Beryl Gilothwest’s grandmother, Sandy “Moose” West, passed away at age 108 in 2021. For The Bitter Southerner, Gilothwest profiles a diminutive woman whose love for Ossabaw, an island off the coast of Georgia, was larger than life. In a world striving for “progress,” West was a staunch advocate for thoughtful preservation; she was a fierce conservationist and environmentalist who embraced the unknown and took pleasure in learning from it.

“Sandy believed that embracing what we cannot understand is the pathway to enlightenment. In her mind, spending time in the uncharted wilds of Ossabaw is the best way to learn that lesson. Separated from the mainland by a 30-minute boat ride, the island is deeply remote. Cell service is scant, and there is no wi-fi. You have to fend for yourself out there in a way that is uncommon in contemporary culture, where we always seem to have an escape hatch. Sandy knew that welcoming people into that kind of environment, where they have to relinquish control to the island, would force them to reckon with the unknown.”

In this story for Dispatch, Lotte Brundle reports on a surprising trend: young women in the UK are pursuing careers in the death care industry. In a time of high unemployment, funeral home apprenticeships offer an alternative to university, where students accumulate significant debt. While the pay is low and the industry needs to do a better job building awareness that the trajectory exists, the young women who speak to Brundle find the work meaningful and rewarding.

Her inspiration to become an undertaker arrived, as many teenage epiphanies now do, via TikTok. Emily was 15 and had been considering becoming a teacher or journalist when she came across an American woman documenting life inside her own funeral home. “I’d never considered it as a career,” she says. “I didn’t know anyone who was an undertaker, but I just thought how interesting it was.”

Two hours later, she was still scrolling through the woman’s profile, engrossed. Running her own funeral home became Emily’s dream.

Duncan is a longtime friend of Max Daly, and a drug addict caught up in “cuckooing,” where dealers take over people’s homes as drug bases in exchange for product. Daly offers a sympathetic portrait of Duncan’s spiralling life, while opening a window onto a bizarre world where the most vulnerable exploit each other—and sometimes even form bonds.

Over the 2000s and 2010s, wave after wave of gangs fanned out from Britain’s drug supply hubs – London, Liverpool and Birmingham – to set up shop in smaller towns and cities across the country. They took over the homes of drug users and young women who had been groomed by older male gang members. As early as 2008 Suffolk constabulary reported that more than a third of Class A drug dealers arrested in Suffolk were under 21, and the majority were from London. (Before this period, most crack and heroin dealers in towns and smaller cities were “user-dealers”, addicted heroin users in their 30s or older, who were not as “professionalised” as the big city drug gangs.) Gangs often used sex workers, who targeted male tenants and moved in, bringing the young dealers with them. Community safety teams, who rescued 80 tenants in London in 2005, were the first to call the tactic “cuckooing”.

Audiophiles are sometimes described in terms reserved for cults; a 1956 New Yorker story, referenced in Colin Vanderburg’s exceptional tour of extreme listening, refers to “a remarkably articulate group of zealots” and “an almost mystical reverence for sound.” Vanderburg travels among the believers, tracing the decades-long promise of “consumer audio innovations” to their technological apex: the New York International Audio Show, where audiophiles sample six-figure sound systems in pursuit of a signal as pure as the world they already inhabit.

More than anything, I have spent long passages of this earthly life sitting on my ass, listening. I listen to music, but what I hear is sound. Texture, timbre, and tone; clarity and detail; space and depth. And I hear, even more acutely, what thwarts sound. Shrill treble, muddled bass — for me these are worse than peeves. They offend hearing. They diminish the human sensorium. Earbuds repulse me; laptop speakers grate; a tabletop Bluetooth unit is a kind of vandalism.

The word audiophile — etymologically, one who “loves to hear” — has a wine-sipping pretension that I hate, but sometimes an ugly shoe fits. Like similarly suffixed psychopathologies, the term suggests a state of warped dependence, of inbent sublimation. I didn’t set out to be this way, but neither have I ever sought help. My symptoms are apparent, their causes obscure. What, after all, do we love when we love sound?

A shattered grin, a wornout crown, a discolored incisor. How do our broken pieces define us? For The American Scholar, Joshua Bodwell offers a brief autobiography in dental work, examining the ways in which a broken tooth and a handful of interventions shaped his self-perception over decades. He also chews over (sorry) a select literary history of teeth, from Chaucer to Raymond Carver, and seems to ask virtually everyone in his life about their own smiles. His essay is an engaging study of imperfection, of a type many folks live with but might easily hide.

I left my chipped tooth untouched for a long time. It continued to discolor. I suppose I accepted it. Maybe it did make me look, as my friend suggested, tough. At the very least, it gave me an air of wildness. Or maybe it was because I was without dental insurance and acceptance was the easiest path. For long periods, I forgot about my tooth entirely. Until, of course, I met someone new who would ask, assuming it was recent, “What happened to your tooth!?” With that I went tight-lipped.

Then a surprising thing began to happen. As I got older, became a father, moved into a more demanding career, I found that I thought about my tooth less and less. At least, I think I did. I mean, I must have: There are photos of me with friends from this period, laughing without reserve, my half fake tooth on full display. A strange thing was happening to my unchipped front tooth, too: It began to seem more perfect than it actually was simply because it shared the stage with a chipped partner.

Just a few years ago, Jos Leijdekkers was a gangster in Antwerp, working for a major drug lord. Today he’s the most powerful man in Sierra Leone, which he’s single-handedly turned into a crucial port in the transatlantic cocaine trade. European authorities haven’t been able to track him down. Can a journalist? Alexander Clapp details Leijdekkers’s remarkable, violent rise to power, while looking for the man himself:

“These kinds of people, we are always seeing them in Africa. They come, they disappear. But the moment we learned who he was, it freaked me out,” a local car-dealer who was one of the first people to sell a motor to Leijdekkers, told me. “I left Sierra Leone after finding out. I became really scared. Not small scared.” Sophie van Leeuwen, a Dutch correspondent for RTL News, told me she “had the strong feeling I was being followed by the secret police” during the first days of a reporting trip she took to Sierra Leone in February 2025. She was arrested outside a villa where Leijdekkers was believed to reside, informed that she had intruded upon a “special security situation”, and questioned for 15 hours. Her camera and computer were searched and scrubbed. The Flemish owner of her hotel was interrogated over her alleged role in seeding a European spy network in Sierra Leone.

One evening in the hills above Freetown I attended a cocktail party where Western diplomats mingled with aid-workers. “Careful with that,” a European mission head told me when I mentioned why I had come to Africa, swivelling her blue eyes round the room. A Norwegian mining investor assured me that there would only be one way of knowing whether I was making progress in my investigation: “The government will arrange a car crash for you.”

For a brief time, Sacha Jafri was both the creator of the world’s largest painting and one of the world’s most expensive living artists, after his 17,000‑square‑foot work The Journey of Humanity was theatrically “sold” for $62 million at a Dubai charity auction. The buyer, French “crypto billionaire” André Abdoune, never paid a cent and, given his history as a serial fraudster, almost certainly never will—meaning no money ever reached the charities that were promised the proceeds. So what was the real story: a giant painting, or a giant scam?

Many of Jafri’s other claims do not stand up to scrutiny. He is often touted as an artist whose work sells in the millions, but publicly available commercial auction records are more modest. His most expensive painting before The Journey Of Humanity was a piece called Dance of the Midnight Samurai, which sold in 2019 for approximately $70,000. The previous year, another work, Dreamscape II, went unsold at two auctions, before eventually being acquired for $893. Newspaper articles document purchases by Kevin Spacey and Guy Ritchie, but there are no reports of sales to Bill Gates, Leonardo DiCaprio, Barack Obama or Bill Clinton. No pictures exist of their red-printed hands.

Count the verbs in Alexander Chee’s essay, note the absence of emotional language, and then thank Annie Dillard for her part. Chee, an essayist and fiction writer, revisits his undergraduate writing workshop with Dillard, the distinguished, Pulitzer Prize-winning nonfiction writer who died last week at 81. Chee’s account of their semester together is an affectionate portrait that doubles as a brisk craft talk; in it, he puts Dillard’s lessons through their paces, a fitting tribute to the teacher who borrowed cigarette drags from her students, chewed through caramel candies during class, and nurtured his own artistic evolution with her rules and exercises.

Narrative writing sets down details in an order that evokes the writer’s experience for the reader, she announced. This seemed obvious but also radical—no one had ever said it so plainly to us. She spoke often of “the job.” If you’re doing your job, the reader feels what you felt. You don’t have to tell the reader how to feel. No one likes to be told how to feel about something. And if you doubt that, just go ahead. Try and tell someone how to feel.

. . .

One afternoon, at her direction, we brought in our pages, scissors and tape, and told to bring several drafts of an essay, one that we struggled with over many versions.

Now cut out only the best sentences, she said. And tape them on a blank page. And then when you have that, write in around them, she said. Fill in what’s missing and make it reach for the best of what you’ve written thus far.

I had never heard of the delightfully named Hudsonian godwit before this piece—yet, given their achievements, they deserve global fame. These slight, mudflat-loving shorebirds hold the record for the longest nonstop flight, clocking journeys of seven thousand miles or more that one scientist deems “technically impossible.” Rivka Galchen follows researchers from Patagonian mudflats to Alaskan bogs as they try to understand the biology behind these incredible flights. Along the way, she even gets to hold one of our little celebrities, an “otherworldly and wondrous” experience.

Migratory shorebirds are usually not a person’s first bird crush. They lack the supernatural aura of the resplendent quetzal, and they don’t go in for outlandish mating displays like that of the prairie chicken. As the Princeton University biology professor and shorebird-lover David Wilcove put it, migratory shorebirds can give an impression of being “little brown guys, buzzing around in the mud, not too big and not too small, and, whether one is a stint or a phalarope or a knot or a godwit, they’re just kind of there.” And yet, Wilcove told me, they are a birder’s kind of bird. Once people get to know them, they tend to fall in love.

What does it mean to live in a disappearing place? For Pioneer Works’ Broadcast, Brad Bolman, a professor of history and environmental studies at Tulane University, writes about New Orleans, the shifting borders between land and sea, and the political and economic forces that continue to shape the city’s fate in a time of climate catastrophe.

If Los Angeles is the city that has been imaginatively destroyed again and again in film and TV, as Thom Andersen argues in Los Angeles Plays Itself, New Orleans is the one that has been destroyed countless times in reality. We have survived worse and rebuilt before, many insisted. We’re staying.

It was a reaction as understandable emotionally as it was disconnected from environmental reality. But that gap is a feature of life in the Crescent City. As I watched my first Mardi Gras parade this spring, junk falling in never-ending torrents from brightly decorated floats, a friend sympathetically interjected, “This must be driving you crazy.” What they meant was that as someone who teaches about environmental history but isn’t from here, I must be especially affected by the throwaway culture of the city’s most famous fête and its tons and tons of plastic beads, made from the same fossil fuels that are causing sea levels to rise around us.

In this personal essay at The New Yorker, Anna Holmes writes about growing up in Davis, California, a college town near Sacramento; the financial challenges her mixed-race family faced; and what it means to come from a family without the generational wealth that can make homeownership, and the financial security that comes with it, possible.

It’s hard to hear people who own property grumble about how little money they have. One friend who regularly moans about money has a four-bedroom home on the West Coast and a vacation house in New England. I’m unmoved by the financial lamentations of another friend, who owns a town house in New York with an apartment for a nanny or an in-law. Stuff like this makes me want to scream. Demonstrate some modicum of self-awareness! Read the fucking room! When a friend told me that her parents were going to help her buy a second home, I made a pointed remark that it must be nice to have access to that sort of capital. She conceded the point, graciously, and we moved on.

For Orion Magazine, Seth Kaplan writes of turning to his tomato plants as a way to decompress after a long day at work. In this brief but beautiful essay, he revels in the tactile pleasures of trimming leaves and pinching suckers, of tending beings that make no demands.

The tomatoes do not have opinions, or so I tell myself, though it is mostly a lie. For they do lean toward the sun and then, perversely, away from it. They sulk when I overwater and they sulk when I forget, and they have firm convictions about how much attention is too much. But whatever they want, they show me plainly. A leaning plant wants turning. A pale, unhappy one wants trimming. A bushy one wants care. There is no tone in it—no door slamming or softly clicking shut upstairs, no message that says fine in a way that is clearly not fine. When a tomato is unhappy with me, it tells me in a language I can actually answer. And it does tell me. Skip a few days—a work trip, a long weekend, some obligation that drags me out of the side yard—and they turn unruly, almost insolent.

I’m not a fan of improv. I’ve even walked out of a class before—being told to pretend to give birth just wasn’t for me. But its popularity was once never in doubt: people were all too willing to shell out hard‑earned cash to watch performers fumble through impromptu sketches. Nowadays, the form has lost its shine, and Dennis M. Hogan traces whether it still has a place in today’s culture. The inspired title alone means this is a read you should say “yes” to.

During the boom years of the late 2000s and 2010s, improv persuaded many people that it was not just a wacky gimmick but, as I believed, an art in itself. The rise of stars like the improv-trained Steve Carell, Tina Fey, and Amy Poehler convinced casting directors and network executives that improvisers had graduated from sideshows to being bankable talents in their own rights. Performances were packed with newbies and aficionados alike. Major theaters added classes and facilities to meet growing demand, allowing many improvisers who never made it big to eke out livings as teachers and theater staff. The gospel of improv spread to those far outside the comedy world, from self-improvement seekers hoping to level up their interpersonal abilities to corporate suits eager to take advantage of the latest team-building and soft skill-optimization fad.

This story moves chronologically through a marriage that begins to unravel—with fatal consequences. The victim is Dan Markel, the ex-husband of Wendi Adelson, but it’s the involvement of Wendi’s domineering mother, Donna, and her brother, Charlie, that leads to his tragic end. Katherine Laidlaw shows how there were far more than two people in this marriage—and far more than two lives destroyed when it fell apart.

Harvey was nominally the breadwinner, but Donna ruled the family. She had strict ideas about how her children should live, pushing them to earn advanced degrees and build prestigious careers. Rob became a doctor, and Charlie became a periodontist, eventually buying his father’s dental practice. Donna obsessed, too, about her children’s love lives, scrolling through online dating profiles and sending them lists of promising candidates. When Rob started seeing a woman who wasn’t Jewish, Donna interfered so aggressively that he eventually broke it off and briefly married someone else. (He has since married his original non-Jewish girlfriend.) At first, Donna was thrilled that her daughter was seeing Dan, then a lawyer at a boutique firm. She was less thrilled when he left to pursue academia, a path that she felt paid poorly and lacked cachet.

Daniel Shailer embeds with the tiny separatist group “Shetland First,” whose members believe the Shetland Islands were never legitimately ceded to Scotland. Its 83‑year‑old leader, Stuart Hill—shipwreck survivor, serial litigant, self‑proclaimed weather‑controller—is such a compelling eccentric that Shailer ends up as absorbed in Hill’s own story as in the broader currents of populism on these remote isles.

Previously, Hill has focused on relatively esoteric points of history and legalese. Now, on the advice of his chief campaign advisor, ChatGPT, he is meeting people where they are: should council tax go up while official salaries get bumped? Is it fair to live in fuel poverty at the footsteps of Britain’s largest onshore wind farm?

‘There are all these injustices, and once you read the history, you can see a basic injustice,’ Hill says. ‘Everybody seems to be kind of comfortable with it, but at the same time there’s a basic undercurrent of dissatisfaction.’

J.B. MacKinnon files a remarkable dispatch from among the members of the so-called Ostrich Army, who convened last fall in British Columbia to protest the planned culling of 300 or so birds following an H5N1 outbreak. The plight of the birds and the various claims made in their defense—that their antibodies could yield a cure for bird flu or COVID-19, for instance—are intriguing enough on their own. But it’s MacKinnon’s study of the Ostrich Army itself that helps this story take flight (even if the subjects at its center cannot). As helicopters pass overhead and a suspected kill pen mysteriously catches fire, suspicion mounts among the troops, and interpretations diverge. A genuinely surprising portrait of a loose, wayward movement, delivered with peak dramatic tension.

This was the Ostrich Army way: every event called for interpretation, an attempt to see through to hidden endgames. “One thing with black magic,” one camper would later say to me, “is they tell you what they’re going to do before they do it.” And so, at first light, when firefighters had won the day and the smoke cleared to reveal the ostrich flock still standing, the sight didn’t lead to any reconsideration of the night’s theories of clandestine slaughter. The Army simply moved on, hoping to make better sense of the next move, or the one after that. The birds really could die this day.

The FBI isn’t the only interested party searching for Mary Carole McDonnell, the 74-year-old producer behind TV series like I Married a Murderer. There are the former employees who allege millions in unpaid wages, and the two sons who claim their mother forged their signatures on bank documents. There’s an entrepreneur in the United Arab Emirates who accuses her of “mind games,” and the former bank vice-president turned true-crime podcaster who’d like to make a documentary about McDonnell. Cheyenne Roundtree goes deep on the woman who, nearly a decade ago, walked into a California bank with a pecan pie and left with a $15 million loan before vanishing.

The story has all the makings of a viral documentary replete with breathless details, similar to the ones McDonnell’s company produced. Her backstory is littered with half-truths and deceptions, including a lie that her mentally disabled younger sister was murdered after being kidnapped. Questions remain on how she was able to pull off such a brazen heist. And it has sparked an ongoing hunt among the FBI, banking institutions, a true-crime podcaster, and television producers to see who can unravel McDonnell’s tangled history, track her down in a foreign land, recoup the financial losses she caused, and perhaps bring the unbelievable tale to screens.  

The most recent winner of the National Magazine Award for feature writing describes his turn to payday lending apps when AI gobbled up his livelihood (aka penning promotional web content for business clients). Sharp and darkly funny, the essay chronicles yet another nail in the coffin of the American dream:

Albert founder Yinon Ravid has said that he chose his app’s name for its suggestion of the kind of “smart, unassuming friend” you might come to for financial advice, but today, when I hear the name Albert, I am far more likely to picture an overwhelming force bent on my total destruction, a figure you might spot while being burned alive in a dream—black-robed, pale, teeth bared. When I first joined the app, about eighteen months ago, Albert offered me $25.00. To acquire this loan, I was required to pay an additional fee: A $6.99 instant deposit charge plus the cost of a $19.99-per-month subscription to Albert’s Standard plan, due in one week’s time alongside the full loan repayment. (If I really wanted to make the most of my $25.00, I also had the option of Albert’s $39.99-per-month Genius plan, which, among a very small handful of other talents, can “find restaurants based on your location, or in a specific area.”) On its own, this might’ve been manageable, but, true to the CRL’s findings, Albert’s offerings alone couldn’t keep me afloat, and so I soon signed up for the rest of the payday apps, each one toting its share of instant deposit and subscription fees. (Gallingly, Dave—the only publicly traded company of the bunch, valued at $4.72 billion as of this writing—has the nerve to ask for a tip after each transaction, a move that I suspect even the flintiest strip mall grift artists would dismiss as gauche.)

Ian Parker does not hold back in painting the egos of the characters in this horse‑world scandal, clearly growing tired at times of the pomposity of Michael Barisone, a U.S. dressage trainer and former Olympian who shot his student, Lauren Kanarek, after an escalating feud. Claiming that Kanarek’s online taunts and complaints drove him insane, Barisone was eventually found not guilty, though later banned from his sport by the U.S. Center for SafeSport. Tread carefully as you enter this arena; narcissism lurks everywhere.

The first time I called him, he said, of the case, “You’re going to find it is a John Grisham novel combined with ‘Fatal Attraction’ combined with ‘Yellowstone.’ ” Barisone’s story has its evident hero, and its villain is Kanarek, his victim. In this presentation of events—a “scum of the earth” client, in his words, and a terrific guy who snapped, as anyone would have—Barisone has enjoyed near-universal support from the dressage community, and beyond. In much of the online discussion about the case, including in the forums of The Chronicle of the Horse, a long-established magazine, commenters have identified two victims, not one, and have almost always found Barisone’s victimhood the more compelling. A woman was shot, but a man was driven to shoot her, because she was annoying, and at times belligerent, in person and on social media. Kanarek has been widely scorned as a dressage interloper and as an embodiment of contemporary ills: a bullshitter, an entitled troll.

In our relentlessly optimized world, Justin Neuman calls for more nothing. More time for both adults and kids to engage in free, unstructured play. More opportunities to play games without competition or scoring. More chances to do things without needing to produce outputs or achieve goals. More “transitional spaces” through which we can practice, imagine, and think.

For years, I’ve commuted on foot from Grand Central Station to 14th Street, 30 blocks, give or take. I told myself it was exercise, or that I was saving the subway fare, or that I liked the air. But the truth is I was thinking. Or rather, I was letting thinking happen. The lecture I couldn’t outline at my desk would assemble itself somewhere around 34th Street, the important points falling into sequence with my footfalls, the argument clarifying as if the motion itself were doing the editing. I wasn’t working on the lecture. I was walking in it, the way my kids were playing in Catan.