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Group Home's Unorthodox Sex Policy Disquiets Mother
Group Home’s Unorthodox Sex Policy Disquiets Mother
Kevin Rouse’s story reveals the difficulties of dealing with a population of men with adult sexual urges and often childlike thinking. The staff of the Human Development Center enacted a bold and unorthodox policy permitting sex between residents, but experts who deal with the developmentally disabled question whether the policy did more harm than good, creating a sexually charged atmosphere that may have encouraged sexual assaults.
Longreads Best of 2020: Crime Reporting

Through December, we’re featuring Longreads’ Best of 2020. After taking a plunge into the murky world of crime, we narrowed down our favorites. Enjoy these Best of Crime reads, showcasing gripping tales and insights into the human psyche.
If you like these, you can sign up to receive our weekly Top 5 email every Friday.
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I Hope Our Daughters Will Not Be Punished (Justine van der Leun, Dissent Magazine)
Van der Leun’s piece details the plight of Kwaneta Yatrice Harris — who, incarcerated for killing an abusive partner, wrote her letters from solitary confinement in a Texas prison.
This year a lot of us have spent vast expanses of time isolated from family and friends — and so for many, this story will strike a chord. When van de Leun discusses pandemic lockdowns, she states, “Those who were alone began to physically throb for human connection.” This is a powerful concept — if we, with all the distractions of Zoom and Netflix and pets, can still ache for human connection when isolating, consider what it must feel like for those locked in solitary for months, with their senses so deprived of stimulation they magnify to “smell the guard’s perfume, hear the click of shoes echoing from far away.”
By talking to Harris, van de Leun gives us an inkling of what it is like to live in a condition that is “classified as torture by the United Nations, serves no rehabilitative purpose, and causes mental health to deteriorate in as few as ten days.” A registered nurse, Harris is terrified of COVID-19, and the unsanitary conditions she finds herself in — her unit is rarely cleaned, and she showers in one of three showers shared by forty-two women.
This essay also echoes another horrific event of 2020 — the death of George Floyd, killed during his arrest in Minneapolis. The racism that Black people experience at the hands of the police can extend to prison wardens. In Texas in 2015, a Black man named Mark Sabbie was feeling unwell — he was given a disciplinary ticket for “creating a disturbance” by “feining [sic] illness and difficulty breathing.” He was cuffed in his cells and left alone — and found dead the next morning.
An emotional read: but an important look at how the challenges wider society has faced in 2020 are magnified inside the microcosm of a Texas prison.
Pleas of Insanity: The Mysterious Case of Anthony Montwheeler (Rob Fischer, Rolling Stone Magazine)
What does it mean to be “criminally insane”? The official answer sounds simple — to have a mental illness that impairs you from telling the difference between right and wrong. But mental illness is a nuanced spectrum — and, to many, it seems impossible to decipher someone’s state of mind during a crime. This story is a fascinating exploration into the complexities of the insanity plea in the United States — which, even though there are “lots of tests and things you can do to kind of back up your intuition … in the end, it’s kind of this gut feeling.”
Using the case study of Anthony Montwheeler, Fischer explores what can happen when a gut feeling isn’t enough. Montwheeler apparently played the system. Charged in 1996 with kidnapping his wife and son at gunpoint he was found “guilty except for insanity.” Twenty years later, he claimed he faked mental illness by studying a copy of the Diagnostic and Statistical Manual of Mental Disorders and mimicking behavioral traits — to avoid incarceration in favor of a state psychiatric hospital — and now wanted to be discharged. After he spoke at a hearing for a total of eight-and-a-half minutes, a review board decided Montwheeler was “no longer affected by a qualifying mental disease or defect,” and the state was legally required to discharge him. Had Montwheeler been pretending all those years? It seems no one really knows for sure, but what we do know is that after his release he went on to murder his third ex-wife, Annita Harmon.
This case is a rarity — the insanity defense is pursued in fewer than one percent of all criminal trials. But, however hard to define, mental health is still an obvious factor in crime: “37 percent of prisoners and 44 percent of jail inmates have been told by a mental health professional at some point in their lives that they suffer from a mental disorder.” Fischer shows that while the insanity defense may be flawed, there is still a clear link between mental health and criminality — with a lack of mental health care, and the resulting issues, apparent.
The Confessions of Marcus Hutchins, the Hacker Who Saved the Internet (Andy Greenberg, Wired)
Greenberg is meticulous in his detailed analysis of Marcus Hutchins’ character, a hacker who some view as a criminal, and others as the savior of the internet. It’s a thrilling story, with many twists and turns, but also an exploration into people’s moral complexities.
Hutchins stopped the worst malware attack the world had ever seen — christened WannaCry. In the space of an afternoon, it destroyed, by some estimates, nearly a quarter of a million computers’ data — before Hutchins found the kill switch. He was celebrated as a hero, but Hutchins himself knew “what it was like to sit behind a keyboard, detached from the pain inflicted on innocents far across the internet.” Three years earlier he had been the chief author of Kronos — a type of malware focused on stealing banking login credentials.
After disabling WannaCry, Hutchins’ previous work with Kronos was discovered and he was arrested. The hacker world rallied in support — which left Hutchins ravaged by guilt for what he had done, but even the judge in his trial concluded that “one might view the ignoble conduct that underlies this case as against the backdrop of what some have described as the work of a hero, a true hero.” This is a thought-provoking insight into the gradual descent into a criminal world, the climb back out again, and the layers of gray in between.
The Wind Delivered the Story (Josina Guess, The Bitter Southerner)
It feels jarring to put the terms “beautiful” and “lynching” in the same sentence — but this personal essay about the 1947 lynching of Willie Earle is beautifully written. Guess’ writing is almost lyrical — as she explains how the wind blew “history into my path” in wonderfully descriptive language.
When Guess moved into her farmhouse in Georgia she found a box of old newspapers from the mid-1940s through the early 50s. She stored them in the woodshed until a blustery autumn storm disturbed them and scattered them about the property. One headline that appeared, like “a bird I had been expecting in this landscape that carries memories of racialized violence,” read “State Seeks Death Sentence For All 31 Lynchers.” Not ready for the emotional toll of exploring this incident further, Guess tucked the paper away, but the story wanted to be told, and a few weeks later the wind blew the conclusion across the garden: “28 White Men Get Blanket Acquittal in South Carolina Mass Lynch Trial.” It was Willie Earle who was killed, to avenge the fatal stabbing of a cab driver named Thomas Brown. Arrested, then almost immediately kidnapped from jail, Earle had no opportunity to stand trial — his guilt or innocence was never proven. His murderers were given that chance, but despite ample evidence and confessions, were found innocent.
Guess’ work focuses on dismantling racism in Georgia, so it seemed fate that this story, literally, landed at her feet. She went on to research the history of the Willie Earle murder, discovering it was considered the last lynching in South Carolina, and, although the trial was a miscarriage of justice, it marked the end of mob violence and the beginning of a rumbling that eventually became the Civil Rights Movement.
The Strange and Dangerous World of America’s Big Cat People (Rachel Nuwer, Longreads)
Amongst one or two other things, 2020 was the year people learned the names Joe Exotic and Carole Baskin. The Netflix series Tiger King landed on our screens at the same time that many of us were in lockdown due to COVID-19, and was binge-watched by millions. This story by Rachel Nuwer was written before we met these characters on Netflix while clutching our loo rolls and hand sanitizer, and her piece sheds a brighter light on their complicated personalities.
Nuwer’s piece explores the murder-for-hire plots that Exotic instigated against Baskin, but her focus also remains firmly on the animals around which the story revolves. Exotic was not only convicted of murder-for-hire — but of 17 wildlife crimes, including illegally killing five tigers and trafficking them across state lines — a significant conviction when there is still no oversight over big cat ownership by the federal government. This investigation goes beyond the larger than life characters and the human drama, and actually shows us the lives of the animals that are owned by America’s big cat people.
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Read all the categories in our Best of 2020 year-end collection.
Longreads Best of 2020: All of Our No. 1 Story Picks

All through December, we’ll be featuring Longreads’ Best of 2020. Here’s a list of every story that was chosen as No. 1 in our weekly Top 5 email.
If you like these, you can sign up to receive our weekly email every Friday. Read more…
Searching For Mackie

Annie Hylton | Longreads | February 2020 | 20 minutes (8,310 words)
This story was produced in collaboration with The Walrus.
As Peter Basil remembers it, the week leading up to Father’s Day, in June 2013, began like any other; he’s since replayed the events in his mind like a recurring bad dream. Peter recalls standing in the kitchen of his modest split-level home in Tache, a First Nations village that lies deep in the wilderness of northern interior British Columbia. His younger sister Mackie, then in her late 20s, followed him around as he made a pot of coffee.
“Promise me you’ll take care of my baby,” Mackie asked Peter, referring to her 5-year-old son.
“Yup,” he replied.
Mackie trailed Peter to the living room and sat next to him on the L-shaped couch, under high school graduation photos of herself and her sisters.
“Promise me you’ll take care of my baby,” Mackie repeated to Peter.
“Yeah, geez,” he responded. “Should I be worried? Are you coming back?”
“I’ll be back,” Mackie promised.
Longreads Best of 2019: Music Writing

We asked writers and editors to choose some of their favorite stories of the year in various categories. Here is the best in music writing.
Ericka Blount Danois
An award-winning journalist, writer, editor, and professor, Ericka Blount Danois has written for The New York Times, The Wall Street Journal, Vibe, Spin, The Washington Post, Wax Poetics, The Source, and Da Capo’s Best Music Writing 2012. She is the author of Love, Peace, and Soul.
The Empire Strikes Back (Melissa A. Weber, Red Bull Music Academy)
Melissa A. Weber’s roller-coaster ride retrospective on George Clinton, P-Funk, Funkadelic, and various offshoots of everything funky is told with a musician’s attention to detail and a storyteller’s attention to drama. In the end, it’s Clinton’s otherworldly genius and cultural impact that can’t be denied.
How Isaac Hayes Changed Soul Music (Emily Lordi, The New Yorker)
In Emily Lordi’s insightful New Yorker feature, she illustrates how Hayes’s 1969 album Hot Buttered Soul was an exercise in Hayes commanding his own space — musically, sartorially, and physically. The album was both an act of resistance and healing during a time when Hayes was distraught over the death of Dr. Martin Luther King Jr. His insistence on being himself remade the record industry, with songs like “By the Time I Get to Phoenix,” which ran for 18 minutes, and “Hyperbolicsyllabicsesquedalymistic,” which Lordi refers to as an “exercise in the refusal of fear and containment.”
Ann Powers
NPR music’s critic and correspondent, previously The Los Angeles Times‘ chief pop music critic, Ann Powers is the author of Good Booty and Weird Like Us, co-author of Tori Amos: Piece By Piece, and co-editor, with Evelyn McDonnell, of the anthology Rock She Wrote
I’ve said it before: A golden age of music writing is scattering its fruits across the wild plains of the Internet. Music writing is a bastard form, journalistically unnecessary, literarily unstable, and so perfectly suitable to a virus-prone, hierarchically unstable intellectual epoch like our own. Trying to pick one or two great pieces from 2019, I fell into a vortex, revisiting instant classics, like The New York Times’ history-making investigative report about the Universal Studios fire that destroyed irreplaceable master recordings, and GQ’s powerful oral history of how sober musicians thrive creatively, and The Ringer’s illuminating trend piece about TikTok, and heartfelt stuff like this memoir in Texas Monthly. However, I had to make a choice. I started thinking about language itself. Music is language, and music encounters language; it conveys more than words can offer, but is also often bound up with them. These five pieces offer insight into this complex relationship.
I Believe I Can Lie (Kimberlé Crenshaw, The Baffler)
In the wake of the edifice-toppling documentary Surviving R. Kelly, law professor and intersectional theorist Crenshaw analyzes the lyrics to Kelly’s answer song, “I Admit,” as an example of the “SOB (Save Our Brotha”) rhetorical strategy also employed by Supreme Court Justice Clarence Thomas when faced with accusations of sexual harassment.
The Poetic Consequences of K-Pop (Emily Yungmin Yoon, The Paris Review)
This deceptively modest memoir of being seen within the crowd of BTS fans speaks volumes about how pop can literally speak for its audience.
Who’s Billie Eilish? (Meaghan Garvey, The Fader)
On the surface, this appears to be just another profile of an up-and-coming pop star, but this recounting of time spent at home with the teenage oracle of Gen Z goes deeper. Author Meaghan Garvey really listens to her Eilish and her family, and she does the work of letting the singer’s words — in conversation, but also in her journals, which Garvey reads — change her perspective on her art.
A Secret Ingredient in Songs of Summer (Reggie Ugwu, The New York Times)
Over three years of listening, Ugwu identified a three-beat pattern (“boom-ch-boom-chk”) that always got him dancing: rhythm, the basic grammar of pop. This multimedia read follows it from Jamaica to Africa and the U.S., identifying an opportunistic cross-pollination, as he writes, that only benefits our playlists.
Arizona (John Edgar Wideman, The New Yorker)
Trying to find the linguistic key to a 1980s quiet storm classic by R&B lifer Freddie Jackson — “How do you offer a space with your voice that feels real enough for a listener to enter” — the 78-year-old novelist goes to a remarkably raw and poetic place in this piece of short fiction, as he contemplates pleasure, mortality, morality, and the imprisonment of his teenage son for murder the year after the song was released.
Michael A. Gonzales
The Blacklist book columnist for Catapult, cultural critic Michael A. Gonzales has written articles, essays, and reviews for publications including The Paris Review, Pitchfork, Wax Poetics, Mass Appeal, Complex, Longreads, and The Wire U.K.
How Isaac Hayes Changed Soul Music (Emily Lordi, The New Yorker)
While pop-cult fans know the late Stax Records singer-songwriter Isaac Hayes as the soundtrack innovator who delivered the 1972 classic “Theme from Shaft,” and the voice of the comical Chef on South Park, there was much more to him than funk and laughs. In Emily Lordi’s wonderful New Yorker feature “How Isaac Hayes Changed Soul Music,” she shows us a different side of bald-headed dude who was a friend of Martin Luther King and became very distraught when the civil rights leader was slain in 1968 within blocks of Stax. After mourning for months, Hayes put his anger and grief into making the 1969 psychedelic soul masterwork Hot Buttered Soul. Lordi’s essay presents a stellar portrait of a soul music modernizer.
For Black Women, Love Is a Dangerous Thing—“Bitter” Showed Me How to Do It Anyway (Tari Ngangura, Catapult)
One of the coolest things about original essay sites like Catapult and Longreads are the abundance of music related pieces that double as personal essays. In August, writer Tari Ngangura, published her piece For Black Women, Love Is a Dangerous Thing—“Bitter” Showed Me How to Do It Anyway, that began as a coming of age in 1999, the same year she bought and embraced Meshell Ndegeocello’s brilliant Bitter album. In the two decades since its release, the disc has served as a soundtrack and solace through various of Ngangura’s relationships. Her writing is poetic, probing and precise, and made this Bitter aficionado quite blissful.
Tom Maxwell
Journalist, Longreads Shelved columnist, and musician
The Ryan Adams Allegations Are the Tip of an Indie-Music Iceberg (Laura Snapes, The Guardian)
Two music stories from earlier this year are standouts to me. First is a piece by The Guardian’s deputy music editor Laura Snapes, published on Valentine’s Day. “The Ryan Adams Allegations Are The Tip Of An Indie-Music Iceberg” is not the most wieldy of titles, but the writing is crisp and incisive. Snapes speaks of a chronic indie rock condition, which reinforces and promotes misogyny even as it feigns enlightenment. “The industry has been slower to reckon with its abusers post-#MeToo than other art forms,” Snapes writes, “partly because it is built on a generally permissive culture of excess and blurred lines between work and leisure — but also because the myth of the unbridled male genius remains at its core.” Go read it. Practically every line is a pull quote.
Before & After ‘The B-52’s’ (Christopher Wiengarten, The New York Times)
On July 15, Christopher Wiengarten gave us an entire weekend’s worth of reading and listening, thanks to “Before & After ‘The B-52s’.” The Times has done this type of thing before, like with 2014s dazzling, multi-media longread “The Ballad of Geeshie and Elvie.” But this new one is pure Technicolor. I freely admit my own biases here ― not just because I’m helping the Bs write their first official biography — but because I’m a sucker for context, precedent, and insight. Wiengarten shows us, not just what might have been the musical parents for any given B-52s song, but what those songs subsequently inspired. Great music often leads to great music, and these stepping stones always lead to a life better-lived.
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Read all the categories in our Best of 2019 year-end collection.
Anyone’s Son

Wudan Yan | Longreads | December 2019 | 21 minutes (5,400 words)
Around dinnertime last Christmas Eve, the Eyre family threw on their parkas, stuffed hand warmers into their gloves and pant pockets, slung strings of Christmas lights over their jackets, and went for a walk.
Outside their tri-level house on the northern side of Fairbanks, Alaska, they turned on to Farmers Loop Road, one of the main arteries of the city, and walked along the shoulder. The frozen snow crunched beneath their shoes. It was so cold — roughly 15 below — that your breath billowed back toward you even before you fully exhaled. Cars zoomed by, likely on the way to the homes of loved ones, or completing a last-minute run to the grocery store. Twenty-nine-year-old Samantha Eyre and her younger sister, Kassandra, walked in the front with a banner. On it, their mother, Jean, painted on the shadows of six people, a bear, a moose, and the words #KeepWalkingWithCody.
Christmas is meant to be an evening of gathering and celebration, but it’s taken on a new meaning for the Eyres: Exactly one year prior, police officers shot and killed the family’s youngest and only son, 20-year-old Cody Dalton Eyre.
Cody was having a bad day. He felt suicidal. He got drunk. He brought a gun with him — not uncommon, since many people carry in Alaska. He decided to go for a walk to clear his head. And when Jean called 911, hoping the police could calm him down and bring him home, the opposite happened.
In the months after Cody’s death, the Eyres have received scant information from law enforcement on what exactly happened that night. Cody’s death has raised not only questions for the Eyre family, but other concerns about how law enforcement officers do their jobs. Why is it that police are the first responders to mental health calls? In this case, why did they respond to someone going through a mental health crisis with deadly force? Why has law enforcement been slow to release any public information on this case? And in a place where tension between Natives and law enforcement run high, how could the incidence of these deadly interactions be reduced, or better yet, stopped?
On this walk, Cody’s family now was retracing his last steps, in memoriam. Read more…
It’s Like That: The Makings of a Hip-Hop Writer

Michael A. Gonzales | Longreads | June 2019 | 45 minutes (7,644 words)
Recently a friend told me, “When I was a newbie at Vibe magazine, I always thought, Mike looks like what I always imagined a real writer looked like, with your trenchcoat and briefcase and papers … and your hats. I can’t forget the hats.” Though he did forget the Mikli glasses and wingtips, I had to confess my style was one I’d visualized years before when I was a Harlem boy hanging out in the Hamilton Grange Library on 145th Street, looking at Richard Wright, Chester Himes, and James Baldwin book jacket pictures.
America’s Post-Frontier Hangover

Will Meyer | Longreads | March 2019 | 17 minutes (4,498 words)
In the small New England town where I live, Hadley, Massachusetts, the common lies a few miles from the mishmash of corporate chains that make up the town’s economic center. A quiet residential neighborhood surrounds the common. It is a grassy patch, left vacant most of the year, save for occasional festivals and craft fairs; open space to be utilized as needed, hardly disturbed otherwise. Adjacent to the college towns of Northampton and Amherst, not much happens in Hadley. I go for walks around my neighborhood most days and seldom run into many people. The common feels like an oasis, a fleeting yet contained sliver of vastness.
In 1995, the Hadley Historical Commission installed a plaque on the side of a rock, near the end of the common, between where it meets the main road and a paved rail trail. The plaque commemorates the “17th Century Palisade,” a wall that was “3 fingers thick and 8 feet high” in 1676, 100 years before the American revolution. The “fortification,” the plaque states, “was one mile long by 40 rods wide.” Most saliently, however, “Hadley was then a frontier outpost which felt threatened by Native American attack.” In other words, the settlers built a wall (around the corner from where I live now) both to assert their settlement and ward off perceived threats — namely the brown-skinned Other the United States was founded, at least partially, to pacify and remove. Read more…
Did the Modern Novel Kill Charles Bovary?

Ankita Chakraborty | Longreads | December 2018 | 14 minutes (3,602 words)
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There were three of them involved in the Bovary marriage to begin with: Charles Bovary, a mediocre doctor and husband, used to being woken up in the middle of the night to set a plaster or secure a tooth in the French countryside; Emma Bovary, reader of great novels and writer of promissory notes, who sneaked away to sleep with other men as soon as her husband left for work; and Gustave Flaubert, the thirty-five-year-old writer of Madame Bovary, a morally repugnant, syphilis-infected bourgeois who hated the bourgeoisie for their stupidity. As in all marriages destined for failure, there were sides to be taken. With Madame Bovary began the modern novel; on her side was the virtue of being a pioneer, of being the first in a hundred-and-sixty-year-old model, the precursor to many great novels written in the nineteenth and twentieth centuries. Stories of her adultery became sensational and her resistance to the boredom of living aspirational. For Emma could do no wrong. Great, immortal, hero — for her have been used words that are most likely to be used for men in real life. “What a woman!” how often have we thought like Rodolphe, one of her lovers, and watched her go. Read more…
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