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Few, if any, historians have brought such insight, wisdom, and empathy to public discourse as Jill Lepore. Arriving at The New Yorker in 2005, Lepore, with her panoptical range and razor-sharp style, brought a transporting freshness and a literary vivacity to everything from profiles of long-dead writers to urgent constitutional analysis to an unsparing scrutiny of the woeful affairs of the nation itself. The astonishing essays collected in The Deadline offer a prismatic portrait of Americans' techno-utopianism, frantic fractiousness, and unprecedented--but armed--aimlessness. From lockdowns and race commissions to Bratz dolls and bicycles, to the losses that haunt Lepore's life, these essays again and again cross what she calls the deadline , the river of time that divides the quick from the dead. Echoing Gore Vidal's United States in its massive intellectual erudition, The Deadline , with its remarkable juxtaposition of the political and the personal, challenges the very nature of the essay--and of history--itself.