The Longreads Blog

Lawrence Ferlinghetti’s Thoughts on a Gentrifying San Francisco, In Honor of His 96th Birthday

Lawrence Ferlinghetti and Robert Duncan, 1978. Photo by Gary Stevens

There was no electricity above the ground floor, and he had a pot-bellied stove for heat. There was a whole new school of poets brewing, and there were pioneering artists around the School of Fine Arts who later became famous as San Francisco Figurative painters and abstract expressionists. It was the last frontier, and they were dancing on the edge of the world.

Fifty years later, he awoke one fine morning like Rip Van Winkle, and found himself again with his sea bag on his shoulder looking for anywhere he could live and work. The new owner of his old flat now wanted $4,500 a month, and many of his friends were also evicted, for it seemed their buildings weren’t owned by San Franciscans anymore, but by faceless investors with venture capital. Corporate monoculture had wiped out any unique sense of place, turning the “island city” into an artistic theme park without artists. And he was on the street.

—An excerpt of Lawrence Ferlinghetti’s 2001 prose poem “The Poetic City That Was,” which appeared in San Francisco Poems. Ferlinghetti turned 96 today. He is a longtime and legendary San Franciscan, his name synonymous with a former version of the city. He cofounded City Lights—the city’s iconic independent bookstore and literary press—in 1953, and was arrested in 1956 on obscenity charges after City Lights published Allen Ginsberg’s HowlYou can see him read a section of “The Poetic City That Was” aloud in this KQED video segment about Ferlinghetti’s perspective on the San Francisco’s  changing landscape.

Read the poem

We Never Go Out of Style: Meet the Woman Behind One Direction’s Fashion Choices

Photo: Javierosh

What does it take to make the hottest band in the world look incredible? No one knows better than Caroline Watson. She styles Harry, Liam, Niall, Zayn and Louis–from their X-Factor days to their present fame. Brodie Lancaster interviewed Watson about helping each band member evolve into his signature look, in the glare of the spotlight and in the eyes of the fans.

What was that original concept you pitched?

I had this idea that I wanted them to be like the male equivalent to the Spice Girls, but being kind of cool. When I say “the Spice Girls,” I mean being in a group but having an identity. Everyone wore different things and no two girls looked the same. I wanted to create that with the boys. It was obviously a big Simon Cowell project, but I don’t think anybody knew how much it was going to blow up in the way in which it did. I think the look had a lot to do with that. Because people buy into nice things, you know? And it was my job to make them look great.

Their look really is one of the ways they’ve been set apart from boy bands in the past. One of the things people always say about the band is, like, they might be a boy band, but they’re not all wearing the same thing and walking on a beach.

Yeah, we didn’t want that, I didn’t want that, I didn’t want to work with anybody that wanted to do that. At the beginning I didn’t want them all in black or all in leather—that whole stereotypical boy band thing. When I first started working with them, I had an idea for what I wanted for all the boys: Niall was always going to be my sporty boy; Zayn was always the cool, mysterious one that was quite street but could be quite high fashion at the same time; Harry was bowties, blazers, that guy that you want to bring home to your mum; Liam was the boy next door. I mean, now, Liam’s transitioned and completely grown into this whole new, sexy guy.

It’s always been natural for all the boys as they’ve got older – as with anybody, getting older and knowing this is me, this is what i really want. I love dressing Louis like that, but what I love about him the most is he’s not afraid to turn it up for the red carpet … I love him to pieces and he’s just amazing to dress. They all are, I get such a buzz off them. People are like, “What are you doing in menswear? Why are you doing it for so long?” And it’s because I get a real buzz out of it and I love working with people who appreciate the work that I do. And there’s been such a growth over the years.

Read the story

‘I Would Prefer Not To’: The Origins of the White Collar Worker

Photo via simpleinsomnia

Nikil Saval | Cubed: A Secret History of the Workplace | Doubleday | April 2014 | 31 minutes (8,529 words)

 

Below is an excerpt from the book Cubed, by Nikil Saval, as recommended by Longreads contributor Dana Snitzky.

* * *

I have known the inexorable sadness of pencils…

—Theodore Roethke, “Dolor”

The torn coat sleeve to the table. The steel pen to the ink. Write! Write! Be it truth or fable. Words! Words! Clerks never think.

—Benjamin Browne Foster, Down East Diary (1849)

They labored in poorly lit, smoky single rooms, attached to merchants and lawyers, to insurance concerns and banks. They had sharp penmanship and bad eyes, extravagant clothes but shrunken, unused bodies, backs cramped from poor posture, fingers callused by constant writing. When they were not thin, angular, and sallow, they were ruddy and soft; their paunches sagged onto their thighs. Read more…

The Intrepid Women of Exodus: Ruth Bader Ginsburg’s Feminist Seder Supplement

Passover is nigh and the Notorious R.B.G. has spoken.

Supreme Court Justice Ruth Bader Ginsburg has released a supplementary Seder reading highlighting the role of women in the Exodus narrative. Ginsburg—who is the first Jewish woman ever appointed to the Court—decided to contribute a feminist perspective after being asked by a Jewish nonprofit to write on social justice and Passover. Below is an excerpt of her essay, which was co-written with Washington D.C.’s Rabbi Lauren Holtzblatt:

The stories we tell our children shape what they believe to be possible—which is why at Passover, we must tell the stories of the women who played a crucial role in the Exodus narrative.

The Book of Exodus, much like the Book of Genesis, opens in pervasive darkness. Genesis describes the earth as “unformed and void, with darkness over the surface of the deep.” In Exodus, darkness attends the accession of a new Pharaoh who feared the Israelites and so enslaved them. God alone lights the way out of the darkness in Genesis. But in Exodus, God has many partners, first among them, five brave women.

***

These women had a vision leading out of the darkness shrouding their world. They were women of action, prepared to defy authority to make their vision a reality bathed in the light of the day.

Read the essay

Who is Art For? Our College Pick

A recent act of vandalism at UC San Diego prompted student Teiko Yakobson to wonder about the rest of a significant collection of sculpture and monumental art that dots the campus. What does it mean to have a great art collection if students don’t understand it to be great art? Yakobson’s story considers many of the same issues confronting the art world today: class, diversity, and accessibility. Her article doesn’t presuppose that all art must be complex to be good, nor does it dismiss the virtue of challenging pieces. Instead, like the best art, it starts a conversation.

Art Around Us

The Guardian | Teiko Yakobson | February 17, 2015 | 1,950 words (Eight minutes)

Jeffrey Eugenides Imagines His Favorite Writers Together at a Dinner Party

You’re organizing a dinner party of writers and can invite three authors, dead or alive. Who’s coming?

First I call Shakespeare. “Who else is coming?” Shakespeare asks. “Tolstoy,” I answer. “I’m busy that night,” Shakespeare says. Next I call Kafka, who agrees to come. “As long as you don’t invite Tolstoy.”  “I already invited Tolstoy,” I tell him. “But Kundera’s coming. You like Milan. And you guys can speak Czech.”  “I speak German,” Kafka corrects me.

When Tolstoy hears that Kundera’s coming, he drops out. (Something about an old book review.) So finally I call Joyce, who’s always available. When we get to the restaurant, Kafka wants a table in back. He’s afraid of being recognized. Joyce, who’s already plastered, says, “If anyone’s going to be recognized, it’s me.” Kundera leans over and whispers in my ear, “People might recognize us too if we went around with a cane.”

The waiter arrives. When he asks about food allergies, Kafka hands him a written list. Then he excuses himself to go to the bathroom. As soon as he’s gone, Kundera says, “The problem with Kafka is that he never got enough tail.” We all snicker. Joyce orders another bottle of wine. Finally, he turns and looks at me through his dark glasses. “I’m reading your new book,” he says. “Oh?” I say. “Yes,” says Joyce.

Jeffrey Eugenides, from an interview in the New York Times Book ReviewOctober 4, 2012.

The Last Freeway

Illustration by Kjell Reigstad

Hillel Aron | Slake | July 2011 | 20 minutes (4,888 words)

Hillel Aron’s “The Last Freeway” was published in Slake in 2011 and appeared as a Longreads Member Pick in September 2013. It’s a story about a city (Los Angeles), a freeway interchange (where the 105 meets the 110), and a man (Judge Harry Pregerson). Aron explains:

“Well, my friends Joe Donnelly and Laurie Ochoa had this great quarterly called Slake, and I wanted to write something for them, so we sat down and talked about it… I think maybe I pitched it to them, I can’t remember. I’d was just always fascinated by freeways, growing up in Los Angeles, and I loved that Reyner Banham book, The Architecture of the Four Ecologies. When I was kid, I was completely enchanted by that 105 / 110 interchange, the carpool lane one, which towers above the city. It’s basically like a rollercoaster. Actually it kind of sucks—since I wrote the piece, they’ve turned that carpool lane into a “toll lane,” so normal carpoolers can’t use it anymore without one of those fast pass things. At any rate, I did some research and it turned out that (a) the 105 was the last freeway built in Los Angeles—the end of an era, really. And it was so tough to build that it basically set a precedent of not building freeways anymore. And (b), there was this nutty judge who turned the whole thing into a New Deal-style public works program to benefit the communities that were being bisected by this massive beast of a freeway. And he also ordered them to stick a train in the middle of it, which didn’t quite go to the airport, but that’s a different story…”

Read more…

Blueprints & Buildings: Four Stories About Architecture

Photo by John Fowler

1. “The Architect Who Wants to Redesign Being Dead.” (Brendan Kiley, The Stranger, March 2015)

Katrina Spade was struck with the idea of humans turning into compost. The more she thought about it, the more sense it made.

“I don’t want my last gesture as a human being, as I die, to be a big ‘fuck you’ to the earth,” she says. “I’d rather have my last gesture be at the very least benign, or even beneficial. We are full of potential—our bodies are. We have nutrients in us, and there’s no way we should be packed into a box that doesn’t let us go into the earth.”

The Urban Death Project was born. Read more…

The Top 5 Longreads of the Week

Below, our favorite stories of the week. Kindle users, you can also get them as a Readlist.

Sign up to receive this list free every Friday in your inbox.

* * *

Read more…

Inside Scientology: A Reading List

Alex Gibney’s much-talked about new documentary Going Clear: Scientology and the Prison of Beliefbased on Lawrence Wright’s similarly titled 2013 exposé—has been making headlines since it made its Sundance debut in January. It opened on limited screens across the country last Friday and will premiere on HBO in two weeks. In the meantime, the Church of Scientology has gone into overdrive attacking the film: taking out full page ads in major newspapers to denounce it; buying up Going Clear-related search results on Google; and trying to discredit the filmmakers and their subjects in a series of videos on the Church’s website. Scientology has long been shrouded in mystery—doubtless in large part due to the Church’s secretive practices—but the Church is also notorious for terrorizing critics and defectors. Suffice it to say they are not an easy institution to investigate. In honor of their inscrutable reputation, and with Scientology-talk nearing zenith zeitgeist, I decided to put together a reading list of stories that explore the Church from a variety of angles. Please don’t kill my dog.

 ***

1. “The Apostate” (Lawrence Wright, The New Yorker, 2011)

Wright is nothing short of a master reporter (he won a Pulitzer for The Looming Tower, his 2006 history of al-Qaeda), and his deep investigative skills shine in this epic piece, a profile of Hollywood director and screenwriter Paul Haggis. Haggis was once one of Scientology’s most prominent members; he is now one of the Church’s most prominent defectors. This article eventually became part of Wright’s 2013 book Going Clear.

2. “The Tip of the Spear” (Joel Sappell, Los Angeles Magazine, 2012)

Starting in the mid-1980s, journalists Joel Sappell and Robert Welkos spent five years examining the Church of Scientology for the Los Angeles Times, ultimately producing a six-day, 24-article series (available here in its entirety) that ran in June 1990. Here—more than two decades after the fact—Sappell reflects on his unnerving experiences reporting on the Church.

3. “What Katie Didn’t Know” (Maureen Orth, Vanity Fair, October 2012)

An exquisitely creepy behind-the-scenes look at the Church of Scientology’s 2004 search for the next Mrs. Tom Cruise.

4. “Scientology’s Hollywood Real Estate Empire” (Daniel Miller, The Hollywood Reporter, July 2011)

Little known fact: the Church of Scientology owns more historic buildings in Hollywood than any other entity. Miller’s decision to examine the Church’s relationship to Hollywood in the context of its real estate empire makes for fascinating reading.

5. “Escape from Sea Org” (Astra Woodcraft, as told to Abigail Pesta, The Daily Beast, July 2012)

Astra Woodcraft was seven when she was indoctrinated into the Church of Scientology via an arm of the church known as Sea Org. This is the story of what she endured, and how she escaped.

6. “Are Academics Afraid to Study Scientology?” (Ruth Graham, JSTOR Daily, November 2014)

Scientology attracts an extraordinary amount of media attention, but scholars have been slow to devote time and research to its study—Why?

See Also: “A Scientology Glossary” (David Sessions, The Daily Beast, July 2012)

Don’t know the difference between an engram, an E-meter, and an operating Thetan? Don’t worry, The Daily Beast has your back.