But if Maggie was sheltered from the onslaught beyond her small town, her mother was not. Erika has also struggled with her weight her entire life and feels the experience defined her; she has done everything she can to reassure Maggie that she is beautiful as she is and to protect her from the casual cruelty of people she encounters. But she also knew from the time her daughter was young that there was something different about her. In a small, dark part of herself, Erika feared that, because of her parenting or her habits or her own history with food, she was the one at fault. Even now, after all the interventions — the doctors, the fighting with insurance companies, the overhaul of the family fridge — this worry has not left her. It has only evolved, because Erika knows her neighbors and people in the world beyond have things to say not just about Maggie’s body but about the treatments she has chosen for it, too.

As long as Palestinians are alive to record and share their suffering, the duty and dilemma of witness will remain. As we look, we must be aware that our outpouring of emotion has its limits, and its own dynamics of power. Grief and anger are appropriate, but we must take care not to veer into solipsism, erasing the primary pain by supplanting it with our own. As the Mojave poet Natalie Diaz has observed, empathy is “seeing or hearing about something that’s happened to someone and . . . imagin[ing] how I would feel if it happened to me. It has nothing to do with them.” Or, put more succinctly by Solmaz Sharif—“Empathy means / laying yourself down / in someone else’s chalk lines / and snapping a photo.”

Rather, we—those outside of Palestine, watching events through a screen—ought to think of ourselves in relation to the legacy of the shaheed. Our work as witnesses is to be marked; we should not leave it unscathed. We must make an effort to stay with what we see, allowing ourselves to be cut. This wound is essential. Into this wound, imagination may pour—not to invade the other’s subjectivity, but to awaken awe at the depth, privacy, and singularity of each life. There, we might glimpse, if sidelong, how much of Gaza’s suffering we will never know. This is where real witness must begin: in mystery.

Perhaps the fundamental work of witness is the act of faith—an ethical and imaginative leap beyond what we can see. It is a sober reverence of, and a commitment to fight for, the always-unknowable other. This commitment does not require constant stoking by grisly, tragic reports. Rather than a feeling, witness is a position. It insists on embodiment, on sacrifice, mourning and resisting what is seen. The world after genocide must not, cannot, be the same. The witness is the one who holds the line of reality, identifying and refusing the lie of normalcy. Broken by what we see, we become rupture incarnate.

The military conscription of a beluga whale might sound like a conceit plucked from less-than-convincing spy fiction, but it is actually a well-documented practice. Since the 1960s, Russia and the United States have trained dolphins, seals and other marine mammals to assist their naval forces by tagging enemy divers, detecting mines and recovering items from the seafloor. Satellite photos of Russian naval bases near Murmansk, not far from the spot where Norwegian fishermen first found Hvaldimir, reveal the type of sea pens often used to hold belugas. Audun Rikardsen, a professor of marine biology at the Arctic University of Norway, told me that international contacts have since confirmed that Hvaldimir belonged to the navy.

On the day she died, I set my phone’s wallpaper to my favorite photo of Peggy—appearing to smile on a ridgeline trail in Missoula, Montana, the bright-yellow balsamroot flowers in bloom behind her. But a month later, I told myself that it was time to stop wallowing. Instead of a memorial photo of Peggy, I opted to try a newer, “dynamic” wallpaper feature called “Photo Shuffle.” Every so often, my iPhone would change my wallpaper and home screen to an image it had grabbed from my camera roll. To help it along, I could offer parameters for the photo choice. Knowing that Apple’s Photos app uses image-recognition software to identify cats and dogs in the camera roll, I chose a “Pets” filter.

The battle that was taking place on Buster Drive in Warren was but a small sideshow to the images playing on the nightly news and would soon be eclipsed by the devastating violence that would erupt a few miles away in Detroit in July. But what would transpire over the coming days and months and years on Buster Drive would actually have profound consequences for race relations in America and shape the national political landscape in ways that are still being felt today.

A telegenic housing secretary with presidential ambitions would use the Baileys’ plight to launch a bold plan to desgregate all of America’s suburbs.

Local officials in Warren, stoked by the rage of their white constituents, would stymie his efforts, even though it meant forfeiting millions of dollars of federal aid.

A Republican president facing reelection would torpedo his secretary’s plan, empowering the white middle-class voters he considered crucial to his victory.

Those voters, in turn, would make this corner of suburban Detroit the unofficial capital of America’s white middle class, and shape the strategy of presidential hopefuls of both parties for decades to come.

Ultimately, the whites-only fortress of Warren and surrounding Macomb County would crumble, overwhelmed by the consequences of self-defeating choices made decades before. Like suburbs across the country, it would become more diverse—and increasingly Democratic. But it would retain the scars of unhealed racial fault lines first laid down in 1967—a de facto segregation that would make Macomb County a prime target for populist conservatives bent on appealing to white working-class voters. Few suburbs would suffer the same headline-making unrest or the targeted federal scrutiny as Warren. But its prominent role in the massive demographic and political shifts of the last half century would ensure it remained an important bellwether heading into the 2024 presidential election when, once again, Macomb County would find itself a political battleground for the nation’s all-important suburban vote. 

But before any of that could happen, the Baileys had to outlast the mob.

Though he’ll be remembered as an inventive journalist who managed a moderately successful turn to popular fiction, Tom Wolfe was also a social theorist in natty but thin disguise—his work both espoused a mostly coherent worldview and made a case for a particular way of viewing the world. All told, the bulk of Wolfe’s writing is animated by a conviction that revolutions of style are also revolutions of substance—look closely enough at an aesthetic trend or fashionable consumer fad, he insists excitedly, time and time again, and you’ll find the elements of a social or cultural turn, and perhaps one that’s escaped the attentions of most cultural observers.

His Esquire feature on hot rods, for instance, the piece that brought him to prominence, is more than just the first major showcase for his pyrotechnic prose or an informative and engaging look at youth car culture. It’s an exhortation, one that he’d repeat often, to locate meaning in the putatively superficial—to examine the values underpinning artifice. “I don’t have to dwell on the point that cars mean more to these kids than architecture did in Europe’s great formal century, say, 1750 to 1850,” he wrote. “They are freedom, style, sex, power, motion, color—everything is right there. Things have been going on in the development of the kids’ formal attitude toward cars since 1945, things of great sophistication that adults have not been even remotely aware of, mainly because the kids are so inarticulate about it, especially the ones most hipped on the subject.”

Being articulate about the inarticulable, for Wolfe, demanded the adoption of a now standard critical posture—taking popular culture seriously and viewing its products and developments as worthy of close study, if not respect. Through this lens and in his hands, a figure like Phil Spector, for instance, the twentysomething tycoon savant of early ’60s pop, might additionally be understood as a cultural figure of almost world-historical importance. “Every baroque period has a flowering genius who rises up as the most glorious expression of its style of life,” he wrote in a 1965 profile. “In latter-day Rome, the Emperor Commodus; in Renaissance Italy, Benvenuto Cellini; in late Augustan England, the Earl of Chesterfield; in the sal volatile Victorian age, Dante Gabriel Rossetti; in late-fancy neo-Greek Federal America, Thomas Jefferson; and in Teen America Phil Spector is the bona-fide Genius of Teen.”

A short plane ride away from the FEMA event, the girls bobbed in the water beneath their towels. Three hours passed. Still no rescuers. Isabella knew there was a vast military force in Hawaii. Why had no one showed up yet? Had the fire wiped out the entire island? she worried. Had all of the firefighters perished too? Where were they?

From her vantage point, Isabella could peek from beneath the towel and see Lahaina’s historic banyan tree on fire. The harbor was engulfed. Boats burned. A giant piece of sheet metal from a nearby restaurant’s roof hurtled into the water, scratching Isabella. Every car that caught fire or exploded brought more black, suffocating smoke.

The rollercoaster of losing your health. Analyzing the film The Zone of Interest. An unusual con artist. Calculating love versus genetics. Recalling a dark childhood. All that—and more—in our first edition of 2024.

1. My Unraveling

Tom Scocca | New York Magazine | January 2, 2024 | 6,677 words

Sometimes it feels like medical mystery stories are everywhere. Long COVID. Rare disorders. The New York Times’ ever-popular “Diagnosis” column. It’s a genre to itself, and by now we know that genre’s beats: onset, frustration, revelation, closure. Tom Scocca’s own experience, though, enjoys no such arc. From the moment he notices symptoms—innocuous at first, but not for long—uncertainty is his only constant. “I’ve told the story over and over, to various doctors, till it almost sounds like a coherent narrative,” he writes. It’s not a coherent narrative, of course. That’s not how these things work, no matter what similar stories may suggest. But Scocca meets the incoherence head-on with spare, even wry, prose: “I started buying five-pound bags of rice from H Mart instead of ten-pound ones. Then I just started getting rice delivered.” His malady takes root during a professional down period, and financial dread lurks in the background here, making each new physical issue that much more harrowing. He finishes a recruiting call before going to the ER; he has a phone interview hours after he wakes up from a muscle biopsy. All the while, his body betrays him in novel and confounding ways. That’s not to say he doesn’t find some measure of relief. He does. What he doesn’t find is answers, which is exactly what makes this piece so destabilizing. “This is what disability advocates have said all along,” he writes, “not that it usually sinks in: The able and the disabled aren’t two different kinds of people but the same people at different times.” —PR

2. How Do You Make a Movie About the Holocaust?

Giles Harvey | The New York Times Magazine | December 19, 2023 | 4,710 words

I have seen The Zone of Interest, the film that this article is about, twice now. It is a hypnotizing, unnerving masterpiece. For the unacquainted, a quick description: the movie is about Rudolf Höss, the real-life commandant of Auschwitz, who lived in a home that shared a garden wall with the camp. Director Jonathan Glazer never shows audiences what goes on inside the camp—though you hear it; god, do you hear it—choosing instead to focus his lens on the quotidian existence of Höss, his wife, and their five children. The effect of this bifurcation of sight and sound is extraordinary, as writer Giles Harvey explains in this essay. “The average viewer is unlikely to see himself in the figure of a death-camp C.E.O., but a family that sleepwalks through their own lives, heedless of the suffering that surrounds them, may feel closer to home,” Harvey writes. “To a greater or lesser extent, we all ignore and deny the pain of others, including—perhaps especially—when that pain is inflicted by our own governments on designated enemies.” It is fitting that such an astonishing movie is the subject of one of the best pieces of film criticism I’ve read in ages. Harvey pulls from philosophy, history, and conversations with Glazer and his team to situate The Zone of Interest both in the canon of Holocaust films and in our present moment. See: Trumpism. See also: Gaza. “When I first started on this, I genuinely couldn’t get my head around how a society could have gone along with these hideous ideas,” Glazer tells Harvey at one point. “During the time of making the film, it’s become blindingly obvious.”—SD

3. Meet the Con Artist Who Deceived the Front Range Tech Community

Chris Walker | 5280 | December 29, 2023 | 6,863 words

As I browsed links I’d missed over the holidays, André Carrilho’s colorful illustration for this 5280 story caught my eye. I’m glad I clicked. In my post-holiday COVID haze, not many stories have held my attention, but this piece by Chris Walker, about a con artist named Aaron Clark, was easy to read and enjoy. Clark was a rising star in Colorado’s tech scene in 2020: a promising Black businessman who could spark change at a time when companies pledged to invest more in DEI efforts. But the only thing Clark brought to the table, in any venture, was financial chaos. As Walker follows the trail of breadcrumbs into this mysterious man’s past, he finds a history of business scams in California and abroad in Nairobi’s emerging tech community and a man with a habit of disappearing, changing identities, and starting fresh. But why would someone with the ability to really make an impact resort to this? “In key ways, he never fit the mold of a classic con man,” writes Walker. Ultimately, Clark’s deceit seeded distrust in Colorado’s startup world, now making it harder for Black entrepreneurs and DEI consultants to get buy-in and attract investors. A curious tale of grift. —CLR

4. Love in the Time of Sickle Cell Disease

Krithika Varagur | Harper’s Magazine | August 1, 2023 | 8,133 words

I had missed this piece when it was originally published by Harper’s in August, but, luckily, it caught my attention after The Guardian published an edited version in December. Nkechi and Subomi first met at work. They first spoke while doing community service together. They first went for a drink at a dive bar, and Nkechi first revealed her genotype after a few days. From the beginning, they knew they had “no business” dating. Subomi had two abnormal S genes for hemoglobin, meaning he had sickle cell disease. Nkechi was a carrier—with one abnormal S gene and one normal A gene. There was a 50 percent chance their children would have the disease. Opening with their love story, Krithika Varagur instantly pulls you into a world where sharing genotype screening is typical, and a social norm is consolidating against two people with sickle cell genes from dating. Perhaps understandable in a society where nearly six million people carry the disease (Nigeria is the sickle cell capital of the world). But what about when love happens, “like a coconut dropping on your head while you’re walking down the street?” Varagur meticulously delves into the people behind the stats, talking to many disease carriers: single, married, separated, parents, and non-parents. But Nkechi and Subomi’s story is the constant thread, and the investment in their tale sheds the most light on how devastating genotype calculations can be. —CW

5. On Beauty and Violence

N.C. Happe | Guernica | December 11, 2023 | 5,021 words

It can be appealing to try to blow the dust off the old you and reinvent yourself in a place where you’re a stranger. As N.C. Happe recounts her move to Canada in this beautiful but sometimes difficult read for Guernica, she recalls her Minnesota childhood and her father’s dark moods and explosive temper alongside the casual—and sometimes invited—violence of the playground. Cinematic details make this essay an immersive read. You can hear a dying deer bleat and imagine its accidental and untimely death. You can feel the author’s cracked dry lips; you can taste the copper when they bleed. “The realization dawned: violence runs in the blood of everything, everywhere,” she writes. “For me, it took leaving the country to learn this. For the doe from my childhood home, it had been as simple and as quietly done as jumping a fence.” What Happe shows us through this thoughtful piece is that while sometimes you can jump the fence and leave home, you might be surprised by what you’re unable to leave behind. —KS

Audience Award

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The aftermath of the war brought in sweeping military presence and restrictions in the north and east, even as the country opened up access to the north for war tourism in 2014. Since then, simple acts of remembrance like cooking and serving kanji have become a dangerous form of resistance, often inviting police surveillance and action.

From the beginning, Nkechi knew that she and Subomi had “no business dating.” His genotype was SS: he had two abnormal S genes for hemoglobin, the oxygen- carrying protein in his blood. Nkechi’s genotype was AS: she had one abnormal S gene and one normal A gene. Like an estimated quarter of all Nigerians, she was a silent carrier. There was a 50 percent chance that any child they had would suffer from sickle cell disease like their father. This was no light prospect. Subomi’s own childhood had been marred by secrecy and shame over his condition. Nkechi, meanwhile, had lost four cousins to the disease. Those deaths might be understood as products of an earlier, benighted time, when the average Nigerian knew far less about genetic testing and disease management. Today, however, there was a growing consensus— particularly in their college- educated, upper- middle- class milieu—when it came to passing on two sickle cell genes: don’t risk it.