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Interview: Vela Magazine Founder Sarah Menkedick on Women Writers and Sustainable Publishing

Cheri Lucas Rowlands | Longreads | Oct. 2 2014 | 10 minutes (2,399 words)

 

Three years ago, Sarah Menkedick launched Vela Magazine in response to the byline gender gap in the publishing industry, and to create a space that highlights excellent nonfiction written by women. Last week, Menkedick and her team of editors launched a Kickstarter campaign to grow Vela as a sustainable publication for high-quality, long-form nonfiction, to pay their contributors a competitive rate, and to continue to ensure that women writers are as recognized and read as their male counterparts. Menkedick chatted with Longreads about her own path as a writer, the writer’s decision to work for free, building a sustainable online publication, and the importance of featuring diverse voices in women’s nonfiction.

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Let’s talk about Vela’s origins. You created Vela in 2011 as a space for women writers in response to the byline gender gap — yet it’s not a “women’s magazine.” Can you explain?

Like so many women writers, I was discouraged by the original VIDA count in 2011. I was also a bit disenchanted with a certain narrowness of voice and focus in mainstream magazine publishing, which tended to be very male, because men tend to dominate mainstream magazine publishing. Talking about the alternative to that gets really dicey, because it’s icky to talk about a “womanly” or “female” voice. I wanted to say: nonfiction and literary journalism written by women doesn’t have to sound like this sort of swaggering male writing, or like the loveable snarky-but-sweet meta writing of John Jeremiah Sullivan or David Foster Wallace. It can be like . . . and there we run short on models, because there aren’t very many women being widely published whose work falls into that middle zone between “creative nonfiction” — which tends to be more academic, more experimental, more the types of essays appearing in literary magazines — and traditional journalism.

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On Going Back Home: A Reading List

We are expats and nomads. We are products of multiple countries. We run away from places that don’t feel quite right, only to never find where we belong. These stories celebrate the journey of returning to (or discovering) our roots, and the elusive, ever-evolving concept of home. Read more…

'He Opened My Eyes to the Idea that Running Is Humankind's First Fine Art'

In 2006, Christopher McDougall set off on an adventure in search of the Tarahumara Indians, a reclusive running tribe in the Copper Canyons of Mexico. On that journey, later to be chronicled in McDougall’s book, Born to Run (and also later documented in a 2012 New York Times story by Barry Bearak), McDougall befriended the Caballo Blanco—real name: Micah True—a nomadic ultrarunner living among them. Several years later, after hearing the Caballo had disappeared in the Gila National Forest, he and other runners embark on a quest to find their friend:

Caballo was the first runner I’d ever seen who busted out big miles in skimpy sandals, and he opened my eyes to the idea that distance running is humankind’s first fine art; for most of our existence, it was the one natural weapon we had in a world dominated by creatures who could out-swim, out-sprint, out-climb, and out-fight us. I was certain when I went down to the Copper Canyons that I really had nothing to learn: I figured the Tarahumara were genetic freaks and my own running days were over due to chronic injuries. Then I meet Caballo, my eerie astral twin: we were the same height, the same shoe size, and the same age when we first encountered the Tarahumara, and he’d also struggled with broken-down legs. He took me into the hills, showed me a few things, and sent me home with the idea that maybe, just maybe, the Tarahumara were custodians of a transferable skill that even an overweight mope like me could master.

That’s why he has fans all over the world. But right when the rest of us were catching up to him, Caballo disappeared.

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More from Outside magazine

 Photo: doloripsum

Unlocking the Secrets of Egypt with Tutankhamun's DNA

THE TOMB IS DRY AND HOT. Opposite looms the gowned shape of Hawass, who is scrutinizing Gad’s every move; squeezed into the corner is Discovery’s film crew. Gad tries to hide his nerves. He knows that the others doubt his ability, and for good reason: he has little practice working with mummies. Back in his Cairo lab, he has always been supervised by a foreign tutor. But his very first day pulling DNA without his teacher will be watched by the world, and his subject is the incalculably precious mummy of Tutankhamun.

Insha’Allah, he thinks.

With God’s will.

—Jo Marchant, writing in Matter, on the 2008 effort, led by Egyptian geneticist Yehia Gad, to pull the DNA from the mummy of Tutankhamun. Since archaeologist Howard Carter’s discovery of the pharaoh’s tomb, researchers have viewed Tutankhamun as the key to Egypt’s ancient history, with numerous players—from the Mormons to major media—wanting a piece of the pharaoh. With work still left to do, and an Egypt currently focused on other priorities, the answers to questions about these ancient kings remain buried.

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More on DNA

 Photo: Carsten Frenzl