For a few hours, Pete Hegseth’s nomination as secretary of defense was the most disturbing act of Donald Trump’s presidential transition. Surely the Senate wouldn’t confirm an angry Fox News talking head with no serious managerial experience, best known for publicly defending war criminals, to run the largest department in the federal government. Then, in rapid succession, Trump announced appointments for Matt Gaetz, Tulsi Gabbard, and Robert F. Kennedy Jr. The appearance of these newer and even more aberrant characters, like a television show introducing a more villainous heel in its second season, muted the indignation over Hegseth.

Obscured in this flurry of shocking appointments is the fact that Hegseth’s drawbacks are not limited to his light résumé or to the sexual-assault allegation made against him. Inexperienced though he may be at managing bureaucracies, Hegseth has devoted a great deal of time to documenting his worldview, including three books published in the past four years. I spent the previous week reading them: The man who emerges from the page appears to have sunk deeply into conspiracy theories that are bizarre even by contemporary Republican standards but that have attracted strangely little attention. He considers himself to be at war with basically everybody to Trump’s left, and it is by no means clear that he means war metaphorically. He may be no less nutty than any of Trump’s more controversial nominees. And given the power he is likely to hold—command over 2 million American military personnel—he is almost certainly far more dangerous than any of them.

Hegseth began his involvement in conservative-movement politics as a Princeton undergraduate. He then joined the Army and quickly developed a profile, when not on active duty, as a budding Republican spokesperson. He testified against Elena Kagan’s appointment to the Supreme Court (on the grounds that, while dean of Harvard Law School, she had blocked military recruiters from campus in protest of Don’t Ask, Don’t Tell) and lobbied in favor of the Bush administration’s Iraq policy. As the Republican Party’s foreign-policy orientation changed radically under Donald Trump, Hegseth’s positions changed with it. But his devotion to the party remained constant. After stints running the advocacy groups Vets for Freedom and Concerned Veterans for America, and a failed Senate campaign, he finally settled at Fox News, where he joined a chorus in support of Trump.

Along the way, Hegseth has written five books. The first, extolling Teddy Roosevelt’s legacy, revolves around ideas that Hegseth has since renounced after converting to Trumpism. Another is simply a collection of war stories. The other three, all published in the past four years—American Crusade (2020), Battle for the American Mind (2022), and The War on Warriors (2024)—lay out his worldview in florid, explicit, and often terrifying detail.

A foundational tenet of Hegseth’s philosophy, apparently carrying over from his Roosevelt-worshipping era, is a belief in the traditional masculine virtues and the potential for war to inculcate them. Hegseth maintains that boys require discipline and must aspire to strength, resilience, and bravery. His preferred archetype for these virtues appears to be Pete Hegseth, whose manful exploits either on the basketball court (he played for Princeton) or the battlefield are featured in all three books.

[David A. Graham: The perverse logic of Trump’s nomination circus]

Hegseth complains that society no longer gives veterans like him their proper measure of deference. “Being a veteran no longer demands respect of the coastal elites or reverence from large swaths of the public,” he writes—an observation that will sound strange to anybody who has ever attended a football game or listened to a speech by a politician from either party. “In previous generations, men had to find ways to salvage their honor if they didn’t get to fight in a war.” (The single strongest piece of evidence for Hegseth’s thesis—the popularity of lifelong coastal elitist, proud war-avoider, and POW-mocker Donald Trump—goes unmentioned).

Hegseth’s demand for greater respect grows out of his belief that he personally succeeded in the face of forbidding odds. “I had been an underdog my whole life,” he writes. “I persisted. I worked my ass off.” But the woke military, he complains, doesn’t reward that kind of individual merit and grit. Instead, it has grown so obsessed with diversity that it promotes unqualified minorities and allows women in combat, reducing its effectiveness and alienating hard-working, meritorious soldiers such as, well, him. He also frets that the inclusion of women in combat erodes traditional gender norms. “How do you treat women in a combat situation,” he asks, “without eroding the basic instinct of civilization and the treatment of women in the society at large?”

(The treatment of women by Hegseth specifically happens to be the subject of a recently disclosed police report detailing an alleged sexual assault of a woman at a 2017 political conference. Hegseth denies the allegation and says that the encounter, which took place while he was transitioning between his second and third wives, was consensual. He paid the alleged victim an undisclosed sum in return for her signing a nondisclosure agreement.)

One episode looms especially large in Hegseth’s mind as the embodiment of the wokification of the military and its abandonment of traditional merit. In 2021, Hegseth, an active National Guard member, wished to join the Washington, D.C., unit protecting incoming President Joe Biden’s inauguration. The National Guard, however, excluded him from the detail because he was deemed a security risk on account of a bicep tattoo of the “Deus Vult” symbol—a reference to the Crusades that is popular with some far-right activists.

The logic of the snub was straightforward. Biden’s inauguration took place in the immediate aftermath of an insurrection attempt that had included many members of the armed forces, some operating within far-right networks. But to Hegseth—who protests that the Deus Vult tattoo is simply an expression of his Christian faith, not a white-nationalist symbol—the decision was an unforgivable personal affront.

He expresses indignation at the notion that he could even be suspected of harboring radical ideas. “I fought religious extremists for over twenty years in uniform,” he writes. “Then I was accused of being one.” This is not as paradoxical as Hegseth makes it sound. Many of the people most eager to fight against extremists of one religion are extremist adherents of another religion. An example of this would be the Crusades, an episode that Hegseth highlights in American Crusade as a model to emulate.

In any case, evidence of Hegseth’s extremism does not need to be deduced by interpreting his tattoos. The proof is lying in plain sight. In his three most recent books, Hegseth puts forward a wide range of familiarly misguided ideas: vaccines are “poisonous”; climate change is a hoax (they used to warn about global cooling, you know); George Floyd died of a drug overdose and was not murdered; the Holocaust was perpetrated by “German socialists.”

Where Hegseth’s thinking begins venturing into truly odd territory is his argument, developed in Battle for the American Mind, that the entire basic design of the public education system is the product of a century-long, totally successful communist plot. Hegseth is not just hyperventilating about the 1619 Project, Howard Zinn, or other left-wing fads, as conservatives often do. Instead he argues that the entire design of the U.S. education system is a Marxist scheme with roots going back to the founding of the republic. The deist heresies of Ben Franklin and Thomas Jefferson, he writes, laid the groundwork to implant communist thought into the school system. Then, “American Progressives in the late 1800s blended the idea of Marxist government with aspects from the Social Gospel and the belief in an American national destiny in order to make Marxism more palatable to Americans.”

The nefarious plan to turn America communist involves steps that appear anodyne to the untrained eye. “Yes, our modern social sciences—like ‘political science,’ previously known as ‘politics,’ and ‘social studies,’ previously known as individual disciplines like ‘history, economics, geography and philosophy’—are byproducts of Marxist philosophy,” he writes. “Let that sink in: the manner in which we study politics, history, and economics in American schools—public and private—today is the product of Marxists. That was always the plan, and it worked.” Hegseth will no longer sit back and allow communist indoctrination to sap and impurify our precious bodily fluids.

The Marxist conspiracy has also, according to Hegseth, begun creeping into the U.S. military, the institution he is now poised to run. His most recent book calls for a straightforward political purge of military brass who had the gall to obey Democratic administrations: “Fire any general who has carried water for Obama and Biden’s extraconstitutional and agenda-driven transformation of our military.” Trump appears to be thinking along similar lines. He is reportedly working on an executive order that will fast-track the removal of officers “lacking in requisite leadership qualities” and compiling a list of officers involved in the Afghanistan retreat, who will likewise be shoved out.

To what end? Trump has already signaled his interest in two revolutionary changes to the Defense Department’s orientation. One is to legalize war crimes, or at least cease enforcement of the rules of war. The president-elect has enthusiastically endorsed the use of illegal military methods and has pardoned American soldiers who committed atrocities against detainees and unarmed civilians, following a loud campaign by Hegseth on Fox News.

[Graeme Wood: War crimes are not difficult to discern]

In The War on Warriors, Hegseth makes plain that he considers the very idea of “rules of war” just more woke nonsense. “Modern war-fighters fight lawyers as much as we fight bad guys,” he writes. “Our enemies should get bullets, not attorneys.” He repeatedly disparages Army lawyers (“jagoffs”), even claiming that their pointless rules are “why America hasn’t won a war since World War II.” (Ideally, the secretary of defense would be familiar with historical episodes such as the Gulf War.)

Writing about his time guarding prisoners at Guantánamo Bay—where, as even the Bush administration eventually admitted, most detainees were innocent men swept up by American forces—Hegseth describes calls for due process as a stab-in-the-back against brave soldiers like himself. “The nation was dealing with legal issues (mostly led by weak-kneed, America-hating ACLU types) concerning enemy combatants, ‘international rights’ of illegal combatants, and the beginnings of extrajudicial drone attacks,” he writes. “Not to mention the debate about the ‘rights’ of assholes (I mean, ‘detainees’) at Gitmo.”

Trump’s second and even more disturbing interest in having a loyalist run the department is his enthusiasm for deploying troops to curtail and if necessary shoot domestic protesters. His first-term defense secretaries blanched at these demands. Hegseth displays every sign of sharing Trump’s impulses, but in a more theorized form.

The clearest throughline of all three books is the cross-application of Hegseth’s wartime mentality to his struggle against domestic opponents. American Crusade calls for the “categorical defeat of the Left,” with the goal of “utter annihilation,” without which “America cannot, and will not, survive.” Are the Crusades just a metaphor? Sort of, but not really: “Our American Crusade is not about literal swords, and our fight is not with guns. Yet.” (Emphasis—gulp—his).

Battle for the American Mind likewise imagines the struggle against the communist educational plot as a military problem: “We are pinned down, caught in an enemy near ambush. The enemy has the high ground, and is shooting from concealed and fortified positions.”

And The War on Warriors repeatedly urges Hegseth’s readers to treat the American left exactly like foreign combatants. Describing the military’s responsibility to the nation, he writes, “The expectation is that we will defend it against all enemies—both foreign and domestic. Not political opponents, but real enemies. (Yes, Marxists are our enemies.)” The Marxist exception swallows the “not political opponents” rule, because pretty much all of his political opponents turn out to be Marxists. These include, but are not limited to, diversity advocates (“They are Marxists … You know what they are? They’re traitors”), newspapers (“the communist Star Tribune”), and, as noted, almost anybody involved in public education.

Lest there be any ambiguity, Hegseth incessantly equates the left to wartime enemies. “They do not respect cease-fires, do not abide by the rules of warfare, and do not respect anything except total defeat of their enemy—and then total control,” he writes at one point. At another, he argues, “We should be in panic mode. Almost desperate. Willing to do anything to defeat the ‘fundamental transformation’ of the American military and end the war on our warriors.”

Hegseth’s idea of illegitimate behavior by the domestic enemy is quite expansive. Consider this passage, recalling his time advocating for the Iraq War: “While I debated these things in good faith, the Left mobilized. Electing Obama, railroading the military, pushing women in combat—readiness be damned. The left has never fought fair.” The most remarkable phrase there is “electing Obama.” Hegseth’s notion of unfair tactics used by the left includes not only enacting administrative policies that he disagrees with, but the basic act of voting for Democrats. The inability or unwillingness to distinguish between legitimate and illegitimate political opposition likely endeared Hegseth to Trump, who shares the trait.

A Defense Secretary with a tenuous grip on reality, who can’t differentiate foreign enemies from domestic political opponents, and who seems to exist in a state of permanent hysteria is a problem that the United States has never had to survive. The main question I was looking to answer when I started reading Hegseth’s collected works was whether he would follow a Trump command to shoot peaceful protesters. After having read them, I don’t think he would even wait for the order.

When you hear that thousands of writers have signed a petition, you can already guess what they are calling for: What other than boycotting Israel could generate such enthusiasm among the literati?

A staggering 6,000 writers and publishing professionals have signed a letter to address “the most profound moral, political and cultural crisis of the 21st century.” They are calling for a boycott of Israeli cultural institutions. The letter says that these institutions have played a crucial role in “normalizing … injustices” and that cooperating with them harms Palestinians—the implication being that withholding cooperation will help Palestinians. Signatories include some of the best writers alive. If you like to read, chances are a favorite of yours is on here. Among the best-known are the novelists Percival Everett, Sally Rooney, Jhumpa Lahiri, and Annie Ernaux. Some of my own favorites include the Indian writer Arundhati Roy, the Canadian novelist Miriam Toews, and the British critic Owen Hatherley.

[Read: The cowardice of open letters]

Predictably, the letter has led to a backlash. Almost 1,000 writers issued a counter-letter. They include the Pulitzer Prize–winning playwright David Mamet, the essayist Adam Gopnik, the historian Simon Sebag Montefiore, and the Nobel laureate Herta Müller. My favorite signatory on this one is another Nobel laureate, the fiery left-wing feminist Austrian Elfriede Jelinek, known for her 1983 masterpiece The Piano Teacher.  

I am as horrified as anyone by Israel’s brutal and criminal war in Gaza and its decades-long regime of occupation. As a writer, my primary solidarity is with the dozens of journalists killed in the conflict in the past year, the majority of whom were Palestinian. But I also have no doubt as to which side of this literary civil war I am on.

I’ve never joined a cultural boycott of any country—not Israel, not Russia, and not Iran, my own country of birth. The latter informs my outlook on the issue.

I grew up in one of the most culturally isolated countries on Earth. Our case was of course very different from Israel’s. Iran’s isolation was partly the doing of its own government, which banned foreign cultural products that violated its religious and political strictures—meaning most of them. Cinemas hardly ever showed newly released foreign films (rare exceptions included Michael Moore’s Sicko and Frank Darabont’s The Green Mile). The censors constrained what foreign literature Iranian publishers could translate and publish.

But our isolation also owed to the international sanctions on Iran that made any financial exchange with foreign entities into a potentially criminal affair. For example, we might have accessed banned foreign literature by ordering copies in original languages from abroad—except that this was not so easy in a country that had no credit cards, partly because international banks faced legal penalties for transacting with anybody inside it. When I was a teenager, my mom once helped me order a copy of Susan Sontag’s Against Interpretation through Amazon, using a prepaid card we went to some trouble to obtain from Dubai. The ordering process was labyrinthine, and even then, the book took six months to arrive. (My Palestinian friends in the occupied West Bank tell me of similar travails, because their post is sometimes held by Israel for months.) In 2002, Iran’s clandestine nuclear program was exposed, and the United States imposed a progression of sanctions that effectively blocked even this circuitous route. Today, many such simple exchanges between Iran and Western countries are close to impossible.

Some opponents of the Iranian regime abroad have reinforced Iran’s isolation by equating cultural exchange with an unwanted “normalization” of the regime. They have protested the inclusion of Iranian films at festivals and the travel of Western cultural figures to Iran. I left Iran in 2008, but I have never supported such efforts, because I saw for myself how cultural isolation served Iran’s oppressors. Many of us in Iranian society wanted nothing more than to find allies, counterparts, and inspiration abroad, and our regime wanted nothing less for us. Boycotting the country simply advanced the cause of our adversaries—namely, to cut the Iranian population off from influences that could bolster its courage and expand the reach of its solidarity.

That the Iranian people yearned for such contact was evident to those Western thinkers who did manage to visit. Jürgen Habermas, Immanuel Wallerstein, Michael Ignatieff, and Richard Rorty were among those who traveled to Iran and were treated like pop stars, filling meeting halls and taking part in enthusiastic exchanges with Iranians. Sadly these visits have dwindled in recent years, not just because of the regime's restrictions, but also because sanctions make any such exchange a tremendous hassle and a potential violation of U.S. law. (Foreign visitors also fear coming, because of the regime’s grim track record of taking Western citizens hostage.) That Iranians can still enjoy a good deal of foreign literature in Persian translation owes entirely to the courage and persistence of Iranian publishers, many of whom have tangled with both the censors, who determine what is permissible, and the sanctions, which make dealings with publishers around the world difficult.

When I hear of boycotts on Israeli writers, I think of those Israeli writers who have been published in Persian translation regardless of these obstacles. I ask myself who would benefit if fewer Iranians could read Amos Oz’s enchanting fairy tale, Suddenly in the Depths of the Forest, rendered in Persian by the Marxist poet Shahrouz Rashid. The book tells of two children in an unnamed village who decide, against the advice of their parents, to seek out a demon that has taken all the animals away. Some critics saw this story as an allusion to the Holocaust. I remember discussing it with friends in Tehran and finding within it our own meanings and references. We dreamed of meeting Oz, who died in 2018, and of sharing our interpretations with him. What good is served by severing such cross-cultural exchange?

Some supporters of boycotts will address these concerns by saying that their means are selective, that they punish only those writers or other artists who are linked, financially or ideologically, with states engaged in objectionable behavior, and that doing so has a track record of success in changing state behavior. But the question of which artists to tar as complicit with their governments’ policies is not a simple one, and boycotts are a blunt instrument at best.

For instance, the writers’ petition explicitly calls for sanctioning only those Israeli cultural institutions that are “complicit in violating Palestinian rights” or “have never publicly recognized the inalienable rights of the Palestinian people.” Any Israeli cultural institution that has had to rely on state funding, in any form or at any point, could conceivably fall afoul of this criterion. Perhaps this explains why LitHub, the outlet that first published the letter, has done away with niceties and simply headlined it as a “pledge to boycott Israeli cultural institutions,” as have most other outlets.

[Read: When writers silence writers]

Since it was founded in 2005, the Palestinian-led movement for boycotts, sanctions, and divestment (BDS) against Israel has shown that it likes to paint with a broad brush, censuring organizations that promote contact between Palestinians and Israelis on the grounds that they “normalize” Israel: In the past, BDS has boycotted the Arab-Jewish orchestra started by the Palestinian scholar Edward Said; one of its most recent targets was Standing Together, a courageous group of anti-war Israeli citizens, both Jewish and Palestinian, whose leaders and members have faced arrest in their long fight against Israel’s occupation. A similar zeal seems to animate those who have promoted a boycott of Russian culture following Moscow’s invasion of Ukraine in 2022.

Many of those who advocate cultural sanctions point to South Africa as the shining example of boycott success. As is often the case with politicized appeals to history, the purpose here is to draw a strong moral injunction: Who could possibly stand on the side of the apartheid regime, which was triumphantly brought down in the 1990s and replaced by a multiracial democracy? But the history of the boycott movement against South Africa is more complicated than those analogizing it commonly acknowledge.

Started in 1959 following a call by the African National Congress, the movement encompassed pledges not to work with South African universities or publishers and not to perform in South African venues. Several major U.S. publishers refused to provide books to South African libraries. The boycott’s proponents included not only fiery left-wingers but liberal doyens, such as the philosopher Isaiah Berlin and the American Library Association (ALA), which refused to work with any publisher that traded with South Africa. In 1980, the United Nations General Assembly voted to back the boycott and asked member states to “prevent all cultural, academic, sports, and other exchanges with the racist regime of South Africa.” When apartheid finally collapsed in the 1990s, Nelson Mandela proudly proclaimed the return of his country to the international community.

But for all that they may have achieved, the boycotts were far from uncontroversial, even among opponents of apartheid. Many South African trade unions and social movements were in favor of them, but the Congress of South African Trade Unions, the main workers’ organization that helped bring down the regime, was concerned that divestment could lead to the loss of jobs and pensions. Parts of that group embraced selective boycotts instead of a blanket ban.

Sanctions were even more contested in the art world. In 1975, Khabi Mngoma, the legendary principal of Johannesburg’s African Music and Drama Association (AMDA), which had produced stars such as Miriam Makeba and Hugh Masekela, visited New York to campaign against the boycott movement. “We feel isolated inside South Africa,” he told The New York Times, “and we also feel isolated by the outside world.”

Mngoma was especially incensed that Black Americans were boycotting his country. “The students in our school, for example, would gain tremendously simply by being exposed in seminars and other classes to the expertise of black American artists,” he said. “By staying away, blacks here do us a great disservice.” But the zealots of the boycott movement didn’t listen to the likes of Mngoma. In 1972, Muhammad Ali was scheduled to compete in South Africa, but a vociferous campaign dissuaded him from doing so.

Mngoma believed that engagement could be more constructive than sanction. On an earlier trip to New York, in 1968, he met with theater personalities and tried to persuade them to perform in South Africa instead of boycotting; they could tax white audiences and channel the money to Black theater. That strategy had some successes. The Broadway musicals Cabaret and Fiddler on the Roof were performed in South Africa and contributed tens of thousands of dollars in royalties to AMDA. Later, the American playwright Arthur Miller agreed to stage his plays in South Africa, but only for desegregated audiences. The singer Paul Simon recorded his Graceland album in South Africa in 1986, insisting on the importance of working with Black artists in the country. A year later, he headlined an enormous anti-apartheid concert in Zimbabwe with Makeba and Masekela. That same year, boycott proponents picketed his concert in London’s Royal Albert Hall and denounced him.

Just how important a role the boycotts played in ending apartheid is disputed. Mattie C. Webb, a lecturer and postdoctoral researcher at Yale, tells me they were significant, “but they were only one factor in a broader movement that also included internal social movements against apartheid. The sanctions themselves were limited, and frankly came rather late in the broader struggle against apartheid.” Lior Sternfeld, an Israeli American historian of Iran at Penn State, put a finer point on this, telling me: “I have tried in vain to find any empirical evidence that the boycott movement helped topple the South African regime.”

Sternfeld has taken an interest in the question because of his work involving Israel and Iran. He is a critic of Israeli policy—both the occupation and the conduct of the war in Gaza—and he makes no brief for Israeli universities, which he says have tried “to get cozy with the government.” He does favor some sanctions—for example, kicking Israel out of the FIFA World Cup and other sporting events, as has been done to Russia. But he believes that cultural boycotts will primarily hurt Israeli intellectuals, who are already demonized by their government.

“I have always believed that activism is about engagement, whereas BDS is articulated as a call for disengagement,” he told me. “I oppose the boycotts because it is important to have some sort of a bridge to Israeli intelligentsia.”

Sternfeld’s position, like mine, is informed by observing the results of sanctions against Iran. He points specifically to How Sanctions Work: Iran and the Impact of Economic Warfare, a book published earlier this year by four Iranian American scholars, which argues that isolation has had adverse effects on Iran’s political culture and has counterproductively strengthened the regime’s repressive apparatus. The Iranian scholar Esfandyar Batmanghelidj, an outspoken opponent of the sanctions on Iran, has raised questions about boycotting Israel for similar reasons, to the ire of some on the left.

Lately Iran and Israel have found themselves ever more dangerously at odds, and the lack of people-to-people contact between the two countries doesn’t help. That’s one reason Sternfeld accepted a surprising overture in September: The Iranian mission to the United Nations invited him to attend an interfaith meeting with President Masoud Pezeshkian on the sidelines of the United Nations General Assembly in New York. This encounter made Pezeshkian the first post-revolutionary Iranian president to knowingly and openly meet with an Israeli citizen. Iranian hard-liners attacked him for it relentlessly. As for Sternfeld, some critics of the Iranian regime in the United States denounced him for taking the meeting, even as hard-liners in Tehran called him a Zionist infiltrator.

Iran bans its citizens from visiting Israel, but numerous Iranian writers and artists in exile have traveled to the country anyway in recent years. Their visits have helped show Israelis, used to hearing of the “Iranian threat” from their government, a more human side of the country.

The filmmaker Mohsen Makhmalbaf was a guest of honor at the Jerusalem Film Festival in 2013. Makhmalbaf was once an Islamist revolutionary; he spent four and a half years in prison before the 1979 revolution. But he went through a remarkable metamorphosis in the 1990s, becoming an anti-regime dissident and winding up in exile in Paris.

“I am one of the ambassadors for Iranian art to Israel, and my message was of peace and friendship,” he told The Guardian of his trip at the time. “When I flew to Israel last week, I felt like a man flying to another planet, like a man flying to the moon.” Makhmalbaf criticized the logic of boycotters, saying, “If I make a film in Iran, and you come to my country to watch it, does it mean you confirm dictatorship in Iran and you have no respect for political prisoners in Iran?” he asked rhetorically of his critics. “If you go to the US, does it mean you confirm their attack on Afghanistan and Iraq?"

Orly Cohen, a Tehran-born scholar who has lived in Israel most of her life, has helped organize the trips of several Iranian artists to the country. Now a Ph.D. candidate at the University of Haifa, she has also translated the work of Iranian poets into Hebrew.

“In the Israeli news, all Israelis hear of Iran is war,” she told me by phone. “They don’t know about Iran’s culture and how much beautiful art is made in the country today.”

[Read: Iranian dissidents don’t want war with Israel–but they can’t stop it]

Cohen translated a book of poems by Mehdi Mousavi, known in Iran as the “father of postmodern poetry,” and facilitated his visit to Israel last year for its publication. He was the subject of a cover story in Haaretz, and he struck up a relationship with a well-known Iraqi-born poet, Ronny Someck. “He was seen as a bridge of friendship,” Cohen told me. “For the first time,” she said of Mousavi’s Israeli audience, “they saw Iran through Iranian, not Israeli, eyes.”

Cohen also helped organize an exhibition about Iranian feminist movements at Jerusalem’s Museum of Islamic Art. Israeli feminists took an interest, but what surprised Cohen more was the feedback from religious Jews, some of whom were inspired by the example of Iranian women standing up to religious repression.

Boycotts preclude such experiences and connections. In the years since 2005, when the Palestinian movement adopted BDS, the tenuous links that once allowed Israeli and Palestinian scholars and artists to be in contact have been cut one after another. Israeli peace activists used to travel frequently to the West Bank and speak at events there. But in 2014, Amira Hass, Haaretz’s correspondent in Ramallah and a vociferous critic of the Israeli occupation, was kicked out of an event at Bir Zeit University by two professors.

Some boycotters do seem concerned about punishing people like Hass, hence the guidelines that carve out ostensible exceptions for those who are critical of the policies of the boycotted state. But I don’t see how any freedom-loving writer can embrace such a position. What distinguishes us from authoritarians and censors if we impose ideological litmus tests to decide which writers can present their work at festivals—if we ask them to declare their opposition to a political regime before they are allowed to speak?

This world is full of walls that divide peoples, and of regimes that impose ideological purity tests on writers. If writers are to use our collective powers, it should not be to add to them.

A close friend—someone whom I’ve always thought of as an optimist—recently shared his theory that, no matter what time you’re living in, it’s generally a bad one. In each era, he posited, quality of life improves in some ways and depreciates in others; the overall quotient of suffering in the world stays the same.

Whether this is nihilistic or comforting depends on your worldview. For instance, plenty of Americans are currently celebrating the outcome of the recent presidential election; many are indifferent to national politics; many others are overwhelmed with anger and despair over it. Looking at the bigger picture, I think the upsides of contemporary life—antibiotics, LGBTQ acceptance, transcontinental FaceTime—outweigh the horrors more often than not. I’ll also concede that this decade comes with a continuous drip of bad news about ghastly acts of violence, erosion of human rights, and climate disaster. Perhaps unsurprisingly, a 2023 Gallup poll found that rates of depression in the United States have hit a record high.

What can people turn to when the itch to burn everything down, or to surrender to hopelessness, feels barely suppressible? I agree with the novelist Kaitlyn Greenidge that there is power in “naming reality”—in telling, and writing, the truth about what’s happening around us. For those who are despondent about Donald Trump’s victory and feel unable to make a difference, reading might be a place to start. This doesn’t necessitate cracking open textbooks or dense political tracts: All kinds of books can provide solace, and the past few decades have given us no shortage of clear-eyed works of fiction, memoir, history, and poetry about how to survive and organize in—and ultimately improve—a broken world.

Reading isn’t a panacea. It’s a place to begin and return to: a road map for where to go from here, regardless of where “here” is. Granted, I am perhaps more comfortable than the average person with imperfect solutions. As a clinical pharmacist, I can’t cure diabetes, for example, but I can help control it, make the medications more affordable sometimes, and agitate for a better health-care system. Similarly, these seven books aren’t a cure for rage and despair. Think of them instead as a prescription.

Which Side Are You On, by Ryan Lee Wong

Wong’s novel opens with a mother picking up her son from the airport in a Toyota Prius, her hands clutching the wheel in a death grip. Wry, funny moments like this one animate Wong’s book about the dilemma of trying to correct systemic problems with individual solutions. It’s 2016, and spurred by the real-life police shooting of Akai Gurley, 21-year-old Reed is considering dropping out of Columbia University to dedicate himself to the Black Lives Matter movement. Reed wants nothing more than to usher in a revolution, but unfortunately, he’s a lot better at spouting leftist talking points than at connecting with other people. Like many children, Reed believes that his family is problematic and out of touch. His parents, one a co-leader in the 1980s of South Central’s Black-Korean Coalition, the other a union organizer, push back on his self-righteous idealism. During a brief trip home to see his dying grandmother, Reed wrestles with thorny questions about what makes a good activist and person. Later, in the Prius, Reed’s mother teaches him about the Korean concept of hwabyung, or “burning sickness”—an intense, suppressed rage that will destroy him if he’s not careful—and Reed learns what he really needs: not sound bites but true connection. Wong’s enthralling novel is a reminder that every fight for justice is, at heart, a fight for one another.

Hope in the Dark: Untold Histories, Wild Possibilities, by Rebecca Solnit

Solnit’s short manifesto about the revolutionary power of hope is a rallying cry against defeatism. She begins by critiquing the progressive tendency to harp on the bleakness of societal conditions, insisting that despair keeps oppressive systems afloat. Hope and joy, by contrast, are essential elements of political change, and celebrating wins is a worthy act of defiance against those who would prefer that the average person feel powerless. Originally published in 2004 after the U.S. invasion of Iraq, and updated in 2005 and 2016, Hope in the Dark provides modern examples of gains on race, class, environment, and queer rights. That said, this is not a feel-good book. It does not sugarcoat, for instance, the fact that we are headed toward ecological disaster. And if you look up the latest figures on the gender wage gap, you’ll find that they’ve hardly budged from those cited by Solnit years ago. Still, her deft logic and kooky aphorisms (“Don’t mistake a lightbulb for the moon, and don’t believe that the moon is useless unless we land on it”) have convinced me that to give up hope is to surrender the future. Fighting for progress can be exhausting and revelatory, full of both pain and pleasure. Solnit insists that doing so is never a waste.

[Read: Trump won. Now what?]

Women Talking, by Miriam Toews

The inspired-by-true-events premise of Toews’s seventh novel is literally the stuff of nightmares. In a remote Mennonite colony, women who have suffered mysterious attacks in the night learn that they’ve been drugged and raped by several men from their community. One woman is pregnant with her rapist’s child; another’s 3-year-old has a sexually transmitted infection. The novel takes place in the aftermath of the discovery, just after the men have been temporarily jailed. They are set to be bailed out in two days, and the colony’s bishop demands that the victims forgive them—or else face excommunication and be denied a spot in heaven. The women meet in secret to decide what to do: Comply? Fight back? Leave for an outside world they’ve never experienced? Even against this harrowing backdrop, Toews’s signature humor and eye for small moments of grace make Women Talking an enjoyable and healing read. The women’s discussions are both philosophical (they cannot read, so how can they trust that the Bible requires them to forgive the men?) and practical (if they leave, do they bring their male children?). Any direction they choose will lead to a kind of wilderness: “When we have liberated ourselves,” one woman says in a particularly stirring moment, “we will have to ask ourselves who we are.”

Good Talk, by Mira Jacob

Jacob’s graphic-memoir-in-conversations took major guts to write. It begins like this: The author’s white in-laws throw their support behind Trump’s 2016 presidential campaign, and her otherwise loving family toes the edge of collapse. Good Talk is a funny and painful book-length answer to questions from Jacob’s 6-year-old son, who is half Jewish and half Indian, about race, family, and identity. Jacob, who was raised in the United States by parents who emigrated from India, gorgeously illustrates her formative experiences, touching on respectability politics, colorism within the Indian community, her bisexuality, and her place in America. She refuses to caricaturize the book’s less savory characters—for example, a rich white woman who hires Jacob to ghostwrite her family’s biography and ends up questioning her integrity and oversharing the grisly details of her 2-year-old’s death from cancer. Jacob’s ability to so humanely render the people who cause her grief is powerful. My daughter is too young to ask questions, but one day, when she begins inquiring about the world she’s inheriting, I can tell her, as Jacob told her son, “If you still have hope, my love, then so do I.”

[Read: Hope and the historian]

The Twenty-Ninth Year, by Hala Alyan

Startling, sexy, and chaotic, The Twenty-Ninth Year is a collection of poems narrated by a woman on the verge—of a lot of things. She’s standing at the edge of maturity, of belonging as a Palestinian American, of recovery from anorexia and alcoholism. It’s a tender and violent place, evoked with images that catch in the throat. The first poem, “Truth,” takes the form of a litany of confessions: “I broke / into the bodies of men like a cartoon burglar”; “I’ve seen women eat cotton balls so they wouldn’t eat bread.” That Alyan is a clinical psychologist makes sense—her poems have a clarity that can’t be faked. Dark humor softens the blow of lines such as “I starved myself to starve my mother” and “Define in, I say when anyone asks if I’ve ever been in a war.” She reckons with the loneliness of living in exile and the danger of romanticizing the youthful conviction that there is something incurably wrong with you. A shallow read of the collection might be: I burned my life down so you don’t have to. But I return to the last line of the book: “Marry or burn; either way, you’re transfiguring.” There is always something to set aflame; more optimistically, there is always something left to salvage. The Twenty-Ninth Year is, in the end, a monument to endurance.

Riot Baby, by Tochi Onyebuchi

If you’re sick of books described as “healing” or “hopeful,” look no further than Riot Baby. Onyebuchi’s thrilling 2020 novella asks just how far sci-fi dystopias are from real life. Kev, a Black man born during the Rodney King riots in Los Angeles, California, spends much of his 20s in prison after a botched armed robbery. His sister, Ella, has more supernatural problems: She sees the past and the future and, when fury takes over, can raze cities to the ground—yet she could not protect her brother from the violence of incarceration. When Kev is paroled and a new form of policing via implantable chips and pharmaceutical infusions brings “safety” to the streets of Watts, Ella understands that the subjugation of her community is not a symptom of a broken system; rather, it is evidence of one “working just as designed,” as Onyebuchi put it in an interview. Ella must make a wrenching choice: fight for a defanged kind of freedom within such a system or usher in a new world order no matter the cost. In real life, too often, you cannot control your circumstances, only your actions. But you may find relief in reading a book that reaches a different conclusion.

[Read: When national turmoil becomes personal anxiety]

Let the Record Show: A Political History of ACT UP New York, 1987–1993, by Sarah Schulman

This 700-plus-page history of the AIDS Coalition to Unleash Power’s New York chapter is, I promise you, a page-turner. Schulman and the filmmaker Jim Hubbard, who were both in ACT UP New York, interviewed 188 members over the course of 17 years about the organization’s work on behalf of those living with HIV/AIDS—“a despised group of people, with no rights, facing a terminal disease for which there were no treatments,” Schulman writes. Part memoir and part oral history, Let the Record Show is a master class on the utility of anger and a historical corrective to chronicles that depict straight white men as the main heroes of the AIDS crisis. In reality, a diverse coalition of activists helped transform HIV into a highly manageable condition. “People who are desperate are much more effective than people who have time to waste,” Schulman argues. ACT UP was known for its brash public actions, and Schulman covers not just what the group accomplished but also how it did it, with electrifying detail. There can be no balm for the fact that many ACT UP members did not survive long enough to be interviewed. There is only awe at the way a group of people “unable to sit out a historic cataclysm” were determined to “force our country to change against its will,” and did.