The Longreads Blog

‘Everyone is Guilty All the Time’

Shelby County district attorney Amy Weirich discusses the dismissal of disciplinary charges against her during a news conference on Monday, March 20, 2017 in Memphis, Tenn. (AP Photo/Adrian Sainz)

Noura Jackson spent nine years in prison after being convicted of murdering her mother, despite a complete lack of physical proof — and other evidence that could have been used to support her claim of innocence was withheld by prosecutor Amy Weirich. This isn’t the first time Weirich has been found to have withheld evidence. And according to other lawyers who spoke with Emily Bazelon, whose impressively deep dive into the case appears in The New York Times Magazine, the convict-or-else attitude that drives prosecutorial misconduct is alive and well in Weirich’s office.

Weirich is now the district attorney, overseeing all prosecutions in Shelby County, Tennessee.

When Amy Weirich learned to try cases in Shelby County in the 1990s, her office had a tradition called the Hammer Award: a commendation with a picture of a hammer, which supervisors or section chiefs typically taped on the office door of trial prosecutors who won big convictions or long sentences. When Weirich became the district attorney six years ago, she continued the Hammer Awards. I spoke to several former Shelby County prosecutors who told me that the reward structure fostered a win-at-all-costs mind-set, fueled by the belief that ‘‘everyone is guilty all the time,’’ as one put it. ‘‘The measure of your worth came down to the number of cases you tried and the outcomes,’’ another said. (They asked me not to use their names because they still work as lawyers in Memphis.) One year, the second former prosecutor told me, he dismissed the charges in multiple murder cases. ‘‘The evidence just didn’t support a conviction,’’ he said. ‘‘‘But no, I didn’t get credit from leadership. In fact, it hurt me. Doing your prosecutorial duty in that office is not considered helpful.’’ Weirich disagrees, saying ‘‘Every assistant is told to do the right thing every day for the right reasons.’’

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The War on Drugs Is a War on Women of Color

Andrea Ritchie | Invisible No More: Police Violence Against Black Women and Women of Color | Beacon Press | August 2017 | 18 minutes (4,744 words) 

Below is an excerpt from Invisible No More, by Andrea Ritchie. This story is recommended by Longreads contributing editor Dana Snitzky

* * *

The war on drugs has become a largely unannounced war on women, particularly women of color.

Drug laws and their enforcement in the United States have always been a deeply racialized project. In 1875, San Francisco passed the country’s first drug law criminalizing “opium dens” associated with Chinese immigrants, though opium was otherwise widely available and was used by white Americans in a variety of forms. Cocaine regulation at the turn of the twentieth century was colored by racial insecurities manifesting in myths that cocaine made Black people shoot better, rendered them impervious to bullets, and increased the likelihood that Black men would attack white women. Increasing criminalization of marijuana use during the early twentieth century was similarly premised on racialized stereotypes targeting Mexican immigrants, fears of racial mixing, and suppression of political dissent.

The “war on drugs,” officially declared by President Richard Nixon in 1971, has come to refer to police practices that involve stopping and searching people who fit the “profile” of drug users or couriers on the nation’s highways, buses, trains, and planes; saturation of particular neighborhoods (almost entirely low-income communities of color) with law enforcement officers charged with finding drugs in any quantity through widespread “stop and frisk” activities; no-knock warrants, surveillance, undercover operations, and highly militarized drug raids conducted by SWAT teams. It also includes harsh mandatory minimum sentences for drug convictions, which contribute to mass incarceration, and a range of punitive measures aimed at individuals with drug convictions.

Feminist criminologists assert, “The war on drugs has become a largely unannounced war on women, particularly women of color.” According to the Drug Policy Alliance, “Drug use and drug selling occur at similar rates across racial and ethnic groups, yet black and Latina women are far more likely to be criminalized for drug law violations than white women.” Black, Latinx, and Indigenous women make up a grossly disproportionate share of women incarcerated for drug offenses, even though whites are nearly five times as likely as Blacks to use marijuana and three times as likely as Blacks to have used crack. According to sociologist Luana Ross, although Native Americans make up 6 percent of the total population of Montana, they are approximately 25 percent of the female prison population. These disparities are partially explained by incarceration for drug offenses. These statistics are not just products of targeting Black, Latinx, and Indigenous communities; they are consequences of focusing on women of color in particular. From 2010 to 2014, women’s drug arrests increased by 9 percent while men’s decreased by 7.5 percent. These disparities were even starker at the height of the drug war. Between 1986 and 1995, arrests of adult women for drug abuse violations increased by 91.1 percent compared to 53.8 percent for men.

However, there continues to be very little information about the everyday police encounters that lead to drug arrests and produce racial disparities in women’s prisons. For instance, less well known in Sandra Bland’s case is the fact that before her fateful July 2015 traffic stop, she was twice arrested and charged for possession of small amounts of marijuana. After her first arrest a $500 fine was imposed. After the second, she served thirty days in Harris County jail, a facility criticized by the Department of Justice (DOJ) for its unconstitutional conditions of confinement. Read more…

And How Much of These Hills Is Gold

Illustration by Kjell Reigstad

C Pam Zhang | The Missouri Review | Spring 2017 | 17 minutes (4,793 words)

This short story first appeared in The Missouri Review, the quarterly print journal produced at the University of Missouri since 1978. In a frontier Western mining town, the children of two Chinese miners struggle to survive on their own. It’s the first chapter of an in-progress novel. Our thanks to C Pam Zhang and the TMR staff for allowing us to reprint it at Longreads.

* * *

Ba dies in the night, prompting them to seek two silver dollars.

Sam’s tapping an angry beat come morning but Lucy, before they leave, feels a need to speak. Silence weighs hard on her, pushes till she gives way. Leaking apologies or Ha ha has.

“Sorry,” she says now to Ba in his bed. The sheet that tucks him is the only clean stretch in this dim and crusty room, every surface sticky with tobacco spit. Ba didn’t heed the mess while living and in death his mean squint goes right past it. Past Lucy. Straight to Sam. Sam the favorite, round bundle of impatience tapping at the door in too-big boots. Sam clung to Ba’s every word and now won’t even meet the man’s gaze. That’s when it hits Lucy: Ba really is gone.

She digs a toe into the dirt floor, rooting for better words. Words to make them listen. To spread benediction over years’ worth of hurt. Dust hangs ghostly in the air, no wind to stir it.

Something prods her spine.

“Pow,” Sam says. Ten to Lucy’s twelve, wood to her water as Ma liked to say, Sam is nonetheless shorter by a full foot. Looks young, deceptively soft. “Too slow. You’re dead.” Sam cocks fingers back from pudgy fists and blows on the muzzle of an imaginary gun. The way Ba used to. Proper way to do things, Ba said, and when Lucy said Teacher Lee said these new guns didn’t clog and didn’t need blowing, Ba judged the proper way was to slap her. Stars burst behind her eyes, a flint of pain sharp in her nose.

Lucy’s nose never did grow back straight. She thumbs it, thinking. Proper way, Ba said, was to let it heal itself. When he looked at Lucy’s face after the bloom of bruise faded, he nodded right quick. Like he planned it all along. Proper that you should have something to rememory you for sassing.

There’s dirt on Sam’s face, sure, and gunpowder rubbed on to look (Sam thinks) like Injun warpaint, but beneath it all, Sam’s face is unblemished.

Just this once, because Ba’s big muck-shovel hands are helpless and stiff under the blanket—and maybe she is good, is smart, thinks in some part of her that riling Ba might make him stand and swing at her jaw—Lucy does what she never does. She cocks her hands, points her fingers. Prods Sam in the chin, at the join where Injun paint gives way to baby fat.

“Pow yourself,” Lucy says. She pushes Sam like an outlaw into the street. Read more…

The Editor Who Brought Julia Child to America

Image: AP Photo (Richard Drew)

The adjective “legendary” has been losing its lustre in recent years. We often use it to connote longevity and persistence rather than greatness. The descriptor feels quite apt in the case of book editor Judith Jones, who died today at the age of 93. (She stepped down as Senior Editor and Vice President at Alfred A. Knopf in 2011, at the age of 87.) Imagine the second half of the 20th century without The Diary of Anne Frank (which Jones rescued from a pile of rejected submissions), Julia Child’s cookbooks, or John Updike’s fiction.

In a 2015 profile at Eater, Charlotte Druckman wisely gives Jones the stage. What follows is a string of observations and casual aphorisms on the evolution of food writing in the past few decades — including how she championed Child’s Mastering the Art of French Cooking.

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Inside the World Famous Suicide Race

Riders and horses cross the Okanogan River in the Omak Stampede Suicide Horse Race, 2002. (Ron Wurzer/Getty Images)

This past spring, Chris Apassingok, a 16 year old in the Siberian Yupik village of Gambell, struck and killed a bowhead whale during a traditional hunt. In his community, Apassingok drew nothing but praise — subsistence hunting is a backbone of the area’s economy and whale meat, along with that of walrus and bearded seal, is an essential source of much-needed nutrients — but as soon as news reached the lower 48, both Apassingok and the practice of hunting whales became subjects of intense vitriol, as Julia O’Malley recently reported for High Country News,

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‘They Used Deadly Force to Subdue Her’

Photo by Bosc D'Anjou via Flickr (CC BY 2.0)

LitHub has an excerpt of Invisible No More: Police Violence Against Black Women and Women of Color, by Andrea J. Richie, just out from Beacon Press.

Titled “Mental Illness is Not a Capital Crime: On the Disproportional Impact of Police Violence on Women of Color,” the chapter addresses the devastating impact law enforcement’s common misconceptions about women of color can have on the women’s safety, especially when mental illness is an added factor. Police officers often are misinformed about mental and physical disability, and because of that, tend to be violent toward women who aren’t dangerous.

At least half a dozen cases of police shootings of Black women documented in Say Her Name, the report I coauthored with Kimberlé Crenshaw, arose from police interactions with women in actual or perceived mental health crisis: Shereese Francis, killed in New York City in March 2012; Miriam Carey, shot in Washington, DC, in October 2013; Pearlie Golden, shot in Hearne, Texas, in May 2014; Tanisha Anderson, killed in Cleveland in November 2014. Although no official statistics exist, based on my experience tracking cases over the years, it appears that police responses to mental health crises make up a significant proportion of Black women and women of color’s lethal encounters with police. As was the case for Eleanor and Deborah, these encounters often reflect police perceptions of Black women as volatile and violent, portrayed, in the words of historian Sarah Haley, as “daft,” “imbecilic,” “monstrous,” “deranged subjects,” “lacking essential traits of personhood and normative femininity,” to be met with deadly force rather than compassion, no matter their condition or circumstance.

Indeed, disability — both mental and physical —is socially constructed in ways comparable to, and mutually constitutive of, the construction of race and gender. As disability justice and transformative justice activist Mia Mingus points out, women of color are already understood as “mentally unstable,” regardless of whether or not they are actually “disabled.” “This kind of racialized able-ism inherently informs how police (and society at large) interact with Black and Indigenous women, and women of color.” Actual or perceived disability, including mental illness, has thus served as a primary driver of surveillance, policing, and punishment for women and gender-nonconforming people of color throughout US history.

Scientific racism has been fundamental to conceptions of mental health and disorder. According to Vanessa Jackson, the first asylums for “lunatic slaves” were created in response to a case of a Black woman found to be insane after she allegedly killed her child. Indeed, resistance to slavery was pathologized as mental illness inherent in African-descended people. The same resistance-equals-insanity trope was projected onto Indigenous people. In her pamphlet Wild Indians, Pemina Yellow Bird, a member of the Three Affiliated Tribes and psychiatric survivor activist, describes how, from 1899 to 1933, Indigenous people who resisted reservation agents, refused kidnapping of their children to Indian Residential Schools, or violated laws that criminalized traditional spiritual practices were sent to the Hiawatha Asylum for Insane Indians in Canton, South Dakota. There, “Indian defectives” were incarcerated and subjected to torture and physical, cultural, and spiritual abuses.

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Cherokee Artist Jimmie Durham: Not Cherokee

Sculpture by Jimmie Durham, Museu de Serralves, Portugal
Sculpture by Jimmie Durham, Museu de Serralves, Portugal via Wikimedia

When I go look at art, I don’t read the descriptive text until I’ve decided the work merits my attention. The creations have got to stand on their own (in my subjective assessment) before I spend any time learning about the artist.

That’s why I missed the footnote about Jimmie Durham. The artist, who has a retrospective at the Walker Art Center, identifies as Cherokee. On the wall of the gallery there’s short paragraph below the introduction to the exhibit:

Note: While Durham self-identifies as Cherokee, he is not recognized by any of the three Cherokee Nations, which as sovereign nations determine their own citizenship. We recognize that there are Cherokee artists and scholars who reject Durham’s claims of Cherokee ancestry.

Talk about burying the lede.

The gallery footnote absolutely shifted my perception of the work. I found it all  appealing on first blush, but the truth of his identity made his claim to be Cherokee feel like a self-granted license to appropriate  — and it greatly undermined my appreciation of the work. I’d have called it wry and well constructed but upon further research into the artist’s background, it all felt stolen.

On ArtNet, Swedish-Cherokee America Meredith explains Why It Matters that Jimmie Durham is Not a Cherokee. The medium read tackles why it’s not enough to focus on covering Native American artists.

Clearly exasperated with the recent flurries of online discussion about Sam Durant’s Scaffold (2012) and now about Jimmie Durham’s retrospective at the Walker Art Center, the Zuni-Navajo artist Demian DinéYazhi recently posted a request on Facebook: “Every time you post about Sam Durant or Jimmie Durham, how about you follow it up by posting about an Indigenous artist who deserves the same energy and signal boost?”

Every day I post and write about Native artists. That’s my job, and something I love doing since there are so many compelling Native artists whom the world should know about. But the ignore-him-and-he’ll-go-away approach has not worked or done anything to stanch the steady flow of articles, essays, and books positioning Jimmie Durham not just as a Native American, but the Native artist that the rest of us would do well to emulate.

In January, Los Angeles’s Hammer Museum launched an ambitious traveling retrospective, “Jimmie Durham: At the Center of the World,” which just opened at the Walker and will continue to the Whitney Museum of American Art and the Remai Modern. I waited and hoped for someone else to voice a protest, but finally James Luna (Luiseño), Nancy Mithlo (Chiricahua Apache), and myself all realized we had to speak up.

The Whitney Museum was recently the center of a protest about the work of painter Dana Schultz when the museum chose to exhibit a painting of Emmet Till. The artist, who is white, claimed license to paint Till — a black teenager who was lynched in Mississippi — as a figure that represents the pain of all mothers who have lost a child.  Black families, artists, and activists begged to differ.

Durham’s retrospective is scheduled to go the Whitney next.

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The Arsonist Was Like a Ghost

An abandoned house in Accomack County, Virginia. Beginning in 2012, dozens of fires were set in the area, where the poverty rate is around 20 percent. (Bonnie Jo Mount/The Washington Post via Getty Images)

Monica Hesse | American Fire: Love, Arson, and Life in a Vanishing Land | LiverightAugust 2017 | 17 minutes (4,100 words) 

In the middle of the night on December 15, 2012, Lois Gomez sat up in bed. She thought she heard something. She listened. Nothing. Maybe she was wrong, maybe she hadn’t heard anything. She went to the kitchen for a drink of water. It was two or three in the morning, only a few hours before her shift at Perdue and her husband’s shift at Tyson. Now she definitely heard something. A banging on her front door — which in itself was odd; friends and family knew they always used the side entrance — and someone yelling: “Your garage is on fire! I’ve already called 911!”

She stood frozen in the kitchen trying to process the information. Christmas lights, she thought. Her outdoor Christmas lights were halfway up, but she and her husband had recently decided to visit his family in Texas for the holiday and she’d been trying to figure out whether to bother with the rest of the decorations, which were meanwhile stored in the family’s detached garage, which was now on fire. Christmas lights, along with the expensive music equipment for her son’s rock band.

It had been a rough couple of months. For one thing, she wasn’t getting along with her next-door neighbors. She’d been close with the woman who’d owned that house before, Susan Bundick. They brought each other dinner sometimes, or stood and chatted in their backyards. But one Sunday afternoon, Lois was outside emptying the aboveground backyard pool to close out the summer season, and she saw the police were at Susan’s house. They told Lois her neighbor had died. Now, Susan’s daughter lived in her mother’s old house and things weren’t as pleasant. Tonya was fine, kept to herself, but Lois had a few run-ins with Tonya’s new boyfriend, a squirrelly redheaded guy whose name she didn’t know. He’d done a few little things, like dumping a bunch of branches on their lawn instead of disposing of them like he was supposed to. Once he’d accused her of making racial slurs against Tonya’s kids. The accusation was ridiculous. Lois’s husband was from Mexico, and her four grandchildren were partly black.

She’d also been having nightmares about the arsonist. In one dream, she went into her kitchen late at night and saw someone racing through the yard, an intruder wearing dark-colored sweat pants and a hoodie. “What are you doing?” she called. The figure turned and looked at her but she still couldn’t see his face, and he eventually disappeared behind her detached garage. She woke up and realized it wasn’t real.

This night wasn’t a dream, though.

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Diet Is a Four-Letter Word

Getty Images

In recounting the history of America’s obsession with thinness, Taffy Brodesser-Akner explores her own struggles with weight loss and the weight loss industry. She relates how “diet” has become a four-letter word, out in favor of a new form of personal imprisonment — “eating clean,” “getting fit, and “being strong” — none of which offer any magic in a lifetime of struggle between body acceptance and losing weight.

I went to an intuitive-eating class — intuitive eating is where you learn to feed yourself based only on internal signals and not external ones like mealtimes or diet plans. Meaning it’s just eating what you want when you’re hungry and stopping when you’re full. There were six of us in there, educated, desperate fat women, doing mindful-eating exercises and discussing their pitfalls and challenges. We were given food. We would smell the food, put the food on our lips, think about the food, taste the food, roll the food around in our mouths, swallow the food. Are you still hungry? Are you sure? The first week it was a raisin. It progressed to cheese and crackers, then to cake, then to Easter candy. We sat there silently, as if we were aliens who had just arrived on Earth and were learning what this thing called food was and why and how you would eat it. Each time we did the eating exercise, I would cry. ‘‘What is going on for you?’’ the leader would ask. But it was the same answer every time: I am 41, I would say. I am 41 and accomplished and a beloved wife and a good mother and a hard worker and a contributor to society and I am learning how to eat a goddamned raisin. How did this all go so wrong for me?

I nodded into the phone because I didn’t want Oprah to hear me crying. I wanted to quit dieting, but had come to realize that dieting was all I had. I was completely perplexed by food — food! Stupid food! That’s what this was about! I dieted because I wanted to maintain hope that I could one day manage my food intake, because my bewilderment around the stuff was untenable. When I didn’t have that hope, I was left with too much worry about pain, about how much my knees hurt now and how much more they would in just a few years. I could be enlightened about my body. I could have acceptance. But nobody would tell that to the people who saw me as a target; nobody would tell that to my knees.

Weight isn’t neutral. A woman’s body isn’t neutral. A woman’s body is everyone’s business but her own. Even in our attempts to free one another, we were still trying to tell one another what to want and what to do. It is terrible to tell people to try to be thinner; it is also terrible to tell them that wanting to lose weight is hopeless and wrong.

I don’t know if diets can work in the short term or the long term. For the first time, I began to think that this was something worth being made crazy over. Our bodies deserve our thoughts and our kindness, our acceptance and our striving. Our bodies are what carry our thoughts and our kindness and our acceptance and striving.

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‘A Boy with No Backstory’: One Teenager’s Transition

In 2014, Oregonian reporter Casey Parks contacted local hospitals to find transgender patients who were interested in telling their stories. One doctor, Karin Selva, had a 15-year-old patient named Jay who was willing to share his own. Parks met Jay and his mother Nancy the following year, soon after his first testosterone shot, and has spent hundreds of hours with him since — at home with family and friends, on school visits, and during medical appointments. In the first piece of a three-part series, Parks chronicles the realization that would prompt Jay’s medical transition.

One afternoon while his mom worked, Jay called his younger sisters to the living room. They were 8 and 10 — old enough, he hoped, to understand.

“I need to show you a video,” he told them. He streamed one of the YouTube videos on the TV. A trans guy appeared on the screen and explained how he came out to his family.

Jay stood while his sisters watched from the couch.

“This is how I feel,” Jay said when it ended.

“So you’re becoming a boy?” asked his youngest sister, Angie.

Jay paused. He couldn’t bring himself to say it out loud.

“Kind of.”

“Do you want me to tell mom?” Maria asked.

“No,” he said. Jay hadn’t talked to his mother much the past year, but he knew he had to tell her.

The next day, he crept to the other side of their trailer, his heart knocking. He pushed open his mom’s bedroom door, stood in the doorway and watched her play Candy Crush. She was zoned out after a 12-hour workday. Maybe she’d be too tired to talk about it. She already had on her favorite pajamas, gray sweatpants and a tan tank top.

“I think I figured it out,” he said.

He took a deep breath.

“I’m a boy.”

His mom looked up from the phone.

“So you want to be a butch lesbian?”

“No,” he said. He walked toward her.

“A boy.”

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