NEW YORK, NY - NOVEMBER 20: Playwright Tarell Alvin McCraney during the MTC Broadway Cast Call for "Choir Boy" at The MTC Rehearsal Studios on November 20, 2018 in New York City. (Photo by Walter McBride/Getty Images)
For a New York Times Magazine profile story, Carvell Wallace interviews the playwright Tarell Alvin McCarney, visiting a rehearsal of “Choir Boy,” a “queer coming of age tale” about members of a gospel choir at a prestigious all-Black boarding school:
In the scene I watched the cast work on, the character of David, played by Caleb Eberhardt, decides to open his heart to another character, which he does by starting off a song, “Motherless Child.” The lyrics — “sometimes I feel like a motherless child/a long way from home” — date back to slavery, and like the words of most spirituals, they have a clear and heavy range of meanings. You can interpret them as personal, spiritual and political, all at once.
All those meanings are at play in the scene. The boys of Drew are, literally, a long way from home. They share showers, sleep in dorm rooms and can call home only once a week. They are left to build themselves out of whatever is in the air: tough but fair headmasters, a dignified but burdensome “black excellence” tradition, a sky full of forceful and conflicting expectations of black masculinity. It is too much and boils over.
Tensions are high among the boys in the locker room, who are still buzzing over a recent near-fight. David, on the way to the shower, stops to sing the first stanza of the song alone, then to a classmate. Then the entire group joins in, sending their voices echoing off unforgiving tile. It is meant to be heart-rending.
The problem, this morning, was that it wasn’t working. The director, Trip Cullman — he most recently directed Kenneth Lonergan’s “Lobby Hero,” last year — was gamely trying different ways of transitioning into this fraught moment. What if Eberhardt did it from upstage? What if he went halfway off and came back? What if he started quietly and then built?
The playwright was present, wearing a cream-colored cardigan, crisp jeans and gleaming, off-white, all-leather Chuck Taylors, seated at a folding table crowded with script binders and room-temperature coffees. So far, I had heard him say little. But now he asked for the floor. The actors took seats. I noticed I was nervous for him. When the actors are struggling and the director can’t seem to find a solution, you’re forced to ask: Could the problem be the script?
But when McCraney talked, he didn’t talk about the play or the dialogue. Instead, he talked about grief. Casually, as though it were something that just came to his mind. He explained what it felt like to lose his mother at 22. He did not talk about how she died, and he hinted only a little at the complexity of their relationship; this address was not autobiographical. It was to do with emotions. McCraney described how grief lives in a person’s body, how it settles there. He explained its half-life, the unreliable nature of its decay. He talked about the phenomenon, when grieving a loved one, in which you begin to have memories of times after their death that you think they must have been present for. Remember when I won an Academy Award for my movie, and you were so proud? And then he talked about how things like that make you grieve their absence all over again, and how that grief catches you unawares, taking over your body when you least expect it. It sits in a small reservoir beneath your heart. It whispers to you at odd hours and yells at you in quiet ones.
I teared up just a little bit hearing it. My own mother died in my arms almost exactly 10 years earlier. My relationship with her was also complicated. My grief also weaves in and out of being with little explanation or predictability. McCraney was calling something into the room, I might even say invoking it. All that was happening was that he was explaining something about grief — something that he, at age 38, knew, and that the cast, talented black Broadway-level actors/dancers/singers ranging in age from maybe 20 to 25, may not yet have known but were capable of understanding.
McCarney’s deft direction and trust in the cast and his own vulnerability reshuffles the room; the men nail the scene. “Choir Boy” is McCarney’s first work produced on a Broadway stage. He’s most well-known for adapting the Oscar-winning screenplay for Moonlight, another tender coming of story, from the play, “In the Moonlight, Black Boys Look Blue,” which he wrote when he was 23.
Wallace and McCarney also talk about burnout and anxiety, Spike Lee’s filmmaking, and McCarney’s other upcoming projects, like Netflix drama High Flying Birdand the OWN show “David Makes Man.”
Becoming a mother is a process — matrescence, I can’t quite bring myself to call it — and not usually a smooth one. My theory is that, these days, the identity transformation begins the first time you apologize for posting so much about your baby on social media. And it’s complete the first time you find yourself jumping into a new mom’s mentions to give her unsolicited advice.
I’m reminded of this every time I open Instagram and see the feeds of women I’ve followed and admired and laughed with and confessed to for years who have recently become a parents. As I watch them make their own transitions into the role, I feel full of affection and compassion and nostalgia, followed quickly by a vexing, almost irrepressible desire to be consulted.
It doesn’t happen with the first photo, where under current conventions, you post a photo of the infant, newly born, with his or her or their name and, as if the child is a fish you caught, their weight and length. If you’re committed to being thorough, you express some sort of loving sentiment that feels revelatory to you but reads as perfunctory: “We’re so in love.” (Which we know to mean something closer to: Thank God I think I love it??) “We’ve never been happier.” (My asshole and vagina are now one hole) “We’re getting to know each other!” (My nipples look like they’ve been run through a meat grinder and I feel completely and utterly hopeless but so much so that I’m afraid to say it out loud.)
Soraya Roberts | Longreads | January 2019 | 9 minutes (2,514 words)
In his satirical 1827 essay, “On Murder Considered as One of the Fine Arts,” Thomas de Quincey called himself a connoisseur of murder before assuring us he hadn’t actually committed one himself. In her new book I’ll Be Gone in the Dark: One Woman’s Obsessive Search for the Golden State Killer, late author Michelle McNamara also ensures that we know her interest is personal, not prurient (it originated with an unsolved crime in her childhood neighborhood). Most of us have excuses for our interest in true crime, as though enjoying it offered real insight into our own predilections. The quasi-religious impulse to consider this a perversion of society’s innate morality has led to a flurry of theories about the source of our fascination, with four main hypotheses recurring: true crime can be a cathartic conduit for our primal urges, a source of schadenfreude, a controlled environment to experience the thrill of fear, and way to arm us (women particularly) with the knowledge to keep ourselves safe. A psychologist, speaking to NPR in 2009, provided the perfect précis: “our fascination with crime is equaled by our fear of crime. It’s two sides of the same story.”
True crime is less embarrassing, like so many things, when it’s scrubbed clean. On my shelf, Truman Capote’s In Cold Blood, Gabriel Garcia Marquez’s News of a Kidnapping and Dave Cullen’s Columbine stick out for how unobtrusive they are amidst the loudly stylized spines of Ann Rule’s The Stranger Beside Me and Vincent Bugliosi’s Helter Skelter, among others. With their unadorned print (no drips) and minimalist art (no claret), these tasteful soft covers pass for literature. They are comparable to “prestige” podcasts like Serial and S-Town and series like Making a Murderer and The Keepers, Netflix shows in which the classic hallmarks of true crime programs — overly explicit, overly emotive — are massaged into character-driven narratives for the graduate set. In the midst of this influx of classy crime content, watching throwbacks like Lifetime’s Surviving R. Kelly, in which survivors are tasked with reliving their abuse and tear-stained grief is the closeup du jour, starts to feel like an ignominious act.
In 2016, at the beginning of the true crime renaissance, The New Yorker asked Popular Crime author Bill James whether, regardless of the highbrow livery, it was fundamentally “distasteful” (New Yorker for “trashy”) to transform tragedy into entertainment. “Well, certainly there is something distasteful about it,” James said, but, “When there is a car wreck, we ask what happened to cause the car wreck.” That is to say: The crime itself is distasteful (or trashy), therefore it’s necessarily distasteful (or trashy) when we address it. So, either we can refuse to interrogate crime, full stop, or we can ensure that the grief we cause is for a greater good. It is a sort of trash balance — less exploitation, more justice — with only one bad ending instead of two.
* * *
True crime was lurid straight out of the birth canal. Born in the mid-sixteenth century, it was the offspring of
Elizabeth Brownrigg, seen here in action, was hanged in 1767 after one of her abused servants, Mary Clifford, died from her injuries. (Hulton Archive / Getty)
two relatively new developments: criminal justice and the printing press. Historic crime reports’ graphic nature is typically associated with a depravity believed to appeal to the unrefined, uneducated, and unmoneyed, but that was not the case with these early publications. Though they were often branded with explicit woodcuts that would have been understandable to even the illiterate, they also boasted rhyming text and only went to those who could afford them, predominantly the upper echelons. In “True Crime: The Origins of Modern Sensationalism,” published in The American Historical Review, Joy Wiltenburg writes that “emotive language, direct dialogue, building of suspense through circumstantial detail, and graphic description of bloody violence were common in the genre.”
Favored cases were in-family and usually involved multiple deaths. The focus was on the victims, while the moral of the story was that sin begat punishment. “The combination of truth with appeals to the heart underlined the religious focus of these works,” writes Wiltenburg. “Virtually all crime accounts published during the sixteenth and seventeenth centuries connected their stories with an edifying Christian message.” This message associated brutality with the devil and positioned public order as the path to virtue. “[Sensationalism] has had religious, political, and cultural impact,” Wilternburg sums up, “promoting the ready acceptance of punitive government actions, the advancement of religious agendas, the internalization of mainstream emotional expectations, the habit of vicarious emotional experience, and the focus on distinctive individual identity.”
With a reputation for being insensitive to and financially exploiting both criminals and their victims, true crime is often accused of sensationalism, but that term wasn’t coined until the 19th century, a time that favored rational thought over the emotive prose of journalists. “While sexual scandals and other shocking events have become staples of modern sensationalism,” writes Wiltenburg, “its chief focus has always been crime, especially the most bloody and horrifying of murders.” The 1800s also gave us our first detectives, who inspired Edgar Allan Poe’s C. Auguste Dupin stories and Sir Arthur Conan Doyle’s Sherlock Holmes series, the latter not only centering crime fiction as a genre, but granting it a modicum of respectability. The gutter was still within spitting distance, though. Penny dreadfuls arrived — demon barber Sweeney Todd in tow — as early versions of popular culture in the form cheap mass-produced serials for young, increasingly literate working-class men, featuring salacious gore; like the true crime paperbacks of today, they supplied affordable, digestible scandal to entertain tired people with no time. The last gasp of the penny dreadful coincided with the precursor to O.J. Simpson’s so-called trial of the century: The Lizzie Borden case. The 32-year-old Massachusetts woman’s trial for the axe murder of her parents spawned a media phenomenon and firmly established the mass appeal of true crime. The next century saw the trash-fired genre shooting off in various directions, from tabloids like The National Enquirer to paperbacks like Lacey Fosburgh’s Closing Time to shows like America’s Most Wanted.
Then there was In Cold Blood.
“Until one morning in mid-November 1959, few Americans — in fact, few Kansans — had ever heard of Holcomb. Like the waters of the river, like the motorists on the highway, and like the yellow trains streaking down the Santa Fe tracks, drama in the shape of exceptional happenings, had never stopped there.” Before In Cold Blood, this is not how real crime stories read. What Arthur Conan Doyle did for crime fiction, Truman Capote did for true crime. His 1965 experiment was released as a four-part serial in The New Yorker and became the reference point for every other high-brow true crime work in every other medium. “The motivating factor in my choice of material — that is, choosing to write a true account of an actual murder case — was altogether literary,” Capote told The New York Times. “It seemed to me that journalism, reportage, could be forced to yield a serious new art form: the ‘nonfiction novel,’ as I thought of it.” He believed only those with the “fictional technical equipment” — novelists, not journalists — like him could do it. The factual inaccuracies that have since emerged suggest that Capote’s belief in his own skills — he neither taped nor took notes during interviews — were as sensational as the genre he was hoping to reinvent. His book is still, however, considered the pinnacle of crime lit.
It was Capote’s book that the Times referred to when designating Errol Morris’s TheThin Blue Line a “nonfiction feature film,” per its distributors, in 1988. This exercise in lyrical fact was groundbreaking in its own right: an elegant piece of true crime as an advocacy tool. The subject of a false conviction, Randall Dale Adams had his case thrown out with the help of evidence Morris uncovered. It’s a straight shot from The Thin Blue Line to Serial, which blew up true crime podcasting in 2014. But while an appeal followed this program’s highly subjective long-form reexamination of Adnan Syed’s conviction for killing Baltimore teen Hae Min Lee in 1999, it was Capote — “a leap in narrative innovation on the scale of In Cold Blood” — who was once again cited, this time in The New Yorker. Serial’sexecutive producer has said they were trying to avoid an exploitative “Nancy Grace type of a titillating thing,” but the program was serialized with its own version of a cliffhanger each week, and provided its own hero, the avatar in our ears, reporter Sarah Koenig. Yet Koenig bristled at the suggestion by the Times’ Magazine that this was entertainment. “I don’t think that’s fair,” she said. “I’m still reporting.”
As though the two were mutually exclusive. As though true crime could only be trash if it were
MP Christopher Atkinson in a pillory (with his hat) in London in 1783 after being convicted of perjury. (Hulton Archive / Getty)
entertainment, and could only be entertainment if it weren’t journalism. Of course, this negates the nature of media. To entertain — to entertain a thought, for instance — is merely to take it into consideration, to allow it to hold one’s attention. Journalism is made to entertain; if it weren’t, reports would not be called “stories” and there would be no need for inverted triangles or kickers or pull quotes or anything else to catch our attention. Because to deliver the news there has to be someone to deliver it to, and that necessitates their entertainment. Otherwise the news is nothing but fact; there is no story.
* * *
“Many of the differences between trash culture and high culture show only that storytelling adapts to changing economic, social and political conditions,” Richard Keller Simon writes in Trash Culture: Popular Culture and the Great Tradition. It’s something to consider when watching Lifetime’s Surviving R. Kelly. The series was produced by a network for women branded by its schlocky aesthetic and penchant for frothy romance. An exec at Lifetime has admitted it has “erred on the tabloid side” and Surviving R. Kelly, which has a number of black women recounting the decades of abuse they say the singer has inflicted on them, exhibits the familiar tropes: the inflated score, the voyeuristic set pieces, the abused women on display. In an interview with Complex earlier this month, showrunner dream hampton revealed that she received a number of notes from Lifetime and that she was pushed to find more victims. “I didn’t like the salaciousness of stacking up all of these people who survived him,” she said, “but I got the corroboration part.” The result is a series that orchestrates rescue attempts and highlights the explicitness of Kelly’s brutality, while only gesturing vaguely at the cottage industry he has fostered over the past three decades in order to victimize black women and at our collective failure to see these women as victims at all.
When I watched it, I couldn’t shake a feeling of ickiness, particularly when one of the victims was asked to describe her abuse and dissolved into tears. We didn’t need to see that scene from the pee tape so many times, we didn’t need a tour by one victim of the room where she was allegedly tortured, we didn’t need to watch as one mother reunited with her daughter. (I’m not even including the questionable stylistic choices). The whole endeavor read trashy, old-school Lifetime. “I saw someone kind of try to drag me about why isn’t this on something more premium like Netflix. But this to me is the perfect place for it,” hampton told Complex. “I know that women watch Lifetime, and that black women make up the majority of those viewers.” Reading this made me doubly uncomfortable. It suggested that to get black women’s attention you had to feed them trash. And, okay, maybe black women weren’t trying to mute R. Kelly over The Chicago Sun-Times’original reporting, but none of us were! The world has changed since 2002, and all of us — including black women — have become more sophisticated about predation.
“The average American today has greater familiarity with the legal process, thanks in part to procedural dramas and the round-the-clock media coverage of splashy crimes that began with the O.J. Simpson trial in the 1990s,” writes Lenika Cruz in The Atlantic. “And people are more aware than ever of flaws in the criminal-justice system, including police brutality and wrongful convictions.” This means that true crime has had to hustle to keep up with its audience, reframing from the crime itself to seeking its closure. NPR noticed the new true crime formula in 2015, with programs like Serial and HBO’s The Jinx (and later Netflix’s Making a Murderer and APM’s In the Dark) concentrating on ongoing cases that could be affected by new reporting. Andrew Jarecki, director of The Jinx, called this subject matter “live ball,” and so here we are in the live-ball era of true crime in which Robert Durst literally burps up a confession on camera before he is charged with murder. “Can the genre sustain this? Can they really sustain true crime as an advocacy medium?” Michael Arntfield, founder of the Cold Case Society, asked The Pacific Standard. “The success and the legitimacy of the medium hinges on being able to stay within this framework of advocacy ahead of strictly sensationalism or profitability.”
But even advocacy has its limits. Netflix’s runaway success Making a Murder eschewed Serial-like narration and Jinx-like reenactments, but contorted almost 700 hours of footage into supporting a theory that the filmmakers had already formulated, that convicted murderer Steven Avery was innocent despite everything pointing to the contrary. Laura Ricciardi and Moira Demos told the Times they secured interviews where others didn’t because of their “tempered approach.” Like those books on my shelf, this refined series passed for high culture.
The most balanced true crime isn’t actually true crime. Last year, American Public Media launched the second season of their hit podcast In the Dark, hosted by Madeleine Baran. Over 11 episodes, it examined the six trials of Curtis Flowers for the same murders. Even though the precipitating incident was the crime, the attention was on everything else; the reporting team embedded itself in Flowers’ Mississippi hometown for a year, ultimately producing not only a strong — dare I say entertaining? — sense of place, but a rigorous analysis of the systemic failures of the investigation. “For us as reporters, we’re here to look at the people in power and look at the systems in place that raise questions about whether or not the criminal justice system is fair, whether it is just using facts,” Baran told NPR. “So what that results in is not our place to say. But certainly, in this case, what we’ve shown is that the evidence against Curtis Flowers is weak. So this becomes a question now for the courts.” While other podcasts rely on their relatability, this one doesn’t have to — the story is enough. In the aftermath of Baran’s team’s exhaustive reporting, the Supreme Court has agreed to reconsider Flowers’ conviction. It is a rare case in which the balance seems to be moot. It’s all justice.
Homes leveled by the Camp Fire line Valley Ridge Drive in Paradise, Calif., on Monday, Dec. 3, 2018. (AP Photo/Noah Berger)
President Donald Trump has obliterated any notion of off-time for round-the-clock journalists, but it was still a relief to see that the alt-weeklies I read for this installment in my regular reading list were starting off the new year strong. The Chico News & Review, whose work I have previously highlighted here, can be forgiven, however, for publishing an old piece, from 1993, in which a reporter basically imagines the Camp Fire before it occurred.
Other stories were equally ambitious, if newer. Tucson Weekly published a lovely and unexpected ode to Interstate 10, which cuts across the southern portion of the United States, while the Chicago Reader drew attention to the work of an underappreciated free-jazz group with a longtime residency in the Roscoe Village neighborhood.
The East Bay Express — whose entire editorial staff was, sadly, laid off last week — and the Rochester City Newspaper both published probing pieces on police accountability. The Arkansas Times highlighted the work of a now-forgotten muralist named Joe Jones. The Salt Lake City Weekly gave readers a comprehensive history of a secluded neighborhood called Allen Park, or Hobbitville, and the Colorado Springs Independent set its scope on a public land issue in Colorado.
Twenty-six years before the deadliest wildfire in California history decimated the small town of Paradise, Jonathan Franks of the Chico News & Review filed a disturbingly prescient dispatch from the Paradise Ridge in which he imagined a conflagration of disastrous proportions. The piece, which came out in the summer of 1993, was recently re-published in print and online.
After interviewing a number of local fire officials, Franks came to a jarring conclusion:
These guys have spent half their lives learning everything there is to learn about wildfires—from the conditions that breed them to the military-like strategies used to fight them. Listening carefully to their cautious, technical language, one can’t help but realize they are predicting a disaster almost too horrible to imagine.
Ridge topography, with its steep canyons and narrow plateaus, makes access extremely difficult for fire crews and ground equipment, they say. It also creates natural bottlenecks where fleeing residents could be trapped by walls of flame.
During wildfires, this sort of terrain can create a “chimney effect” where flames go roaring down the canyons and swirling up the ridges at terrible speeds.
Franks’ prescient prediction? “It’s going to happen, and it’s going to be bad.”
For Tucson Weekly, Tom Zoellner, the author of Train: Riding the Rails That Created the Modern World, wrote a soulful paean to the barren portion of Interstate 10 between Phoenix and Tucson, by his account an underappreciated stretch of asphalt that he refers to as “this most essential of Arizona’s rural arteries.”
Nobody writes a poem to this section of expressway, completed in the heyday of the optimism of the Kennedy-Johnson New Frontier between 1961-1971. I have lived in both Phoenix and Tucson off and on and have probably traversed this road more than 800 times, looking at the same sunbaked landmarks and thinking the same reliable thoughts: about old friends, old happenings, old mysteries of my life here. How many others mark their I-10 journeys with a mental libretto of musings on the roadside spectacle?
Like Zoellner’s I-10, the Chicago-based free-jazz group Extraordinary Popular Delusions, named after a 19th-century study by a Scottish journalist, is underappreciated. But the band, which has held a weekly residency at the Beat Kitchen in Roscoe Village for nearly the past decade, is given its due by Howard Mandel in this in-depth profile for the Chicago Reader.
Their shows are little heralded and often sparsely attended, but 13 years of continuous collaboration have turned this quartet into a beacon of Chicago’s indigenous avant-garde, with an unpredictable, provocative sound that arises from the commingling of its members’ diverse influences and experiences.
As Longreads contributor Aaron Gilbreath recently lamented in a thoughtful essay, music journalism has become something of an endangered genre — so it’s encouraging that the Reader is committed to robust coverage of the Chicago music scene.
In 2016, Oakland residents voted to establish an independent commission to oversee the city’s scandal-ridden police department. The commission began operating last year, but so far it has proven ineffectual in holding the department to account, as Darwin BondGraham reveals in his thorough investigation for the East Bay Express. While some observers are hopeful that the commission will pull itself together in the new year, BondGraham writes that there is evidence to suggest that it will only further unravel in 2019.
Already, two of the best-qualified commissioners have resigned, one of them in frustration. In November, the commission suddenly and secretively fired its chief investigator after publicly clashing with him. Commissioners have also quarreled during public meetings with their legal counsel, and their first attorney quit after commissioners argued with her at meetings. The commissioners have also bickered amongst themselves, sometimes over email and text message, sometimes in public. And lacking experience with state open meetings laws, at least one of the commissioners committed a Brown Act violation in the form of unnoticed emails sent to a quorum of other commissioners.
Over the past year, the commission hasn’t made progress on the core work required of it under the city charter. They’ve yet to hold a single hearing in a police disciplinary case or participate in an OPD Executive Force Review Board to examine a shooting or similar critical incident. They’re ill-prepared to draft their evaluation of the police chief. They’ve yet to hold a community meeting.
In Rochester, city council members are finalizing legislation that would create a police accountability board with the power to discipline police officers. The city’s mayor, Lovely Warren, has also submitted her own legislation, and a team of activists is advocating for the establishment of an independent civilian review board with broad investigatory and disciplinary powers.
The city council will be holding three forums to solicit comments from the public early this year, as Mary Anna Towler and Tim Louis Macaluso point out in their report for Rochester’s City Newspaper, one installment in an ongoing series on police-community relations.
The unveiling of Council’s legislation and the forums will be the start of what will likely be several months of emotional public discussion of a major community issue: how to handle citizen complaints about police officers’ conduct in a way that is fair to both the public and the officers. And how to do that in a way that builds trust rather than eroding it.
Perhaps Rochester can look to Oakland for lessons on what not to do.
A 1935 mural by the American painter Joe Jones — a triptych of sorts, which depicts, from left to right, sharecroppers, coal miners, and a lynching — probably shouldn’t still exist. But it does, thanks to a series of auspicious events that led to its restoration and installation at the University of Arkansas at Little Rock’s new downtown facility, as Leslie Newell Peacock details in an uplifting story for the Arkansas Times.
Jones, she writes, “could not have foreseen that the mural, painted on masonite, would survive intact for only five years before being dismantled — along with the college — and become Depression-era building material for a closet in a home in Mena.”
That it would be rediscovered 40 years after that and sold to a university. That 73 years after Jones put the last brush stroke on the painting, the mural, restored, would once again hang in an academic space, not in the dining room of a small left-wing college in a remote mountain town, but in a smashing new university venue on the bustling President Clinton Avenue in downtown Little Rock — where its story of Arkansas’s past sins will be seen by many, inspire conversation and, perhaps, show a way forward to Arkansas’s redemption.
A property battle ensues in Colorado Springs, where public land users are butting heads with private landowners who own property that connects with government land, reminiscent of an issue in California in which private properties block access to public beaches.
A recent study by the Theodore Roosevelt Conservation Partnership (TRCP) and onX sheds new light on how widespread the problem has become. Researchers mapped 13 Western states with technology supplied by onX, a mapping service for hunters, hikers and anglers that identifies which lands are legal to access for recreational purposes. They discovered 9.52 million acres of taxpayer-funded public land—an area larger than New Hampshire and Connecticut combined—that the public cannot legally enter because they’re surrounded by private property.
One interesting wrinkle in the Colorado Springs Independent piece by Faith Miller is that mapping technology has led hikers and other recreationalists to notice what land they are missing out on. Mapping, Miller writes, “leads to an increased sense of injustice, as outdoor enthusiasts realize how much public land remains inaccessible to them, particularly in rural areas.”
David Hampshire, a longtime resident of Salt Lake City’s Allen Park, a secluded community also known as Hobbitville — though there are no hobbits to speak of — was recently evicted from his residence as the fate of the the neighborhood is decided in probate court. While it’s unclear what will happen to Hampshire and his neighbors, in a delightfully reported essay for Salt Lake City Weekly, he educates readers on the odd history of Allen Park, which is named after an eccentric doctor named George A. Allen, a bird lover who acquired the property in 1931.
“From time to time, Dr. Allen would also keep zoo animals on the property,” Hampshire writes—including “an elephant, a chimpanzee and several reindeer. The family also collected an unusual assortment of ‘pets’ including a coyote, a sandhill crane named Sandy and a raccoon that sometimes followed the girls to school.
Times have changed.
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Matthew Kassel is a freelance writer whose work has been published by The New York Times, The Wall Street Journal and The Columbia Journalism Review.
Nine months into our relationship I take my relatively conservative, Argentine, businessman of a boyfriend who doesn’t yet speak fluent English out to the middle of the Nevada desert for Burning Man. My last boyfriend would have fit in perfectly. He owned a didgeridoo. But Eduardo is different. He wears a suit, has health insurance and approaches everything with a fair amount of caution. Asking me, his English teacher, out on the first day of class was a bit out of character. To be clear, this was not tabloid fodder; when we met, he was 34 and I was 35. My 20s were spent teaching puppetry in the South Bronx, and performing in alternative theater festivals. Desperate for a partner, I yearned to be moved up from the kid’s table, and Eduardo felt like a bona fide ADULT. In turn, Eduardo had just gotten out of a long stagnant relationship, and looked to me for levity and fun. I liked being the muse, for a time.
Burning Man is more of an art city than a festival. It pops up the last week in August and absorbs close to 70,000 inhabitants who camp in every form of temporary lodging imaginable: tents, campers, tiny houses. There is Art everywhere. This world is built on the tenets of self-reliance and radical self-expression. Many people are naked and many don costumes in which they weld, cut and busily construct their projects. Burning man commissions larger work from artists who spend their entire year constructing and shipping their work to the desert piece by piece. Artists build otherworldly, giant sculptures, often two or three stories high that participants can climb on, and crawl through. On every corner you can find some sort of installation that inspires, or titillates or offers you something unexpected. And while this world may initially feel lawless, upon deeper inspection you’ll find a hospital, a DMV, an around-the-clock sanitation department, law enforcement, and an airport. Read more…
The #longreads hashtag on Twitter is filled with great story recommendations from people around the world. Pravesh Bhardwaj is a longtime contributor — throughout the year he posts his favorite short stories, and then in January we’re lucky enough to get a list of his favorites to enjoy in the year ahead.
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For many years now, I’ve been posting short stories on Twitter using hashtag #Longreads. It’s a nightly thing: Before sitting down to write (currently working on a spec screenplay — an adaptation of Jane Austen’s Emma set in suburbs of Mumbai), I look around for a story, read it, then share it. I end up reading almost every day, irrespective of whether I am able to write something or not.
Starting with David Gates’s “Texas” from The New Yorker, to Laura Adamczyk’s “Too Much a Child” from Lit Hub, I posted 288 stories in 2018. Here are ten that I enjoyed the most, in random order: Read more…
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In the late ’80s, Sherman Hershfield, a white doctor from Beverly Hills, had a stroke. As a result, he began to slur and stutter, and suddenly became obsessed with reading and writing poetry. And when he rhymed, his speech stumbles disappeared; rapping kept his seizures under control.
Eager to hone his rhyming skills, Hershfield discovered Leimert Park, an area in South Central that had been the center of African American culture in Los Angeles since the ’60s. There, he became a regular at Project Blowed, an open-mic workshop for budding rappers. For Hershfield — who later became known as Dr. Rapp — “rhyming was no longer a symptom, but a cure.”
Undeterred, Hershfield put aside his Tchaikovsky records and listened to NWA and Run-DMC. He played rap music in the bath, Michiko told me. When she found out he was preparing for rap battles in South Central, she told him, “You’re crazy!” But she couldn’t stop him from returning to Project Blowed every week, sometimes making the six-and-a-half-mile journey from Beverly Hills on foot.
“Sherman’s leaving at 10 o’clock at night and going to Crenshaw,” she told her son, Scott. “He’s hanging out with kids and rapping.” Scott, who had transitioned from a teenaged professional skateboarder into a hip-hop DJ, was now in his 20s and was scoring regular gigs at Hollywood’s celebrity-filled clubs. When he saw his stepfather rapping at home, he felt embarrassed.
“Sherman, you’re kinda just rhyming, putting words together, but you know so many Latin words, you should rap about neurology, really get into the science of it … that would be amazing,” he said. Scott encouraged his stepfather to be more like the hip-hop rappers he admired. “Even though I’m from the West Coast, most of the stuff I really liked was East Coast ’90s hip-hop … I was into KRS-One.”
In the mid-1980s, KRS-One had emerged from the Bronx as the emcee of Boogie Down Productions, with the seminal album Criminal Minded. As a solo artist, he’d created one of hip-hop’s most enduring records, Sound of Da Police, and was now a leading rap scholar and lecturer. One evening in October 1999, Hershfield heard that KRS-One was speaking about rap history at an event for hip-hoppers in Hollywood, and decided to swing by. “Try to imagine a hip-hop gathering,” KRS-One told me late last year. “You know, emcees from the hood, breakers, DJs, music is blasting. I’m giving you permission to stereotype. Then in walks this dude.” It was like Larry David had wandered into a Snoop Dogg music video.
In her TED Talk “Me Too is a movement, not a moment” at TED Women 2018, Tarana Burke paces across the stage, saying, “I’ve read article after article bemoaning wealthy white men who have landed softly with their golden parachutes following the disclosure of their terrible behavior. And we’re asked to consider their futures. But what of survivors?”
Burke’s TED Talk, which took place in late November 2018, came just after the one-year mark of the #MeToo hashtag going viral, giving Burke — and others — a chance to reflect on the history of the movement, and whether or not it’s headed in a direction that supports Burke’s original intent.
“This movement is constantly being called a watershed moment, or even a reckoning, but I wake up some days feeling like all evidence points to the contrary,” Burke says. She pauses, shaking her head. “We have moved so far away from the origins of this movement that started a decade ago, or even the intentions of the hashtag that started just a year ago, that sometimes, the Me Too movement that I hear some people talk about is unrecognizable to me.”
Roxane Gay, in a piece for Refinery 29 at the one-year mark of the #MeToo hashtag, expresses how the movement has diverged from the heart of Burke’s work, asking, “What will change for women? What, especially, will change for the most vulnerable women among us — the undocumented, women of color, working class women, single mothers? What will change for women who cannot afford to come forward when they are harassed or assaulted? As I consider this past year, what strikes me is how #MeToo has mostly benefited culturally prominent, mostly white women.”
Burke’s movement, which originally began in 2006, was originally intended, as Abby Ohlheiser reports in The Chicago Tribune, “to help women and girls — particularly women and girls of color — who had also survived sexual violence.” Beyond the one-year mark of the hashtag going viral and the decade of work Burke has done to support survivors of sexual assault, there exists a history of black women activists fighting against sexual violence. As Danielle McGuire writes in her essay “Recy Taylor, Oprah Winfrey, and the long history of black women saying #MeToo” for The Washington Post, “stories of subversion date from the 1830s, when Harriet Jacobs, an enslaved woman in North Carolina, lived in a crawl space for years to escape her owner’s sexual abuse.”
And Burke, in her TED Talk, emphasizes the true purpose of the #MeToo movement, which is “a movement about the far-reaching power of empathy. And so it’s about the millions and millions of people who, one year ago, raised their hands to say, ‘Me Too,’ and their hands are still raised while the media that they consume erases them and politicians who they elected to represent them pivot away from solutions.”
This erasure from media is noted by Salamishah Tillet and Scheherazade Tillet, in a recent opinion piece for the New York Times, “After the ‘Surviving R. Kelly’ Documentary, #MeToo Has Finally Returned to Black Girls.” Tillet and Tillet note, “even today, as #MeToo continues to dominate headlines, black girls have been invisible in the movement.” While the release of Surviving R. Kelly has pivoted attention toward black women, Tillet and Tillet write, “our optimism is tempered by history, which shows that social justice movements rarely center, for any meaningful period, on black girls, or anyone who has survived sexual violence. That’s because black girls experience racial, gender and economic oppressions at the same time, a phenomenon the law professor Kimberlé Crenshaw calls intersectionality. As a result, their voices and experiences do not neatly fit into a single-issue narrative of gender or race.”
The collection of essays below seeks to heed Burke’s call for inclusivity and her vision of #MeToo as “a movement about the one-in-four girls and the one-in-six boys who are sexually assaulted every year and carry those wounds into adulthood. It’s about the 84 percent of trans women who will be sexually assaulted this year. And the indigenous women, who are three-and-a-half times more likely to be sexually assaulted than any other group. Or people with disabilities, who are seven times more likely to be sexually abused. It’s about the 60 percent of black girls like me who will be experiencing sexual violence before they turn 18. And the thousands and thousands of low-wage workers who are being sexually harassed right now on jobs that they can’t afford to quit.”
Iffat and Mariam (second name changed for anonymity) are two New York City residents who have experienced Islamaphobia firsthand; both women have been assaulted while using public transportation. In this piece, Aviva Stahl reports that more than “one in four” “Muslim Arab hijab-wearing women…had been intentionally pushed or shoved on a subway platform.”
The #MeToo movement has brought new attention to street harassment of women, but Ahmad says she doesn’t think it’s done enough to address the experiences of Muslim women. “I don’t think they’re doing anything” to address gendered Islamophobia, she says. “As a survivor of that specific kind of [Islamophobic] violence, I don’t see myself in that movement. It doesn’t seem connected to the realities of Muslim women.”
After Ms. Melara, a housekeeper in Southern California, was accosted by a guest who exposed himself to her, she locked herself in a nearby room to escape, but wasn’t given assistance until nearly twenty minutes later. Her story is not an anomaly; many workers in the hotel industry are sexually assaulted and harassed by guests. Julia Jacobs reports on panic buttons, a solution proposed by the hotel industry to protect workers.
Only a few weeks after Venkayla Haynes received a rape whistle at her Spelman college freshman orientation, she was raped by a football player. Though Haynes reported the rape to a Dean at Spelman at the time, her situation was complicated by “institutional realities. Both Haynes and her assailant are black.”
Haynes believes the way college administrators responded to her assault reflects longstanding tendencies in the black community to shield black men from interactions with authorities.
“We always come to these situations where we can’t come forward because we want to protect black men or protect our black brothers because they’re already fighting against a system that further criminalizes them,” Haynes said.
Ashley HeavyRunner Loring has been missing since June 2017, and her family has embarked on around 40 searches in attempts to locate her. Ashley is one of many missing or murdered Native American women and girls, as Sharan Cohen reports in this piece, though the precise number is difficult to establish because “some cases go unreported, others aren’t documented thoroughly and there isn’t a specific government database tracking these cases.”
On some reservations, Native American women are murdered at a rate more than 10 times the national average and more than half of Alaska Native and Native women have experienced sexual violence at some point, according to the U.S. Justice Department. A 2016 study found more than 80 percent of Native women experience violence in their lifetimes.
Much of the narrative about #MeToo has revolved around sexual assault between cisgender heterosexual people, and too many still believe that it is only experienced by conventionally attractive cisgender women, or that is only perpetrated by “bad” cisgender men.
I’ve wondered where exactly I fit into this dialogue, because I’m a nonbinary person who was assigned female at birth, and, well, #MeToo.
KC Clements recalls their own experiences with sexual harassment and assault, presents testimonies from other trans people, and urges inclusivity, emphasizing the need for more resources, support, and materials for trans survivors of assault and harassment.
After being sexually harassed by coworkers at McDonald’s, her place of employment, Kim Lawson, along with nine other employees, filed a harassment complaint with the Equal Employment Opportunity Commission.
An analysis by the law center of complaints filed from 2012 to 2016 with the EEOC found that black women working in the private sector lodged sexual harassment charges at nearly three times the rate of white women.
While the media has focused extensively on the #MeToo movement in Hollywood, Lawson, as well as other activists, emphasize that the #MeToo movement needs to include women of color, particularly those working lower-wage jobs.
In February 2016, Pauline, a 46-year old woman who lived with a longtime caretaker, was raped by two boys who were part of the family. In this piece, the product of a yearlong investigation by NPR, Joseph Shapiro details the staggering statistics related to sexual assault for people with intellectual disabilities, including the fact that women and men with intellectual disabilities are seven times more likely to be sexually assaulted than people without disabilities.
The federal numbers, and the results of our own database, show that people with intellectual disabilities are vulnerable everywhere, including in places where they should feel safest: where they live, work, go to school; on van rides to medical appointments and in public places.
Jelani Cobb opens this piece with a memory from childhood of a woman with a black eye who visits his mother. Cobb’s mother later tells him that the woman had been abused by her husband, and Cobb recalls the moment being a “lesson in the consequences of male brutality. It was an implicit instruction in how I was not to behave as a man.” By putting his personal experience in conversation with the recent public response to Surviving R. Kelly, Cobb delves into complexities of race and reporting violence, and what it means to bear witness to brutality in the era of #MeToo.
There’s a gulf between the accusations directed at Harvey Weinstein, Matt Lauer, and Les Moonves—wealthy white men whose alleged excesses were understood as a perquisite of their status—and those directed at Bill Cosby and R. Kelly, black men for whom success represented some broader communal hope that long odds in life could be surmounted. Cosby and Kelly know this, which is part of the reason that they were so effective at manipulating public sentiment around their various accusations.
*** Jacqueline Alnes is working on a memoir about running and neurological illness.
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