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.

At its best, a presidential biopic can delve into the monomaniacal focus—and potential narcissism—that might drive a person to run for the White House in the first place. That’s what Oliver Stone did in 1995’s Nixon, dramatizing the 37th president’s downfall with the exhilarating paranoia of the director’s best work. Though guilty of some fact-fudging, Stone retained empathy for Richard Nixon’s childhood trauma and lifelong inferiority complex, delivering a Shakespearean tragedy filtered through a grim vision of American power. As Nixon (played by a hunched, scotch-guzzling Anthony Hopkins) stalks the halls of a White House engulfed by scandal, and stews with jealousy at the late John F. Kennedy, the presidency never seemed so lonely.

A presidential biopic can also zoom in on a crucial juncture in a leader’s life: Steven Spielberg’s Lincoln explored its protagonist’s fraught final months, during which he pushed, at great political risk, for a constitutional amendment to abolish slavery. Spielberg’s film was captivating because it didn’t just re-create Lincoln’s famous speeches, but also imagined what the man was like behind the scenes—in backroom dealings, or in contentious confrontations with his wife, Mary Todd. Like its 1939 predecessor, Young Mr. Lincoln, the film wisely limits its scope; focusing on a pivotal period proves a defter approach than trying to capture the full sprawl of a president’s life, a task better left to hefty biographies.

And then there’s a movie like this year’s Reagan, the Ronald Reagan biopic starring Dennis Quaid. Reagan is a boyhood-to-grave survey of the 40th president’s life and administration, with a chest-beating emphasis on his handling of the Cold War that blurs the line between biopic and Hollywood boosterism. Filmed with all the visual panache of an arthritis-medication commercial, the movie is suffocating in its unflagging reverence for its titular hero. In its portrayal of Reagan’s formative years, secondary characters seem to exist primarily to give mawkish pep talks or to fill the young Reagan’s brain with somber warnings about the evils of communism. “God has a purpose for your life, something only you can do,” his mother tells him after he reads scripture at church. Later, in college, he is disturbed by a speech from a Soviet defector, who visits a local congregation and lectures wide-eyed students that they will not find a “church like this” in the U.S.S.R.

Unlike Lincoln, the film seems incapable of imagining what its protagonist was like in private moments or ascribing any interior complexity to him. Even his flirty exchanges with his wife, Nancy, feel like they were cribbed from a campaign ad. “I just want to do something good in this world,” he tells his future spouse on a horseback-riding date. “Make a difference.” The portrayal isn’t helped by the fact that the 70-year-old Quaid is digitally de-aged and delivers his lines in a tinny imitation of the politician’s voice. A bizarre narrative device further detaches the audience from Reagan’s perspective: The entire movie is narrated by Jon Voight doing a Russian accent, as a fictionalized KGB agent who surveilled Reagan for decades and is now regaling a young charge with stories of how one American president outsmarted the Soviet Union.

They say history is written by the winners. But sometimes the winners like to put on a bad accent and cosplay as the losers. Yet despite heavily negative reviews, Reagan remained in theaters for nearly two months and earned a solid $30 million at the box office, playing to an underserved audience and tapping into some of the cultural backlash that powered Donald Trump’s reelection. The film’s success portends a strange new era for the presidential biopic, one in which hokey hagiography might supplant any semblance of character depth—reinforcing what audiences already want to hear about politicians they already admire.

In retrospect, Lincoln, with its innate faith in the power of government to do good, was as much a product of the “Obamacore” era—that surge of positivity and optimism that flooded pop culture beginning in the early 2010s—as Lin-Manuel Miranda’s Broadway smash Hamilton. But the arrival of the Trump era threw cold water on those feel-good vibes, and since Lincoln, presidential biopics have largely failed to connect with crowds. Two lightweight depictions of Barack Obama’s young adulthood arrived in 2016, but neither reckoned with his complicated presidency. In 2017, Rob Reiner delivered the ambivalent and uneven LBJ, which sank at the box office and made little impression on audiences. Meanwhile, Martin Scorsese developed and seemingly abandoned a Teddy Roosevelt biopic.

In development for more than a decade, Reagan emerges from a more plainly partisan perspective. Its producer, Mark Joseph, once called The Reagans, the 2003 TV movie starring James Brolin, “insulting” to the former president. Though Reagan director Sean McNamara expressed hope that his film would unite people across political lines, its source material, The Crusader, is a book by Paul Kengor, a conservative who has written eight books about Reagan and who presently works at a right-wing think tank. And its star, Dennis Quaid, is among Hollywood’s most prominent Trump supporters. In July, Quaid appeared on Fox News live from the Republican National Convention, proclaiming that Reagan would help Americans born after 1985 “get a glimpse of what this country was.”     

The notable presidential biopics of the past were prestige pictures that at least tried to appeal to a wide swath of the moviegoing public, across political spectrums. Even 2008’s W., Stone’s spiritual sequel to Nixon—inferior by far, and disappointingly conventional in its biographical beats—is hardly the liberal excoriation many viewers might have expected from the director; it was even criticized for going too easy on George W. Bush. Released during the waning months of his presidency, when Bush-bashing was low-hanging fruit for audiences, the film portrays the 43rd president as a lovable screwup with crippling daddy issues. As Timothy Noah argued in Slate at the time, “W. is the rare Oliver Stone film that had to tone down the historical record because the truth was too lurid.”

Instead, new entries like Reagan and Ali Abbasi’s The Apprentice, the more nuanced film, reflect the market demands of a more fragmented moviegoing public—and reality. Rarely do two movies about the same era of American history have so little audience overlap. Set from 1973 to 1986, The Apprentice portrays Trump (Sebastian Stan) as a young sociopath-in-training, dramatizing his rise to business mogul and his relationship with mentor Roy Cohn (Jeremy Strong), a Svengali of capitalist chicanery molding a monster in his own image. In the most shocking scenes, the film depicts Trump brutally raping his wife, Ivana, and undergoing liposuction surgery. (Ivana accused Trump of rape in a 1990 divorce deposition, then recanted the allegation decades later. Trump’s campaign has called the movie a “malicious defamation.”) The film, in other words, gives confirmation—and a sleazily gripping origin story—to those who already believe Trump is a malevolent con man and irredeemable misogynist. It knows what its viewers want.

[Read: How the GOP went from Reagan to Trump]

So, seemingly, does Reagan, which shows its protagonist primarily as the Great Communicator who tore down that wall. But as the Reagan biographer Max Boot recently wrote, “the end of the Cold War and the fall of the Soviet Union were primarily the work of Soviet leader Mikhail Gorbachev—two consequences of his radically reformist policies … Reagan did not bring about Gorbachev’s reforms, much less force the collapse of the Soviet Union.” Reagan resists such nuance, hewing instead to a predictable hero’s narrative. Soviet leaders are swathed in visual clichés: grotesque men sipping vodka in cigar-filled rooms.

Meanwhile, the film renders Reagan’s domestic critics without sophistication or dignity. As Matthew Dallek chronicles in his book The Right Moment, Reagan spent much of his 1966 campaign to become California’s governor sensationalizing and condemning marches protesting the Vietnam War at UC Berkeley, and later called for a “bloodbath” against the campus left. In the film, we see Reagan, as the state’s governor, calling in the National Guard to crack down on Berkeley protesters, but we never learn what these students are protesting; Vietnam is scarcely referenced. (A nastier incident, in which Reagan-sent cops in riot gear opened fire on student protesters and killed one, goes unmentioned.)

A less slanted film might have interrogated the conflict between Reagan’s anti-totalitarian Cold War rhetoric and his crackdown on demonstrators at home. It might also have reckoned with the president’s devastating failure to confront the AIDS epidemic, a fact the movie only fleetingly references, via a few shots of ACT UP demonstrators slotted into a generic montage of Reagan critics set to Genesis’s “Land of Confusion.” But Reagan remains tethered to the great-man theory of history, in which Reagan single-handedly ended the Cold War, preserved America’s standing in the world, and beat back lefty Communist sympathizers. A match-cut transition, from a shot of newly retired Reagan swinging an axe at his ranch to young “wallpeckers” taking axes to the Berlin Wall in 1989, literalizes the message for grade-school viewers: The Gipper brought down the wall himself. It’s not that the movie is too kind to Reagan—but by flattening him in this way, it robs him of the conflicts and contradictions that made him a figure worth thinking about today.

In this way, too, Reagan forms a curious contrast to Nixon. A central message of Stone’s film is that even if Nixon had wanted to end the Vietnam War, he was powerless to act against the desires of the deep state (or “the beast,” as Hopkins’s Nixon calls it). In a defining scene, a young anti-war demonstrator confronts the president. “You can’t stop it, can you?” she realizes. “Because it’s not you. It’s the system. The system won’t let you stop it.” Nixon is stunned into stammering disbelief.

Indeed, Stone’s trilogy of films about U.S. presidents (JFK, Nixon, and W.) all reflect some paranoia about the dark forces of state power. (The unabashedly conspiratorial JFK suggests that Kennedy was eliminated by the CIA and/or the military-industrial complex because he didn’t fall in line with their covert objectives.) They are stories of ambitious leaders whose presidencies were hijacked or truncated by forces beyond their comprehension—movies whose villains are shadowy figures operating within the bowels of the U.S. government. It’s not just Stone’s view of state power that makes his films more interesting; it’s that he takes into account forces larger than one man, regardless of that man’s own accomplishments.   

Reagan’s vision of the institution is more facile. Its hero is endowed with near-mythical power to end wars and solve domestic woes; its villains are as clearly labeled as a map of the Kremlin. The film’s simplistic pandering vaporizes complexity and undercuts the cinematic aims of a presidential biopic. It’s a profitable film because it instead adheres to the market incentives of modern cable news: Tell viewers what they want to hear, and give them a clear and present enemy.     

In his 2011 book, The Reactionary Mind, the political theorist Corey Robin argues that the end of the Cold War had proven unkind to the conservative movement by depriving it of a distinct enemy. For today’s GOP, a good adversary is hard to find—in the past few years, its leaders have grasped around haphazardly in search of one: trans people, Haitian immigrants, childless women. (And, as always, Hillary Clinton.) In Reagan, though, the world is much simpler: There’s an evil empire 5,000 miles away, and a California cowboy is the only man who can beat it. It’s a flat narrative fit for one of his old B movies.

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