by Akim Reinhardt
Historians have spilled much ink analyzing and interpreting all of the U.S. presidential elections, dating back to George Washington’s first go in 1788. But a handful of contests get more attention than others. Some elections, besides being important for all the usual reasons, also provide insights into their eras’ zeitgeist, and proved to be tremendously influential far beyond the four years they were intended to frame.
2016 and 2020 were almost certainly among those elections, though academic historians have not yet written much about them (or even Obama’s 2008 election) because we typically wait a couple of decades before sensing that an event has passed from current or recent events into our distant domain. And anyway, it’s quite possible, even likely, that many future historians end up examining the three Trump elections of 2016, 2020, and 2024 as a bundled set.
But that still leaves about 55 elections historians have focused on and learned lessons from. So here on Election Day 2024, I offer brief summaries of select, momentous presidential elections and explain how they connect to this current Trumpist era and today’s electoral contest. Read more »



Donald Sutherland was a connoisseur of poetry. In the 80s I knew poetry-quoting doyennes from the glittering parties the Academy of American Poets threw as well as the Sudanese who recited their histories in song, but mostly I knew poets obsessed with competing with dead ones, with an eye toward their next book. Poets generally love poetry the way auto mechanics love cars. They don’t luxuriate in the front seat, or take long winding car trips through the Berkshires, they make sure the ignition catches and go on to the next one. Hearing Sutherland recite poetry you heard the Stanislavski method of poetry-recitation, an oral delivery straight from the mind as well as the mouth. Sutherland said he was manipulated by words, not as a ventriloquist but in the relationship between feeling and meaning. Likewise, after numerous tussles with directors Fellini and Preminger and Bertolucci – he even tried to get Robert Altman fired from M.A.S.H. – he decided he was merely the director’s vehicle. Poetry directed him.



In daily life we get along okay without what we call thinking. Indeed, most of the time we do our daily round without anything coming to our conscious mind – muscle memory and routines get us through the morning rituals of washing and making coffee. And when we do need to bring something to mind, to think about it, it’s often not felt to cause a lot of friction: where did I put my glasses? When does the train leave? and so on.
A good poem can do many things – be clever, edifying, provocative, or moving – but a truly great poem (which is to say a successful one), need only be concerned with one additional attribute, and that is an arresting turn of phrase. By that criterion, Ukrainian-American poet Ilya Kaminsky’s “We Lived Happily During the War,” originally published in Poetry in 2013 and later appearing in the 2019 collection Deaf Republic, is among the greatest English-language verses of this abbreviated century. Within the context of Deaf Republic, Kaminsky’s lyric takes part in a larger allegorical narrative, but that broader story in the collection aside, “We Lived Happily During the War” is arrestingly prescient of both the 2014 Russian invasion of Crimea and Vladimir Putin’s brutal and ongoing assault on the broader country of Kaminsky’s birth since 2022, including bombardment of the poet’s home city of Odessa. Yet even stripped of this context, “We Lived Happily During the War” concerns itself with the general tumult of modern warfare, both its horror and prosaicness, its sanitation and its tragedy. More than just about Ukraine, or Syria, or Gaza, Kaminsky’s lyric is about us, those comfortable Western observers of warfare who have the privilege to be happy and content at the exact moment that others are being slaughtered.

