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See today’s Daily Cartoon.
Zachary Fine reviews “Krasner and Pollock: Past Continuous,” a landmark show at the Met that shows how the painters advanced Abstract Expressionism by drawing on each other’s work.
Dr. Becky and Emily Oster share their favorite titles.
Adam Gopnik writes about changes to the U.S. passport at the behest of Secretary of State Marco Rubio, to take effect in 2028.
Yiyun Li on what makes a novel a historical novel, after researching the real-life figures John Field and Adelaide Percheron, the protagonists of her new book, “Music Against the Night.”
Daniel Castro on the Democratic campaign of Eliott Rodriguez, who hopes to win Florida’s Twenty-seventh District in a competitive House race in Miami.
Poetry by Diane Mehta: “I can’t remember how to reach / the end of my own sentences.”
The viral “Hotel Lobby” meme, which lets users inhabit the bodies of Quavo and Takeoff using A.I., resembles digital blackface, but also speaks to a technology that makes appropriation the default, Brady Brickner-Wood writes.
Pierre Damas Bel was a twenty-year-old college student planning for his future. His family says that ICE monitoring made him lose hope. Edwidge Danticat reports.
Susan B. Glasser writes about President Trump’s overtures to the Russian President, Vladimir Putin, apparently taking his side in Russia’s war of conquest against Ukraine.
Amanda Petrusich writes about Fontaines D.C.’s latest album, “Dopamine Chamber,” and explores how the post-punk band brings a raucous intelligence to its songs of oblivion.
One of the biggest failures of the post-#MeToo moment is our collective inability to provide a confident, humane account of sex as a basic good, Anahid Nersessian writes.
Joshua Rothman writes about why it can be so hard to sit still, and the usefulness of doing so.
Hanif Abdurraqib on the photographer Andre D. Wagner, who knows the special alchemy that can happen when you point a camera at a Black person on the street.
Helen Rosner reviews Faux, a Tribeca brasserie from Keith McNally’s son George McNally.
