Five weeks into his second term, President Donald J. Trump issued Executive Order 14253, entitled “Restoring Truth and Sanity to American History.” For more than a decade, the order declared, a “concerted and widespread effort to rewrite our Nation’s history” had been “replacing objective facts with a distorted narrative driven by ideology rather than truth.” Trump singled out the Smithsonian Institution and the National Park Service, institutions under federal purview, for portraying American (and Western) values as inherently harmful and oppressive. True to form, he blamed the Biden administration for advancing “this corrosive ideology.”
The order then instructed Vice President J. D. Vance, the Assistant to the President on Domestic Policy Vince Haley (a former speechwriter and advisor to Newt Gingrich as well as Trump), the Office of Management and Budget director Russell Vought, and Secretary of the Interior Doug Burgum to conduct an overhaul of the Smithsonian. These four authorities on American history would work closely with the policy’s West Wing overseer, Senior Associate Staff Secretary Lindsey Halligan, the former Florida insurance lawyer and Trump loyalist who went on to serve illegally as interim U.S. Attorney for the Eastern District of Virginia until she was removed by a federal court order early in 2026. Trump’s historiographical diktat further instructed Secretary Burgum “to reinstate the pre-existing monuments, memorials, statues, markers, or similar properties” that had been removed to “inappropriately minimize the value of certain historical events or figures,” which sounded like a euphemism for placing disgraced Confederate soldiers and politicians back on their pedestals.
Right-wing outcries about left-wing historical distortions, predictably exaggerated and partial to conspiratorial thinking, are by no means uniformly meretricious, which thwarts any blanket condemnation of Trump’s order. The reluctance of liberals and progressives to call out those distortions on their own terms, a distortion of their own, is an abiding intellectual deformation that gives political hostages to the right. In making a federal case out of wokeness, however, the Trump White House, while exploiting a convenient target to arouse its political base and its band of academic acolytes, chiefly intends to expand presidential power further by commandeering and subjugating previously autonomous or semi-autonomous public institutions that have anything to do with history, including the National Archives. Not only will the administration control, as far as possible, how history is conveyed; it will also control the information upon which future generations — or, in the shorter run, potential grand juries — will judge Donald Trump and his associates. The “unitary executive” theory evidently extends to authorizing the president and his underlings to determine as far as possible not just which versions of our past should be honored and which repudiated, but also the materials from which future historians will treat the present. L’histoire, c’est moi.
In their rebuttals to Executive Order 14253, the professional historians’ associations conjured visions of a Trump administration hellbent on imposing, to the limits of its powers, an atavistic account of the American past. Sanitized Trumpian history, the Organization of American Historians declared, would “reflect a glorified narrative that downplays or disappears elements of America’s history — slavery, segregation, discrimination, division — while suppressing the voices of historically excluded groups.” Put differently, the administration aims to suppress the history writing of the last sixty years, which was significantly inspired by the civil rights movement, and revive a worshipful pre-1960s view of the American past in line with its restorationist vision of the American future.
If only that was all that the Trump regime has in mind.

Although no student of history, President Trump has very strong views of his place in it, which offer clues about his regime’s actual historical significance. That self-image is fully displayed on the wall of the West Colonnade of the White House, now dubbed (with a Hollywood touch) the Presidential Walk of Fame, in a series of newly installed bronze plaques that describe each American president.
Complementing the dictator chic of the proposed Trump ballroom and the redecorated Oval Office festooned with gold appliqués, the Walk of Fame conveys a faux authority, as if the plaques were wrought by Clio herself. Relatively few people will ever see them except for Trump — who can see them daily, even several times a day, as long he is not at Mar-a-Lago or holed up in the private residence upstairs — along with visiting dignitaries whom the president wants to impress. The exclusivity, though, is in part the point. Housed in an inner temple of the White House, the plaques and their accompanying portraits stand as tablets of revealed historical truth with official authorization, banishing all doubts, fears, and confusions about the standing of presidents past and present and Trump’s place among them. For its chief audience of one, it is the ultimate in the ego-fortifying branding that he craves. For his guests, it is a firm reminder of who’s in charge. As much as the texts on the plaques, the narcissism of the display’s privileged venue reflects the narcissism of its creator.
Fifty-one plaques describe forty-five presidents. From George Washington through George W. Bush, each man receives one plaque, except for Grover Cleveland, whose nonconsecutive terms get two. Suddenly, though, Barack Obama rates two plaques, apparently because one did not suffice to include all of the abuse heaped upon him: “the highly ineffective ‘Unaffordable Care Act’;” “a stagnant economy;” “the terrible Iran Nuclear Deal;” topped off by how Obama “spied on the Presidential Campaign of Donald J. Trump, and presided over the creation of the Russia, Russia, Russia Hoax, the worst political scandal in American History.” The same need to pile on the invective explains why “Sleepy Joe Biden . . . by far the worst President in American History” who “brought our Nation to the brink of destruction” also gets two plaques, his portrait contemptuously replaced by a picture of an autopen.
The two plaques devoted to Trump’s first term consist, naturally, of a series of superlatives, among other things crediting him, preposterously, for creating (in Truth Social caps) “the Greatest Economy in the History of the World.” More strikingly, the first year of his second term gets two plaques all to itself, concluding with the demolition of the East Wing and the construction, “right here at the White House, the magnificent Trump Presidential Ballroom after a 225-year wait — but THE BEST IS YET TO COME!” To get some perspective on these proportions: the Presidential Walk of Fame devotes more attention to that first year of Trump’s second reign, 2025, than it does to the entire presidencies of Abraham Lincoln and Franklin D. Roosevelt combined.
The pathetic grandiloquence is predictable, as are the falsehoods and the slanders. More telling is how the custom-made running narrative connects Trump with his more distant predecessors. Time and again, when describing major and minor presidents alike, the plaques cast the history of the presidency as an inevitable anticipation of Trump himself, all the while taking care to avoid all embarrassing similarities and contrasts. He is, in his person, the American telos.
Andrew Jackson, for example, in an inartful bit of writing, “was unjustifiably treated unfairly by the press, but not as viciously as President Abraham Lincoln and President Donald J. Trump would, in the future, be.” The plaques approvingly highlight presidents who “raised Tariffs,” in most cases suggesting falsely that they did so unilaterally much as Trump tried to do. (The plaque on William McKinley does praise him for authoring, as a congressman, the tariff of 1890, while ignoring that measure’s disastrous economic — and for McKinley’s fellow Republicans, political — effects.) The plaques even manage to rope John Tyler in as a pro-tariff man, and never mind that he approved a hike in rates very reluctantly; Tyler is also noted for being the first president for whom Congress drew up articles of impeachment to no avail, another Trumpian connection. Tyler’s pro-slavery politics and eventual defection to the Confederacy go unmentioned. Warren G. Harding comes off better than most for having “cut Taxes, raised Tariffs, and restricted immigration,” the Trump trifecta. Harding’s plaque omits the Teapot Dome Scandal, lest it prefigure the Trump kleptocracy.
Going back to the earliest days of the republic, George Washington’s plaque, not surprisingly, elides how Washington, far from inciting an armed insurrection against federal authority, personally led the forces that crushed one, the Whiskey Rebellion in 1794. John Adams’ plaque, however, misses the opportunity to mention the repressive Alien and Sedition Acts of 1798, from which Trump has haphazardly borrowed the only one still on the books, the Alien Enemies Act, to launch his mass deportations.
The plaques do not explicitly call Trump The Greatest President of All Time, although they could easily be mistaken for doing do. Collectively, though, they leave little doubt that he is right up there with Washington and Lincoln. More to the point, they present American history, or at least the history of the American presidency, as two and a half centuries of prologue that culminate in the ascendancy of Donald J. Trump, the hero who not only made America great again but ushered in a golden age, making America greater than it ever was before.
There is every reason to think that Trump has come to view American history this way. But so, now, do tens of millions of other Americans who need not visit the Presidential Walk of Fame to regard his presidency as a providential, even divine, dispensation. And in important ways that Trump cannot possibly understand, his regime, while aberrant in many respects, truly is the culmination of important currents in our past.

Trump’s monomania, along with his royalist pretensions, come into sharper focus with his attempts to self-brand the nation’s currency. Here, though, his schemes have run into trouble, owing to an obscure bit of history connected to the Civil War era exploits of a certain Spencer M. Clark.
From the nation’s founding until the war, the U.S. Treasury and U.S. Mint deliberately avoided placing actual individuals, let alone living ones, on its coinage, lest it imitate Old World and especially British currency that depicted the reigning monarch. (Americans repeated, into the 1860s, an apocryphal story that when George Washington learned that the first silver dollar was to bear his likeness, he ordered the die destroyed.) Coin designers instead opted for allegorical figures, such as the bust of a female with flowing long hair representing Liberty. But during Abraham Lincoln’s presidency, the government’s issuance of so-called greenback paper currency as legal tender, a part of its effort to crush the slaveholders’ rebellion, opened fresh opportunities for personal glorification. In 1862, Treasury Secretary Salmon P. Chase, a stalwart abolitionist but also an ambitious politician who would have preferred to see himself and not Lincoln in the White House, approved and probably encouraged having his likeness appear on the first one-dollar greenback. Critics assailed Chase’s impudence. The issue of currency portraiture, however, did not become a controversy until four years later, by which time Chase had resigned from the Treasury Department and been named Chief Justice of the U.S. Supreme Court.
This brings us to Spencer Morton Clark. He was a Vermont-born small businessman who at some point moved to Washington and in 1856 obtained work as a clerk in the Bureau of Construction of the Treasury Department. Interested in the design of notes and securities, he gradually assumed greater responsibilities and became an advocate for establishing a separate office for overseeing the design and production of department paper. Although he lacked any experience as an engraving engineer, in 1862, having won the confidence of Secretary Chase, he was named superintendent of the first division of the new Bureau of the Currency, which over the decades would evolve into the Bureau of Engraving and Printing.
Working at first with a male assistant and four female operatives, Clark was credited with, among other innovations, designing the first so-called Treasury Seal, a version of which still appears on American paper money, as well as for proposing that a facsimile signature of the Treasurer of the United States appear on department notes instead of relying on the battalions of clerks that had hitherto signed the notes. Clark’s early tenure, though, was marred by allegations of scandal, including charges that he was “hiring women based on their looks rather than their ability” and that his department had become, one congressman claimed, “a house for orgies and bacchanals.”
As it happened, the Treasury Department was becoming the first federal agency to hire large numbers of female clerks, many of them teenagers and young women whose fathers were either in the military service or had been killed — a vulnerable workforce whose wages were essential to support their families. Short of the extravagant Dionysian rhetoric, substantial evidence surfaced of rampant sexual exploitation, including detailed testimony from at least one employee affirming that Clark had offered her $100 and then $1,000 to have sex with him. A congressional inquiry — conducted by a panel of House members friendly to Secretary Chase — cleared Clark of misconduct, calling him the victim of a conspiracy; and so he kept his job to the end of the war and beyond.
Clark duly oversaw production of a new form of currency for public circulation, the so-called fractional notes for amounts less than a dollar, which were needed because of the public’s widespread hoarding of specie coins. The initial fractional notes bore the likenesses of George Washington and Thomas Jefferson, “illustrious men of our country,” a later journalist remarked, “long since gathered to their fathers.” But when an issue of five-cent notes appeared in 1866, reckoned likely to be, in future, the most widely used fractional note of all, they featured a portrait not of a departed Benjamin Franklin or Paul Revere but of the bearded, exceedingly un-illustrious, and very much living Spencer M. Clark. For good measure, Clark, unfailing in his efforts to curry favor, had the portraits of Chase’s successor, William Fessenden, and the current Treasurer of the United States, Frances Spinner, placed, respectively, on the twenty-five- and fifty-cent notes.
There are differing versions of what happened. By one account, Superintendent Clark asked Treasurer of the United States Francis Spinner if, apart from the others, it would be all right to have “Clark” appear on the note, and Spinner, assuming he meant the explorer William Clark of Lewis and Clark fame, assented. Only after proofs of the bills appeared, so the story goes, was it discovered that the superintendent had already had a die cut with his portrait, which duly appeared on the new bills; and, supposedly, Clark lamely blamed a “misunderstanding.” No matter what actually happened, though, demand for the notes was so great and time had grown so short that the Treasury Department approved production and release of the Spencer M. Clark five-cent bill.
The appearance of a relatively minor and long suspect federal official on currency over which he was largely responsible caused a furor from which Clark, this time, could not entirely escape. (He would resign two years later, his reputation precarious when yet another scandal broke, this one over alleged financial irregularities.) Elevating Fessenden and Spinner was bad enough, but plastering Clark’s portrait on legal tender was ridiculous. Congress duly amended an appropriations bill to include a provision, known as the Thayer Amendment, that forbade the visage of any living person from appearing on legal tender notes and securities. That amendment remains on the books, since enlarged to state that “only the portrait of a deceased individual may appear on United States currency and securities” (31 U.S.C. § 5114[b]).
It would be fine historical justice if a scoundrel like Spencer Clark, the plausibly accused sexual predator, con man, and confirmed egomaniac, were responsible for now keeping Donald Trump’s mug off our money. When it comes to branding, though, Trump never says die, and his army of GOP sycophants rush to flatter him. Trump has already succeeded in arranging to have his signature replace that of the Treasurer of the United States on paper legal tender, overturning the rule that dates to Clark’s tenure. In 2024–2025, Representative Joe Wilson, Republican of South Carolina — previously best known for interrupting a presidential address to a joint session of Congress in 2009 by shouting “You lie!” at Barack Obama — floated a proposal to put Trump’s portrait on a new $250 bill, a clear violation of the Thayer Amendment that got nowhere. During the 2024 campaign, however, the Trump fundraising operation issued $100 commemorative coins designed to look official, displaying an image of the White House and the words “In God We Trust” as well as Trump’s profile. Although they were just mementos, subsequent developments suggest that those coins may have been mock-ups for something much closer to official.
On March 19, 2026, the United States Commission on Fine Arts — a federal body purged in 2025 and restocked with individuals, the White House announced, “more aligned with President Trump’s America First policies” — unanimously approved the design of a 24-carat-gold commemorative 250th-anniversary coin bearing Trump’s glowering likeness, an official piece of currency from the U.S. Mint, physical size and denomination to be determined. To complaints that this is yet another obvious violation of the Thayer Amendment, Scott Bessent’s Treasury Department claims it has found a loophole in 31 U.S. Code § 5112, giving the Treasury Secretary authority to “adopt and prepare new designs” — as if that provision superseded the Thayer Amendment, which it emphatically does not. Where the forgotten Spencer Clark failed in getting his portrait permanently affixed to a five-cent paper piece, Donald Trump may well succeed in being inscribed on a gold coin commemorating American Independence — currency to celebrate monarchy’s overthrow that is truly fit for a king.

Other projected Trump historical markers have less troubled American precedents. To greet George Washington on his journey from Mount Vernon to New York for his first inauguration in 1789, individual towns and cities built temporary arches, republicanized variants of décor for a royal procession. Into the nineteenth century, Americans designed permanent memorial arches, nowhere more often than in New York City. These monuments include my own favorite, the Soldiers and Sailors Arch at Grand Army Plaza in Brooklyn, honoring the Union victory over the slaveholders in 1865.
As far as urban memorials go, the Brooklyn arch, standing eighty feet above ground, is as close as it gets in the United States to a European-style triumphal edifice, centering the plaza designed by Frederick Law Olmstead and Calvert Vaux at the entrance to Prospect Park much as Napoleon’s Arc de Triomphe centers a radial street axis off the Champs-Élysées. Indeed, the Brooklyn arch, with its statuary paying homage to the Union dead, including an equestrian bas-relief of Abraham Lincoln, was deliberately modeled on the Arc de Triomphe (though the latter, with its glorification of the Napoleonic imperium, strikes a different thematic tone). Imposing as it is, however, the Soldiers and Sailors Arch is less than half the height of its 164-foot Paris counterpart. Adapted to an American civic space, commemorating the destruction of slavery as well as the salvation of the Union, the Brooklyn arch reimagines the form as a more modest republican monument; grandeur but not grandiosity.
Trump and his supporters have a bigger and, of course, much glitzier idea, driven by his unfathomable version of the status anxiety common among arriviste robber barons. Reportedly, Trump began musing about building a triumphal arch when he visited Paris in 2017 at the invitation of President Emmanuel Macron and attended the Bastille Day parade at the Arc de Triomphe. Informal proposals for a Trump-themed arch in Washington began to surface later in his first term, more as a gesture of undying support or perhaps a provocation in anticipation of the 2020 election than a serious suggestion. More substantive plans appeared in the aftermath of Trump’s second inauguration.
In April 2025, the American Mind, the online journal of the Claremont Institute, not previously known as an authority on architectural criticism or urban design, published an essay called “Washington Needs an Arch” by Catesby Leigh. A longtime journalist turned architecture expert, the Washington, DC-based Leigh had earlier made a name for himself in publications such as National Review, First Things, and the New York Post as well as Arts and Antiques and American Arts Quarterly, and as a co-founder of the National Civic Art Society, a non-profit organization dedicated in part to reviving traditional neoclassical styles in the nation’s capital. His article observed that Washington is the only major Western capital lacking a monumental arch, which in his view is a distinctive marker of national greatness and a proper gateway for civic space. Leigh advocated correcting that glaring flaw, and he knew just where to build it — what he called the “conspicuous dead space” at Memorial Circle at the west end of the Arlington Memorial Bridge, across the Potomac from the Lincoln Memorial. (That space is of course not dead: it is the cobbled and gently affecting approach to Arlington National Cemetery, over which the Lee Mansion presides from a solemn height — a kind of antechamber of national meaning.)
Leigh had in mind a triumphal arch but in the modest American mode, about sixty feet tall (roughly the same height as the arch in New York’s Washington Square Park), built to honor the semiquincentennial of the Declaration of Independence. Although the design was compatible with conservative sensibilities, Leigh couched his proposal in architectural and civic terms, not in political terms, as a completion of Washington’s coherent classical design. He explicitly connected his monument to the abstract principles of the Declaration of Independence and not to any individual, let alone to Donald Trump. In reclaiming neoclassical precepts, he had no intention of disrupting the existing sightlines but aimed to complement them, providing, as he sees it, a long missing counterpart to the Lincoln Memorial.
There is no evidence that Trump’s circle drew directly on Leigh’s suggestion, but leading architects within that circle who have promoted the more recent Trump arch proposals, notably Justin Shubow and Duncan Stroik, are important figures in Leigh’s conservative neoclassical milieu and were almost certainly aware of his essay. Leigh, however, without withdrawing his original proposal, has expressed dismay at what the Trumpists now envisage, an arch that is “way too big” and out of scale for the site — that is, an arch consonant with Trump’s view of history and his place within it.
As of this April, the design proposal, prepared by Harrison Design, calls for a 190-foot-high main structure topped by a 60-foot gold statue of Lady Liberty — 250 feet in all, tacky symbolism for one foot per year since 1776. The main structure alone is taller than the Arc de Triomphe; with the statue on the arch’s roof, it will stretch nearly half as high as the heaven-scraping Washington Monument obelisk, meaning that it will dwarf every other structure in the city, completely disrupting the DC skyline. (Since it will be built in Virginia, the arch will sidestep the District of Columbia’s strict restrictions on the heights of buildings.) Viewed from the Virginia side, it will frame and completely dominate the Lincoln Memorial, off in the distance. Approached from the DC side, it will overwhelm the venerable rows of simple headstones in Arlington Cemetery.
The design is unmistakably Trumpian, with gold rococo accents near the roof of the arch along with golden statues of two eagles in flight flanking the enormous statue up top. Gilded details evoke New York City not so much in imitation as to outdo Trump’s hometown, where the elite never quite accepted him: the resplendent gold statue is a replica of the green oxidized copper Statue of Liberty, this time sporting wings, while a pair of lions atop stone pedestals guards the arch on the DC side just as their originals guard at the New York Public Library — only these lions are gold, not pink marble. (That marble gives the Library lions their serene grace atop unmistakable power; whereas Trump’s worship of gold appears, to a layman, pathological.)
To be sure, the formal plans presented by Harrison Design state that the arch is simply a commemoration of the Declaration of Independence at 250, the same as Catesby Leigh’s original proposal. But the grandiosity as well as the flashy details make its provenance as unmistakable as that of any Trump real-estate project. In any case, Trump is clear about whose monument it really is. Asked by a reporter back in October who the monument is for, the ever-unguarded Trump replied, “Me. It’s going to be beautiful.” (The man gives candor a bad name.) And just in case anybody tried messing around with who’s in charge and what the arch is for, and who or what it may end up honoring, Trump named as overseer of the project Vince Haley, the same ex-speechwriter loyalist he appointed as part of the team to overhaul the offerings at the Smithsonian.

The gargantuan ballroom that is to replace the razed East Wing of the White House is another example of Trump’s edifice complex run amok. Early renditions look as if the plans were inspired more by Albert Speer than by Richard Morris Hunt. The privately funded project is also an enormous public show of subservient allegiance from a billionaire class falling over itself to render unto their new Caesar whatever it takes to get on his good side, whether out of fear or opportunism or both. Of course, the building contract went to a firm, Clark Construction, that is very much a Trump favorite, having also wangled a hugely inflated no-bid deal to repair two fountains in Lafayette Park at a cost to the taxpayers of $11.9 million, with add-ons that will bring the bill to $17.4 million.
Beyond the imperial pretentions and kleptocracy of Trump’s second term, however, there is an additional explanation for his insistence on building this thing. As it happens, Trump’s desire to construct a new presidential ballroom antedates his own presidency. In 2010, Obama’s former strategist David Axelrod recounts, private citizen Trump approached him saying, “I see you have these state dinners on the lawn there in these shitty little tents. Let me build you a ballroom you can assemble and take apart. Trust me. It’ll look great.” Trump was not wrong about those tents, but Obama evidently lacked enough trust in him to take up the offer. It would take fifteen years, but Trump, who never forgets a slight, would get his way, and not with anything so humble that it could be easily taken down and reassembled. It appears that he has made himself comfortable in the presidency by going back to the construction business. He is a human wrecking ball. For a developer, rubble is a sign that things are looking up.
Another of Trump’s proposals with historical resonance, or at least the idea behind it, has at first glance a perfectly American pedigree. Perhaps his most sizable project, to build a National Garden of American Heroes, might have been conceived as a complement to the Hall of Fame of Great Americans designed by Stanford White, a loggia overlooking the Hudson and opened in 1901 on what was then the campus of New York University and is now the home of Bronx Community College. Starting with a group of thirty eminences chosen by a national board selected by NYU, the hall added new honorees every five years until the process halted in 2000; now, 102 greats are included in seven categories ranging from statesmen and writers to theologians and military leaders.
I confess to a personal attachment, a sentimental attachment, to that old hall, mainly because my father, who grew up nearby, took me there when I was a boy. In that majestic setting, the displays spoke to me of great battles and great poems and great deeds and great sacrifices as no teacher or textbook ever would. It was a shrine but a remarkably democratic one, featuring busts of ordinary-looking men and women who had done extraordinary things, each one a hero but presented simply, one by one, the unheroic design elevating their heroism. Every other hall of fame, including my other favorite in Cooperstown, is descended from that curving memorial in the Bronx.
But the plans for the National Garden of American Heroes, to be built on federal land near the National Mall, are something very different. Trump announced his garden as a political gesture, not a commemorative one, to counter the all-too-indiscriminate destruction of public statues that followed the murder of George Floyd at the hands of Minneapolis policemen in 2020. In place of iconoclasm Trump offered iconophilia, and there was every reason to be suspicious, lest Trump’s statue park complement his efforts to restore honor to the names and images of disgraced Confederate traitors.
In fairness, while the selection process remains opaque, the list of the Americans who have made the cut (projected, when completed, to be 250: that number again) is for the most part not as bad as one would have rightly feared. To be sure, there is some obvious right-wing influence to go along with sheer boorishness. Only political bias can explain selecting Jeane J. Kirkpatrick as a hero, but not Daniel Patrick Moynihan, just as only politics can account for why Russell Kirk deserves inclusion. The list of visual artists is thin — John James Audubon and Charles Willson Peale but not Winslow Homer or Jackson Pollock. Most egregious is the selection of just two men under the category of journalists, Trump’s “enemies of the people”: Edward R. Murrow and, bizarrely, Alex Trebek, the host of the television game show Jeopardy!
Still, right-wing partisanship cannot explain why the Supreme Court justice named Marshall who made the grade is Thurgood and not John, or why Phillis Wheatley is included but Marianne Moore is left out. Most notably, Ulysses S. Grant is present but Robert E. Lee is not; nor, for that matter, is any other Confederate. Somebody clearly made an effort. Given the project’s origins, what seems to have been the studied exclusion of any Slave Power traitor comes not simply as a relief but as a signal that the Lost Cause may at long last have been firmly denied any claim whatsoever to honor in the national memory. The exclusion in fact quietly endorses the spirit behind the Confederate removals in 2020.
But don’t be fooled by the list of names alone: far from updating the old Hall of Fame of Great Americans in the Bronx, the Garden of American Heroes will be yet another Trumpian attempt to outdo his hometown with as much grandiosity as possible, and with further self-glorification in the offing. Last July, when Trump signed his larcenous so-called “One Big Beautiful Bill,” the measure set aside $40 million to “establish and maintain” the garden, which strongly suggested that, as with everything else this White House touches, there is some serious grifting afoot. But we ain’t seen nothing yet — literally in terms of anything built, figuratively in terms of the scale of potential corruption. Subsequent reporting has disclosed a far huger enterprise, with reflecting pools and dining facilities and an amphitheater, and life-sized statues (no modest busts here) commissioned at a cost of $250,000 each, which alone would bring the total to $10 million more than Congress has already appropriated.
As with the Presidential Walk of Fame, meanwhile, the true test of the garden’s historical significance will lie in the biographical material identifying each hero. An official White House statement has described the project as being “built to reflect the awesome splendor of our country’s timeless exceptionalism,” a sure sign of anti-historical boosterism. And the biographical descriptions that accompanied the original list of names were so vapid that they drained most of the heroes of their heroism while pushing a false and treacly view of an American past where never was heard a discouraging word. The great abolitionist Frederick Douglass, for example, is rendered as “a proud patriot who loved his country and wanted to see it become the best version of itself.” A more accurate summary would have quoted Douglass’ own words on the subject of patriotism, that “the best friend of a nation is he who most faithfully rebukes her for her sins.”
Most sinister of all, the list of honorees released thus far consists of 245 names, not 250. It’s a dead giveaway: the only mystery here is about who the other four honorees will be who will stand beside Donald John Trump. Roy Cohn would be a pretty safe bet. The late Charlie Kirk of Turning Point USA will almost certainly be there. But who else? Witkoff? Giuliani? Hulk Hogan? Or maybe, realizing the omission, they will smuggle in Robert E. Lee or Stonewall Jackson or Jefferson Davis after all.

Should Trump’s Garden of American Heroes ever turn into something more than a political gambit, it is just possible that under another administration it could be revised into an updated Hall of Fame, built to properly American scale — the slightest of vindications for Trump. The same cannot be said for Trump’s other main response to the troubles of 2020, his 1776 Commission, announced two days before the November election, which delivered its report on American history during the waning days of Trump’s first term.
Created in part as a counter to the New York Times’ tendentious and erroneous 1619 Project and the influential Manichean writings of the historian Howard Zinn, the commission was charged with finding ways to promote what Trump called “patriotic education” by refuting what he contended was “a twisted web of lies” about America’s historically systemic racism. The eighteen-member commission, chaired by Larry Arnn, co-founder of the Claremont Institute and president of Hillsdale College, and joined by a grab bag of Trump-aligned professors and less-than-qualified public figures, including Charlie Kirk, provided Trump with what he asked for and more.
The most telling section of the commission’s report had nothing to do with 1619 or 1776 but everything to do with early-twentieth-century America and the rise of Progressivism — in the commissioners’ view a great anti-American heresy, which has posed a challenge to the nation’s fundamental values akin to the challenges posed by slavery, fascism, and communism. Progressives, the commission reported, were elitists who “rejected the self-evident truth of the Declaration that all men are created equal and are endowed equally, either by nature or by God, with unchanging rights.” Instead, they “believed there were only group rights that are constantly redefined and change with the times.” The commission singled out Woodrow Wilson as a Progressive mastermind, who, it claims, even before he became president, laid out “a new system of government” sometimes called “the administrative state,” a government “unaccountable to the people and without constitutional restraint.”
What a Progressive such as Louis Brandeis — who described “the final end of the state” as making “men free to develop their faculties” — would have made of such an account is not too difficult to imagine. In 1862, Abraham Lincoln established the United States Department of Agriculture, an independent agency charged with protecting a specific group, the nation’s farmers, conducting agricultural research, and securing the nation’s food supply. Was Lincoln, then, and not Wilson, the original avatar of group rights and the father of the unaccountable administrative state? In demonizing, under the label of Progressivism, modern American liberalism as an alien force, the commission report restated, in a softer form, the right-wing animus that has long dated the downfall of the American republic to the creation, under Wilson, of the graduated federal income tax and the Federal Reserve. It is but a step or two away from the more crackpot theories of American history, some of them recently propounded by Supreme Court Justice Clarence Thomas, that conflate modern liberalism with totalitarianism and describe Progressivism as not merely the equivalent of but also the progenitor of Hitler, Mussolini, and Stalin. Really.
Yet this is the history that the first Trump White House endorsed, and it is the nearest thing available to what American history will look like when Trumpian truth and Trumpian sanity are restored.

Trump’s authoritarian second term — and even, for that matter, his more chaotic first term — has had a vertiginous effect that leads many to look for some historical precedent for this wild turn of events, to regain balance if not necessarily to find reassurance. Historians get asked the question all the time: has there been anything before in American history even remotely like the Trump regime? The answer, on the narrowest of grounds, is no: even down in the depths of James Buchanan and Andrew Johnson, no American president or White House administration has shown such disregard, even open contempt, for the Constitution and the rule of law as we now witness nearly every day.
Yet this fact can be misleading, causing commentators to look abroad, usually to one variety or another of European fascism, for similarities. These are easy enough to find: it is difficult, for example, to notice the rising influence of Opus Dei and reactionary Catholicism generally in Washington, as well as among MAGA intellectuals such as Patrick Deneen and Adrian Vermeule, and not be reminded of Francisco Franco’s Falange Española Tradicionalista. But no matter how close the foreign analogies, they egregiously overlook our homegrown evils, the deeply illiberal strains in the entirety of American history, which are obscured by limiting the search for analogies to past occupants of the White House.
We are prone to approach Trumpism with thoughts of It Can’t Happen Here, Sinclair Lewis’ second-rate but influential nightmare fantasy from 1935, as well as Philip Roth’s much superior The Plot Against America. At long last, supposedly, where Charles Lindbergh’s America First failed, Trump is now forcing Americans to deal with the fact that it can happen here. Even holding aside slavery and the Confederacy, though, we knew this already, or we should have known it. Consider the experience of any black American in the South under the Jim Crow police-state regime, and the facileness of such prettifying thinking about American history becomes obvious: factually speaking, it has happened here. Then trace the history of what became of that evil after Jim Crow’s formal collapse: the shift of the solid segregationist South into the Republican Party, the rise of the Christian Right and then the Christian Nationalist Right out of the ruins of massive resistance, the political flirtations and more than flirtations with the likes of the cleaned-up Klansman David Duke, the right-wing militia paranoia of the 1990s that drove Timothy McVeigh to terrorism, the political careers of George Wallace and Pat Buchanan and Jesse Helms and Strom Thurmond, and finally add the internet and social media — ponder all this and you begin to have a handle on the origins of a powerful all-American authoritarian current that has fed into MAGA.
Trump, of course, could not care less about the history of what paved his way to power. Our history-obsessed and legacy-addled president is phenomenally ignorant of our actual past. The ideologues around him will continue to push hard to impose an eviscerated version of our history that consigns the long and consequential career of American liberalism to history’s dustbin. For Trump, though, American history is just a lot of gold leaf, just more fodder for his self-glorification. And in that respect, certainly, he bears an indisputable resemblance to every caesar, generalissimo, caudillo, duce, führer, jefe, vozhd, Dear Leader, and Great Helmsman who ever walked the earth.