Author Archives

Sam Stecklow
Sam Stecklow is a contributor to Longreads' blog, an editorial fellow at The Morning News, a contributor to The Airspace, and has seen every episode of 3rd Rock From the Sun.

Generational Shift for Kenya's Maasai Tribe

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Once the lords of East Africa, the Maasai have been close to peerless in the modern age for maintaining the continuity of their traditions—traditions now imperiled by the tentacles of the market and by technology, as cell phones and cheap Chinese motorcycles, like the one we rode, upend the very possibility of isolation. Compulsory and nearly free education, instituted by former Kenyan president Mwai Kibaki, means most Maasai children are today in school. Those of the prior generation who were educated only in the ways of the tribe — who speak no Swahili or English but just Maa — are around 30 years of age. Many wile away the hours in clapboard bars, unable to resist that alcohol now available in quantities unheard of in the past, when beer was brewed in the home from honey and was not for sale.

–David McDannald, in The American Scholar (subscribers only), on the effects of globalization on the Maasai tribe in Kenya.

Read more from The American Scholar in our archive

Photo: wwarby, Flickr

April 5, 2014
Categories: Nonfiction, Quotes
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Conversations with My Deaf Mother

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Sometimes I tried to persuade myself that she was not really deaf. She was a mischievous prankster, and what better way to keep everyone hopping than to pretend she was deaf, the way every child has, at one point or another, pretended to be blind, or played dead? For some reason, she had forgotten to stop playing her prank. To test her, I would slide behind her when she wasn’t looking and yell in her ear. No response. Not a shudder. What amazing control she had. I sometimes ran to her and said that someone was ringing the doorbell. She opened the door; then, realizing I had played a low trick on her, she would laugh it off, because wasn’t it funny how the joy of her life — me — had hatched this practical joke to remind her, like everyone else, that she was deaf. One day, I watched her get dressed up to go out with my father and, as she was fastening a pair of earrings, I told her she was beautiful. Yes, I am beautiful. But it doesn’t change anything. I am still deaf — meaning, And don’t you forget it.

–André Aciman in The New Yorker, on communicating with his deaf mother (subscribers only). Read more from The New Yorker.

March 18, 2014
Categories: Nonfiction, Quotes
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Television vs. the Novel

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Pakistani author Mohsin Hamid, writing in The New York Times Book Review, about television vs. the novel:

Television is not the new novel. Television is the old novel.

In the future, novelists need not abandon plot and character, but would do well to bear in mind the novel’s weirdness. At this point in our technological evolution, to read a novel is to engage in probably the second-largest single act of pleasure-based data transfer that can take place between two human beings, exceeded only by sex. Novels are characterized by their intimacy, which is extreme, by their scale, which is vast, and by their form, which is linguistic and synesthetic. The novel is a kinky beast.

Television gives us something that looks like a small world, made by a group of people who are themselves a small world. The novel gives us sounds pinned down by hieroglyphs, refracted flickerings inside an individual.

Sufis tell of two paths to transcendence: One is to look out at the universe and see yourself, the other is to look within yourself and see the universe. Their destinations may converge, but television and the novel travel in opposite directions.

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Photo: medhius, Flickr

March 3, 2014
Categories: Nonfiction, Quotes
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What Silicon Valley Is Really Selling Us

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Wired senior editor Bill Wasik on the public’s changing relationship with both Silicon Valley and the technology it creates and promotes:

One of the most toxic memes to waft out of the industry recently has been the idea of quasi-secession, whether it was Peter Thiel’s dream of floating hacker communities or Tim Draper’s plan to make Silicon Valley its own state or Balaji Srinivasan’s vision of an “ultimate exit” to someplace where engineers could build a world “run by technology.” But they’ve got it entirely backward. People don’t crave technology like drugs, wanting it so bad they’ll wire bitcoins to the offshore plutocracy of Libertaristan just to get it. They adopt technology when they’re seduced by the communities that grow up around it, often for love rather than money. If inventing new modes of communication or collaboration was seen as a mercenary act—as no nobler than drilling a well or devising a mortgage-backed security—then such platforms would never thrive, because their value tends to arise from a long, slow, unprofitable process of experimentation.

If anything, the public love affair with Silicon Valley is more crucial today than ever.

There’s a reason why web giants adopt slogans like “Don’t be evil” or endorse “the Hacker Way”: The entire business models of Google and Facebook are built not on a physical product or even a service but on monetizing data that users freely supply. Were either company to lose the trust and optimism of its customers, it wouldn’t just be akin to ExxonMobil failing to sell oil or Dow Chemical to sell plastic; it would be like failing to drill oil, to make plastic.

When William Gibson envisioned cyberspace as a “consensual hallucination,” he was right. Unsettle the consensus about the social web and you don’t just risk slowing its growth or depopulating it slightly. You risk ending it, as mistrust of corporate motives festers into cynicism about the entire project.

Read the full story at Wired

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Photo: itia4u, Flickr

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March 1, 2014
Categories: Nonfiction, Quotes
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On White Hip-Hop Artists Performing for White Audiences

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In 2013, for the first time in the 55-year-history of the Billboard Hot 100, not one black artist lodged a number-one single. (Of the eleven songs that held the spot for some portion of the year, four were hip-hop, and four featured black singers or rappers in guest roles.) There’s been round, sustained clamor over Macklemore’s Grammy haul, which was all the more glaring because it came at the expense of fellow nominee Kendrick Lamar, a (frankly) far more talented artist, who is black. (Macklemore handled the situation awkwardly, too, writing Kendrick a text message that said, “I wanted you to win. You should have. It’s weird and sucks that I robbed you.” And then posting a screenshot of that text to his Instagram account, so everyone could see how magnanimous he is.) Macklemore admits that white privilege is a factor in his success. “I benefit from that privilege,” he has said. “And I think that mainstream Pop culture has accepted me on a level that they might be reluctant to, in terms of a person of color.” But that doesn’t change the facts on the ground: A new white hip-hop superstar has been anointed, one who does not live up to most rap critics’ definition of excellence. (Eminem is widely considered to be an extremely skilled rapper.) Some have even gone so far as to anoint Macklemore some sort of savior of hip-hop, a Great White Hope who will help the genre evolve into a more enlightened form. A recent Dallas Morning News headline sums up this perspective: “Macklemore shows hip-hop doesn’t need to be homophobic, violent in Dallas concert.”

Dave Bry, in a short essay for The New Republic, on the state of rap music. Read more on music.

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Photo: sffoghorn, Flickr

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February 19, 2014
Categories: Quotes
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David Cronenberg on Transformation

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Stories of magical transformations have always been part of humanity’s narrative canon. They articulate that universal sense of empathy for all life forms that we feel; they express that desire for transcendence that every religion also expresses; they prompt us to wonder if transformation into another living creature would be a proof of the possibility of reincarnation and some sort of afterlife and is thus, however hideous or disastrous the narrative, a religious and hopeful concept. Certainly my Brundlefly goes through moments of manic strength and power, convinced that he has combined the best components of human and insect to become a super being, refusing to see his personal evolution as anything but a victory even as he begins to shed his human body parts, which he carefully stores in a medicine cabinet he calls the Brundle Museum of Natural History.

There is none of this in The Metamorphosis. The Samsabeetle is barely aware that he is a hybrid, though he takes small hybrid pleasures where he can find them, whether it’s hanging from the ceiling or scuttling through the mess and dirt of his room (beetle pleasure) or listening to the music that his sister plays on her violin (human pleasure). But the Samsa family is the Samsabeetle’s context and his cage, and his subservience to the needs of his family both before and after his transformation extends, ultimately, to his realization that it would be more convenient for them if he just disappeared, it would be an expression of his love for them, in fact, and so he does just that, by quietly dying. The Samsabeetle’s short life, fantastical though it is, is played out on the level of the resolutely mundane and the functional, and fails to provoke in the story’s characters any hint of philosophy, meditation, or profound reflection.

–Director David Cronenberg on Kafka, The Fly, aging and storytelling, in The Paris Review.

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February 8, 2014
Categories: Nonfiction, Quotes
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A Think Piece About Think Pieces

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Always pick sides! Team Aniston!! The internet demands it, even if it’s only half-thoughts it wants, thoughts like, “This, just this” or “This is everything.” “This” is not a sentence. Nor is “Best. Thing. Ever.” Nor “!!!!” But worse than inchoate enthusiasm is the “think piece” at the other end of the spectrum, a form of recreational sophistry usually in the service of some bullshit. Was Proust a Urologist? Girls, Not Bloomberg, Evicted Zuccotti Park. Does Breathing Make You Smarter? What Breaking Bad  Teaches Us About Building Brands. What Breaking Bad Teaches Us About the War on Drugs. What Breaking Bad Teaches Us About Toxic Relationships. (Those last three are real.) It makes you appreciate the listicle’s honest hypoambition; it’s the true slacker of internet forms. “13 Ways of Looking at a Blackbird” is a good listicle. It announces up front how little of your time it will waste.

We assert our right to not care about stuff, to not say anything, to opt out of debate over things that are silly and also things that are serious—because why pretend to have a strong opinion when we do not? Why are we being asked to participate in some imaginary game of Risk where we have to take a side? We welcome the re-emergence of politics in the wake of the financial crash, the restoration of sincerity as a legitimate adult posture. But already we see this new political sincerity morphing into a set of consumer values, up for easy exploitation. We are all cosmopolitans online, attentive to everything; but the internet is not one big General Assembly, and the controversies planted in establishment newspapers aren’t always the sort of problems that require the patient attention of a working group. Some opinions deserve radical stack (like #solidarityisforwhitewomen), but the glorified publicity stunts that dress up in opinion’s clothes to get viral distribution in the form of “debate” (Open Letters to Miley Cyrus) do not. We ought to be selective about who deserves our good faith. Some people duke it out to solve problems. Others pick fights for the spectacle, knowing we’ll stick around to watch. In the meantime they’ll sell us refreshments, as we loiter on the sideline, waiting to see which troll will out-troll his troll.

–The Editors of n+1 on Internet rage, American rage, and Constitutional rights. Read more from n+1.

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January 30, 2014
Categories: Quotes
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The Death of the FCC Indecency Complaint

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As society has reached a consensus that there’s no way to control everything children see, the number of indecency complaints has decreased significantly. When Miley Cyrus twerked at the Video Music Awards last summer, the FCC received only 161 complaints (of course, as a cable channel, MTV doesn’t answer to the commission anyway). The moment became fodder for celebrity bloggers and morning show chatterboxes but was never treated as a problem that needed to be legislated away. The PTC dutifully issued a statement denouncing MTV for “sexually exploiting young women,” but no national outcry resulted. Perhaps not coincidentally, CBS never actually paid a fine in connection with Nipplegate—an appeals court ruled in 2008 and again in 2011 that CBS could not be held liable for the actions of contracted performing artists and that the FCC had acted arbitrarily in enforcing indecency policies. The Supreme Court declined to hear the case in 2012.

So for [former Chairman of the FCC Michael] Powell, the halftime show represents “the last great moment” of a TV broadcast becoming a national controversy—the last primal scream of a public marching inexorably toward a new digital existence: “It might have been essentially the last gasp. Maybe that was why there was so much energy around it. The Internet was coming into being, it was intensifying. People wanted one last stand at the wall. It was going to break anyway. I think it broke.

“Is that all good? Probably not, but it’s not changeable either. We live in a new world, and that’s the way it is.

“They said the same thing when books became printed, right? They said it was the end of the world.

“But it wasn’t.”

–Marin Cogan in ESPN Magazine (2014) on how the halftime show of Super Bowl XXXVIII changed live television and American audiences.

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January 29, 2014
Categories: Nonfiction, Quotes
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The Language of Transitioning from Female to Male

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Some days I feel I am haunting my past life; other days I feel my past life haunting me. A name, no longer spoken. Voicemails of my old voice, saved. And what is this “I” or “me” that does not include my past life, anyway? When did we separate? Where was the fork? Was it the day I started testosterone, Jan. 16, 2013? Or did it not happen right away?

When someone dies, it is considered polite to say that person has “passed away.” When a trans person is able to walk down the street without being identified as trans, it’s called “passing.” Both turns of the word imply a successful transition… of the spirit and body, breaking away from each other, and coming back together again.

–Oliver Bendorf, writing in Buzzfeed LGBT, about the similarities in the language surrounding death and transitioning. Read more from the Longreads Archive.

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Photo of Oliver Bendorf, courtesy of the author.

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January 23, 2014
Categories: Nonfiction, Quotes
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Creativity, and How to Start Over

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MCQUEEN: Talk to me a little bit about Yeezus. The album before that one, My Beautiful Dark Twisted Fantasy, was a phenomenal success. Did that wear on your mind when you went in to makeYeezus?

WEST: Yeah! So I just had to throw it all in the trash. I had to not follow any of the rules because there was no way to match up to the previous album. Dark Fantasy was the first time you heard that collection of sonic paintings in that way. So I had to completely destroy the landscape and start with a new story. Dark Fantasy was the fifth installment of a collection that included the four albums before it. It’s kind of the “Luke, I am your father” moment. Yeezus, though, was the beginning of me as a new kind of artist. Stepping forward with what I know about architecture, about classicism, about society, about texture, about synesthesia—the ability to see sound—and the way everything is everything and all these things combine, and then starting from scratch with Yeezus … That’s one of the reasons why I didn’t want to use the same formula of starting the album with a track like “Blood on the Leaves,” and having that Nina Simone sample up front that would bring everyone in, using postmodern creativity where you kind of lean on something that people are familiar with and comfortable with to get their attention. I actually think the most uncomfortable sound on Yeezus is the sound that the album starts with, which is the new version of what would have been called radio static. It’s the sonic version of what internet static would be—that’s how I would describe that opening. It’s Daft Punk sound. It was just like that moment of being in a restaurant and ripping the tablecloth out from under all the glasses. That’s what “On Sight” does sonically.”

Kanye West, in conversation with Steve McQueen, on the necessity of a fresh start for any creative project, in Interview magazine. Read more on Kanye.

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January 20, 2014
Categories: Nonfiction, Quotes
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