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Just after college, I went to teach English as a Peace Corps volunteer in a small village school in West Africa. To help relieve the loneliness, I packed a shortwave radio, a Sony Walkman, and, among other books, a paperback copy of Thomas Mann’s very long novel The Magic Mountain. As soon as I set foot in Togo, something began to change. My pulse kept racing; my mouth went dry and prickly; dizzy spells came on. I developed a dread of the hot silence of the midday hours, and an awareness of each moment of time as a vehicle for mental pain. It might have helped if I’d known that my weekly antimalarial medicine could have disturbing effects, especially on dreams (mine were frighteningly vivid), or if someone had mentioned the words anxiety and depression to me. At 22, I was a psychological innocent. Without the comfort of a diagnosis, I experienced these changes as a terrifying void of meaning in the universe. I had never noticed the void before, because I had never been moved to ask the questions Who am I? What is life for? Now I couldn’t seem to escape them, and I received no answers from an empty sky.

I might have lost my mind if not for The Magic Mountain. By luck or fate, the novel—which was published 100 years ago, in November 1924—seemed to tell a story a little like mine, set not in the West African rainforest but in the Swiss Alps. Hans Castorp, a 23-year-old German engineer, leaves the “flatlands” for a three-week visit to his cousin Joachim, a tuberculosis patient who is taking the cure in one of the high-altitude sanatoriums that flourished in Europe before the First World War. Hans Castorp (Mann’s detached and amused, yet sympathetic, narrator always refers to the protagonist by his full name) is “a perfectly ordinary, if engaging young man,” a slightly comical young bourgeois.

Arriving on the mountain, he immediately loses his bearings. In the thin air, his face goes hot and his body cold; his heart pounds, and his favorite cigar tastes like cardboard. His sense of time becomes warped. Many of the patients spend years “up here.” No one speaks or thinks in terms of days. “ ‘Home in three weeks,’ that’s a notion from down below,” his ailing cousin warns. Hans Castorp’s companions at the sanatorium’s five lavish daily meals are a cosmopolitan and macabre gallery of mostly young people who fill the endless hours gossiping, flirting, quarreling, philosophizing, and waiting to recover or die. The proximity of death is unsettling; it’s also funny (when the roads are blocked by snow, corpses are sent flying down the mountain on bobsleds) and strangely alluring.

[From the January 1953 issue: Thomas Mann on the Making of The Magic Mountain]

When Hans Castorp catches a cold, the sanatorium’s director examines him and finds a “moist spot” on one of his lungs. That and a slight fever suggest tuberculosis, requiring him to remain for an indeterminate time. Both diagnosis and treatment are dubious, but they thrill Hans Castorp: This hermetic world has begun to cast a spell on him and provoke questions “about the meaning and purpose of life” that he’d never asked down in the flatlands. Answered at first with “hollow silence,” they demand extended contemplation that’s possible only on the magic mountain.

The director’s assistant, trained in psychoanalysis, explains in one of his biweekly lectures that sickness is “merely transformed love,” the body’s response to repressed desire. Fever is the mark of eros; the decay of a diseased body signifies life itself. Mann had ventured onto this terrain before. In his novella Death in Venice (1912), the famous writer Gustav von Aschenbach, infatuated with a Polish boy at his hotel, stays in the plague-ridden city while other visitors flee. Hans Castorp stays too, obsessed with his own temperature chart, and with the entrancing Clavdia Chauchat, a young tubercular Russian with “Kirghiz eyes,” bad posture, and a habit of letting the dining-room door slam behind her. Almost half the novel goes by before Hans Castorp—who has by now been on the mountain for seven months—talks with Clavdia, just as she’s about to depart. On the night before she leaves, he makes one of the most bizarre declarations of love in literature: “Let me take in the exhalation of your pores and brush the down—oh, my human image made of water and protein, destined for the contours of the grave, let me perish, my lips against yours!” Clavdia leaves Hans Castorp with a framed X-ray of her tubercular lung.

I fell under the spell of Hans Castorp’s quest story, as the Everyman hero is transformed by his explorations of time, illness, sciences and séances, politics and religion and music. The climactic chapter, “Snow,” felt as though it were addressed to me. Hans Castorp, lost in a snowstorm, falls asleep and then awakens from a mesmerizing and monstrous dream with an insight toward which the entire story has led him: “For the sake of goodness and love, man shall grant death no dominion over his thoughts.”

Hans Castorp remains on the mountain for seven years—a mystical number. The Magic Mountain is an odyssey confined to one place, a novel of ideas like no other, and a masterpiece of literary modernism. Mann analyzes the nature of time philosophically and also conveys the feeling of its passage, slowing down his narrative in some spots to take in “the entire world of ideas”—a day can fill 100 pages—and elsewhere omitting years. Reading this dense yet miraculously seductive book becomes an experience like Hans Castorp’s interlude on the mountain. As I made my way through the novel by kerosene lamplight, I took Mann’s bildungsroman as a guide to my own education among the farmers, teachers, children, and market women who became my closest companions, hoping to find myself on a journey toward enlightenment as rich and meaningful as its hero’s. That was asking too much of even great literature; afraid of my own suicidal thoughts, I went home before the end of my two years. But on a few particularly dark nights, The Magic Mountain probably saved my life.

I recently returned to The Magic Mountain, without the intense identification of the first time (you have to be young for a book to inspire that), but with a larger sense that, a century later, Mann has something important to tell us as a civilization. The Mann who began writing the novel was an aristocrat of art, hostile to democracy—a reactionary aesthete. Working on The Magic Mountain was a transformative experience, turning him—as it turned his protagonist—into a humanist. What Hans Castorp arrives at, lost and asleep in the snow, “is the idea of the human being,” Mann later wrote, “the conception of a future humanity that has passed through and survived the profoundest knowledge of disease and death.” In our age of brutal wars, authoritarian politics, cultures of contempt, and technology that promises to replace us with machines, what is left of the idea of the human being? What can it mean to be a humanist?

Mann conceived of The Magic Mountain in 1912, when he was 37, after a three-week visit to a sanatorium in Davos where his wife, Katia, was a patient. “It was meant as a humorous companion-piece to Death in Venice and was to be about the same length: a sort of satire on the tragedy just finished,” he later wrote. He soon discovered that his story resisted the confines of a comic novella. But before he could realize its possibilities, World War I broke out, in August 1914. With Hans Castorp still in his first week at the sanatorium, Mann abandoned the manuscript as Europe plunged into unprecedented destruction. In a letter to a friend in the summer of 1915, he left a clue as to where things stood with his unfinished novel: “On the whole the story inclines towards sympathy with death.” And he now saw an ending—the war itself.

Mann published no fiction for the duration of the war. Instead, he became a very public defender of imperial Germany against its adversaries. For Mann, the Great War was more than a contest among rival European powers or a patriotic cause. It was a struggle between “civilization” and “culture”—between the rational, politicized civilization of the West and Germany’s deeper culture of art, soul, and “genius,” which Mann associated with the irrational in human nature: sex, aggression, mythical belief. The kaiser’s Germany—strong in arms, rich in music and philosophy, politically authoritarian—embodied Mann’s ideal. The Western powers “want to make us happy,” he wrote in the fall of 1914—that is, to turn Germany into a liberal democracy. Mann was more drawn to death’s mystery and profundity than to reason and progress, which he considered facile values. This sympathy wasn’t simply a fascination with human evil—with a death instinct—but an attraction to a deeper freedom, a more intense form of life than parliaments and pamphleteering offered.

Mann scorned the notion of the writer as political activist. The artist should remain apart from politics and society, he believed, free to represent the deep and contradictory truths of reality rather than using art as a means to advance a particular view. In his wartime nonfiction writing, he mocked “civilization’s literary man,” a self-important poseur who takes sides on public issues and signs petitions. Mann was aiming at his brother Heinrich, a novelist and an essayist of nearly equal renown, whose liberal politics led him to support Germany’s enemies, France and Britain. The brothers exchanged indirect but caustic volleys in print, and their fraternal dispute became so bitter that they didn’t speak for seven years.

Before setting aside The Magic Mountain, Mann had created a version of this writer figure in a character named Lodovico Settembrini, another patient at the sanatorium, who is an irascible and hyper-articulate advocate for all things progressive: reason, liberty, virtue, health, the active life, social improvement. He declares music, the most emotionally overpowering of the arts, “politically suspect.” Mann at his most satiric has Settembrini contributing an essay to a multivolume project whose purpose is to end suffering. In short, Settembrini, like Heinrich, is a “humanist”—but in Mann’s usage, the term has an ironic sound. As he wrote elsewhere, it implies “a repugnant shallowness and castration of the concept of humanity,” pushed by “the politician, the humanitarian revolutionary and radical literary man, who is a demagogue in the grand style, namely a flatterer of mankind.”

Settembrini becomes a philosophical tutor to Hans Castorp, who listens with respectful interest but resists the liberal catechism. He responds more powerfully to the erotic allure of Clavdia Chauchat, the careless door slammer, who believes in “abandoning oneself to danger, to whatever can harm us, destroy us.” Yet Settembrini also has the wisdom to warn our hero against the seductions of the sanatorium, which separates young people from the society “down there,” infecting them with lassitude and rendering them incapable of ordinary life. As an artist above politics, Mann didn’t want simply to criticize “civilization’s literary man,” but to show him as “equally right and wrong.” He intended to create an intellectual opponent to Settembrini in a conservative Protestant character named Pastor Bunge—but the war intruded.

Mann spent the war years making his case for the German soul, steeped in the “passion” of Wagner and “manliness” of Nietzsche, amid a global catastrophe that remained bloodlessly abstract to him at his desk in Munich. He published his wartime writings in the genre-defying Reflections of a Nonpolitical Man in October 1918, one month before the armistice. Katia Mann later wrote, “In the course of writing the book, Thomas Mann gradually freed himself from the ideas which had held sway over him … He wrote Reflections in all sincerity and, in doing so, ended by getting over what he had advocated in the book.”

When Mann unpacked the four-year-old manuscript of The Magic Mountain in the spring of 1919, the novel and its creator were poised to undergo a metamorphosis. The war that had just ended enlarged the novel’s theme into “a worldwide festival of death”; the devastation, he would go on to write in the book’s last pages, was “the thunderbolt that bursts open the magic mountain and rudely sets its entranced sleeper outside the gates,” soon to become a German soldier. It also confronted Mann himself with a new world to which he had to respond.

[From the January 1953 issue: Thomas Mann on the making of The Magic Mountain]

Defeated Germany was in a state of revolution. In Munich, demobilized soldiers, right-wing paramilitaries, and Communist militants fought in the streets, while leaders of the new Weimar Republic were routinely assassinated. A local war veteran named Adolf Hitler began to electrify crowds in cramped halls with speeches denouncing the “traitors”—republican politicians, leftists, Jews—who had stabbed Germany in the back. The National Socialist German Workers’ Party was born in Munich; Hitler’s attempted coup in November 1923, known as the Beer Hall Putsch, took place less than two miles from the Mann house.

Some German conservatives, in their hatred of the Weimar Republic and the Treaty of Versailles, embraced right-wing mass politics. Mann, nearing 50, vacillated, hoping to salvage the old conservatism from the new extremism. In early 1922, he and Heinrich reconciled, and, as Mann later wrote, he began “to accept the European-democratic religion of humanity within my moral horizon, which so far had been bounded solely by late German romanticism, by Schopenhauer, Nietzsche, Wagner.” In April of that year, in a review of a German translation of Walt Whitman’s selected poetry and prose, he associated the American poet’s mystical notion of democracy with “the same thing that we in our old-fashioned way call ‘humanity’ … I am convinced there is no more urgent task for Germany today than to fill out this word, which has been debased into a hollow shell.”

The key event of Mann’s conversion came in June, when ultranationalists in Berlin murdered his friend Walther Rathenau, the Weimar Republic’s Jewish foreign minister. Shocked into taking a political stand, Mann turned a birthday speech in honor of the Nobel Prize–winning author Gerhart Hauptmann into a stirring call for democracy. To the amazement of his audience and the German press, Mann ended with the cry “Long live the republic!”

Mann the novelist had meanwhile returned to The Magic Mountain, and his work on it took a swerve in the same crucial year of 1922. His hero would have to struggle with the political battle that had beset Mann during the war. Abandoning Pastor Bunge as outmoded, he created a new counterpart to Settembrini who casts a sinister shadow over the second half of the novel: an ugly, charismatic, and (of course) tubercular Jesuit of Jewish origin named Leo Naphta. The intellectual combat between him and Settembrini—which ends physically, in a duel—provides some of the most dazzling passages in The Magic Mountain.

Just when you want to give up on their high-level dialectics, one of them, usually Naphta, says something that shocks you into a new way of thinking. Naphta is neither conservative nor liberal. Against capitalist modernity, whose godless greed and moral vacuity he hates with a sulfurous rage, Naphta offers a synthesis of medieval Catholicism and the new ideology of communism. Both place “anonymous and communal” authority over the individual, and both are intent on saving humanity from Settembrini’s soft, rational humanism. Hans Castorp calls Naphta “a revolutionary of reaction.” At times sounding like a fanatical parody of the Mann of Reflections, Naphta argues that love of freedom and pleasure is weaker than the desire to obey. “The mystery and precept of our age is not liberation and development of the ego,” he says. “What our age needs, what it demands, what it will create for itself, is—terror.” Mann understood the appeal of totalitarianism early on.

It’s Naphta, a truly demonic figure—not Settembrini, the voice of reason—who precipitates the end of the hero’s romance with death. His jarring arrival allows Hans Castorp to loosen himself from its grip and begin a journey toward—what? Not toward Settembrini’s international republic of letters, and not back toward his simple bourgeois life down in the flatlands. The answer comes 300 pages before the novel’s end, when Hans Castorp puts on a new pair of skis and sets out for a few hours of exercise that lead him into the fateful blizzard and “a very enchanting, very dreadful dream.”

In it, he encounters a landscape of human beings in all their kindness and beauty, and all their hideous evil. “I know everything about humankind,” he thinks, still dreaming, and he resolves to reject both Settembrini and Naphta—or rather, to reject the stark choice between life and death, illness and health, recognizing that “man is the master of contradictions, they occur through him, and so he is more noble than they.” During his years on the mountain, he’s become one of death’s intimates, and his initiation into its mysteries has immeasurably deepened his understanding of life—but he won’t let death rule his thoughts. He won’t let reason either, which seems weak and paltry before the power of destruction. “Love stands opposed to death,” he dreams; “it alone, and not reason, is stronger than death.”

The Magic Mountain makes no clear political statement. The novel remains true to Mann’s belief that art must include everything, allowing life its complexity and ambiguity. But the vision of “love” that Hans Castorp embraces just before waking up is “brotherly love”—the bond that unites all human beings. The creation of this novel, which won Mann international fame, is “a tale of two Thomas Manns,” in the words of Morten Høi Jensen, a Danish critic whose The Master of Contradictions: Thomas Mann and the Making of “The Magic Mountain” is due to be published next year. The Mann of wartime could not have written the sentence that awakens Hans Castorp from his dream.

[From the October 1944 issue: Thomas Mann’s “In My Defense”]

Mann now recognized political freedom as necessary to ensure the freedom of art, and he became a sworn enemy of the Nazis. A Nobel Prize winner in exile, he emerged as the preeminent German spokesman against Hitler who, in lectures across the United States in 1938, warned Americans of the rising threat to democracy, which for him was inseparable from humanism: “We must define democracy as that form of government and of society which is inspired above every other with the feeling and consciousness of the dignity of man.”

He was speaking at a moment when the dignity of man was locked up in Nazi concentration camps, liquidated in Soviet show trials, buried under piles of corpses. Yet Mann urged his audiences to resist the temptation to deride humanity. “Despite so much ridiculous depravity, we cannot forget the great and the honorable in man,” he said, “which manifest themselves as art and science, as passion for truth, creation of beauty, and the idea of justice.”

Could anyone utter these lofty words today without courting a chorus of snickers, a social-media immolation? We live in an age of human self-contempt. We’re hardly surprised when our leaders debase themselves with vile behavior and lies, when combatants desecrate the bodies of their enemies, when free people humiliate themselves under the spell of a megalomaniacal fraud. It takes a constant effort not to accept this as normal. We might even feel, without acknowledging it to ourselves, that we deserve it: After all, we’re human, the lowest of the low.

In driving our democracy into hatred, chaos, and violence we, too, grant death dominion over our thoughts. We succumb to the impulse to escape our humanness. That urge, ubiquitous today, thrives in the utopian schemes of technologists who want to upload our minds into computers; in the pessimism of radical environmentalists who want us to disappear from the Earth in order to save it; in the longing of apocalyptic believers for godly retribution and cleansing; in the daily sense of inadequacy, of shame and sin, that makes us disappear into our devices.

The need for political reconstruction, in this country and around the world, is as obvious as it was in Thomas Mann’s time. But Mann also knew that, to withstand our attraction to death, a decent society has to be built on a foundation deeper than politics: the belief that, somewhere between matter and divinity, we human beings, made of water, protein, and love, share a common destiny.

This article appears in the December 2024 print edition with the headline “The Magic Mountain Saved My Life.”

Photographs by Jonno Rattman

Updated at 8:50 a.m. ET on November 3, 2024

An hour’s drive from downtown Pittsburgh is one of the most beautiful places in America—Fallingwater, the architect Frank Lloyd Wright’s late masterpiece. The house is a mass of right angles, in ochre and Cherokee red, perched above the Bear Run waterfall that provides the house its name.

Fallingwater was commissioned in 1934 by a couple, Edgar and Liliane Kaufmann, whose family had made its fortune from a brick-and-mortar business—a department store in Pittsburgh founded in 1871, when the city was flush with steel and glass money. Edgar became a generous patron of the arts in Pittsburgh and helped raise money for a local arena. Before he bought the Fallingwater site outright, the land had been leased to the store’s employee association, which allowed workers to spend their summers there.

Unlike today’s rich, many of whom make their money from ones and zeros, the Kaufmann family’s money came from a place and its people—the matrons of Pittsburgh who needed new pantyhose, the girls who met under the store’s ornate clock, the parents who took their children to see Santa. In the age before private jets, the Kaufmanns spent their leisure time near that place too. Fallingwater was built to be their summer retreat.

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Lately, though, Pennsylvania has been on the receiving end of a different display of wealth and power. Elon Musk has made Donald Trump’s return to the White House his personal cause. He has so far donated at least $119 million to his campaign group, America PAC, and has devoted considerable energy to campaigning in the state where he went to college. The South African–born Tesla magnate, who usually lives in Texas, set up what The New York Times described as a “war room” in Pittsburgh. He has held town-hall meetings in several counties across the state. He announced at a Trump event in Harrisburg that he would write $1 million checks to swing-state voters, in what the Philadelphia district attorney has described as an “illegal lottery scheme.” And Musk is presenting himself, to some skepticism, as a fan of both of the state’s NFL teams, the Philadelphia Eagles and the Pittsburgh Steelers.

Pennsylvania, which supported Democrats in six consecutive presidential elections before narrowly voting for Trump in 2016 and then returning to the Democrats in 2020, is widely expected to be the tipping-point state in the Electoral College next week. “Pennsylvania is caught in the middle of a realignment of the American electorate,” the polling analyst Josh Smithley, who runs the Pennsylvania Powered Substack, told me. The wealthier suburbs have been moving left as the rural areas “have been rocketing to the right, propelled by diminishing white working-class support for the Democratic Party.” The commonwealth is one of only six states in the country where more than 70 percent of current residents are homegrown. It is three-quarters white, and a third of its residents have a bachelor’s degree—lower than in neighboring Northeast Corridor states.  

At the moment, Musk is merely the wealthiest and most frenetic of the many political operatives showering Pennsylvanians with attention. If you found yourself caught in unexpected traffic there in October, it’s quite possible that a motorcade or rally roadblock was responsible. Every television ad break is stuffed with apocalyptic messaging from the two campaigns. Leaflets are slid under doors in quantities that would make environmentalists apoplectic.

Along with the economy, Republican messaging here has focused on the border wall and crimes committed by immigrants. But Pennsylvania is also the home of one of the Democrats’ most intriguing—and most promising—pushbacks to this narrative. Folksy populists including Senator John Fetterman and vice-presidential candidate Tim Walz are peddling their own version of “beware of outsiders.” In their telling, however, the interlopers are predatory plutocrats—such as Musk—and carpetbagging candidates from out of state. During the Eagles game on October 27, a Democratic ad used a clip of Trump saying that “bad things happen in Philadelphia.” A narrator intoned, “They don’t like us. We don’t care. Because here’s the thing that people like Donald Trump don’t understand: We’re Philly. F***ing Philly.” Perhaps with a male audience in mind, the underlying visuals were ice-hockey players having a punch-up and Sylvester Stallone smacking someone in Rocky.

Both campaigns, then, are posing versions of the same question: Who are the real outsiders? Who are “they”?

Reading, Pennsylvania (Jonno Rattman for The Atlantic) Reading, Pennsylvania (Jonno Rattman for The Atlantic)

In the past several months, Trump has held more than a dozen rallies and roundtables in Pennsylvania—including the one in Butler where he was nearly assassinated, and a second at the same spot, where Musk joyfully gamboled behind him before formally delivering his endorsement.

The mid-October event I attended in Reading, a small city where two-thirds of the population is Latino or Hispanic, was more low-key. But waiting to get into Santander Arena, I realized something: This was the Eras Tour for Baby Boomers. The merch. The anticipation. The rituals. The playlist of uplifting bangers. The length.

In towns and cities that feel forgotten, these rallies create a sense of community and togetherness. Taylor Swift concerts have friendship bracelets; this crowd had red Make America Great Again hats. (The “dark MAGA” version popularized by Musk was not yet en vogue.) For the Eras Tour, a concertgoer might make their own copy of Swift’s green Folklore dress, or her T-shirt that says NOT A LOT GOING ON AT THE MOMENT. The slogans at the Reading event were infinitely varied, but most were at least mildly aggressive. IF YOU DON’T LIKE TRUMP, YOU WON’T LIKE ME read one woman’s T-shirt. The men were just as fired up. For months, I have been arguing to friends that the widespread, illicit use of muscle-building steroids—which can cause rage, paranoia, and mood swings—might explain some of the political currents among American men. I usually can’t prove it, but here a large man wore a sleeveless vest that read MAKE ANABOLICS GREAT AGAIN.

Behind me in line were a mother and her two daughters—very Swiftie-coded, except they wanted to talk about “how the economy went to shit when Biden got in,” as the elder daughter put it. The mother raised the specter of Trump’s family-separation policy—which The Atlantic has extensively chronicled—only to dismiss it as a myth. She liked Trump, she told me, because he was a businessman: “People say he went bankrupt, but I think that’s smart. Finding a loophole.” Not so smart for the people he owed money to, I observed. The conversation died.

Inside the arena, I got to chatting with 34-year-old Joshua Nash, from Lititz, in Lancaster County. He was sitting alone at the back of the arena wearing a giant foam hat that he had bought on Etsy for $20 and then put in the dryer to expand. He was both a very nice guy and (to me) an impenetrable bundle of contradictions. He would be voting for Trump, he said, despite describing himself as a pro-choice libertarian who was “more left-leaning on a lot of issues.” He worked for Tesla maintaining solar panels, “but I’m not big on the whole climate thing.” He had given up on the mainstream media because of its bias and had turned to X—before Community Notes, the social-media platform’s crowdsourced fact-checking program, repelled him too. “I just want the facts,” he told me.

The campy, carnivalesque atmosphere of Trump rallies—halfway between megachurch and WrestleMania—is hard to reconcile with the darkness of the sentiments expressed within them. How could anything be alarming, many of the former president’s supporters clearly think, about such a great day out? After all, like the Eras Tour, Trump’s rally circuit has created its own lore. At the front, you might see the “Front Row Joes,” who arrive hours early to bag the best spots in the arena, or Blake Marnell, also known as “Mr. Wall,” who wears an outfit printed with bricks meant to resemble Trump’s promised border barrier. Another regular is “Uncle Sam,” who comes decked out in candy-striped trousers and a stars-and-stripes bow tie. He leads the crowd in boos and cheers.

Trump feeds off his fans’ devotion, making them part of the show. In Reading, he praised the Front Row Joes while claiming that his events were so popular, they struggled to secure front-row seats, and then moved on to “the great Uncle Sam. I got to shake his hand. I have no idea who the hell he is. I got to shake his hand two weeks ago. He has the strongest handshake. I’m saying, ‘Man, that guy’s strong.’ Thank you, Uncle Sam. You’re great. Kamala flew to a fundraiser in San Francisco, a city she absolutely destroyed.”

Did you catch that curveball there? It wasn’t any less jarring in real time. Listening to Trump’s style of speaking—which he calls the “weave”—re-creates the experience of falling asleep during a TV program and missing a crucial plot point before jerking awake and wondering why the protagonist is now in Venice. Every time I zoned out for a few seconds, I was jolted back with phrases like “We defeated ISIS in four weeks” (huh?) and “We never have an empty seat” (fact-check: I was sitting near several hundred of them), or the assertion that Howard Stern is no longer popular, so “I dropped him like a dog.” You have to follow the thread closely. Or you just allow the waves of verbiage to wash over you as you listen for trigger words like the border and too big to rig.

Along U.S. Route 30 (Jonno Rattman for The Atlantic)

At his rally in Reading, Trump made several cracks about the “fake news” media, which had turned out in droves to record him from an elevated riser in the middle of the arena. “They are corrupt and they are the enemy of the people,” he said. “We give them the information and then they write the opposite, and it’s really disgusting.” A wave of booing. A man in the crowd shouted, “You suck!”

A few days later, at a rally for Vice President Kamala Harris in the windswept western city of Erie, Senator Fetterman emerged in a sweatshirt, shorts, and a yellow wool Steelers hat with a bobble that made him look like an oversize Smurf. During his short speech, Fetterman twice mentioned the media’s presence, and people actually cheered. (About a third of Democrats trust newspapers, compared with just 7 percent of Republicans, according to Gallup.) “The national media is here,” Fetterman told the audience. “Want to know why? Because you pick the president!”

Fetterman’s speech attacked a series of Republican politicians whom he depicted as outsiders—disconnected elites. He roasted the vice-presidential nominee J. D. Vance for allegedly not wanting to go to Sheetz, the convenience-store chain whose headquarters are in Altoona, Pennsylvania. He mocked his former Senate rival, the Trump-endorsed television personality Mehmet Oz, whose campaign never recovered from the revelation that he ate crudités and lived in New Jersey. He urged the crowd to vote against the Republican Senate candidate Dave McCormick, who was born in Pennsylvania but spent his hedge-fund millions on a house in the tristate area. “You’re going to send that weirdo back to Connecticut,” Fetterman told the crowd.

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The signs and T-shirt slogans at the Erie rally tended to be less stern than twee. I saw a smattering of CHILDLESS CAT LADY and a lot of Brat green. During the warm-up, Team Harris entertained the crowd with a pair of DJs playing Boomer and Gen X hits: Welcome to America, where your night out can include both a sing-along to Abba’s “Dancing Queen” and a warning about the possible end of democracy. When Harris finally arrived onstage, to the sound of Beyoncé’s “Freedom,” her speech was tight, coherent … and clichéd. At one point, she asked the crowd: “Why are we not going back? Because we will move forward.” But you can’t say that Harris isn’t working for this: After the speech, she stuck around to fulfill a dozen selfie requests. At one point, I saw her literally kiss a baby.

The Democrats have placed a great deal of hope in the idea that Harris comes off as normal, compared with an opponent who rants and meanders, warning about enemies one minute and swaying along to “Ave Maria” the next (and the next, and the next …). This contrast captures what most people in the United Kingdom—where a majority of Conservative voters back Harris, never mind people on the left—don’t understand about America. How is this a close election, my fellow Britons wonder, when one candidate is incoherent and vain, the generals who know him best believe he’s a fascist, and his former vice president won’t endorse him? That message has not penetrated the MAGA media bubble, though: Time and again, I met Trump voters who thought that reelecting the former president would make America more respected abroad.

In Western Europe, many see America’s presidential election this year not as a battle between left and right, liberal and conservative, high and low taxes, but something more like a soccer game between a mid-ranking team and a herd of stampeding buffalo. Sure, the buffalo might win—but not by playing soccer.

Scenes along U.S. Route 30 (Jonno Rattman for The Atlantic)

The next day, I got up early and set my rental car’s navigation system for a destination that registered, ominously, as a green void on the screen. This was a farm outside Volant (population 126), where Tim Walz would be talking to the rare Democrats among a fiercely Trump-supporting demographic: Pennsylvania farmers.

The work ethic of farmers makes Goldman Sachs trainees look like quiet quitters, and the agricultural trade selects for no-nonsense pragmatists who are relentlessly cheerful even when they’ve been awake half the night with their arm up a cow. Accordingly, many people I met at the Volant rally didn’t define themselves as Democrats. They were just people who had identified a problem (Trump-related chaos) and a solution (voting for Harris). “I don’t think we’re radical at all,” Krissi Harp, from Neshannock Township, told me, sitting with her husband, Dan, and daughter, Aminah. “We’re just down the middle with everything … All of us voted straight blue this year, just because we have to get rid of this Trumpism to get back to normalcy.”

Danielle Bias, a 41-year-old from Ellwood City, told me she was the daughter and granddaughter of Republicans, and she had volunteered for Trump in 2016. “This will be the first time I cross the line, but this is the first time in history I feel we need to cross the line to protect our Constitution and to protect our democracy,” she said. Her husband— “a staunch Republican, a staunch gun owner”—had followed her, as well as her daughter. But not her 20-year-old son. “He believes a lot of the misinformation that is out there, unfortunately,” Bias said, such as the idea that the government controls the weather.

The Democratic plan to take Pennsylvania rests partly on nibbling away at the red vote in rural counties. The farm’s owner, Rick Telesz, is a former Trump supporter who flipped to Biden in 2020 and has since run for office as a Democrat. Telesz’s switch was brave in the middle of western Pennsylvania, Walz said in his speech, and as a result, Telesz would “probably get less than a five-finger wave” from his neighbors.

Walz is the breakout star of 2024, one of those politicians in whom you can sense the schtick—folksy midwestern dad who’s handy with a spark plug—but nevertheless get its appeal. He walked out to John Mellencamp’s “Small Town,” in which the singer expresses the hope that he will live and die in the place where he was born. Walz had dressed for the occasion in a beige baseball cap and red checked shirt, and he gave his speech surrounded by hay bales and gourds. “Dairy, pork, and turkeys—those are the three food groups in Minnesota,” he told the crowd, to indulgent laughter, in between outlining the Democrats’ plans to end “ambulance deserts,” protect rural pharmacies, and fund senior care through Medicare.

Walz also wanted to talk about place. He grew up in Minnesota, where each fall brought the opening of pheasant season, a ritual that bonded him, his father, and his late brother. “I can still remember it like it was yesterday,” he said. “Coffee brewing … The dogs are in the field. You’re on the land that’s been in your family for a long time, and you’re getting to participate in something that we all love so much—being with family, being on that land and hunting.”

Then Walz turned Trump’s most inflammatory argument around. Yes, the governor conceded, outsiders were coming into struggling communities and causing trouble. “Those outsiders have names,” he said. “They’re Donald Trump and J. D. Vance.” Why were groceries so expensive when farmers were still getting only $4.10 a bushel for corn and $10 for soybeans? Middlemen, Walz said—and venture capitalists like Vance. “I am proud of where I grew up,” he said. “I wouldn’t trade that for anything. And Senator Vance, he became a media darling. He wrote a book about the place he grew up, but the premise was trashing that place where he grew up rather than lifting it up. The guy’s a venture capitalist cosplaying like he’s a cowboy or something.”

A roadside stand off U.S. Route 30 sells Trump gear. (Jonno Rattman for The Atlantic)

On a sunny day at the Kitchen Kettle Village in Lancaster County, shoppers browsed among quilts, homemade relishes, and $25 T-shirts reading I ♥ INTERCOURSE in honor of a charming community nearby, whose sign presumably gets stolen quite often. Everyone I spoke with there was voting for Trump, and most cited the economy—specifically, inflation, which is immediately visible to voters as higher costs in stores. Among them was Ryan Santana, who was wearing a hat proclaiming him to be Ultra MAGA. He told me that money was tight—he was supporting his wife to be a stay-at-home mom to their young daughter on his salary as a plumbing technician—which he attributed to Biden’s policies. He also mentioned that he had moved from New York to Scranton to be surrounded by people who found his opinions unremarkable. “The left can do what they want,” he said. “Out in the country, we do what we want.”

Throughout my journey around Pennsylvania, I asked voters from both parties what they thought motivated the other side. Kathy Howley, 75, from Newcastle, told me at the Walz rally that her MAGA neighbors seemed to be regurgitating things they had heard on the news or online. “I try to present facts,” Howley said. “Why aren’t people listening to facts?” Many Trump voters, meanwhile, saw Democrats as spendthrifts, pouring money into their pet causes and special-interest groups, unwilling to tackle the border crisis in case they are called racist—or, more conspiratorially, because they think that migrants are future Democrats.

While out driving, I twice saw signs that read I’M VOTING FOR THE FELON. This was a mystery to me: Conservatives who in 2020 might have argued that “blue lives matter” and decried the slogan “Defund the police” as dangerous anarchy were now backing the candidate with a criminal record—and one who had fomented a riot after losing the last election. For those who planned to vote for Trump, however, January 6 was an overblown story—a protest that had gotten out of hand. “If he didn’t respect democracy, why would he run for office?” asked Johanna Williams, who served me coffee at a roadside café. When I pressed her, she conceded that Trump was no angel, but she believed he could change: “He does have a felony charge, but I still think that there is a little bit of good that he could do.” For the 20-year-old from rural Sandy Lake, stopping abortion was the biggest election issue. Even if a woman became pregnant from sexual assault, Williams believed, she should carry the pregnancy to term and give the baby to a couple who couldn’t have children.

I also met Williams’s mirror image. Rachel Prichard, a 31-year-old from Altoona, was one of those who snagged a selfie with Harris at the rally in Erie, which she proudly showed me on her phone as the arena emptied. She was voting Democratic for one reason: “women’s rights.” She had voted for Trump in 2016 “for a change,” and because she thought “he gave a voice to people who felt they didn’t have one.” Instead of helping, though, Trump had “taught them to yell the loudest.” Rachel had come to the arena with her mother, Susan, who had an even more intriguing voting history: She was a registered Republican who worried about high welfare spending and had voted for Trump twice, but she switched allegiance after the Supreme Court overturned Roe v. Wade.

The Prichards are part of a larger female drift toward the Democrats in this election cycle, prompted by the repeal of Roe. Many such women are unshowy and private, the type who turn out for door-knocking but would be reluctant to get up on a podium—the opposite of the male MAGA foghorns who now blight my timeline on X. If Harris outperforms the polls in Pennsylvania, and across the country, it will be in no small part because of these women.

Leaves blowing on the battlefield of Gettysburg, Pennsylvania (Jonno Rattman for The Atlantic) Gettysburg, Pennsylvania (Jonno Rattman for The Atlantic)

Fallingwater might be a relic of an era when the social contract seemed stronger, but another Pennsylvania landmark reminded me that Americans have endured polarization more bitter than today’s.

In Gettysburg, the statues of Union General George Gordon Meade and Confederate General Robert E. Lee stare at each other across the battlefield for eternity— although the solemnity is somewhat disrupted by a nearby statue of Union General Alexander Hays that appears to be lifting a sword toward a KFC across the road. A stone boundary at what’s known as High Water Mark—the farthest point reached by Confederate soldiers in the 1863 battle—has become a modest symbol of reconciliation. In 1938, the last few living veterans ceremonially shook hands across the wall.

I was visiting Gettysburg to understand how the country came apart, and how its politicians and ordinary citizens tried to mend it again. The Civil War pitted American against American in a conflict that left about 2.5 percent of the population dead. During three days of fighting at Gettysburg alone, more than 50,000 soldiers were killed or wounded. The Civil War still resonates today, sometimes in peculiar ways. In Reading, Trump had asked the crowd if it wanted Fort Liberty, in North Carolina, restored to its former name of Fort Bragg, after Confederate General Braxton Bragg. His listeners roared their approval—never mind that Pennsylvania fought for the Union.

The address that Abraham Lincoln gave when he dedicated the Union cemetery there is now remembered as one of the most poignant (and succinct) in American history. By some accounts, though, it flopped at the time. “He thought it was a failure,” William B. Styple, a Civil War historian who was signing books in the visitor center’s gift shop, told me. “There was no crowd reaction.” Only when Lincoln began to read accounts of the address in newspapers was he reassured that anyone would notice his plea “that government of the people, by the people, for the people, shall not perish from the earth.”

When I reached the cemetery where Lincoln spoke, a ranger named Jerry Warren pointed me to the grass that marks historians’ best guess for the precise spot. When I told him that I was there to write about the presidential election, he paused. “In the middle of a civil war,” he said, “Lincoln never mentioned us and them.”

[McKay Coppins: This is not the end of America]

Now, I can’t quite believe that—the discrete categories of enemies and allies are sharply defined during wartime, as the blue and gray military caps in the gift shop made clear. But I see why Pennsylvanians might reject the suggestion that the gap between red and blue is unbridgeable. What I heard from many interviewees across the political spectrum was a more amorphous sense that something has gone amiss in the places they hold dear, and that nobody is stepping in to help. Perhaps a fairer way to see things is that many communities in Pennsylvania feel overlooked and underappreciated three years out of every four—and the role of a political party should be to identify the source of that malaise.

When I came back to Pittsburgh from Fallingwater, I got to talking with Bill Schwartz, a 55-year-old lifelong city resident who works the front desk at the Mansions on Fifth Hotel—another legacy of the city’s industrial golden age, built for the lawyer Willis McCook in 1905. Within a minute, he began to tell me about the diners and dime stores of his youth, now gone or replaced with vape shops and empty lots. (The Kaufmann family’s once-celebrated department store rebranded after Macy’s bought the chain in 2005. Its flagship location later closed.)

Schwartz, who is Black, lowered his voice as he recounted the racial slurs and insults that were shouted at him in the 1980s. But he fondly remembered the Gus Miller newsstand, dinners at Fat Angelo’s downtown, and nights at Essie’s Original Hot Dog Shop in Pittsburgh’s Oakland neighborhood, home of a gnarly stalagmite of carbs known as “O Fries.” “It was a great hangout spot,” he said—his version of the bar in Cheers. But after the pandemic, he wandered down there and discovered a load of guys in construction gear. They had already gutted the place down to its wooden beams.

Did anyone try to save the Original Hot Dog Shop? Schwartz sighed. “That would require rich people to care about where they came from.”