The illustration is called “Liberty’s Flameout,” and it’s by John W. Tomac. “It was the symbol of American values,” Tomac says. “Now it seems that we are turning off the light.”
The reason the U.S. is a good place to do business is that, for the past two centuries, it’s built a firm foundation on the rule of law. President Trump almost undid that in a weekend. That’s bad for business.
-From a scathing short column by Matt Levine about businesses waking up to a harsh reality under President Trump.
The subtle and deadly change of heart that might occur in you would be involved with the realization that a civilization is not destroyed by wicked people; it is not necessary that people be wicked but only that they be spineless.
-From James Baldwin’s The Fire Next Time, published January 31, 1963.
Just as President Donald Trump was signing an executive order threatening to halt funding for America’s sanctuary cities, Seattle Met magazine released its own statement — a cover celebrating its status as a place that welcomes all. I asked editor in chief James Ross Gardner how it came together so quickly:
The staff and I arrived at the office on the morning of November 9, the day after the election, knowing we needed to respond—we were wrapping up the January issue at the time and heading into the February production cycle. With the support and encouragement of our cofounder and CEO, Nicole Vogel, we dropped a feature (to be printed later) and set to work: Over the next three weeks we reported on how our city and our region was responding to the election of Donald Trump—and on how our readers could help make a positive difference. The result: “Hope and Resistance in Seattle,” addresses everything from Seattle’s involvement in Japanese internment during WWII to our more recent designation as a sanctuary city. The cover, we knew, had to rise to the occasion. We wanted language that stated our stance definitively and an image that reclaimed our shared American values. That Trump signed the executive order regarding sanctuary cities on the exact same same day our February issue dropped was a coincidence. But I’m glad our seemingly prescient cover, designed by art director Jane Sherman, is out there right now in response.
Above is the cover of next week’s New Yorker, by Eric Drooker. In an interview about the work, Drooker says: “The police shooting of Michael Brown resonates on a personal level with me. An artist friend of mine was killed by a cop in lower Manhattan, back in 1991. He happened to be black, and the police officer was never indicted.”