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If there is a barrier to Trump resurrecting the massive deportations of the Bush and Obama years, though, it lies in the independence of local law enforcement. To override them is certainly possible. But it would require a vast expansion in federal power that, under any other circumstances, would be anathema to small-government conservatives worried about Washington overreach and rejecting the judgment of local police. The self-proclaimed law-and-order candidate would have to act against the wishes of police chiefs. Trump couldn’t persuade voters in those places to support his candidacy. How much punishment is he willing to inflict on them to ensure they assist in an unprecedented eviction of the American populace?

In 2010, the editor of n+1 magazine, Chad Harbach, famously wrote that there were two distinct and rival literary cultures in America: the institutional, university-driven M.F.A. track and the New York–centered publishing world. But now there is a third option: the fast-paced, democratizing, hyper-connected culture of the internet. The poets of this third category often have little formal training, and their publishers are strewn across the country. Andrews McMeel, for instance, is an indie publisher in Missouri. Social media seem to have cracked the walls around a field that has long been seen as highbrow, exclusive, esoteric, and ruled by tradition, opening it up for young poets with broad appeal, many of whom are women and people of color.

Social-media poets, using Instagram as a marketing tool, are not just artists—they’re entrepreneurs. They still primarily earn money through publication and live events, but sharing their work on Instagram is now what opens up the possibility for both. Kaur, the ultimate poet-entrepreneur, said she approaches poetry like “running a business.” A day in the life can consist of all-day writing, touring, or, perhaps unprecedented for a poet, time in the office with her team to oversee operations and manage projects.