Elections

Every Tuesday and Friday, Ezra Klein invites you into a conversation about something that matters, like today’s episode with Aaron Retica on the final night of the 2024 Democratic National Convention. Listen wherever you get your podcasts.Transcripts of our episodes are made available as soon as possible. They are not fully edited for grammar or spelling.Kamala Harris Wants to WinThe Democratic presidential nominee’s speech on Thursday night sought to persuade.EZRA KLEIN: It is Thursday, Aug. 22. We are just back from the arena having watched Kamala Harris accept the Democratic nomination for president. She gave a speech, I think was quite extraordinary and also quite unusual by the standards of recent Democratic convention speeches. She did quite a lot, I think, to define herself to the country but also to define what kind of campaign she’s going to run — what her campaign’s theory of this election, and a victory and it would be.I’m joined here by my revered editor, Aaron Retica. Aaron, welcome back to the show.AARON RETICA: Thanks. Let’s cast our minds back to the Paleolithic era — by which I mean, you know, July — and stop for a second and talk about the Republican Convention and where things seemed while that was happening. And then we’re going to, of course, turn to the events this weekend, particularly Kamala’s speech tonight.How would you contrast — first, before we get into the nitty-gritty of what she said — the overall feeling of the Republican convention when it looked to the Republicans like they were going to win, and this week in Chicago?We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

Styling himself as a rebel, he won more than 600 races and nine championships in a 40-year career.Scott Bloomquist, a superstar dirt-track racer who won more than 600 races and whose car bore the image of a skull and crossbones, died on Aug. 16 when the vintage single-engine plane that he was piloting crashed into a barn close to the airstrip on his family farm near Mooresburg, Tenn. He was 60.The Federal Aviation Administration said that Bloomquist was the only person aboard the vintage Piper J-3 aircraft. In a statement confirming the death, Scott Bloomquist Racing posted a statement that described him as “one hell of a wheel man” and said, “Whether you cheered for him or booed for him, you still made noise, and Scott loved you all equally for that.”Bloomquist, whose car bore No. 0 and a skull-and-crossbones image, dueled with Tim McCreadie (No. 39) at the World of Outlaws late-model series championship in Concord, N.C., in 2014.David Allio/Icon Sportswire — Corbis, via Getty ImagesBloomquist was considered one of the greatest drivers on the circuits where he raced. He won nine championships, including four with the United Dirt Track Racing Association’s Hav-A-Tampa Series, three with the Lucas Oil Late Model Dirt Series and one with the World of Outlaws.Tony Stewart, the three-time NASCAR Cup Series champion, owns the Eldora Speedway dirt track in Rossburg, Ohio, where Bloomquist won four elite World 100 races. Bloomquist, Stewart said in a statement, was “probably the smartest guy I’ve ever been around when it come to dirt racing.”Stewart, who has raced on dirt tracks, added, “What he could do behind the wheel of a racecar was matched by the ingenuity he put into building his racecars.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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It’s not too late to enjoy some lake weather in Cleveland, where the ice cream is fabulous and there’s never any shortage of art to see — let our critic tell you where.In the depths of summer, while other art lovers in New York are catching the B train to Brighton Beach or busy with parties in the Hamptons, I like to enjoy a week or two of lake weather in Cleveland, where my in-laws live, where the ice cream is fabulous — and where there’s no shortage of art to see. In years past I’ve visited Praxis Fiber Workshop and the Sculpture Center — both of which make ingenious use of the huge spaces that a postindustrial city can offer — as well as the Museum of Contemporary Art Cleveland. But these are the places that caught me this time.Cleveland Museum of ArtImagine the Metropolitan Museum with free admission and not more than a comfortable sprinkling of other visitors, and you’ll get a sense of the CMA. With an encyclopedic collection of more than 65,000 objects housed in a snazzy neo-Classical palace, it’s always a great place to pass a few leisurely hours. But the Cleveland Museum of Art also hosts a constant stream of excellent temporary exhibitions. Just at the moment, they’ve got shows on Korean couture and the history of Korea’s so-called Seven Jeweled Mountain; an installation by Rose B. Simpson; and a fascinating show of photos from East Los Angeles and the U.S.-Mexico border.“Raven’s Head in Profile,” 1875, by Édouard Manet, an illustration for Edgar Allan Poe’s “The Raven.”The Cleveland Museum of Art, Charles W. Harkness Endowment Fund 1923.215The real knockout, though, is “Fairy Tales and Fables: Illustration and Storytelling in Art.” In just two modest rooms and a hallway, it covers a thrilling range of artistic styles and tones, with prints and drawings by Aubrey Beardsley, Gustave Doré, Marc Chagall and dozens of others. Picasso’s exhilarating illustrations of “Lysistrata,” the mind-bending details of Eugen Napoleon Neureuther’s Sleeping Beauty prints, and Édouard Manet’s inky, self-conscious raven, made for Mallarmé’s translation of Edgar Allan Poe’s famous poem, could all anchor exhibitions in their own right. But I was most struck by four wood engravings that Clare Leighton made to illustrate Thornton Wilder’s 1927 novel, “The Bridge of San Luis Rey.” I’ve never seen such depth and density wrung out of black and white, such virtuosic delicacy of engraving.Museum of American Porcelain Art“The Bride,” a porcelain sculpture based on a 1937 oil painting by Boleslaw Cybis, is one of an edition of 100 issued by Cybis Studio between 1980 and 1982.Carey Barone/ Museum of American Porcelain ArtA few years ago, Richard A. Barone, a retired asset manager, found himself reminiscing about the porcelain collectibles he’d once dabbled in trading, pieces made in a complex, uniquely American process in five factories in New Jersey. Shocked to discover that the factories were all closed or closing, and that there was no museum dedicated to American porcelain, he became a serious collector — buying up the remnants and archives of Edward Marshall Boehm Studio and the Cybis Studio in Trenton, along with hundreds of pieces — and opened his own.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

The stalwarts of children’s health shared their tips and gripes.Carren Teitelbaum, a school nurse in Ramapo, N.Y., once had a student stumble into her office with a 102 degree fever. Mrs. Teitelbaum called his mother, who said she’d given her son Tylenol that had likely worn off and that she could come give him more.“That kind of thing is extremely frustrating,” Mrs. Teitelbaum said. “And it’s not an isolated incident.”Most parents are aware that fevers are a symptom of communicable viruses, and it’s best to keep their children home when they have one. But on short notice, many parents can’t stay home from work, leaving school nurses to care for sick and contagious children.Sending feverish kids to school is just one miscalculation school nurses say parents make. The New York Times spoke with 14 school nurses across the United States who shared other common mistakes. “Some of these things are common sense,” said Mrs. Teitelbaum, “but I find that what makes sense for me may not make sense for somebody else.”They leave the school nurse in the dark.Parents might inform a new teacher about their child’s health but many forget to tell the school nurse, Mrs. Teitelbaum said.Last year, a student with a bad headache visited Anna Etlinger, a school nurse in Cook County, Ill. After calling the boy’s mother, Mrs. Etlinger learned he experiences migraines that cause vomiting without medicine. But public school nurses generally can’t administer most medications without parental consent and permission from a licensed health care provider.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

In “Orange Blossom Trail,” the photographer Joshua Lutz and the author George Saunders pay tribute to the hard living across one stretch of American highway.With an austere frankness, the 62 photos by Joshua Lutz in ORANGE BLOSSOM TRAIL (Image Text Ithaca Press, $40) document the hard living, low-wage jobs and big-box landscapes along a single stretch of highway that runs 400 miles from Georgia to Miami, cutting right through Orlando, Fla.High shutter speeds hide road workers’ faces in shadow. Corporate storefronts and commercial vans appear without ceremony, as if snapped from a camera phone. Commuters wait for a bus, reduced and sad, while a sign for “Mighty Wings” floats mockingly above them.Though not without dignity — see Lutz’s portraits of fruit inspectors, as they glance up from a conveyor belt of tumbling oranges — his photos lack any social agenda. They find an unlikely manifesto in the three previously published texts by George Saunders, our Chekhov of suburban realism, threaded through the book.Joshua LutzJoshua LutzSaunders’s 2022 allegory of death and hope, “My House,” casts a certain entropy over Lutz’s close-ups of oranges — the region’s alleged cash crop — overtaken by rot and snails. In “Exhortation” (2013), a story told in the voice of an embarrassing middle manager trying to psych up his employees, Saunders expertly confuses the objects of our allegiances. In a sincerely Buddhist essay from 2007, he asks us to view misfortune “with clarity, rather than judging.” It’s almost a caption for Lutz’s images, as attuned to ironically pleasing harmonies of shades of orange — across workers’ safety vests, loan shark signs, a child’s slightly tragic coloring book — as they are to any drama of the working class. Mindfulness, often prescribed for happiness, can be brutal.Joshua LutzNot quite an illustrated Saunders, nor an annotated Lutz, this bizarre almost-collaboration confronts the demoralizing American grind with an attitude between sympathy and resignation. An attitude that’s rare in art because we seldom admit it to ourselves. More

The event’s best theater production avoided the gimmicks of other shows in favor of well-drawn characters and well-written dialogue.If you say “Edinburgh Festival” to most people, they’ll probably think of the Fringe. But the Fringe — primarily a showcase of up-and-coming acts from English-speaking countries — is actually an offshoot of the more global, highbrow and judiciously curated Edinburgh International Festival, and the two events run side-by-side.The theater offerings in this year’s International Festival showcase the brightest Scottish talent alongside shows from around the world and fall into two categories: While the international plays are overtly political, encompassing disability rights, antiracism and ecology, the homegrown works explored the more personal terrain of addiction, recovery and self-care.One of the most eye-catching items on the bill was a metafictional spin on “Hamlet” by the Peruvian company Teatro La Plaza, which ran at the Royal Lyceum Theater Edinburgh earlier this month. This production, performed by eight young actors with Down syndrome, charts the journey of a similar, but fictional, group as it prepares to put on a production of Shakespeare’s famous tragedy. The actors perform snatches of “Hamlet” — there’s a murdered father, a ghost, a play within a play — and try to connect its story line to disability: Polonius’s protectiveness toward Ophelia, we are told, echoes society’s tendency to infantilize people with Down syndrome.But there isn’t much thematic overlap, and this “Hamlet” is mainly a cipher for the power of storytelling. In a key scene, Álvaro (Álvaro Toledo) sees Jaime (Jaime Cruz) trying to replicate Laurence Olivier’s famous performance in the 1948 film adaptation, which plays on the screen behind him. Álvaro upbraids Jamie for trying to play the part “like a statue.” The message, that people with Down’s must carve out their own paths rather than assimilating to normative expectations, is later reiterated in a defiant punk rock routine.Jaime Cruz in Teatro La Plaza’s “Hamlet.”Jess ShurteThe cast appears in casual rehearsal attire, but a dazzling selection of spotlights (by Jesús Reyes) injects a sense of magic. The actors are capable and immensely charismatic, and there are a number of funny moments including a fake Skype chat with Ian McKellen. But Chela De Ferrari’s script fades toward the end as the concept drowns out the story and the play lapses into a cloying mushiness that sits uneasily with its anti-condescension message.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

A final meeting between President Biden and China’s leader, Xi Jinping, is also likely to come up.Jake Sullivan, the national security adviser at the White House, will travel to China next week to meet with Wang Yi, the country’s foreign minister, in their latest high-level meeting aimed at defusing tensions.“These meetings are consistent with efforts to maintain this strategic channel of communication to responsibly manage the relationship,” said Sean Savett, a spokesman for the National Security Council.Mr. Sullivan’s visit will be his fifth face-to-face meeting with Mr. Wang but his only trip to Beijing since the start of the Biden administration. It will also be the first by a U.S. national security adviser since Susan Rice traveled to China on behalf of President Barack Obama in 2016.A senior administration official, who spoke on the condition of anonymity to comment on diplomatic discussions, said Mr. Sullivan and Mr. Wang would discuss potential issues of cooperation, such as efforts to limit the spread of fentanyl, as well as areas where the two countries are locked in disputes, including the future of Taiwan.A final meeting between President Biden and China’s leader, Xi Jinping, before the end of Mr. Biden’s term is likely to come up. The two last spoke this spring, after a meeting in California in November.Meetings last year between Mr. Sullivan and Mr. Wang helped restart diplomatic relations between the two countries after a rocky period that included Mr. Biden’s order to shoot down a Chinese spy balloon that traveled across the United States in early 2023.But despite a series of high-level conversations since then that have somewhat eased tensions, the United States and China remain in what the Biden administration calls a competitive posture.The administration has also expressed frustration with China’s support for Russia’s invasion of Ukraine and its lack of condemnation of the Hamas attack on Israel on Oct. 7, which killed more than 1,200 people, including Americans.The administration official said on Friday that Mr. Sullivan and Mr. Wang would also discuss military-to-military communications between the two countries, which were suspended for months after the balloon episode. And the official said the two men would talk about ways to cooperate on ensuring safety and minimizing the risks of artificial intelligence in the future.The meeting — and a potential final summit involving Mr. Biden — comes just months before a U.S. election in which voters will choose a new president and potentially shift policy toward China, especially if former President Donald J. Trump returns to the White House for a second term.The official who spoke to reporters on Friday said Mr. Sullivan would not try to speak for a future administration or its policies toward China. More