The Longreads Blog

A Mystery Shrouded in an Enigma Wrapped in a Snazzy Tie and Smothered in Inherited Wealth

Photo by Gage Skidmore via Flickr (CC BY-SA 2.0)

Perhaps your answer to the question “Would you like to read 7,000 words about Tucker Carlson?” is, like mine, “What did I ever to do you?” If that’s the case, we are both wrong: I refer to you the Columbia Journalism Review, where Lyz Lenz‘s interview-slash-profile-slash-philosophical inquiry into the “why” of Carlson is a rollicking good (and infuriating) time and a pointed look at how badly people who are manifestly winning — at politics, at finance, at life — still want to claim they’re underdogs.

Yet Carlson insists he, too, was motivated only by the needs of a growing family. He maintains that if someone handed him $5 million he wouldn’t have gotten out of bed. (And he’d be easy to believe, if he wasn’t, in fact, worth over $8 million, and hadn’t himself stood to inherit enough to keep him in a rotating series of beds until retirement.)

But it’s the story he’s sticking to. He had to do what he had to do. He didn’t have a choice. He has kids. DC has terrible public schools. His hands were tied. So, in addition to his staff positions, he took freelance jobs. He didn’t want to disappoint his family.

“I think this is true of almost everybody unless you happen to inherit a bunch of dough at a young age.” Carlson sounds cavalier as he says this, like the plight of sending kids to a private school in DC is the most relatable thing in history. I wonder about my own career in media. If providing for my kids was my only goal, I’d be back in my marketing job. Which reminds me, I need to check my bank account to make sure I can afford back-to-school shoes and after-school care.

I wonder which one of us is supposed to be the liberal elite media.

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Let Them Eat Pancakes

a stack of four pancakes. there is a pat of butter on the top and maple syrup dripping down the side.
Photo by Michelle W. (CC BY 2.0)

At the Chicago Tribune, Christopher Borrelli introduces us to busboy Othea Loggan. Othea Loggan started working as a busboy at Walker Bros. Original Pancake House in 1964, and he works there as a busboy still — the most senior employee at a restaurant with an unusual number of long-term staff. In ’64, he made minimum wage; now he makes slightly more, with no benefits. Management is loyal to its bussers, but you can’t actually pay bills with job security.

Winston Brown, another busser (for the past 38 years), taps his chest and a red light glows through his white coat — “I’m on dialysis,” he says. “Medicare only. We make just enough to pay bills — sometimes. When I started here, there was one Walker Bros., this place, and now there are seven of them. And what do we get? We get to pay our rents.”

Any savings?

He laughs sardonically.

Loggan doesn’t complain.

Rumbult, similarly, says management “does a lot, but we could always use help.” In a sense, their major benefit is a feeling of job security. With new hires today increasingly less likely to stay at a pancake house long, Ray Walker says his loyalty to his aging bussing staff has only deepened. His father, Victor, who started Walker Bros. with his uncle Everett in 1960 (franchising the business from an Oregon pancake house chain), hired Loggan. He says he probably treats Loggan a little better than the rest of the staff, but hesitated to go into detail: “Others would want to know what they’re not getting.” For instance, the company took out life insurance on Loggan (payable to his wife); Ray says that for years he’s set aside about $50 a month for Loggan, as an informal retirement fund (subject to a 30 percent penalty for early withdrawal).

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This Month in Books: ‘Everything That We Are and Ever Have Been’

Dear Reader,

This month’s books newsletter has a lot to say about identities — mistaken, misunderstood, transformed, false, fictional or as anonymous as the op-ed.

In his interview with Cooper Lee Bombardier, Thomas Page McBee says that when he transitioned, he “just felt so limited, so suddenly afraid of becoming the kind of man I’d grown up in fear of.” Becoming someone you don’t want to be, he realizes, happens when you have not come to terms with who you already have been, or who you’ve failed to be:

I’m of the belief that we all have to face our own rejected parts — what Jung calls our shadows — in order to genuinely make a cultural shift.

When identities shift, cultures will follow; there is political power generated by self-actualization. As Alana Mohamed writes in her review of Michelle Tea’s essay collection Against Memoir, “It’s a forceful thing, to show up in a world that doesn’t expect you to exist, and to say something it doesn’t expect you to say.” But Mohamed also warns of the erasure of triumph, the cleaning-up inherent in actualization:

[Radical queer women who fought for queer visibility in the ’80s and ’90s] were dying not of marriage inequality, but of addiction, trauma, and poverty. If we forget them and their stories, queer history becomes nothing more than a slogan.

She argues for a cacophony of viewpoints and conflicting definitions: a queerness that “seeks to make room for us to name ourselves,” that is “ever-expanding and ever-in-conflict with itself because of this.” Mohamed imagines a hopeful future for queer identity, for all identity, pointing to the powerful potential of memory and community, even as she probes a deep rift that has breached queer culture — the Rashomon-esque inability of people to remember the same stories or to honor the same heroes: “Who threw the first punch, or glass, or heel at Stonewall? Everyone has their version of what happened that night on June 29, 1969.” A huge feud has developed over the identity of who led the charge.

Preoccupied with this same interplay of history, memory and identity, Christian Kracht’s novel The Dead erases beloved heroes of the Golden Age of film and replaces them with ghoulish impostors, rank fascists and bloviating imperialists: Charlie Chaplin is no longer the crusading satirist who created The Great Dictator, but rather he is the dictator. In his review, J.W. McCormack says this restructuring of famous personalities is an incursion of history into identity, the reality of the 1930s reshaping its legacy, its art:

As cultural monuments in any of the arts prosper, the actual culture that produced them so often plummets — into tyranny, a defiant ignorance, and death.

It’s a startling assertion that who we are and the world we will leave behind are two not-particularly-connected things. Identity can look suddenly like nothing more than another peril in a life full of them, a treacherous path in a dangerous world. “A big part of toxic masculinity is to not question anything about being a man,” McBee says. “It felt to me very dangerous to do so, even in writing this book.” Tea reflects on how her warts-and-all approach to documenting her queer contemporaries was just another way of hurting them: “It’s one thing to discuss your family’s trauma with other family; it’s another thing entirely to release their stories to a world that doesn’t love them.” In Nick Drnaso’s Sabrina, when a man misstates a murdered woman’s identity, it provokes a mob of online harassers to cast doubt on his:

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And, as Levi Vonk writes in his review of Mario Chard’s poetry collection Land of Fire, identity is a tool of state power, predicated on arbitrary qualities, such as through which entrance you entered a space. And “as soon it is determined that the bird has not entered through the door — the only legitimate entrance — everything unravels”:

How did the bird get inside the house?
Through the door I said.
No. Through a window. Listen they said How did the
bird get inside the house?

The questioning continues until it has abstracted all qualities of the bird:

The bird is nameless. Who named the bird?
I said No one. The bird is nameless.
What is your name? They said.
I am nameless I said.

In her interview with Bridey Heing, Olivia Laing says she wrote her sort-of-autofictional novel Crudo to interrogate such rigid categorizations, to ask “How does one learn to be less selfish? How does one learn to soften one’s borders?” She says:

It’s a personal question, but it’s also a political question. That’s the same force that leads people to say “I don’t want immigrants in my country.”


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On the other hand, in her interview with Ryan Chapman, novelist Ling Ma asks, more or less, what has identity got to do with anything? Her protagonist, she says, became exasperated with her when she wrote an immigration narrative for the character’s family. The character refused to even tell the story, thinking it pointless:

That was really difficult to write because I feel like any time a character is a minority, their narrative is automatically an immigration narrative. Growing up I used to get asked the question where do you come from? I grew up in Utah, Nebraska, and Kansas, so you would hear that a lot.

I was just like, Can we just not have a character who needs to explain how she got to the U.S.? I think my difficulty with that came through. With chapter sixteen, there’s no first person. I couldn’t get Candace to talk about it. When I was writing it she was going, This is really cheesy, I’m not a part of this. So I had an omniscient narrator and then let her take over that chapter gradually.

Catherine Lacey, in an interview with Tobias Carroll, doesn’t get into debates with her characters about identity. Instead, she inhabits their identities so thoroughly that she marvels at how she has ended up writing something she would never say herself:

I don’t know. I don’t even remember quite where I was when I wrote that [story] to be honest. I think that one just came like from that character. I’m not sure if I would ever say that. In my life, I’m pretty sure I wouldn’t use that description, at least in an honest way. But that character, he just said that….

I feel like when I’m writing in a place that’s really authentic and honest, it does feel a little bit like acting in a way. And then, I’m creating some sort of character, and then I’m just performing that character, and typing what they say.

This slipperiness of self isn’t just for fiction writers; you really never can know quite who you are going to become — you might die before it happens. As Susan Hand Shetterly writes in Seaweed Chronicles: A World at Water’s Edge, the British algae scientist Kathleen Drew-Baker never set foot in Japan, and yet, years after her death, her discoveries “revolutionized the harvest and consumption of seaweed in that country.” Now she is revered in Japan as the Mother of the Sea. You can visit her shrine. In death we become godlike, our small achievements in life having profound, ripple-like effects on the future; we take our exalted place in the grand human story.

(Kracht, of course, takes a different position: “The dead are profoundly lonesome creatures, there is no solidarity among them, they are all born alone, die, and are reborn alone as well.”)

So how to proceed? Be careful, Lacey warns. Remember your identity is porous:

I feel like I’m always making language out of the language that’s around me… I’m very careful. I don’t really watch a lot of series. I pretty much only watch a TV series if I’m on a plane, and I’m like really careful about what I read and when I read it. And I’m careful about who I talk to and who I spend my time around. I think it’s true for everybody, but I can’t really say it for everybody, but for me, it’s definitely true that I’m always writing a story out of the language that I surround myself with.

And as McBee points out, there is one upside to identity — most of who you are is in the past:

I’ve come to realize that everyone passes. Most of us aren’t walking around with our souls out all the time, being everything that we are and ever have been.

Dana Snitzky
Books Editor
@danasnitzky

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A Trip to Tolstoy Farm

Illustration by Giselle Potter

Jordan Michael Smith | Longreads | September 2018 | 29 minutes (7,903 words)

“A quiet secluded life in the country, with the possibility of being useful to people to whom it is easy to do good, and who are not accustomed to have it done to them; then work which one hopes may be of some use; then rest, nature, books, music, love for one’s neighbor — such is my idea of happiness.”

— Leo Tolstoy, Family Happiness

* * *

Huw Williams is not a hermit. Not exactly. For one thing, he answers a telephone while I’m visiting him. The phone connects to a jack somewhere, although I don’t understand how it can function properly; it seems impossible that a cabin so rudimentary and run-down could support something as technologically advanced as a telephone.

The floors are covered with broken power tools, a machete, unmarked VHS tapes, decades-old newspapers and knocked-over litter boxes once filled by the three cats prowling around. Stenches of urine and filth are masked only by the rot on the stove, where the remains of long-ago meals are eating through the pans they were prepared in. And the cabin is so cold that when anyone speaks, breath becomes vapor.

Dried-out orange peels hang from the ceiling. “It’s a way of breaking up the straight lines,” the 76-year-old Williams tells me cryptically. “I’m averse to being inside a box, with all straight lines.” A radio plays environmental talk radio here in Edwall, a tiny community about 35 miles by car from Spokane, Washington. The radio is part of an ’80s-style dual cassette player, but the trays where the cassettes should go are broken off.

When I came upon Williams’ cabin on a wet afternoon last September, I assumed it was empty. My GPS couldn’t locate it, and neighbors were unsure if it was inhabited. Rusted-out trucks and cars surround the house, which is up on a slight hill atop a dirt road that bisects another dirt road that runs off a few other dirt roads.

But for all his isolation, Williams is not hiding. He grew up on this land, which his parents ran as a cattle and wheat farm. He moved back here in the 1970s after his first wife ran off with their friend and took the kids. He also lived here with his second wife, until she too left him for another man. Anybody could find him, if anybody cared to. Maybe that’s the hardest part.

Williams has prostate cancer, irritable bowel syndrome, melanomas, multiple sclerosis, and he thinks he might be bipolar. He speaks slowly and softly, as if he might run out of breath at any second. He looks the Unabomber part, with his long beard and ragged clothing. But then, he was idiosyncratic even when he used to get out more. He hitchhiked across the country to protest nuclear war, got arrested a time or two, and, after going through a brief celibate period, was a swinger who had sex with his wife’s boyfriend’s mother. Most spectacularly, in 1963 he founded a 240-acre farm nearby that is among the longest-lasting remnants of the ‘60s communes that Charles Manson gave a bad name to. And it was based on the teachings of Leo Tolstoy. Read more…

Florida, White Privilege, and Racism

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At Oxford American, Scott Korb reflects on his white privilege, the state of Florida, and its racist history — a state in which his life was irrevocably changed at age 5, when his father was killed by a drunk driver in May, 1982. In 2008, Korb visits Dwight Maxwell, a black man who was behind the wheel of the car that killed his dad and confronts not only his father’s killer but also his deeply held racist beliefs: “Throughout my life I’ve held shameful attitudes about black people, attitudes that embarrass me now.”

As an adult, I’ve traveled to Florida again and again to learn what I can about the end of my father’s life, which was largely a mystery to me as a child. My aunt, who was in the backseat of the car, once took me out to where he died. The road there has been widened, made safer. She says his last words were, “Hold on, we are about to be hit!” At impact, he was not wearing shoes. The man who killed him spent eighteen months in prison, and in January 2008, I shook the gate of a fence around his yard in the rural outskirts of Dunnellon, Florida, thinking that we could each benefit from talking about our shared history.

For a long time, I knew only two details about this man, Dwight Maxwell. He was drunk when he smashed his dark Ford into the car with my father in it. I also knew he was black. (Until 2005, I didn’t know his name.) These details, which I learned from the adults around me, haunted me as a young person. I didn’t drink and was fearful of alcohol until after I graduated from college. Throughout my life I’ve held shameful attitudes about black people, attitudes that embarrass me now. About Maxwell specifically, his blackness—and my whiteness, I see—made it easy to concoct stories about him. Originating in nightmares that deepened a child’s fear of the dark, as early as six or seven my father’s killer appeared to me as a lecherous monster, lewd living and aggression being characteristic of a man properly locked away for murder. The nightmares invaded my waking hours, and even as I became a teenager I would privately picture him in the leisure suit of a Blaxploitation pimp. Not knowing his actual name, I’d supplied one of my own imagining: Chester Washington. Chester, after the comic character “Chester the Molester” from Hustler magazine, which perhaps we knew as kids from the porno stash of a neighborhood father.

As an adult I’ve slowly come to understand what I did in my childhood to racialize and demonize this man. My trip to meet him in 2008 was meant to put all that behind me. Over several years, I’d circled him like a private dick, reading newspaper accounts and court records, flying to meet his family in Florida, building up the nerve to visit the man himself. I was proud of myself for trying to reach him. A girlfriend called me brave, and I believed her. The hope was reconciliation, a vestige of my grandmother’s Catholicism; I’d sloughed off those old ideas and was seeking forgiveness for them; I’d let him know I’d turned out okay, that we as a family had survived and moved on. On a cold afternoon under a tree in his backyard, I said what I’d come to say, then he apologized and before long disappeared inside. I went away. Years passed. In 2013, after Dwight Maxwell was arrested for felony possession of crack cocaine and hydrocodone pills, plus two misdemeanors, I drove with my mother to the Marion County courthouse, in Ocala, to attend his court hearings and try to speak with him again, to see what more I could learn about the day my father was killed. My last day in Florida, I returned to Maxwell’s house, but, encountering him at the side of the highway, where he’d been pedaling a bicycle, he ducked into the woods, saying he’d told me all he ever wants to. Not understanding— unwilling to, it seems—I chased him into the woods that day, wanting to talk more, though I’ve left him alone since.

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The Columbine Generation Isn’t Going to Take it Anymore

Cameron Kasky, center, speaks during a news conference, Monday, June 4, 2018, in Parkland, Fla. A day after graduating from high school, a group of Florida school shooting survivors has announced a multistate bus tour to "get young people educated, registered and motivated to vote." (AP Photo/Wilfredo Lee)

As Dave Cullen reports at Vanity Fair, since Valentine’s Day, the Parkland survivors have been speaking at high schools and colleges to educate students about and win their support for ending gun violence. Mandatory at every event? A table at which attendees can either register to vote or pre-register to vote if they are currently underage. The establishment needs to sit up and take notice: not only are the kids alright, they’ve got the vote — if only they choose to use it.

“Young voters have long been a sleeping giant of American politics, because most of them stay home. If they ever turned out in percentages to match their older counterparts, they could swing many elections.”

The Columbine generation has been practicing lockdown drills since kindergarten, watching one suburban school after another attacked, wondering if they were about to lose the lottery. Year after year brought a fresh crop of devastated kids—most of them affluent, telegenic, and white. Meanwhile, students in inner cities were far more likely to die from gunfire than their suburban counterparts. In the month of the Parkland shooting, according to the Gun Violence Archive, there were 84 teen deaths in America, 5 in Chicago alone. And through mid-August of this year, 1,846 have been killed or injured, many in the inner cities. Their stories rarely made the evening news.

It bothered the Parkland kids that a far larger cohort of kids, facing far worse odds, were being ignored. So they decided to join forces with them.

Chicago is ground zero in the urban gun wars. In early March, a small group of student activists flew from Chicago to meet the MFOL kids at Emma González’s house. “When I first got there, it was a gated community and I thought it was a hotel resort or something,” Alex King said. “And then I saw the house. There was like this big glass window that was also a door, and I was like, ‘Wow, O.K.’ When I actually got in there, Emma came around the corner running, hugging everyone—it was just like happy faces all around the room.”

As the groups got to know each other, they learned that their fears were different. Suburban kids tend to fear gunmen bursting into their schools; urban kids fear gunfire en route. Swapping gun stories got pretty intense, and during a break Emma chatted with D’Angelo McDade about turning suffering into action. That reminded him of something. D’Angelo and Alex were representing the Peace Warriors, an “interrupter” group that seeks to resolve neighborhood conflicts before they turn violent. D’Angelo reached into his pocket and drew out six colored dog tags. The red one said PRINCIPLE #4, with a peace sign—that was it. Martin Luther King Jr. preached six principles of nonviolence, D’Angelo explained. The Parkland kids were embarking on No. 4: SUFFERING CAN EDUCATE AND TRANSFORM. And King singled out a particular kind of suffering: “Unearned suffering is redemptive and has tremendous educational and transforming possibilities.” Sound familiar?

“Oh, wow, can we do this all together?” Emma asked.

The full group reconvened. “We taught them the principles, and they taught us about policy,” D’Angelo said.

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Arranging Your Body in Space: Talking Identity, Memoir, and Twins with Leah Dieterich

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“One-eighth of all natural pregnancies begin as twins,” Leah Dieterich writes in her memoir, “but early in pregnancy, one twin becomes less viable and is compressed against the wall of the uterus or absorbed by the other twin.”

This concept of a vanishing twin, a term coined in the year of Dieterich’s birth, frames the author’s fascinating exploration of love, identity, sexuality and relationships. Though she finds her complement in her husband Eric, the twinship that is their marriage starts to diminish, or ‘vanish,’ just as her body had as a ballet dancer in her youth. Dieterich tries to figure out what drives her to fuse so strongly with certain people, what it is about her that fears being alone, and how individuality vanishes in a union. Maybe she lost her twin? Like the great essayists, her probing mind struggles to understand itself, and she makes fascinating connections between a range of subjects from pop culture to psychology to literature to help figure out who she is and what she wants.

Vanishing Twins is a powerful, poetic memoir, both emotive and cerebral, that casts new light on the familiar issue of relationships, marriage and storytelling, and vividly articulates some of the most subtle aspects of human relationships in a way many readers will recognize in themselves.

When did you start writing about your relationship with your husband and your own identity?

I started writing Vanishing Twins about six years ago, but before that I’d explored some of the same themes of love, language, and identity in fiction. I’d also started a screenplay for a film about a couple trying to define their individual identities while maintaining their bond, who meet a set of identical twins who are trying to do the same. Sexual entanglements ensue. I was really only at the research phase for this film, interviewing a set of twins that my husband was friends with, and I got so into our correspondence and the other research I was doing about twins (and relationships and sexuality) that I realized I needed to pursue this topic in a more essayistic way.

When I tell people about your book, I emphasize not only the subject matter but the way you approached your story. To me, you turn the memoir on its head by staging the text in a poetic way on the page, and by alternating essayistic diversions with the larger narrative to explore related themes. How did you find your book’s inventive form?

I have writers like Maggie Nelson and Sarah Manguso and many others to thank for the form. I really love the numbered aphorisms in Bluets but knew that felt too academic for my project, though I have always loved the way Nelson can synthesize the ideas of great thinkers into her own personal narrative. I assume it means she’s a great teacher, though I’ve never studied with her. I was a private student of Sarah Manguso’s and learned a lot from her about concision and how it is possible to make something very weighty out of only a few words or paragraphs. I like the term “staging” that you use, as well, because I feel that my writing has been informed by my background as a ballet dancer. In dance, you are constantly arranging and rearranging your body in space. This is how I treated the various sections of the book. I moved them around until they seemed fluid like a dance.

You work in advertising, but did you ever formally study writing?

I haven’t formally studied writing in a degree program. I cobbled my writerly education together from a couple of UCLA extension classes, a week-long workshop in Mexico, and two long-term private student relationships, one with Chris Daley who leads Writing Workshops of Los Angeles with whom I met with weekly for two years while generating the first draft of Vanishing Twins, and the other with Sarah Manguso, who gave me notes on two drafts of the book over the course of the following two years.

How has your ad career informed your literary ventures?

Advertising writing requires a lot of concision, so it has very much informed my inclination toward brevity in my literary work. Being a copywriter and having my headlines or TV scripts rejected (and sometimes accepted, even lauded) by my boss on a daily basis prepared me well for the rejection I’d have to face on the way to publishing a book.

People often describe writing about our lives as “cathartic,” but that isn’t the point of a lot of personal writing. In your book, you’re searching for answers, for a deeper understanding. Do you feel that you’ve achieved a new perspective on your life now?

I definitely gained perspective on the period of my life that I’ve explored in Vanishing Twins. I always write to understand something, whether it’s something about myself or something about the world at large. It’s the way I process my thoughts. When I’m writing or revising with the intent to publish, I’m always doing so with David Foster Wallace’s intention—that the purpose of literature is to connect, challenge, and ultimately make us feel less alone. So while it’s true that writing about one’s life isn’t necessarily “cathartic,” there is a visceral element (connection with other humans) for both reader and writer when it is done successfully.

Sometimes the people who become characters in our stories feel betrayed or mischaracterized, or feel they get should an editorial say in the text. Has writing about the people in your life caused any tensions?

Of course. But these tensions were an important part of the project itself. I had to find a way to honor my autonomy and my individual voice as an artist, while simultaneously respecting the differing opinions, memories, and thoughts of someone I love deeply. In a lot of ways it’s a continuation of the journey begun by the self who narrates the book. Luckily my husband is an artist himself, and a lover of literature and philosophy, which made the process easier. Many of the events in this book happened more than a decade ago. To have the opportunity, though painful, to revisit them has helped us realize how far we have both come together and individually since that time.

An Immoderate Novel for an Immoderate Season: An Interview with Olivia Laing

The great North American total eclipse of 2017. John Finney / Getty

Bridey Heing | Longreads | September 2018 | 10 minutes (2,761 words)

 

As a non-fiction writer, Olivia Laing has made a name for herself by writing deeply empathic explorations of creativity and the human condition. Her 2011 debut, To The River, situates the River Ouse, in North Yorkshire, within history and culture, from its role in 13th century battles to the death of Virginia Woolf. Her follow-up, 2013’s The Trip to Echo Spring, focused on American writers and alcoholism. Her 2015 book, The Lonely City, interrogated loneliness as a state of being and as a catalyst for art. But with her fiction debut, Laing has pulled back from the closely researched subjects that have been her wheelhouse; instead, she broadly documents a seven-week span of time. And yet her  penchant for research still peaks through — the narrative is written from the perspective of a fictionalized Kathy Acker-esque avatar, whose books Laing kept piled around her for inspiration while she wrote.

Crudo opens with the resignation of Steve Bannon, which Kathy, a soon-to-be newlywed, follows on social media from a Tuscan resort. Her attention ricochets between the rapidly unfolding news cycle playing out online and her private world of friends, her upcoming wedding, and, eventually, adjusting to life with her new husband. As she writes and prepares for her first trip overseas without her husband, Kathy charts the frenetic energy of the summer of 2017, unsure of whether the end of the world is truly approaching.

That sense of confusion was what Laing sought to capture. She wrote the book in real-time, with carefully outlined rules that were designed to ensure she didn’t deviate from the emotional responses to a specific whirlwind moment. Kathy, who is based in part on Kathy Acker, is also based on Laing, who turned forty and got married within the time frame of the novel. Crudo was conceived of as a means of understanding the impossible speed at which the news seemed to move, while also preserving the feeling of instability and uncertainty she saw in herself and those around her. Read more…

Weighing the Costs — and Occasional Benefits — of Ethnic Ambiguity

Photo illustration by Katie Kosma

Aram Mrjoian | Longreads | September 2018 | 16 minutes (3,949 words)

 

At the beginning of 7th grade, sitting toward the back of a column of brown laminate desks, I was first told I had an emerging unibrow. Michigan still radiated of summer. The September air hugged my skin. I was lanky and undefined, a soon-to-be teenager who’d bought into the culture of extreme sports, so I wore oversized cargo shorts and a baggy t-shirt that hung down to my knees. At the time, skaters like me were prone to wearing clothes that didn’t fit well, as if swimming around in an extra large negated the fragility of our young bodies.

Our German class, an introductory course more focused on the country’s culture than language acquisition, was mostly filled with young men. It had the reputation for being a blow-off, less intellectually strenuous than Spanish or French. Originally from Deutschland, Mr. E liked to play old clips of Michael Schumacher celebrating Formula One racing victories in glamorous locales — Monaco or Barcelona. This pastime lent itself to the underlying masculinity of the classroom.

One morning, while we were supposed to read a conversation from the textbook aloud with a partner, the boy sitting in front of me pivoted around in his desk. “You have to shave that or something,” he goaded, pointing toward my forehead. I spent the next five minutes trying to convince him he was mistaken. We ignored the scripted dialogue in front of us. He didn’t let it go. From then on the shrinking gap between my eyebrows became a daily topic of conversation. He brought other kids in our area of the classroom in on the joke. I worried that if I removed the fuzz I would only set myself up for more ridicule.

A week or so into that school year, the Twin Towers fell. I was in math class, algebra, which was taught by a skeletal man with a thick mustache and ponytail. He wore corduroy pants most days, a mug of burnt-smelling coffee glued to his right hand. He was the type to squat down next to the desk and talk to students face to face. We knew something was wrong when he turned on the television while we scribbled proofs in our workbooks. The class watched the news in stunned silence. By lunchtime, we were sent home. A few days later, my neighbor in German class gave me a new nickname: “Arama bin Laden.”

By the end of the semester, I started plucking the mess of black hairs bridging the space above my nose. I couldn’t tolerate the worms wriggling toward each other across my face, hinting that I was different. I bleached my hair. I found numerous ways to blend in, but nothing could change the five foreign syllables of my full name, the simple alteration of the first that transformed me into a terrorist.

I did have something of an out, need be. My parents, with remarkable foresight, had given me the middle name Joseph so that I could go by AJ. It was a failsafe designed precisely for such circumstances. A last resort for retroactive assimilation. However, I never used my initials. It always felt unnatural to me, having been called by my given name since I was born. Seventh grade was the first time I realized my name could be used against me. I learned that to be an unknown was to be other, that to be difficult to pronounce was to be threatening, and that to be ethnically ambiguous was to be somehow less American.

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J.R.’s Jook and the Authenticity Mirage

Jose More / VWPics via AP Images

Greg Brownderville | Southwest Review | February 2018 | 23 minutes (4,227 words)

A native of the storied Delta region and a musician from the age of 6, I have met quite a few veteran bluesmen. The one who towers tallest in my memory is J.R. Hamilton. When I met J.R., in 2005, he was a slender, sturdy man in his 60s with the spark of a 20-something. Six days a week, he worked on a 4,500-acre farm near Marvell (pronounced marvel), a small town on the Arkansas side of the Delta. Sundays, he played the blues. In the years between 2005 and 2008, I played guitar and harmonica regularly at his Sunday parties. Shortly thereafter, J.R. moved to Memphis, I to Missouri, and my days as a member of his band came to an end.

I met J. R. the way folks meet folks in the Delta. The first part of this story, I warn you, sounds rather cartoonishly Southern, but is nevertheless true: One evening, just before dark, I stopped for pulled pork at a place in Marvell called Shadden’s Barbecue. A woman I had never met, named Pudding, sat down next to me at the communal table where diners dig in. We fell immediately into lively conversation. Toward the end of the meal, when I mentioned in passing that I played music, Pudding said if I wasn’t in a hurry, I should follow her out to “J.R.’s jook house” and sit in with the local blues band. I didn’t know exactly what I was in for, but it’s a matter of principle with me that when a delightful stranger named Pudding says to follow her to a jook, I say yes, ma’am. Read more…