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Floodlines is the story of an unnatural disaster.

“Anatomy of a Photograph” is an occasional series in which we assess visual meaning in a hyper-recorded world.“God, forgive us, but ours is a monstrous system.”  — Mary Chesnut’s Diary, on the eve of the Civil War, March 1861Pick almost any recent event. In all likelihood, an extraordinary amount of visual evidence of it will exist. Body cameras, cellphone cameras, news cameras, traffic cameras. Cameras everywhere.

We are high-school teachers in Brooklyn, and we love what we do. We want nothing more than to go back into the classroom and teach our students. However, we have little confidence in New York City’s strategy for reopening during the pandemic. Officials have given families and teachers vague assurances and clichéd promises, but few concrete plans and steps. Schools are not yet safe enough for us—or the students—to return.

When I worked as a rural mail carrier in the hills of southeastern Kentucky in the early 2000s, my route snaked along the most mountainous parts of the county. I forded creeks and climbed steep dirt roads. Sometimes I’d have to drive for five miles to get to the next house. I delivered everything, including cages full of baby chickens and new sets of tires. I saw the joy that a parcel of books, clothing, or music brought to people.

In many ways, the coronavirus has been irrefutably bad for populists. It has bolstered the popularity of establishment darlings such as Germany’s Angela Merkel, New Zealand’s Jacinda Ardern, and Italy’s Giuseppe Conte. It has brought once-anonymous health experts, including the United States’ Anthony Fauci and Britain’s Chris Whitty, to the fore. It has cast some of populists’ favored wedge issues, among them immigration and the European Union, to the wayside.