image, taken after the fight broke out, two young men appear to hold back a third one, who is facing the camera, staring blankly ahead. We can’t tell what he’s looking at, but we can be pretty sure that it’s nothing good. In a photograph taken later in the trip, in Nashville, on the way back from the R.N.C., we see a group of neo-Nazis handing out flyers in broad daylight. “When I captured that, I realized that extremism never went away,” Nasseri told me. “It was there, simmering all along.”</p></div></div></div></div><div data-testid="RowWrapper" class="BaseWrap-sc-gjQpdd RowWrapper-UmqTg iUEiRd HEhan"><div class="BodyWrapper-kufPGa beQqI body ArticlePageBodyGridContainer-jrMoA-d itxjuw body__grid-container" data-testid="BodyWrapper"><div data-testid="feature-large-callout" class="CalloutFeatureLargeWrapper-cGjDsT NdRGS"><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContainer-eJxoAx dBHGoQ asset-embed__asset-container"><span class="SpanWrapper-umhxW kGxnNB responsive-asset AssetEmbedResponsiveAsset-cXBNxi eCxVQK asset-embed__responsive-asset"><picture class="ResponsiveImagePicture-cWuUZO KhjZz AssetEmbedResponsiveAsset-cXBNxi eCxVQK asset-embed__responsive-asset responsive-image responsive-image--expandable" tabindex="0" role="button"><noscript><img alt="A person points a gun out of a white car." class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/671945c57bb0aca1e5e8ea5f/master/w_1600%2Cc_limit/Nasseri-PB-21.jpg" srcSet="https://media.newyorker.com/photos/671945c57bb0aca1e5e8ea5f/master/w_120,c_limit/Nasseri-PB-21.jpg 120w, https://media.newyorker.com/photos/671945c57bb0aca1e5e8ea5f/master/w_240,c_limit/Nasseri-PB-21.jpg 240w, https://media.newyorker.com/photos/671945c57bb0aca1e5e8ea5f/master/w_320,c_limit/Nasseri-PB-21.jpg 320w, https://media.newyorker.com/photos/671945c57bb0aca1e5e8ea5f/master/w_640,c_limit/Nasseri-PB-21.jpg 640w, https://media.newyorker.com/photos/671945c57bb0aca1e5e8ea5f/master/w_960,c_limit/Nasseri-PB-21.jpg 960w, https://media.newyorker.com/photos/671945c57bb0aca1e5e8ea5f/master/w_1280,c_limit/Nasseri-PB-21.jpg 1280w, https://media.newyorker.com/photos/671945c57bb0aca1e5e8ea5f/master/w_1600,c_limit/Nasseri-PB-21.jpg 1600w" sizes="100vw"/></noscript></picture></span></div><div class="CaptionWrapper-jSZdqE koIZQP caption AssetEmbedCaption-fNQBPI fmQnYP asset-embed__caption" data-testid="caption-wrapper"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptionText-bHjzlu iUEiRd xOinq iXWezO caption__text">Gillette, Wyoming.</span></div></figure></div></div></div></div><div class="GridWrapper-cAzTTK jXvsWG grid grid-margins grid-items-0 PaywallInlineBarrierWithWrapperGrid-fyrGfS jyGBoi"><div class="GridItem-buujkM kHPPIF grid--item"><div class="body body__inline-barrier article__body article__body--grid-margins"><div class="container container--body"><div class="container--body-inner"><aside class="PaywallInlineBarrierWrapper-iBnuqk lfXXa-D" data-testid="PaywallInlineBarrierWrapper"><div class="ConsumerMarketingUnitThemedWrapper-iUTMTf jssHut consumer-marketing-unit 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sizes="100vw"/><img alt="How Donald Trump Seizes the Primal Power of Naming" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/6797bfa751c7e999119f8618/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl dJKpb summary-item__content"><div class="SummaryItemRubricWrapper-jjNbqu bsjkmD"><div class="RubricWrapper-dKmCNX braSQU rubric rubric--discovery SummaryItemRubric-dguGKN fYiFyD summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">The Lede</span></div></div><a class="SummaryItemHedLink-civMjp iksxXg summary-item-tracking__hed-link summary-item__hed-link bottom_recirc-2" data-component-type="recirc-river" data-recirc-id="item-hed-2" data-recirc-pattern="summary-item" href="https://www.newyorker.com/news/the-lede/how-donald-trump-seizes-the-primal-power-of-naming#intcid=_the-new-yorker-article-bottom-recirc_b0bd43ca-f634-405b-8f51-1e0f4380d5a0_roberta-similarity1" target="_self"><div class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">How Donald Trump Seizes the Primal Power of Naming</div></a><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/news/the-lede/how-donald-trump-seizes-the-primal-power-of-naming#intcid=_the-new-yorker-article-bottom-recirc_b0bd43ca-f634-405b-8f51-1e0f4380d5a0_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-2" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/6797bfa751c7e999119f8618/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/6797bfa751c7e999119f8618/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/6797bfa751c7e999119f8618/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/6797bfa751c7e999119f8618/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/6797bfa751c7e999119f8618/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/6797bfa751c7e999119f8618/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/6797bfa751c7e999119f8618/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="How Donald Trump Seizes the Primal Power of Naming" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/6797bfa751c7e999119f8618/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">For the President, a name can become an instrument by which to exert his will upon our shared reality.</div><div class="SummaryItemBylineWrapper-boCfbi hYsZi summary-item__byline-date-icon"><div class="SummaryItemBaseByline-fFbXkY bzOILa summary-item__byline"><div class="summary-item__byline__content"><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk cdSbAY bylines"><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">By </span>Jessica Winter</span></span></span></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff UgVUX summary-item summary-item--ARTICLE summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-text-below-desktop-only summary-item--layout-position-image-right summary-item--layout-proportions-33-66 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard SummaryCollectionGridSummaryItem-WColm dVISaF" data-item="{"dangerousHed":"Kash Patel’s Political-Persecution Fantasies","index":2,"contentType":"venue","hotelLink":"https://www.newyorker.com/news/the-lede/kash-patels-political-persecution-fantasies#intcid=_the-new-yorker-article-bottom-recirc_b0bd43ca-f634-405b-8f51-1e0f4380d5a0_roberta-similarity1","layout":"GridFourColumns"}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/news/the-lede/kash-patels-political-persecution-fantasies#intcid=_the-new-yorker-article-bottom-recirc_b0bd43ca-f634-405b-8f51-1e0f4380d5a0_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-3" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/679a5a5c706481cd2e564c48/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/679a5a5c706481cd2e564c48/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/679a5a5c706481cd2e564c48/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/679a5a5c706481cd2e564c48/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/679a5a5c706481cd2e564c48/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/679a5a5c706481cd2e564c48/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/679a5a5c706481cd2e564c48/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="Kash Patel’s Political-Persecution Fantasies" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/679a5a5c706481cd2e564c48/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl dJKpb summary-item__content"><div class="SummaryItemRubricWrapper-jjNbqu bsjkmD"><div class="RubricWrapper-dKmCNX braSQU rubric rubric--discovery SummaryItemRubric-dguGKN fYiFyD summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">The Lede</span></div></div><a class="SummaryItemHedLink-civMjp iksxXg summary-item-tracking__hed-link summary-item__hed-link bottom_recirc-3" data-component-type="recirc-river" data-recirc-id="item-hed-3" data-recirc-pattern="summary-item" href="https://www.newyorker.com/news/the-lede/kash-patels-political-persecution-fantasies#intcid=_the-new-yorker-article-bottom-recirc_b0bd43ca-f634-405b-8f51-1e0f4380d5a0_roberta-similarity1" target="_self"><div class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">Kash Patel’s Political-Persecution Fantasies</div></a><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/news/the-lede/kash-patels-political-persecution-fantasies#intcid=_the-new-yorker-article-bottom-recirc_b0bd43ca-f634-405b-8f51-1e0f4380d5a0_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-3" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/679a5a5c706481cd2e564c48/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/679a5a5c706481cd2e564c48/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/679a5a5c706481cd2e564c48/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/679a5a5c706481cd2e564c48/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/679a5a5c706481cd2e564c48/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/679a5a5c706481cd2e564c48/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/679a5a5c706481cd2e564c48/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="Kash Patel’s Political-Persecution Fantasies" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/679a5a5c706481cd2e564c48/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">How Donald Trump’s presumptive F.B.I. head whitewashed the J6ers’ political violence.</div><div class="SummaryItemBylineWrapper-boCfbi hYsZi summary-item__byline-date-icon"><div class="SummaryItemBaseByline-fFbXkY bzOILa summary-item__byline"><div class="summary-item__byline__content"><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk cdSbAY bylines"><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">By </span>Tess Owen</span></span></span></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff UgVUX summary-item summary-item--ARTICLE summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-text-below-desktop-only summary-item--layout-position-image-right summary-item--layout-proportions-33-66 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard SummaryCollectionGridSummaryItem-WColm dVISaF" data-item="{"dangerousHed":"Britain’s Foreign Secretary Braces for the Second Trump Age","index":3,"contentType":"venue","hotelLink":"https://www.newyorker.com/magazine/2025/01/27/britains-foreign-secretary-braces-for-the-second-trump-age#intcid=_the-new-yorker-article-bottom-recirc_b0bd43ca-f634-405b-8f51-1e0f4380d5a0_roberta-similarity1","layout":"GridFourColumns"}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/magazine/2025/01/27/britains-foreign-secretary-braces-for-the-second-trump-age#intcid=_the-new-yorker-article-bottom-recirc_b0bd43ca-f634-405b-8f51-1e0f4380d5a0_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-4" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/6787d88fbf80385733246d91/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/6787d88fbf80385733246d91/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/6787d88fbf80385733246d91/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/6787d88fbf80385733246d91/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/6787d88fbf80385733246d91/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/6787d88fbf80385733246d91/4:3/w_240,c_limit/undefined 240w, 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href="https://www.newyorker.com/magazine/2025/01/27/britains-foreign-secretary-braces-for-the-second-trump-age#intcid=_the-new-yorker-article-bottom-recirc_b0bd43ca-f634-405b-8f51-1e0f4380d5a0_roberta-similarity1" target="_self"><div class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">Britain’s Foreign Secretary Braces for the Second Trump Age</div></a><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/magazine/2025/01/27/britains-foreign-secretary-braces-for-the-second-trump-age#intcid=_the-new-yorker-article-bottom-recirc_b0bd43ca-f634-405b-8f51-1e0f4380d5a0_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-4" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/6787d88fbf80385733246d91/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/6787d88fbf80385733246d91/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/6787d88fbf80385733246d91/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/6787d88fbf80385733246d91/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/6787d88fbf80385733246d91/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/6787d88fbf80385733246d91/4:3/w_240,c_limit/undefined 240w, 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Can he deal with the new Administration and reset the U.K.’s relationship with the E.U. at the same time?</div><div class="SummaryItemBylineWrapper-boCfbi hYsZi summary-item__byline-date-icon"><div class="SummaryItemBaseByline-fFbXkY bzOILa summary-item__byline"><div class="summary-item__byline__content"><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk cdSbAY bylines"><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">By </span>Sam Knight</span></span></span></div></div></div></div></div></div><div class="AdWrapper-dQtivb fZrsta SummaryCollectionGridSummaryItem-WColm drmLpp ad ad--read-more"><div class="ad__slot ad__slot--read-more" 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https://media.newyorker.com/photos/678da78b40917ac10adec26c/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/678da78b40917ac10adec26c/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/678da78b40917ac10adec26c/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/678da78b40917ac10adec26c/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/678da78b40917ac10adec26c/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="Donald Trump Returns to Washington" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/678da78b40917ac10adec26c/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl dJKpb summary-item__content"><div class="SummaryItemRubricWrapper-jjNbqu bsjkmD"><div class="RubricWrapper-dKmCNX braSQU rubric rubric--discovery SummaryItemRubric-dguGKN fYiFyD summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">The Political Scene</span></div></div><a class="SummaryItemHedLink-civMjp iksxXg summary-item-tracking__hed-link summary-item__hed-link bottom_recirc-5" data-component-type="recirc-river" data-recirc-id="item-hed-5" data-recirc-pattern="summary-item" href="https://www.newyorker.com/news/the-political-scene/donald-trump-returns-to-washington#intcid=_the-new-yorker-article-bottom-recirc_b0bd43ca-f634-405b-8f51-1e0f4380d5a0_roberta-similarity1" target="_self"><div class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">Donald Trump Returns to Washington</div></a><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/news/the-political-scene/donald-trump-returns-to-washington#intcid=_the-new-yorker-article-bottom-recirc_b0bd43ca-f634-405b-8f51-1e0f4380d5a0_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-5" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/678da78b40917ac10adec26c/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/678da78b40917ac10adec26c/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/678da78b40917ac10adec26c/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/678da78b40917ac10adec26c/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/678da78b40917ac10adec26c/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/678da78b40917ac10adec26c/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/678da78b40917ac10adec26c/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="Donald Trump Returns to Washington" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/678da78b40917ac10adec26c/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">The weekend’s pre-inaugural balls and parties reflected the exuberance of an ascendant MAGA movement—and the factional dissent already emerging.</div><div class="SummaryItemBylineWrapper-boCfbi hYsZi summary-item__byline-date-icon"><div class="SummaryItemBaseByline-fFbXkY bzOILa summary-item__byline"><div class="summary-item__byline__content"><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk cdSbAY bylines"><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">By </span>Antonia Hitchens</span></span></span></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff UgVUX summary-item summary-item--ARTICLE summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-text-below-desktop-only summary-item--layout-position-image-right summary-item--layout-proportions-33-66 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard SummaryCollectionGridSummaryItem-WColm dVISaF" data-item="{"dangerousHed":"The Mystery of Tulsi Gabbard","index":5,"contentType":"venue","hotelLink":"https://www.newyorker.com/news/the-lede/the-mystery-of-tulsi-gabbard#intcid=_the-new-yorker-article-bottom-recirc_b0bd43ca-f634-405b-8f51-1e0f4380d5a0_roberta-similarity1","layout":"GridFourColumns"}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/news/the-lede/the-mystery-of-tulsi-gabbard#intcid=_the-new-yorker-article-bottom-recirc_b0bd43ca-f634-405b-8f51-1e0f4380d5a0_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-6" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/679bf544bef93d803e4244b2/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/679bf544bef93d803e4244b2/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/679bf544bef93d803e4244b2/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/679bf544bef93d803e4244b2/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/679bf544bef93d803e4244b2/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/679bf544bef93d803e4244b2/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/679bf544bef93d803e4244b2/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="The Mystery of Tulsi Gabbard" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/679bf544bef93d803e4244b2/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl dJKpb summary-item__content"><div class="SummaryItemRubricWrapper-jjNbqu bsjkmD"><div class="RubricWrapper-dKmCNX braSQU rubric rubric--discovery SummaryItemRubric-dguGKN fYiFyD summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">The Lede</span></div></div><a class="SummaryItemHedLink-civMjp iksxXg summary-item-tracking__hed-link summary-item__hed-link bottom_recirc-6" data-component-type="recirc-river" data-recirc-id="item-hed-6" data-recirc-pattern="summary-item" href="https://www.newyorker.com/news/the-lede/the-mystery-of-tulsi-gabbard#intcid=_the-new-yorker-article-bottom-recirc_b0bd43ca-f634-405b-8f51-1e0f4380d5a0_roberta-similarity1" target="_self"><div class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">The Mystery of Tulsi Gabbard</div></a><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/news/the-lede/the-mystery-of-tulsi-gabbard#intcid=_the-new-yorker-article-bottom-recirc_b0bd43ca-f634-405b-8f51-1e0f4380d5a0_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-6" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/679bf544bef93d803e4244b2/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/679bf544bef93d803e4244b2/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/679bf544bef93d803e4244b2/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/679bf544bef93d803e4244b2/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/679bf544bef93d803e4244b2/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/679bf544bef93d803e4244b2/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/679bf544bef93d803e4244b2/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="The Mystery of Tulsi Gabbard" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/679bf544bef93d803e4244b2/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">Though the former Democrat has aligned herself with Trump, her true loyalties remain elusive as ever.</div><div class="SummaryItemBylineWrapper-boCfbi hYsZi summary-item__byline-date-icon"><div class="SummaryItemBaseByline-fFbXkY bzOILa summary-item__byline"><div class="summary-item__byline__content"><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk cdSbAY bylines"><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">By </span>Kelefa Sanneh</span></span></span></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff UgVUX summary-item summary-item--ARTICLE summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-text-below-desktop-only summary-item--layout-position-image-right summary-item--layout-proportions-33-66 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard SummaryCollectionGridSummaryItem-WColm dVISaF" data-item="{"dangerousHed":"Donald Trump Throws the Doors to the Patriot Wing Open","index":6,"contentType":"venue","hotelLink":"https://www.newyorker.com/news/the-lede/the-doors-to-the-patriot-wing-are-thrown-open#intcid=_the-new-yorker-article-bottom-recirc_b0bd43ca-f634-405b-8f51-1e0f4380d5a0_roberta-similarity1","layout":"GridFourColumns"}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/news/the-lede/the-doors-to-the-patriot-wing-are-thrown-open#intcid=_the-new-yorker-article-bottom-recirc_b0bd43ca-f634-405b-8f51-1e0f4380d5a0_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-7" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/6793f338b3e15f768548607e/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/6793f338b3e15f768548607e/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/6793f338b3e15f768548607e/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/6793f338b3e15f768548607e/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/6793f338b3e15f768548607e/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/6793f338b3e15f768548607e/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/6793f338b3e15f768548607e/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="Donald Trump Throws the Doors to the Patriot Wing Open" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/6793f338b3e15f768548607e/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl dJKpb summary-item__content"><div class="SummaryItemRubricWrapper-jjNbqu bsjkmD"><div class="RubricWrapper-dKmCNX braSQU rubric rubric--discovery SummaryItemRubric-dguGKN fYiFyD summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">The Lede</span></div></div><a class="SummaryItemHedLink-civMjp iksxXg summary-item-tracking__hed-link summary-item__hed-link bottom_recirc-7" data-component-type="recirc-river" data-recirc-id="item-hed-7" data-recirc-pattern="summary-item" href="https://www.newyorker.com/news/the-lede/the-doors-to-the-patriot-wing-are-thrown-open#intcid=_the-new-yorker-article-bottom-recirc_b0bd43ca-f634-405b-8f51-1e0f4380d5a0_roberta-similarity1" target="_self"><div class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">Donald Trump Throws the Doors to the Patriot Wing Open</div></a><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/news/the-lede/the-doors-to-the-patriot-wing-are-thrown-open#intcid=_the-new-yorker-article-bottom-recirc_b0bd43ca-f634-405b-8f51-1e0f4380d5a0_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-7" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/6793f338b3e15f768548607e/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/6793f338b3e15f768548607e/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/6793f338b3e15f768548607e/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/6793f338b3e15f768548607e/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/6793f338b3e15f768548607e/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/6793f338b3e15f768548607e/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/6793f338b3e15f768548607e/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="Donald Trump Throws the Doors to the Patriot Wing Open" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/6793f338b3e15f768548607e/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">More than fifteen hundred of the January 6th rioters were pardoned by the President. What will they do next?</div><div class="SummaryItemBylineWrapper-boCfbi hYsZi summary-item__byline-date-icon"><div class="SummaryItemBaseByline-fFbXkY bzOILa summary-item__byline"><div class="summary-item__byline__content"><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk cdSbAY bylines"><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">By </span>Antonia Hitchens</span></span></span></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff UgVUX summary-item summary-item--ARTICLE summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-text-below-desktop-only summary-item--layout-position-image-right summary-item--layout-proportions-33-66 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard SummaryCollectionGridSummaryItem-WColm dVISaF" data-item="{"dangerousHed":"Donald Trump Plays Church","index":7,"contentType":"venue","hotelLink":"https://www.newyorker.com/culture/on-television/donald-trump-plays-church#intcid=_the-new-yorker-article-bottom-recirc_b0bd43ca-f634-405b-8f51-1e0f4380d5a0_roberta-similarity1","layout":"GridFourColumns"}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/culture/on-television/donald-trump-plays-church#intcid=_the-new-yorker-article-bottom-recirc_b0bd43ca-f634-405b-8f51-1e0f4380d5a0_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-8" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/678ed0d034a3febd9c9eb329/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/678ed0d034a3febd9c9eb329/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/678ed0d034a3febd9c9eb329/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/678ed0d034a3febd9c9eb329/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/678ed0d034a3febd9c9eb329/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/678ed0d034a3febd9c9eb329/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/678ed0d034a3febd9c9eb329/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="Donald Trump Plays Church" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/678ed0d034a3febd9c9eb329/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl dJKpb summary-item__content"><div class="SummaryItemRubricWrapper-jjNbqu bsjkmD"><div class="RubricWrapper-dKmCNX braSQU rubric rubric--discovery SummaryItemRubric-dguGKN fYiFyD summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">On Television</span></div></div><a class="SummaryItemHedLink-civMjp iksxXg summary-item-tracking__hed-link summary-item__hed-link bottom_recirc-8" data-component-type="recirc-river" data-recirc-id="item-hed-8" data-recirc-pattern="summary-item" href="https://www.newyorker.com/culture/on-television/donald-trump-plays-church#intcid=_the-new-yorker-article-bottom-recirc_b0bd43ca-f634-405b-8f51-1e0f4380d5a0_roberta-similarity1" target="_self"><div class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">Donald Trump Plays Church</div></a><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/culture/on-television/donald-trump-plays-church#intcid=_the-new-yorker-article-bottom-recirc_b0bd43ca-f634-405b-8f51-1e0f4380d5a0_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-8" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/678ed0d034a3febd9c9eb329/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/678ed0d034a3febd9c9eb329/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/678ed0d034a3febd9c9eb329/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/678ed0d034a3febd9c9eb329/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/678ed0d034a3febd9c9eb329/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/678ed0d034a3febd9c9eb329/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/678ed0d034a3febd9c9eb329/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="Donald Trump Plays Church" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/678ed0d034a3febd9c9eb329/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">On Inauguration Day, the forty-seventh President cast himself as an especially favored vessel of the Almighty.</div><div class="SummaryItemBylineWrapper-boCfbi hYsZi summary-item__byline-date-icon"><div class="SummaryItemBaseByline-fFbXkY bzOILa summary-item__byline"><div class="summary-item__byline__content"><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk cdSbAY bylines"><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">By </span>Vinson Cunningham</span></span></span></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff UgVUX summary-item summary-item--ARTICLE summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-text-below-desktop-only summary-item--layout-position-image-right summary-item--layout-proportions-33-66 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard SummaryCollectionGridSummaryItem-WColm dVISaF" data-item="{"dangerousHed":"Donald Trump’s Anti-Woke Wrecking Ball","index":8,"contentType":"venue","hotelLink":"https://www.newyorker.com/magazine/2025/02/10/donald-trumps-anti-woke-wrecking-ball#intcid=_the-new-yorker-article-bottom-recirc_b0bd43ca-f634-405b-8f51-1e0f4380d5a0_roberta-similarity1","layout":"GridFourColumns"}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/magazine/2025/02/10/donald-trumps-anti-woke-wrecking-ball#intcid=_the-new-yorker-article-bottom-recirc_b0bd43ca-f634-405b-8f51-1e0f4380d5a0_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-9" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/679cfe02fc4c3fc3d8794feb/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/679cfe02fc4c3fc3d8794feb/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/679cfe02fc4c3fc3d8794feb/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/679cfe02fc4c3fc3d8794feb/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/679cfe02fc4c3fc3d8794feb/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/679cfe02fc4c3fc3d8794feb/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/679cfe02fc4c3fc3d8794feb/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="Donald Trump’s Anti-Woke Wrecking Ball" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/679cfe02fc4c3fc3d8794feb/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl dJKpb summary-item__content"><div class="SummaryItemRubricWrapper-jjNbqu bsjkmD"><div class="RubricWrapper-dKmCNX braSQU rubric rubric--discovery SummaryItemRubric-dguGKN fYiFyD summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">Comment</span></div></div><a class="SummaryItemHedLink-civMjp iksxXg summary-item-tracking__hed-link summary-item__hed-link bottom_recirc-9" data-component-type="recirc-river" data-recirc-id="item-hed-9" data-recirc-pattern="summary-item" href="https://www.newyorker.com/magazine/2025/02/10/donald-trumps-anti-woke-wrecking-ball#intcid=_the-new-yorker-article-bottom-recirc_b0bd43ca-f634-405b-8f51-1e0f4380d5a0_roberta-similarity1" target="_self"><div class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">Donald Trump’s Anti-Woke Wrecking Ball</div></a><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/magazine/2025/02/10/donald-trumps-anti-woke-wrecking-ball#intcid=_the-new-yorker-article-bottom-recirc_b0bd43ca-f634-405b-8f51-1e0f4380d5a0_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-9" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/679cfe02fc4c3fc3d8794feb/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/679cfe02fc4c3fc3d8794feb/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/679cfe02fc4c3fc3d8794feb/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/679cfe02fc4c3fc3d8794feb/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/679cfe02fc4c3fc3d8794feb/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/679cfe02fc4c3fc3d8794feb/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/679cfe02fc4c3fc3d8794feb/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="Donald Trump’s Anti-Woke Wrecking Ball" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/679cfe02fc4c3fc3d8794feb/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">Was Trump just “weaving” when he ranted about diversity initiatives after a horrific plane crash, or getting back on message after a week of executive overreach?</div><div class="SummaryItemBylineWrapper-boCfbi hYsZi summary-item__byline-date-icon"><div class="SummaryItemBaseByline-fFbXkY bzOILa summary-item__byline"><div class="summary-item__byline__content"><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk cdSbAY bylines"><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">By </span>Benjamin Wallace-Wells</span></span></span></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff UgVUX summary-item summary-item--ARTICLE summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-text-below-desktop-only summary-item--layout-position-image-right summary-item--layout-proportions-33-66 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard SummaryCollectionGridSummaryItem-WColm dVISaF" data-item="{"dangerousHed":"The Master Origami Artist Whose Collection Turned to Ash in Altadena","index":9,"contentType":"venue","hotelLink":"https://www.newyorker.com/magazine/2025/01/27/the-master-origami-artist-whose-collection-turned-to-ash-in-altadena#intcid=_the-new-yorker-article-bottom-recirc_b0bd43ca-f634-405b-8f51-1e0f4380d5a0_roberta-similarity1","layout":"GridFourColumns"}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/magazine/2025/01/27/the-master-origami-artist-whose-collection-turned-to-ash-in-altadena#intcid=_the-new-yorker-article-bottom-recirc_b0bd43ca-f634-405b-8f51-1e0f4380d5a0_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-10" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/678adb5f66ad7728a45080ec/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/678adb5f66ad7728a45080ec/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/678adb5f66ad7728a45080ec/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/678adb5f66ad7728a45080ec/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/678adb5f66ad7728a45080ec/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/678adb5f66ad7728a45080ec/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/678adb5f66ad7728a45080ec/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="The Master Origami Artist Whose Collection Turned to Ash in Altadena" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/678adb5f66ad7728a45080ec/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl dJKpb summary-item__content"><div class="SummaryItemRubricWrapper-jjNbqu bsjkmD"><div class="RubricWrapper-dKmCNX braSQU rubric rubric--discovery SummaryItemRubric-dguGKN fYiFyD summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">After the Fire</span></div></div><a class="SummaryItemHedLink-civMjp iksxXg summary-item-tracking__hed-link summary-item__hed-link bottom_recirc-10" data-component-type="recirc-river" data-recirc-id="item-hed-10" data-recirc-pattern="summary-item" href="https://www.newyorker.com/magazine/2025/01/27/the-master-origami-artist-whose-collection-turned-to-ash-in-altadena#intcid=_the-new-yorker-article-bottom-recirc_b0bd43ca-f634-405b-8f51-1e0f4380d5a0_roberta-similarity1" target="_self"><div class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">The Master Origami Artist Whose Collection Turned to Ash in Altadena</div></a><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/magazine/2025/01/27/the-master-origami-artist-whose-collection-turned-to-ash-in-altadena#intcid=_the-new-yorker-article-bottom-recirc_b0bd43ca-f634-405b-8f51-1e0f4380d5a0_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-10" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/678adb5f66ad7728a45080ec/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/678adb5f66ad7728a45080ec/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/678adb5f66ad7728a45080ec/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/678adb5f66ad7728a45080ec/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/678adb5f66ad7728a45080ec/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/678adb5f66ad7728a45080ec/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/678adb5f66ad7728a45080ec/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="The Master Origami Artist Whose Collection Turned to Ash in Altadena" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/678adb5f66ad7728a45080ec/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">As the flames approached his house and studio, Robert J. Lang had time to rescue only one piece of art work: a cuckoo clock he folded from a single sheet of paper.</div><div class="SummaryItemBylineWrapper-boCfbi hYsZi summary-item__byline-date-icon"><div class="SummaryItemBaseByline-fFbXkY bzOILa summary-item__byline"><div class="summary-item__byline__content"><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk cdSbAY bylines"><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" itemType="http://schema.org/Person"><span itemProp="name" class="BylineNamesWrapper-jbHncj fuDQVo"><span data-testid="BylineName" class="BylineName-kwmrLn cYaBcc byline__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylinePreamble-iJolpQ iUEiRd iBDlDQ gnILss byline__preamble">By </span>Oren Peleg</span></span></span></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff UgVUX summary-item summary-item--ARTICLE summary-item--no-icon summary-item--text-align-left summary-item--layout-placement-text-below-desktop-only summary-item--layout-position-image-right summary-item--layout-proportions-33-66 summary-item--side-by-side-align-center summary-item--side-by-side-image-right-mobile-false summary-item--standard SummaryCollectionGridSummaryItem-WColm dVISaF" data-item="{"dangerousHed":"My Life on the Subway","index":10,"contentType":"venue","hotelLink":"https://www.newyorker.com/news/our-columnists/my-life-on-the-subway#intcid=_the-new-yorker-article-bottom-recirc_b0bd43ca-f634-405b-8f51-1e0f4380d5a0_roberta-similarity1","layout":"GridFourColumns"}" role="button" tabindex="0"><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/news/our-columnists/my-life-on-the-subway#intcid=_the-new-yorker-article-bottom-recirc_b0bd43ca-f634-405b-8f51-1e0f4380d5a0_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-11" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/6797fa166f539e6adb46926c/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/6797fa166f539e6adb46926c/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/6797fa166f539e6adb46926c/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/6797fa166f539e6adb46926c/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 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sizes="100vw"/><img alt="The Brief and Brilliant Career of Sara Gómez" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/679be601db7c916baaf2a297/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl dJKpb summary-item__content"><div class="SummaryItemRubricWrapper-jjNbqu bsjkmD"><div class="RubricWrapper-dKmCNX braSQU rubric rubric--discovery SummaryItemRubric-dguGKN fYiFyD summary-item__rubric"><span class="RubricName-fVtemz cLxcNi rubric__name">The Front Row</span></div></div><a class="SummaryItemHedLink-civMjp iksxXg summary-item-tracking__hed-link summary-item__hed-link bottom_recirc-12" data-component-type="recirc-river" data-recirc-id="item-hed-12" data-recirc-pattern="summary-item" href="https://www.newyorker.com/culture/the-front-row/the-brief-and-brilliant-career-of-sara-gomez#intcid=_the-new-yorker-article-bottom-recirc_b0bd43ca-f634-405b-8f51-1e0f4380d5a0_roberta-similarity1" target="_self"><div class="SummaryItemHedBase-hiFYpQ bUJdcy summary-item__hed" data-testid="SummaryItemHed">The Brief and Brilliant Career of Sara Gómez</div></a><div class="SummaryItemAssetContainer-gwhFFH ogpYq summary-item__asset-container"><a class="SummaryItemImageLink-dshqxb USLvL summary-item__image-link summary-item-tracking__image-link" href="https://www.newyorker.com/culture/the-front-row/the-brief-and-brilliant-career-of-sara-gomez#intcid=_the-new-yorker-article-bottom-recirc_b0bd43ca-f634-405b-8f51-1e0f4380d5a0_roberta-similarity1" aria-hidden="true" tabindex="-1" data-component-type="recirc-river" data-recirc-id="item-image-12" data-recirc-pattern="summary-item" target="_self"><span class="SpanWrapper-umhxW kGxnNB responsive-asset SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image"><div data-testid="aspect-ratio-container" class="AspectRatioContainer-bJHpJz jgsWEn"><div class="aspect-ratio--overlay-container"><picture class="ResponsiveImagePicture-cWuUZO dUOtEa SummaryItemResponsiveAsset-hjGIGg gJaBeu summary-item__image responsive-image"><noscript><source media="(max-width: 767px)" srcSet="https://media.newyorker.com/photos/679be601db7c916baaf2a297/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/679be601db7c916baaf2a297/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/679be601db7c916baaf2a297/4:3/w_320,c_limit/undefined 320w, https://media.newyorker.com/photos/679be601db7c916baaf2a297/4:3/w_640,c_limit/undefined 640w" sizes="100vw"/><source media="(min-width: 768px)" srcSet="https://media.newyorker.com/photos/679be601db7c916baaf2a297/4:3/w_120,c_limit/undefined 120w, https://media.newyorker.com/photos/679be601db7c916baaf2a297/4:3/w_240,c_limit/undefined 240w, https://media.newyorker.com/photos/679be601db7c916baaf2a297/4:3/w_320,c_limit/undefined 320w" sizes="100vw"/><img alt="The Brief and Brilliant Career of Sara Gómez" class="ResponsiveImageContainer-eybHBd fptoWY responsive-image__image" src="https://media.newyorker.com/photos/679be601db7c916baaf2a297/4:3/w_480%2Cc_limit/undefined"/></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd eDsHHo hFIELG summary-item__dek">Gómez, the first woman to direct movies in Cuba, created a body of work that’s revolutionary in form and politics alike.</div><div class="SummaryItemBylineWrapper-boCfbi hYsZi summary-item__byline-date-icon"><div class="SummaryItemBaseByline-fFbXkY bzOILa summary-item__byline"><div class="summary-item__byline__content"><div data-testid="BylinesWrapper" class="BylinesWrapper-KIudk cdSbAY bylines"><span class="BylineWrapper-jWHrLH ciXFAu byline bylines__byline" data-testid="BylineWrapper" itemProp="author" 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What did he see?","head.promo.dek":"A photographer took a road trip across the country during the Presidential race. What did he see?","head.social.opinion":"false","head.jsonld":[{"@context":"http:\u002F\u002Fschema.org","@type":"NewsArticle","articleBody":"For Nasseri, politics are, first and foremost, about people—their faces, their gestures, their often mundane interactions and environments—and he’s interested in exploring this theme even when not on explicitly newsy assignments. Luckily, the R.N.C. provided opportunities for additional discovery: instead of flying to the Convention, Nasseri decided to drive from Los Angeles to Milwaukee and back, spending three weeks on the road capturing what he encountered in some seventeen states. “I wanted to see how we live as Americans in the shadow of the Presidential election,” he told me recently.\nThis was not Nasseri’s first time going on the road. A lawyer who made the transition to professional photography around 2020, he first began exploring this very American mode of travel after the pandemic prompted a radical reshuffling of daily life. “COVID had taken over, everyone was stuck at home, and I decided to kind of drop everything and go out and document the country,” he said. In the period leading up to that year’s election, Nasseri took two months-long road trips—one to a Trump rally in Tulsa, Oklahoma, in June, and the other to a biker rally in Sturgis, North Dakota, later that summer. He wanted to “visit places that were underseen, where not a lot of people were going,” he told me. In the shorter trip he took earlier this year, to Milwaukee and back, he chose to revisit many of the places he had encountered four years ago.\nAs I spoke with Nasseri about his project, I was reminded of Michael Apted’s “Up” series, in which, beginning in 1964, the British filmmaker documented the same group of people in seven-year intervals, starting when they were around seven years old. (The most recent installment, “63 Up,” was released in 2019.) Apted’s intention was to examine not just the individual lives of the subjects he chose to follow but also the broader social, cultural, and political environment that those subjects matured in, turning “Up” into an ongoing portrait of contemporary England in the late twentieth and early twenty-first centuries. Nasseri, returning to some of the same locations he captured in 2020, approached his own undertaking as a kind of temperature-taking mission on the subject of America, and the country he found this time around felt very different from the one he travelled four years prior. “During the 2020 trips I took, the pandemic was happening, George Floyd had just happened, there was a lot of activism from both the left and the right on the question of Confederate monuments,” he said. “Trump was still President, and politics was the first thing people wanted to talk about. On this trip, there wasn’t much political activity at all. It was very muted.”\nAs an immigrant who has adopted America as my home, I’ve often sensed that this is a country whose ideal state is a politics-free utopia, animated by a kind of hands-off individualism, which, as Alexis de Tocqueville presciently noted in the mid-nineteenth century, inclines “each member of the community to sever himself from the mass of his fellow-creatures; and to draw apart with his family and his friends; so that, after he has thus formed a little circle of his own, he willingly leaves society at large to itself.” Such rejection of the public sphere is, however, a political stance, too. Politics don’t just crop up in protest banners and slogans, in convention halls or in town squares; sometimes they reveal themselves by their overt absence.\nCOVID, the Black Lives Matter protests, and the existential battle for the soul of the Republic impelled by the Trump Presidency made 2020 a capital-P political year. But when Nasseri embarked on his road trip, in early July, Joe Biden had still not pulled out of the Presidential race, and the country was in stasis. Places that Nasseri had experienced previously as hotbeds of agitation were now sleepy, as if forgotten. In a picture he took in Minneapolis, near the site of George Floyd’s murder, we see a little girl on a blue bicycle riding past the “Say Their Names” memorial art installation—rows of headstones put up in June of 2020 to commemorate Black lives lost to police brutality. “When I visited the city four years ago, activists had blocked off the area, and wouldn’t allow police or government to come in. It was basically a semi-autonomous zone,” Nasseri told me. Now the scene was quiet, unremarkable. One would not be faulted, perhaps, for passing the cemetery and not giving it a second glance. The grass was growing.\nThe grass has grown, too, in New Orleans—so much so that in one of Nasseri’s photographs the bottom of a welcome sign by the side of a thoroughfare is obscured by it. “Welcome to”—where? New Orleans, a city nearly obliterated almost two decades ago by the rising waters of Katrina, could now be Anytown, U.S.A., just another nondescript, overlooked place on the map. In a picture that Nasseri captured in Gillette, Wyoming, we see a man hanging half out the window of a white Chevy, a firearm at his shoulder aimed at seemingly nothing, as the car speeds down a dirt road. “Gillette is a town built on coal mining. You see people in bars, coming off a shift with ash on their face,” Nasseri said.\nNasseri’s words reminded me of a moment in Sean Baker’s 2021 movie, “Red Rocket,” in which the weed-dealer protagonist, played by Simon Rex, is told that the oil-refinery workers who live in his small Texas city could become his most loyal customers, because “at the end of their shift . . . they want to kill themselves” and are ready for some relief. (Or, as the hair-metal band Poison sang in their 1988 hit “Nothin’ but a Good Time,” “I’m always workin’, slavin’, every day \u002F Gotta get a break from the same old same old \u002F I need a chance to just get away \u002F If you could hear me think, this is what I’d say.”) The hunger for a good old American time is evident in several other photographs in Nasseri’s series. In one picture, taken at a bar in Chicago, we see three tan, blond women, all dressed in shades of white and gold, their faces flushed from drinking and dancing; in another picture, at a bar in Houma, Louisiana, a woman in Daisy Dukes twirls on a stripper pole. This image, however, also contains a more unsettling thrum: nearby, a life-size cutout of Trump leans against a wall, side by side with an American-flag-adorned plastic skeleton.\nA feeling of impending doom hovers over many of Nasseri’s pictures. On the first day of the road trip, which happened to fall on the Fourth of July, Nasseri and a friend arrived in Bishop, California, a small city in the Eastern Sierra. “We first went to a watermelon-eating contest, real American small-town stuff, and then we found these springs in the middle of the mountains,” Nasseri told me. “It was absolutely stunning, and everyone was just hanging out, blasting music, drinking beers, in good spirits.” One image in the series captures the deep release of the springs: a young woman in the water with her back to the camera, her hair wet and slick down her back, while her male companion dunks his head back, only his face visible, upturned to the sky above. But if in one moment all was calm, in the next everything changed. “All of a sudden, I’m not sure what precipitated it, but this giant brawl broke out,” Nasseri said. “Punches were flying, women were pulling each other’s hair, dust everywhere, a couple of people were lying bloodied on the ground. The party was over.” In another image, taken after the fight broke out, two young men appear to hold back a third one, who is facing the camera, staring blankly ahead. We can’t tell what he’s looking at, but we can be pretty sure that it’s nothing good. In a photograph taken later in the trip, in Nashville, on the way back from the R.N.C., we see a group of neo-Nazis handing out flyers in broad daylight. “When I captured that, I realized that extremism never went away,” Nasseri told me. “It was there, simmering all along.”","isBasedOn":"","articleSection":"photo booth","author":[{"@type":"Person","name":"Naomi Fry","sameAs":"https:\u002F\u002Fwww.newyorker.com\u002Fcontributors\u002Fnaomi-fry"},{"@type":"Person","name":"Sinna Nasseri","sameAs":"https:\u002F\u002Fwww.newyorker.com\u002Fcontributors\u002Fsinna-nasseri"}],"dateModified":"2024-10-26T06:00:00.000-04:00","datePublished":"2024-10-26T06:00:00.000-04:00","headline":"Living in the Shadow of an American Election","image":["https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F671945c6ae3d7e3ddd6ab87c\u002F16:9\u002Fw_2560,h_1440,c_limit\u002FNasseri-PB-1.jpg","https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F671945c6ae3d7e3ddd6ab87c\u002F4:3\u002Fw_2276,h_1707,c_limit\u002FNasseri-PB-1.jpg","https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F671945c6ae3d7e3ddd6ab87c\u002F1:1\u002Fw_1707,h_1707,c_limit\u002FNasseri-PB-1.jpg"],"keywords":["photo booth","critic’s notebook","election 2024","photographer","presidential campaigns","roadtrip","2024 presidential election","audio","_sensitivecontent","textbelowcenterfullbleednocontributor","inverted","onecolumnnarrow","web"],"thumbnailUrl":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F671945c6ae3d7e3ddd6ab87c\u002F2:3\u002Fw_1138,h_1707,c_limit\u002FNasseri-PB-1.jpg","url":"https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fphoto-booth\u002Fliving-in-the-shadow-of-an-american-election","isPartOf":{"@type":"CreativeWork","name":"The New Yorker"},"isAccessibleForFree":true,"alternativeHeadline":"Naomi Fry speaks to the photographer Sinna Nasseri, who took a road trip across the United States during the 2024 Presidential race.","description":"Naomi Fry speaks to the photographer Sinna Nasseri, who took a road trip across the United States during the 2024 Presidential race.","mainEntityOfPage":{"@type":"WebPage","@id":"https:\u002F\u002Fwww.newyorker.com\u002Fculture\u002Fphoto-booth\u002Fliving-in-the-shadow-of-an-american-election"},"publisher":{"@context":"https:\u002F\u002Fschema.org","@type":"Organization","name":"The New Yorker","logo":{"@type":"ImageObject","url":"https:\u002F\u002Fwww.newyorker.com\u002Fverso\u002Fstatic\u002Fthenewyorker-us\u002Fassets\u002Fthe-new-yorker-seo-logo.jpg","width":"1200px","height":"630px"},"url":"https:\u002F\u002Fwww.newyorker.com"}},{"@context":"https:\u002F\u002Fschema.org\u002F","@type":"BreadcrumbList","itemListElement":[{"@type":"ListItem","position":1,"name":"Culture","item":"https:\u002F\u002Fwww.newyorker.com\u002Fculture"},{"@type":"ListItem","position":2,"name":"Election 2024","item":"https:\u002F\u002Fwww.newyorker.com\u002Ftag\u002Felection-2024"},{"@type":"ListItem","position":3,"name":"Living in the Shadow of an American Election"}]}],"head.contentID":"6719499313626ae2f863d060","head.pageType":"article","head.photos":{"image-16-9":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F671945c6ae3d7e3ddd6ab87c\u002F16:9\u002Fw_1000,c_limit\u002FNasseri-PB-1.jpg","image-1-1":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F671945c6ae3d7e3ddd6ab87c\u002F1:1\u002Fw_1000,c_limit\u002FNasseri-PB-1.jpg"},"head.firstPublishDate":"2024-10-26T10:00:00.000Z","head.primaryTagsRoot":"tags","head.hasSponsoredContent":false,"head.modifiedDate":"2024-10-26T10:00:00.000Z","head.noIndex":false,"linkBannerData":{"bannerType":"marquee","dek":"","hed":"","image":{},"links":[],"tracking":{"trackingIdentifier":"","attributes":{}}},"linkBannerId":[],"navigation":{"aboutText":"The writers you love. 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His books, ranging from essay collections about Paris and food to children’s novels, include “[Paris to the Moon](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F0375758232\u002F?ots=1&slotNum=0&imprToken=c2bfa590-ac35-fbf3-3f7&tag=thneyo0f-20),” “[The King in the Window](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F078681862X\u002F?ots=1&slotNum=1&imprToken=c2bfa590-ac35-fbf3-3f7&tag=thneyo0f-20),” “[Through the Children’s Gate: A Home in New York](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F1400075750\u002F?ots=1&slotNum=2&imprToken=c2bfa590-ac35-fbf3-3f7&tag=thneyo0f-20),” “[Angels and Ages: A Short Book About Darwin, Lincoln, and Modern Life](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F0307455300\u002F?ots=1&slotNum=3&imprToken=c2bfa590-ac35-fbf3-3f7&tag=thneyo0f-20),” “[The Table Comes First: Family, France, and the Meaning of Food](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F0307476960\u002F?ots=1&slotNum=4&imprToken=c2bfa590-ac35-fbf3-3f7&tag=thneyo0f-20),” “[Winter: Five Windows on the Season](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F088784975X\u002F?ots=1&slotNum=5&imprToken=c2bfa590-ac35-fbf3-3f7&tag=thneyo0f-20),” “[At the Strangers’ Gate: Arrivals in New York](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F1400041805\u002F?ots=1&slotNum=6&imprToken=c2bfa590-ac35-fbf3-3f7&tag=thneyo0f-20),” “[A Thousand Small Sanities: The Moral Adventure of Liberalism](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F154169936X\u002F?ots=1&slotNum=7&imprToken=c2bfa590-ac35-fbf3-3f7&tag=thneyo0f-20),” and “[The Real Work: On the Mystery of Mastery](https:\u002F\u002Fwww.amazon.com\u002FReal-Work-Mystery-Mastery\u002Fdp\u002F1324090758\u002Fref=sr_1_1?crid=20KRY1TUZVZWQ&keywords=the+real+work+adam+gopnik&qid=1681722649&sprefix=the+real+work+%2Caps%2C132&sr=8-1).” Gopnik has won three National Magazine Awards, for essays and for criticism, and also the George Polk Award for Magazine Reporting. In March of 2013, Gopnik was awarded the medal of Chevalier of the Order of Arts and Letters, and in 2021 he was made a Chevalier of the Legion d’honneur. He lectures widely, and, in 2011, delivered the Canadian Broadcasting Corporation’s fiftieth-anniversary Massey Lecture. His musical, “Our Table,” opened in 2017, at the Long Wharf Theatre, in New Haven, and his one-man storytelling show, “The Gates,” played at the Public Theatre in New York.","socialMedia":[{"handle":"adamgopnik","network":"Twitter"}],"metadata":{"contentType":"contributor"}}}]},"channel":{"slug":"letter-from-beverly-hills","name":"Letter from Beverly Hills"},"channels":[{"name":"Letter from Beverly Hills"},{"name":"New Yorker Favorites"}],"hed":"The Man Who Spent Forty-two Years at the Beverly Hills Hotel Pool","dek":"Nearly every day for decades, Irving V. Link tanned by the luxury pool. 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Many of these articles have been collected in three books: “[Unsettling Europe](https:\u002F\u002Fwww.amazon.com\u002FUnsettling-Europe-Jane-Kramer\u002Fdp\u002F039450433X)” (1980); “[Europeans](https:\u002F\u002Fwww.amazon.com\u002FEuropeans-Jane-Kramer\u002Fdp\u002F0140128085)” (1988), which won the Prix Européen de l’Essai “Charles Veillon” and was nominated for the National Book Critics Circle Award for nonfiction; and “[The Politics of Memory: Looking for Germany in the New Germany](https:\u002F\u002Fwww.amazon.com\u002FPolitics-Memory-Looking-Germany-New\u002Fdp\u002F0679448721)” (1996). \n\nA notable exception to Kramer’s European reporting was her Profile, from 1977, of the pseudonymous Texan Henry Blanton. It was later published as a book, “[The Last Cowboy](https:\u002F\u002Fwww.amazon.com\u002FLast-Cowboy-Jane-Kramer\u002Fdp\u002F1845951638)” (1977), which won the American Book Award for nonfiction. Parts of her book “[Lone Patriot](https:\u002F\u002Fwww.amazon.com\u002FLone-Patriot-Career-American-Militiaman\u002Fdp\u002F1400032326)” (2002), on the right-wing American militia leader John Pitner, also first appeared in the magazine. Her article on multiculturalism and political correctness, “[Whose Art Is It?](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F1992\u002F12\u002F21\u002Fwhose-art-is-it),” won the 1993 National Magazine Award for feature writing and was published as a [book](https:\u002F\u002Fwww.amazon.com\u002FWhose-Art-Jane-Kramer\u002Fdp\u002F0822315491), in 1994. \n\nHer most recent book, “[The Reporter’s Kitchen](https:\u002F\u002Fwww.amazon.com\u002FReporters-Kitchen-Essays-Jane-Kramer\u002Fdp\u002F1250074371),” (2017) is a collection of her food writing for *The New Yorker*. 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His books, ranging from essay collections about Paris and food to children’s novels, include “[Paris to the Moon](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F0375758232\u002F?ots=1&slotNum=0&imprToken=c2bfa590-ac35-fbf3-3f7&tag=thneyo0f-20),” “[The King in the Window](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F078681862X\u002F?ots=1&slotNum=1&imprToken=c2bfa590-ac35-fbf3-3f7&tag=thneyo0f-20),” “[Through the Children’s Gate: A Home in New York](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F1400075750\u002F?ots=1&slotNum=2&imprToken=c2bfa590-ac35-fbf3-3f7&tag=thneyo0f-20),” “[Angels and Ages: A Short Book About Darwin, Lincoln, and Modern Life](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F0307455300\u002F?ots=1&slotNum=3&imprToken=c2bfa590-ac35-fbf3-3f7&tag=thneyo0f-20),” “[The Table Comes First: Family, France, and the Meaning of Food](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F0307476960\u002F?ots=1&slotNum=4&imprToken=c2bfa590-ac35-fbf3-3f7&tag=thneyo0f-20),” “[Winter: Five Windows on the Season](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F088784975X\u002F?ots=1&slotNum=5&imprToken=c2bfa590-ac35-fbf3-3f7&tag=thneyo0f-20),” “[At the Strangers’ Gate: Arrivals in New York](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F1400041805\u002F?ots=1&slotNum=6&imprToken=c2bfa590-ac35-fbf3-3f7&tag=thneyo0f-20),” “[A Thousand Small Sanities: The Moral Adventure of Liberalism](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F154169936X\u002F?ots=1&slotNum=7&imprToken=c2bfa590-ac35-fbf3-3f7&tag=thneyo0f-20),” and “[The Real Work: On the Mystery of Mastery](https:\u002F\u002Fwww.amazon.com\u002FReal-Work-Mystery-Mastery\u002Fdp\u002F1324090758\u002Fref=sr_1_1?crid=20KRY1TUZVZWQ&keywords=the+real+work+adam+gopnik&qid=1681722649&sprefix=the+real+work+%2Caps%2C132&sr=8-1).” Gopnik has won three National Magazine Awards, for essays and for criticism, and also the George Polk Award for Magazine Reporting. 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His books, ranging from essay collections about Paris and food to children’s novels, include “[Paris to the Moon](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F0375758232\u002F?ots=1&slotNum=0&imprToken=c2bfa590-ac35-fbf3-3f7&tag=thneyo0f-20),” “[The King in the Window](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F078681862X\u002F?ots=1&slotNum=1&imprToken=c2bfa590-ac35-fbf3-3f7&tag=thneyo0f-20),” “[Through the Children’s Gate: A Home in New York](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F1400075750\u002F?ots=1&slotNum=2&imprToken=c2bfa590-ac35-fbf3-3f7&tag=thneyo0f-20),” “[Angels and Ages: A Short Book About Darwin, Lincoln, and Modern Life](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F0307455300\u002F?ots=1&slotNum=3&imprToken=c2bfa590-ac35-fbf3-3f7&tag=thneyo0f-20),” “[The Table Comes First: Family, France, and the Meaning of Food](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F0307476960\u002F?ots=1&slotNum=4&imprToken=c2bfa590-ac35-fbf3-3f7&tag=thneyo0f-20),” “[Winter: Five Windows on the Season](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F088784975X\u002F?ots=1&slotNum=5&imprToken=c2bfa590-ac35-fbf3-3f7&tag=thneyo0f-20),” “[At the Strangers’ Gate: Arrivals in New York](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F1400041805\u002F?ots=1&slotNum=6&imprToken=c2bfa590-ac35-fbf3-3f7&tag=thneyo0f-20),” “[A Thousand Small Sanities: The Moral Adventure of Liberalism](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F154169936X\u002F?ots=1&slotNum=7&imprToken=c2bfa590-ac35-fbf3-3f7&tag=thneyo0f-20),” and “[The Real Work: On the Mystery of Mastery](https:\u002F\u002Fwww.amazon.com\u002FReal-Work-Mystery-Mastery\u002Fdp\u002F1324090758\u002Fref=sr_1_1?crid=20KRY1TUZVZWQ&keywords=the+real+work+adam+gopnik&qid=1681722649&sprefix=the+real+work+%2Caps%2C132&sr=8-1).” Gopnik has won three National Magazine Awards, for essays and for criticism, and also the George Polk Award for Magazine Reporting. In March of 2013, Gopnik was awarded the medal of Chevalier of the Order of Arts and Letters, and in 2021 he was made a Chevalier of the Legion d’honneur. He lectures widely, and, in 2011, delivered the Canadian Broadcasting Corporation’s fiftieth-anniversary Massey Lecture. His musical, “Our Table,” opened in 2017, at the Long Wharf Theatre, in New Haven, and his one-man storytelling show, “The Gates,” played at the Public Theatre in New York.","socialMedia":[{"handle":"adamgopnik","network":"Twitter"}],"metadata":{"contentType":"contributor"}}}]},"channel":{"slug":"letter-from-beverly-hills","name":"Letter from Beverly Hills"},"channels":[{"name":"Letter from Beverly Hills"},{"name":"New Yorker Favorites"}],"hed":"The Man Who Spent Forty-two Years at the Beverly Hills Hotel Pool","dek":"Nearly every day for decades, Irving V. Link tanned by the luxury pool. 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Many of these articles have been collected in three books: “[Unsettling Europe](https:\u002F\u002Fwww.amazon.com\u002FUnsettling-Europe-Jane-Kramer\u002Fdp\u002F039450433X)” (1980); “[Europeans](https:\u002F\u002Fwww.amazon.com\u002FEuropeans-Jane-Kramer\u002Fdp\u002F0140128085)” (1988), which won the Prix Européen de l’Essai “Charles Veillon” and was nominated for the National Book Critics Circle Award for nonfiction; and “[The Politics of Memory: Looking for Germany in the New Germany](https:\u002F\u002Fwww.amazon.com\u002FPolitics-Memory-Looking-Germany-New\u002Fdp\u002F0679448721)” (1996). \n\nA notable exception to Kramer’s European reporting was her Profile, from 1977, of the pseudonymous Texan Henry Blanton. It was later published as a book, “[The Last Cowboy](https:\u002F\u002Fwww.amazon.com\u002FLast-Cowboy-Jane-Kramer\u002Fdp\u002F1845951638)” (1977), which won the American Book Award for nonfiction. Parts of her book “[Lone Patriot](https:\u002F\u002Fwww.amazon.com\u002FLone-Patriot-Career-American-Militiaman\u002Fdp\u002F1400032326)” (2002), on the right-wing American militia leader John Pitner, also first appeared in the magazine. Her article on multiculturalism and political correctness, “[Whose Art Is It?](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F1992\u002F12\u002F21\u002Fwhose-art-is-it),” won the 1993 National Magazine Award for feature writing and was published as a [book](https:\u002F\u002Fwww.amazon.com\u002FWhose-Art-Jane-Kramer\u002Fdp\u002F0822315491), in 1994. \n\nHer most recent book, “[The Reporter’s Kitchen](https:\u002F\u002Fwww.amazon.com\u002FReporters-Kitchen-Essays-Jane-Kramer\u002Fdp\u002F1250074371),” (2017) is a collection of her food writing for *The New Yorker*. 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His books, ranging from essay collections about Paris and food to children’s novels, include “[Paris to the Moon](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F0375758232\u002F?ots=1&slotNum=0&imprToken=c2bfa590-ac35-fbf3-3f7&tag=thneyo0f-20),” “[The King in the Window](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F078681862X\u002F?ots=1&slotNum=1&imprToken=c2bfa590-ac35-fbf3-3f7&tag=thneyo0f-20),” “[Through the Children’s Gate: A Home in New York](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F1400075750\u002F?ots=1&slotNum=2&imprToken=c2bfa590-ac35-fbf3-3f7&tag=thneyo0f-20),” “[Angels and Ages: A Short Book About Darwin, Lincoln, and Modern Life](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F0307455300\u002F?ots=1&slotNum=3&imprToken=c2bfa590-ac35-fbf3-3f7&tag=thneyo0f-20),” “[The Table Comes First: Family, France, and the Meaning of Food](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F0307476960\u002F?ots=1&slotNum=4&imprToken=c2bfa590-ac35-fbf3-3f7&tag=thneyo0f-20),” “[Winter: Five Windows on the Season](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F088784975X\u002F?ots=1&slotNum=5&imprToken=c2bfa590-ac35-fbf3-3f7&tag=thneyo0f-20),” “[At the Strangers’ Gate: Arrivals in New York](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F1400041805\u002F?ots=1&slotNum=6&imprToken=c2bfa590-ac35-fbf3-3f7&tag=thneyo0f-20),” “[A Thousand Small Sanities: The Moral Adventure of Liberalism](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F154169936X\u002F?ots=1&slotNum=7&imprToken=c2bfa590-ac35-fbf3-3f7&tag=thneyo0f-20),” and “[The Real Work: On the Mystery of Mastery](https:\u002F\u002Fwww.amazon.com\u002FReal-Work-Mystery-Mastery\u002Fdp\u002F1324090758\u002Fref=sr_1_1?crid=20KRY1TUZVZWQ&keywords=the+real+work+adam+gopnik&qid=1681722649&sprefix=the+real+work+%2Caps%2C132&sr=8-1).” Gopnik has won three National Magazine Awards, for essays and for criticism, and also the George Polk Award for Magazine Reporting. 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His books, ranging from essay collections about Paris and food to children’s novels, include “[Paris to the Moon](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F0375758232\u002F?ots=1&slotNum=0&imprToken=c2bfa590-ac35-fbf3-3f7&tag=thneyo0f-20),” “[The King in the Window](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F078681862X\u002F?ots=1&slotNum=1&imprToken=c2bfa590-ac35-fbf3-3f7&tag=thneyo0f-20),” “[Through the Children’s Gate: A Home in New York](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F1400075750\u002F?ots=1&slotNum=2&imprToken=c2bfa590-ac35-fbf3-3f7&tag=thneyo0f-20),” “[Angels and Ages: A Short Book About Darwin, Lincoln, and Modern Life](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F0307455300\u002F?ots=1&slotNum=3&imprToken=c2bfa590-ac35-fbf3-3f7&tag=thneyo0f-20),” “[The Table Comes First: Family, France, and the Meaning of Food](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F0307476960\u002F?ots=1&slotNum=4&imprToken=c2bfa590-ac35-fbf3-3f7&tag=thneyo0f-20),” “[Winter: Five Windows on the Season](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F088784975X\u002F?ots=1&slotNum=5&imprToken=c2bfa590-ac35-fbf3-3f7&tag=thneyo0f-20),” “[At the Strangers’ Gate: Arrivals in New York](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F1400041805\u002F?ots=1&slotNum=6&imprToken=c2bfa590-ac35-fbf3-3f7&tag=thneyo0f-20),” “[A Thousand Small Sanities: The Moral Adventure of Liberalism](https:\u002F\u002Fwww.amazon.com\u002Fdp\u002F154169936X\u002F?ots=1&slotNum=7&imprToken=c2bfa590-ac35-fbf3-3f7&tag=thneyo0f-20),” and “[The Real Work: On the Mystery of Mastery](https:\u002F\u002Fwww.amazon.com\u002FReal-Work-Mystery-Mastery\u002Fdp\u002F1324090758\u002Fref=sr_1_1?crid=20KRY1TUZVZWQ&keywords=the+real+work+adam+gopnik&qid=1681722649&sprefix=the+real+work+%2Caps%2C132&sr=8-1).” Gopnik has won three National Magazine Awards, for essays and for criticism, and also the George Polk Award for Magazine Reporting. In March of 2013, Gopnik was awarded the medal of Chevalier of the Order of Arts and Letters, and in 2021 he was made a Chevalier of the Legion d’honneur. He lectures widely, and, in 2011, delivered the Canadian Broadcasting Corporation’s fiftieth-anniversary Massey Lecture. His musical, “Our Table,” opened in 2017, at the Long Wharf Theatre, in New Haven, and his one-man storytelling show, “The Gates,” played at the Public Theatre in New York.","socialMedia":[{"handle":"adamgopnik","network":"Twitter"}],"metadata":{"contentType":"contributor"}}}]},"channel":{"slug":"letter-from-beverly-hills","name":"Letter from Beverly Hills"},"channels":[{"name":"Letter from Beverly Hills"},{"name":"New Yorker Favorites"}],"hed":"The Man Who Spent Forty-two Years at the Beverly Hills Hotel Pool","dek":"Nearly every day for decades, Irving V. Link tanned by the luxury pool. 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Many of these articles have been collected in three books: “[Unsettling Europe](https:\u002F\u002Fwww.amazon.com\u002FUnsettling-Europe-Jane-Kramer\u002Fdp\u002F039450433X)” (1980); “[Europeans](https:\u002F\u002Fwww.amazon.com\u002FEuropeans-Jane-Kramer\u002Fdp\u002F0140128085)” (1988), which won the Prix Européen de l’Essai “Charles Veillon” and was nominated for the National Book Critics Circle Award for nonfiction; and “[The Politics of Memory: Looking for Germany in the New Germany](https:\u002F\u002Fwww.amazon.com\u002FPolitics-Memory-Looking-Germany-New\u002Fdp\u002F0679448721)” (1996). \n\nA notable exception to Kramer’s European reporting was her Profile, from 1977, of the pseudonymous Texan Henry Blanton. It was later published as a book, “[The Last Cowboy](https:\u002F\u002Fwww.amazon.com\u002FLast-Cowboy-Jane-Kramer\u002Fdp\u002F1845951638)” (1977), which won the American Book Award for nonfiction. Parts of her book “[Lone Patriot](https:\u002F\u002Fwww.amazon.com\u002FLone-Patriot-Career-American-Militiaman\u002Fdp\u002F1400032326)” (2002), on the right-wing American militia leader John Pitner, also first appeared in the magazine. Her article on multiculturalism and political correctness, “[Whose Art Is It?](https:\u002F\u002Fwww.newyorker.com\u002Fmagazine\u002F1992\u002F12\u002F21\u002Fwhose-art-is-it),” won the 1993 National Magazine Award for feature writing and was published as a [book](https:\u002F\u002Fwww.amazon.com\u002FWhose-Art-Jane-Kramer\u002Fdp\u002F0822315491), in 1994. \n\nHer most recent book, “[The Reporter’s Kitchen](https:\u002F\u002Fwww.amazon.com\u002FReporters-Kitchen-Essays-Jane-Kramer\u002Fdp\u002F1250074371),” (2017) is a collection of her food writing for *The New Yorker*. 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Luckily, the R.N.C. provided opportunities for additional discovery: instead of flying to the Convention, Nasseri decided to drive from Los Angeles to Milwaukee and back, spending three weeks on the road capturing what he encountered in some seventeen states. “I wanted to see how we live as Americans in the shadow of the Presidential election,” he told me recently."],["p",{"class":"paywall"},"This was not Nasseri’s first time going on the road. A lawyer who made the transition to professional photography around 2020, he first began exploring this very American mode of travel after the pandemic prompted a radical reshuffling of daily life. “",["em",{"class":"small"},"COVID"]," had taken over, everyone was stuck at home, and I decided to kind of drop everything and go out and document the country,” he said. 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On the first day of the road trip, which happened to fall on the Fourth of July, Nasseri and a friend arrived in Bishop, California, a small city in the Eastern Sierra. “We first went to a watermelon-eating contest, real American small-town stuff, and then we found these springs in the middle of the mountains,” Nasseri told me. “It was absolutely stunning, and everyone was just hanging out, blasting music, drinking beers, in good spirits.” One image in the series captures the deep release of the springs: a young woman in the water with her back to the camera, her hair wet and slick down her back, while her male companion dunks his head back, only his face visible, upturned to the sky above. But if in one moment all was calm, in the next everything changed. “All of a sudden, I’m not sure what precipitated it, but this giant brawl broke out,” Nasseri said. “Punches were flying, women were pulling each other’s hair, dust everywhere, a couple of people were lying bloodied on the ground. 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In a photograph taken later in the trip, in Nashville, on the way back from the R.N.C., we see a group of neo-Nazis handing out flyers in broad daylight. “When I captured that, I realized that extremism never went away,” Nasseri told me. “It was there, simmering all along.”"],["inline-embed",{"props":{"name":"feature-large","attrs":{},"childTypes":["image"]},"ref":"","type":"callout:feature-large"},["inline-embed",{"props":{"dangerousCaption":"Gillette, Wyoming.","dangerousCredit":"","image":{"id":"671945c57bb0aca1e5e8ea5f","altText":"A person points a gun out of a white car.","contentType":"photo","sources":{"sm":{"width":640,"url":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F671945c57bb0aca1e5e8ea5f\u002Fmaster\u002Fw_640,c_limit\u002FNasseri-PB-21.jpg","srcset":"https:\u002F\u002Fmedia.newyorker.com\u002Fphotos\u002F671945c57bb0aca1e5e8ea5f\u002Fmaster\u002Fw_120,c_limit\u002FNasseri-PB-21.jpg 120w, 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