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What We’re Not Talking About When We Talk About Tiny House Hunters

Image by JD Hancock via Flickr (CC BY 2.0)

In Curbed, the writer that we all love to love, Roxane Gay, turns her critical eye on the show we all love to hate, House Huntersspecifically, Tiny House Hunters.

The episode that really pushed me over the edge was one where a single father was looking to move into a tiny home with his tweenage daughter. Frankly, it was a bit repulsive and unseemly, but the father tried to make this bizarre choice palatable by sharing that he and his daughter wanted to use the money they would save traveling around the world. Having traveled a fair amount, I was, as I watched this episode unfold, quite certain there is no wonder, anywhere in the world, that would merit this kind of domestic sacrifice. Alas, the choice was not mine.

Tiny House Hunters isn’t just about judging strangers’ choices (although it is partly about that). It’s also a mechanism for papering over dismal American economic realities.

Often, though, couples and families want to downsize to save money. They say they need or want less space, but what goes unsaid is that they likely can no longer (if they ever could) afford the mortgage on their traditional home. Or they live in San Francisco or Los Angeles, cities where the median price of a home is more than a half-million dollars and well out of reach for a lot of folks.

There is no shame in any of this, none at all, but when we talk about the American dream, we never talk about what that dream costs. We never talk about how so many Americans are one financial crisis away from losing their savings or their homes. And we don’t talk about how the American dream should not be grounded in material things like large homes or fancy cars rather than, say, single-payer health care, subsidized child care, or a robust Social Security system.

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Burned Where They Stood: The First Nine Hours of the California Wildfires

The Historic Round Barn burns in Santa Rosa, Calif. (Kent Porter/The Press Democrat via AP)

A team of San Francisco Chronicle reporters reconstruct the first nine hours of the wildfires that levelled swathes of Northern California over the past two weeks. Talking to dozens of residents, first responders, and experts, they drive home the speed and scale of the disaster — and the impossibility of effective evacuation and firefighting when that happens.

Firefighters estimate that at times, the flames raced 230 feet per second and, inconceivably, threw embers a full mile ahead of the fire front. It moved so fast that chickens, cats and other animals were charred where they stood, left standing like blackened statues.

The fires awed Bill Stewart, a UC Berkeley forestry professor.

“These fires are off the charts,” he said. “There just aren’t enough firefighters in the West to fight that much fire. … Those trees, on fire, were pure ember machines that really kicked things into a new level. We’ll be studying this for years to come.”

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The Sacred Right of Universal Narcotic Entitlement

Julie Rinaldi, left, and Lynn Locascio, right, both of Tampa, Fla., react as names are read of people who have died from OxyContin abuse. Rinaldi's daughter, Sarah, died at 17 from taking OxyContin. (AP Photo//Bristol Herald Courier, David Crigger)

The Sackler family funds top-tier museums (the Met, the Tate, the Smithsonian), universities (Princeton, Cambridge), and scientific research institutes (the Mayo Clinic, the National Academy of Sciences). Where does their cash come from? Writing in Esquire, Christopher Glazek tells us: pharmaceuticals — these days, largely OxyContin, which generates over a billion dollars in sales each year on the back of a campaign built on misleading both doctors and the public about its addictive potential. Over 200,000 people have now died of OxyContin overdoses, and many more from heroin after first becoming addicted to opioids via Oxy.

The Sacklers have experience turning an addictive drug into a household name. In the 1960s, family patriarch Arthur Sackler did it with benzodiazepene:

In the 1960s, Arthur was contracted by Roche to develop an advertising strategy for a new antianxiety medication called Valium. This posed a challenge, because the effects of the medication were nearly indistinguishable from those of Librium, another Roche tranquilizer that was already on the market. Arthur differentiated Valium by audaciously inflating its range of indications. Whereas Librium was sold as a treatment for garden- variety anxiety, Valium was positioned as an elixir for a problem Arthur christened “psychic tension.” According to his ads, psychic tension, the forebear of today’s “stress,” was the secret culprit behind a host of somatic conditions, including heartburn, gastrointestinal issues, insomnia, and restless-leg syndrome. The campaign was such a success that for a time Valium became America’s most widely prescribed medication—the first to reach more than $100 million in sales. Arthur, whose compensation depended on the volume of pills sold, was richly rewarded, and he later became one of the first inductees into the Medical Advertising Hall of Fame.

Later, the company would do the something similar with OxyContin and pain, when it “rebranded pain relief as a sacred right: a universal narcotic entitlement available not only to the terminally ill but to every American.”

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The Prophet Will See You Now

Worship service at Bethel, photo by Jonathan Mallard (CC BY-SA 2.0).

For BuzzFeedMolly Hensley-Clancy spends time in Redding, California, home to the Bethel School of Supernatural Ministry, where you might end up with a crowd of faith healers rather than an ambulance after your car accident. Town-gown relations there are tense — the school donated half a million to save the jobs of four police officers, but students have also been banned from prophesying around one of the town’s largest tourist attractions. Hensley-Clancy’s piece is fascinating and well-balanced, and includes her personal foray into faith healing for her torn knee ligaments.

I can tell I’m a tough case, because a third healer comes over to us, and then a fourth. Soon I’m surrounded by people praying for me, one woman’s hand on my shoulder, another on her knees in front of me, and the force of their expectation — desperation, almost — is palpable. Unrelentingly, every few minutes, they ask me how I’m feeling, whether I’m better.

I try to deflect some of their questions, but it never works. When one healer asks me what I feel, I tell her I feel “your energy and prayers.” She jumps back, “But what about your knee?”

“Well, it’s a really serious injury,” I try. “So I think it might take some time.”

The woman seems almost offended. “Time?” she says. “Jesus doesn’t need time! Jesus can heal you right away.”

We start praying again, and I start feeling a little desperate, like I’ll never get out of here. The next time they ask me how my knee feels, almost automatically, without thinking, I lie.

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Another Year, Another Fraternity Hazing Death

Penn State's Beta Theta Pi fraternity house sits empty after being shut down after the death of a pledge. (Abby Drey /Centre Daily Times via AP)

When Tim Piazza fell down the stairs drunk during a fraternity hazing at Beta Theta Pi at Penn State, his frat brothers did nothing to help until it was far too late. Caitlin Flanagan traces the harrowing story of Piazza’s 12 hours between life and death in The Atlantic, from the incident itself to the attitudes and policies that create perverse incentives not to seek medical attention for injured pledges.

Four of the brothers carry Tim up the stairs. By now he has somehow lost his jacket and tie, and his white shirt has ridden up, revealing a strange, dark bruise on his torso. This is from his lacerated spleen, which has begun spilling blood into his abdomen. The brothers put him on a couch, and Rizzo performs a sternum rub—a test for consciousness used by EMTs—but Tim does not respond. Another brother throws beer in his face, but he does not respond. Someone throws his shoes at him, hard. Someone lifts his arm and it falls back, deadweight, to his chest.

At this point, the brothers have performed a series of tests to determine whether Tim is merely drunk or seriously injured. He has failed all their tests. The next day, Tim’s father will ask the surgeon who delivers the terrible news of Tim’s prognosis whether the outcome would have been different if Tim had gotten help earlier, and the surgeon will say—unequivocally—that yes, it would have been different. That “earlier” is right now, while Tim is lying here, unresponsive to the sternum rub, the beer poured on him, the dropped arm.

Of course, the blame isn’t just on university or fraternity policy — it’s on the brothers themselves and their disregard for the young men they haze.

Even a full day after Tim died, some members were, amazingly, still focused on the consequences that could befall them. “Between you and me,” a member texted Young, “what are the chances the house gets shut down?”

“I think very high,” Young replied. “I just hope none of us get into any lawsuits.”

“You think they are going to sue?” asked the brother, to which Young responded in a way that is chilling and that reveals a sophisticated knowledge of how such events play out: “It depends if they want to go through with it, or just distance themselves from us all together.”

They can maintain this disregard because they know what happens next:

The grieving parents will appear on television. In their anger and sorrow, they will hope to press criminal charges. Usually they will also sue the fraternity, at which point they will discover how thoroughly these organizations have indemnified themselves against culpability in such deaths. The parents will try to turn their grief into meaningful purpose, but they will discover how intractable a system they are up against, and how draining the process of chipping away at it is. They will be worn down by the endless civil case that forces them to relive their son’s passing over and over. The ritual will begin to slow down, but then a brand-new pair of parents—filled with the energy and outrage of early grief—will emerge, and the cycle will begin again.

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The House Where Revolution Went to Die

the house on the embankment, a massive apartment complex on the banks of the moscow river
The House on the Embankment looms over the Moscow River (photo by Andrey Korzun CC BY-SA 4.0)

Joshua Yaffa‘s latest in The New Yorker looks at the fascinating history of the House on the Embankment, a massive Moscow apartment complex built in the 1930s to house high-level Soviet officials. Along with apartments, the building was home to theaters, a bank, gyms, a post office, a grocery store, and more — all kinds of community services meant to help tenants bridge from individual apartment life to a communal existence.

Spoiler alert: like a lot of things about the Soviet Union, it didn’t really work out.

The “transition” that the building was meant to bring about never came to pass. Instead, its residents moved further from collectivist ideals, and adopted life styles that looked suspiciously bourgeois. Residents had their laundry pressed and their meals prepared for them, so that they could spend all day and much of the night at work and their children could busy themselves reading Shakespeare and Goethe. There was a large staff, with one employee for every four residents. Slezkine compares the House of Government to the Dakota, in New York City—a palace of capitalism along Central Park, where residents could eat at an on-site restaurant and play tennis and croquet on private courts. A report prepared for the Soviet Union’s Central Committee in 1935 showed that the cost of running the House of Government exceeded the Moscow norm by six hundred and seventy per cent. To the extent that the House of Government facilitated a transition, it was the metamorphosis of a sect of ascetics into a priesthood of pampered élites.

After several years, life took a sharp turn for residents; the purge-ridden building had the “highest per-capita number of arrests and executions of any apartment building in Moscow.”

Before long, the arrests spread from the tenants to their nannies, guards, laundresses, and stairwell cleaners. The commandant of the house was arrested as an enemy of the people, and so was the head of the Communist Party’s housekeeping department. So many enemies of the people were being uncovered that individual apartments were turning over with darkly absurd speed. In April, 1938, the director of the Kuznetsk steel plant, Konstantin Butenko, moved into Apartment 141, which had become vacant after the arrest of its previous tenant, a deputy commissar from the Health Ministry. Butenko occupied the four rooms for six weeks before he himself was arrested, and his family evicted. Matvei Berman, one of the founders of the Gulag, took over the space. Berman was arrested six months later, and shot the next year.

Many apartments are inhabited by descendants of the original tenants; many others now house expats who enjoy its proximity to bars and restaurants. The weight of history sits very differently on the shoulders of these two populations.

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How Can You Fear an Invisible Enemy?

Gas masks at a school in Pripyat, an abandoned city near Chernobyl. (Ludek Perina / CTK via AP Images)

Elisa Gabbert‘s latest essay for Real Life, “Doomsday Pattern,” is an extended muse on on what it means to live in a world on the edge of nuclear apocalypse, whether through war or disaster. Her piece is graphic and challenging — broadly philosophical and painfully concrete all at once.

When Wilhelm Röntgen discovered X-rays in 1895, he named them because they represented the unknown. This gets at what was, and is, so uncanny about radiation: You can’t see it, only its effects. One cameraman sent to film the scene at Chernobyl after the fact said, “It wasn’t obvious what to film. Nothing was blowing up anywhere.” But some people, it seems, are immune to this fear of the unseeable; they refused to evacuate or later returned to the contaminated land, the zone of exclusion, because “I don’t find it as scary here as it was back there.” They chose contamination over exile, the invisible over the visible threat. “This threat here, I don’t feel it. I don’t see it. It’s nowhere in my memory. It’s men I’m afraid of. Men with guns.”

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Elvis Has Left the Makeup Trailer

Tom Petty recording tracks for the Johnny Cash album 'Unchained' in 1996. (Kevin Estrada / MediaPunch/IPX)

After his death, Oxford American re-upped an interview with Tom Petty from 2000. Did you ever wonder what got him into music? Wonder no more: It was Elvis. He tells interviewer Holly George-Warren about a childhood encounter with the King at a movie location near his home in Florida.

I remember a long line of white Cadillacs that came in, and getting out were guys in mohair suits—really very flashy lookin’ cats in sunglasses. Every time one would get out, I’d say to my aunt, “Is that Elvis?’’ and she’d say, “No.’’ Then all of the sudden, she went, “That’s Elvis.’’ And it really was a semireligious experience. I mean, he glowed to me. I’d never seen anyone’s hair dyed so black that it was blue—it shone blue in the front. He looked amazing. My uncle was there, and he says, “Elvis, these are my nieces and nephews.’’ He said hi, and then he went in his trailer. And we stayed and watched them film throughout the day. I remember at one point a crowd was handing records over the fence for him to sign and then hand them back. And I was like, “Damn, if I had an Elvis record, I could get an autograph.’’ So when we went home, I was a changed person. I set about finding Elvis records, so I could get Elvis’s autograph in case I went back. That was how I fell in love with rock ’n’ roll records—and that was my only interest ever since.

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Did You Happen to See the Most Interesting Man in the World? (He’s In Room 328)

This drawer at the AFL-CIO archives contains labor leader Samuel Gompers' baby shoe. (Image by fourandsixty via Wikimedia Commons, CC BY-SA 4.0).

Thomas Lannon is the Acting Charles J. Liebman Curator of Manuscripts at the New York Public Library, which is the fancy way of saying he oversees boxes of secrets: the personal documents of people both famous and everyday. Anyone can read a book and learn facts, but archival materials — handwritten, casual, private — connect us to the secret soul of history. James Somers files his first and last Village Voice story on the treasure troves that are archives.

But the real gem of the library, in Lannon’s view, is the stuff that you can find only in boxes like the ones now strewn across the table. “You can get a book anywhere,” he said. “An archive exists in one location.” The room we’re standing in is the only place that you can read, say, the week’s worth of journal entries in which New York Times editor Abe Rosenthal contemplates publishing the Pentagon Papers. It’s the only place where you can read the collected papers of Robert Moses, or a letter T.S. Eliot wrote about Ulysses to James Joyce’s Paris publisher, Sylvia Beach.

These collections aren’t digitized. The only way to find out what’s inside them is to ask for a particular box — often with just a vague notion of what will be in it — and to hold the old papers in your hands. “I don’t know how one could be interested in libraries and not archives,” Lannon told me. They tell you “the stories behind things,” he said, “the unpublished, the hard to find, the true story.” This, I began to see, is why someone might have been inclined to call Lannon the most interesting man in the world: it’s because he knows so many of these stories himself, including stories that no one else knows, because they are only told here.

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Five Houstonians, Five Days in a Flood Zone

Homes are submerged in Vidor, Texas. (Brett Coomer/Houston Chronicle via AP)

A team from the Houston Chronicle follows five Houstonians before, during, and just after Hurricane Harvey. Taking us from August 25th to August 31st, day by day, they need no editorial flourishes or hyperbolic language to drive home the fear, confusion, and destruction.

Every time they picked up one flood victim, another appeared: A man with oxygen tanks, along with his nightgown-wearing wife and their three lapdogs. A family of eight as the flood closed in on a high point in the street.

Ellis was motoring back to dry ground – they needed gas – when he looked into a stand of oak trees. He saw something floating, and almost ignored it. Then it moved. He swung the boat around.

A man, his nose and mouth barely above water, holding his wallet and cellphone overhead, bobbed in the current. He grabbed the bow, and hung on. Ellis’ cousin jumped out and helped him in.

“Have you rescued a lady with a white dog?” he asked. Ellis shook his head.

The man kept describing the woman, and the dog, their whole way back to dry ground.

As if, maybe, if he could only describe her better, it would change their answer.

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