The Longreads Blog

Here at the End of All Things

Illustration by Kjell Reigstad, based on cartography by Dyson Logos.

Adrian Daub | Longreads | August 2017 | 20 minutes (5,033 words)

1.

“The following Generations, who were not so fond of the Study of Cartography as their Forebears had been, saw that that vast Map was Useless, and not without some Pitilessness was it, that they delivered it up to the Inclemencies of Sun and Winters. In the Deserts of the West, still today, there are Tattered Ruins of that Map, inhabited by Animals and Beggars […].”

— Jorge Luis Borges, “On Exactitude in Science”

I spent my adolescence around maps of places that didn’t exist. An older cousin read The Lord of the Rings over the course of a hot summer when I was nine, and I watched in fascination as he traced the Fellowship’s progress across the foldout map that came with the book in those days. This, I decided, had to be what grown-up reading looked like.

Maps were my entrée into geek life, and they remained the medium through which geekdom moved: beat-up paperbacks handed around between school friends, boxed sets at the local game store — we probably spent about as much time poring over maps as we did reading or dreaming up the stories that took place within the worlds they represented. The science fiction we read did without them, but any cover featuring a dragon, a many-turreted castle, or a woman in a leather bra suggested you’d find a map the moment you peeked inside the book.
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Breaking Into China’s Counterfeit Supply Chains

Photo by Matt via Flickr (CC BY 2.0)

When tourists buy Gucci purses in Manhattan’s Chinatown, most of them understand that the bags are fakes. That’s why they shop in Chinatown; all the prestige of the brand at a fraction of the price. But scores of other counterfeit items make it into the world economy without any of us consumers knowing it: phones, pharmaceuticals, clothes, car parts, circuit breakers. The bulk of these come from China.

For California Sunday Magazine, reporter Joshua Hunt shadows one of the private detectives that Western corporations pay to protect their intellectual property by cracking down on Chinese counterfeiters. In China, knockoffs are a $400 billion dollar industry. The black- and gray-markets fill domestic stores with fake wine and fake food, and detectives have to be able to distinguish the quality fakes from the cheap ones to do their job well. This detective can, because he used to make his living in the underground market.

On a hot afternoon last summer, Azim led me through the vast under­ground market beneath Shang­hai’s Science and Technology Mu­se­um. His boss, Angelo Krizmanic, joined us, posing as a foreign businessman interested in some luggage for his girlfriend. “Most of these stores cater to Western tourists who come here specifically to buy knock­offs,” Angelo told me. “Tourists don’t know how to spot a quality fake, so the stuff on the shelves in these shops is garbage. But if you know the difference between a shit knockoff and a really shit knockoff, you can get yourself invited into a shop’s backroom. That’s where the real business goes down.”

We approached an upscale shop selling luxury handbags that Angelo visited, undercover, semiregularly. A salesman in shorts and a navy T-shirt named Kevin bounded toward us, gold chains bouncing off his chest. He spoke to Angelo like an old friend. Kevin led us into the store and pushed against a part of the wall that gave way to reveal a hidden room, roughly 8 feet by 10 feet, with deep shelves that overflowed with counterfeit Dolce & Gabbana, Gucci, and Louis Vuitton luggage, purses, and wallets.

Kevin said the market gets raided weekly, but he isn’t concerned. “I pay every month, so no trouble.” He used to be able to bribe police with counterfeit Louis Vuitton, but since China’s president, Xi Jinping, intensified anti-corruption measures in 2012, bribes are increasingly cash only.

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The ‘Creative Class’ Were Just the Rich All Along

Photo of Richard Florida by Alexander Tamargo/Getty Images

For the August issue of Jacobin Magazine, Sam Wetherell analyzes urban theorist Richard Florida’s apparent about-face on the benefits of luring members of the “creative class” to depressed cities in need of revitalization.

Governmental leaders in major cities around the world have used Florida’s 2002 book, The Rise of the Creative Class: And How It’s Transforming Work, Leisure, Community, and Everyday Life, as a bible for urban renewal. Florida contended that attracting artists, writers, musicians, graphic designers, people in technology and other creative fields would be an economic boon.

If you live in an urban center in North America, the United Kingdom, or Australia, you are living in Richard Florida’s world. Fifteen years ago, he argued that an influx of what he called the “creative classes” — artists, hipsters, tech workers — were sparking economic growth in places like the Bay Area. Their tolerance, flexibility, and eccentricity dissolved the rigid structures of industrial production and replaced them with the kinds of workplaces and neighborhoods that attracted more young people and, importantly, more investment.

His observations quickly formed the basis of a set of breezy technical solutions. If decaying cities wanted to survive, they had to open cool bars, shabby-chic coffee shops, and art venues that attract young, educated, and tolerant residents. Eventually, the mysterious alchemy of the creative economy would build a new and prosperous urban core.

What Florida didn’t expect was that his formula would mostly help those already rich and lead to the displacement of those at the lower rungs of the economic ladder — something he all but apologizes for in his latest book, The New Urban Crisis: How Our Cities Are Increasing Inequality, Deepening Segregation, and Failing the Middle Class—and What We Can Do About It.

After fifteen years of development plans tailored to the creative classes, Florida surveys an urban landscape in ruins. The story of London is the story of Austin, the Bay Area, Chicago, New York, Toronto, and Sydney. When the rich, the young, and the (mostly) white rediscovered the city, they created rampant property speculation, soaring home prices, and mass displacement. The “creative class” were just the rich all along, or at least the college-educated children of the rich.

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Eating the Texas State Fair

People walking the midway past food stands at a State Fair
State Fair Food Stands by George C. Campbell via Wikimedia Commons

The food came in two categories: savory and sweet. He would try them all. He would eat them on sticks, with plastic utensils that would litter the grounds of the park long after he and his descendants had passed, he would pick them up and eat them with his hands.

From the Texas State Fair website, “Each year, State Fair concessionaires fry up tasty and unique foods for a chance to become a finalist in the Big Tex Choice Awards. Everything from Fried Beer to Fried Peaches and Cream have made the cut to become a part of an exclusive club.”

On Texas Monthly, Dan Solomon goes full Hemingway (or is it Faulkner?) describing the finalists.

He started with the Surfin’ Turfin’ Tator Boat. It was a potato. He looked at it, sniffed the air, and stared at the lobster claw sticking straight up from the split in the spud.

“That there sure is a potato,” said the man.

“It sure is. The finest potato you ever did see,” said the woman collecting money for the meal.

“I never seen a potato like that,” said the man.

“You never will again, neither,” she told him.

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Growing Up in Rural Washington as a Muslim Immigrant

At SeattleMet, Hayat Norimine describes what it was like to grow up as an only child in a Japanese-Syrian household in Pullman, Washington, a small town eight miles from the Idaho border where issues of race and diversity were never talked about. “My parents never taught me to be proud of race or heritage,” Norimine writes, and it wasn’t until she was a college student in Seattle that she began to see her childhood more clearly.

In her essay exploring race, class, and identity, Norimine describes how she fell for a man from this very place she is from — a place that is “not glamorous or exotic,” and where “many immigrant kids somehow thrived.”

I had known what I was getting myself into, falling for someone who had very strong ties to the Palouse. I was only 23 when we married, and I had never wanted to be content with the first comfortable option I got. I had wanted to move back abroad, even at the risk of losing a green card. But over time my love for Owen translated to a love for the land that made him, helped him grow. I became comfortable with the idea of living there, while Owen—thinking he had made a commitment to someone who’s going anywhere but there—became comfortable with leaving.

Those dusty, yellow-brown rolling Palouse hills that never looked more beautiful? They were decrepit to Owen, a constant reminder of the land that wasted away under chemical farming to which he helped contribute. We’d drive by and he’d point to the gashes in the hills formed by water runoff, a sign of the damage endured after decades of abuse.

We were looking at the same site but saw very different things. I had romanticized returning to the land that Owen’s family held such ownership to. Owen now saw something else—confinement.

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Befriending My Iranian Instagram Hacker

Brian A. Jackson (Getty Images)

After her sought-after, five-letter Instagram handle was stolen by an Iranian hacker, professor Negar Mottahedeh opened up the door to her former homeland, striking up an unlikely friendship with the thief to learn more about a man struggling to earn a living in an economy compromised by 35 years of U.S.-led sanctions. Read the story at Backchannel.

How good of a hacker was he, really? Who were his friends? What sorts of things did he enjoy? What were he and Negar like when they were together? Not knowing him unsettled me. So I was determined to find out.

Mohamad was curious about me, too. It was odd, considering that I was much older than him. It felt like he wanted a trusted friend—someone he could use as a sounding board. He chose me.

He needed money, but more than that, he wanted to find a way out of Iran. He asked me about student visas, tourist visas, work visas; he’d send me links or screenshots with sections circled in red ink, asking me to read through them for him. He discussed his marriage options. Could he find an American girl to marry so he could stay in the US after he got there? Or could I maybe adopt him?

But by robbing me of my online identity, my hacker had unshuttered a window to life in the country of my birth. While I had been barred from my home as a young child, my new setting was chock-full of luck. With my Instagram hacker in my life, my fortuitous situation stared me in the face. Looking at myself through his eyes, my life was abundant. I felt fortunate. I wasn’t about to give up the friendship I had forged with my hacker for anything.

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Why Oil-Loving Louisiana Should Embrace America’s Coming Offshore Wind Boom

Sculptures and wind turbines on a Liverpool beach. (Photo by: Loop Images/UIG via Getty Images)

Justin Nobel | Longreads | August 2017 | 8 minutes (2,051 words)

The United States is on the verge of an energy transformation. This spring the nation’s first offshore wind farm officially began powering homes and businesses on Block Island, in Rhode Island. Bureau of Ocean Energy Management maps show 12 areas that have been leased for potential offshore wind development along the East Coast, from the Outer Banks of North Carolina to Cape Cod, and a thirteenth will be leased later this year. In December 2016, Statoil Wind US, part of the Norwegian oil and gas giant, bid $42.5 million to lease, for offshore wind development, a tract of ocean that begins about 15 nautical miles southeast of New York City.

“Since Block Island came online interest in offshore wind along the East Coast has gone through the roof,” says Lorry Wagner, an engineer whose company, Lake Erie Energy Development Corporation is pushing for a wind farm off Cleveland, in Lake Erie. “Every major developer in the world wants to get into the United States and get a project.”

In my first column we journeyed across toxic Louisiana, learning that many of the state’s most terrifying environmental problems are connected to the petrochemical industry. But is there another way to provide jobs for people in south Louisiana oil country? The answer appears to be yes. Read more…

Joss Whedon and the Feminist Pedestal: A Reading List

Jason LaVeris / FilmMagic / Getty Images

I don’t remember when Joss Whedon went from being a garden-variety household name to being someone I refer to on a first-name basis. I quote Joss, I verb Joss, I adjective Joss. As a woman who was once a teenage girl who grew up with Buffy, I’ve internalized more than my fair share of lessons from Our Lady of Buffdom. For the better part of twenty years, I’ve known Joss Whedon as the creator of a feminist hero.

For the better part of the same twenty years, Kai Cole knew Joss Whedon as her partner and husband. He was just Joss to her, too — far more intimately Joss than to any of his first-name-basis-ing fans.

This weekend, Cole wrote about her divorce with Joss in a post on The Wrap. She writes about how, on their honeymoon in England in 1995, she encouraged him to turn his script for Buffy the Vampire Slayer — which had just been misinterpreted as a film — into a television show. Joss apparently hadn’t wanted to work in television anymore. I repeat: As of 1995, Joss Whedon “didn’t want to work in television anymore.”

Yet on March 10, 1997 — two years after their honeymoon — Buffy aired on The WB.

According to Cole’s post, Joss had his first affair on the set of Buffy, and continued to have affairs in secret for fifteen years. I believe Cole. I believe that when she quotes Joss in her post, she is quoting him verbatim. I’ve quoted him verbatim, too.

(Or have I? I wonder, knowing more now than I did then about writers rooms, whether every line I attribute to episodes credited as “Written by Joss Whedon” were, in fact, written by Joss Whedon. Every time Jane Espenson tweets credit for specific lines to specific writers on Once Upon a Time — or retroactively to Buffy quotes — I wonder. Every time I watch UnREAL, a show co-created by Sarah Gertrude Shapiro and Marti Noxon that sends up how often women are discredited in television, I wonder. I don’t doubt that Joss was responsible for the vast majority of what I’d call classic Joss dialogue. I’ll just never know which lines weren’t actually his.)

After I saw Joss Whedon trending and read Cole’s post, I scrolled through other longtime fans’ and non-fans’ reactions on Twitter. Many were not surprised. I texted friends about my own lack of surprise, punctuated with single-tear emojis: “I almost can’t even call it disappointed. As though it would be actually inhuman to expect something else.”

Cole quotes a letter Joss wrote to her when their marriage was falling apart, when he was “done with” lying to her about the truth of his affairs. He invokes the inhuman in his confession, too — or, as is so often the case with Joss, the superhuman: “When I was running ‘Buffy,’ I was surrounded by beautiful, needy, aggressive women. It felt like I had a disease, like something from a Greek myth. Suddenly I am a powerful producer and the world is laid out at my feet and I can’t touch it.”

Was it superhuman for Cole to expect her husband to resist that kind of power? Would Joss have been running Buffy, if he hadn’t married Cole? “I was a powerful influence on the career choices Joss made during the 20 years we were together,” Cole writes. “I kept him grounded, and helped him find the quickest way to the success he so deeply craved. I loved him. And in return, he lied to me.”

As Marianne Eloise notes below in Dazed, it remains to be seen whether Cole’s letter will impact Joss’s career, most notably as director of the upcoming Batgirl. In the meantime, his fans are left to resolve tense, charged questions, none of which have easy answers: How do we come to personal decisions about whether or not we can separate the art from the artist? Will consequences come in the form of a public fall from feminist grace, or cost Joss professional opportunities he’s been enjoying for decades as a self-proclaimed feminist artist? Do feminists, male or female, need to be perfect to count?

In “Lie to Me” — Season 2 Episode 7, “Written by Joss Whedon” — Angel asks Buffy if she loves him. Buffy answers, “I love you. I don’t know if I trust you.” For fans and collaborators who are working through hard questions about love and the loss of trust this week, here is some guided reading on feminism, fandom, and fidelity for Whedonverse enthusiasts:
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Ellen Pao Is Ready to Name Names

(Marla Aufmuth/Getty Images for Massachusetts Conference for Women)

Ellen Pao, who sued her Silicon Valley employer Kleiner Perkins Caufield & Byers for discrimination, was saving the names for her upcoming book Reset: Ajit Nazre, a partner who became hostile after she rejected his advances. Ted Schlein, a managing partner who explained he liked white, Eastern European sex workers — during a private flight in which a tech CEO in attendance bragged about meeting Jenna Jameson. In her six years at Kleiner Perkins, Pao was passed over for promotion, her clients were stolen, her performance maligned, and eventually she was fired after complaining about harassment to an independent investigator, who asked “Well, if they look down on women so much, if they block you from opportunities, they don’t include you at their events, why do they even keep you around in the first place?”

The competitive world of venture capital was familiar to Pao, and she played the game as best she could. But the game was stacked against her, she explains in an excerpt from her book featured at The Cut.

Predicting who will succeed is an imperfect art, but also, sometimes, a self-fulfilling prophecy. When venture capitalists say — and they do say — “We think it’s young white men, ideally Ivy League dropouts, who are the safest bets,” then invest only in young white men with Ivy League backgrounds, of course young white men with Ivy League backgrounds are the only ones who make money for them. They’re also the only ones who lose money for them.

Sometimes the whole world felt like a nerdy frat house. People in the venture world spoke fondly about the early shenanigans at big companies. A friend told me how he sublet office space to Facebook, only to find people having sex there on the floor of the main public area. They wanted to see if the Reactrix — an interactive floor display hooked up to light sensors — would enhance their experience. At VC meetings, male partners frequently spoke over female colleagues or repeated what the women said and took the credit. Women were admonished when they “raised their voices” yet chastised when they couldn’t “own the room.” When I was still relatively new, a male partner made a big show of passing a plate of cookies around the table — but curiously ignored me and the woman next to him. Part of me thought, They’re just cookies. But after everyone left, my co-worker turned to me and shrugged. “It’s like we don’t exist,” she said.

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Serena Williams on Returning to Tennis and Embracing ‘Power’

Serena Williams at the Met Gala on May 1, 2017 in New York City. (Photo by Dia Dipasupil/Getty Images For Entertainment Weekly)

Serena Williams is planning on returning to the Australian Open next year to defend her grand slam title a mere three months after she gives birth. “It’s the most outrageous plan,” she told Vogue’s Rob Haskell from her home in Florida.

Williams has also learned to embrace what it means to be a powerful player on the tennis court:

Power—it’s a word that has clung with a sometimes unsavory vigor to Williams over the years, perhaps as a dismissal of her prodigious technical skill or, worse, as a proxy for her race. And it’s a word she has only recently come to embrace. “I think I’ve had a love-hate relationship with the idea of power,” she says. “In the beginning I didn’t like it when they said that my sister and I were power players. I thought, I don’t hit as hard as a Monica Seles. In Australia last year, I read that Maria Sharapova’s backhand and forehand are as good or better than mine, and that the only reason I win is that my serve is bigger. I was like, wait a minute, please. I place my serve. And what about my volleys? My speed? I’m the player who’s hitting angles. I’m the player who moves you. I use my brain, and that’s really why I win. Not only me, but women in general sometimes feel that power is a bad word. As I’ve gotten older I’ve started to feel differently about it. Power is beauty. Strength is beauty. So now on the court I want people to think that I’m powerful. But I also want them to be shocked at how I play. I want people to expect something, then get something different.”

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