The Longreads Blog

High school hockey player Jack Jablonski was left paralyzed after a hit during a game—leading Minnesota to get tougher on rules, and leading families to rethink hockey’s risks:

“I forgot to tell you,” he says. Something in his voice is strange. He looks at me. Cade and Raye are both staring at me now. Peter touches my hand.

“Jack Jablonski broke his neck last night.”

Jack Jablonski—known as Jabby to his friends and the kids like Cade who grew up skating with him on the lakes around our homes—is not the first boy to break his neck playing this game. But he is the first one whom we who have kids still in Minneapolis youth and high school hockey programs have watched grow up.

“The Way We Play the Game.” — Karen Schneider, Sports Illustrated

See also: “A Boy Learns to Brawl.” — John Branch, The New York Times, Dec. 3, 2011

Revisiting—and correcting—the stories of Frances Farmer. The star of 1930s and ’40s Hollywood was once thought to have been lobotomized after being involuntary committed to an institution:

Let’s make something perfectly clear: Frances was not lobotomized. Granted, Dr. Walter Freeman did visit Steilacoom and perform lobotomies while Frances was incarcerated there—but correlation isn’t commission, obviously, and, more importantly, Frances’s medical records confirm that she wasn’t operated on for any reason whatsoever at Steilacoom. This according to Jeffrey Kauffman, a musician and historian, who describes himself as “the first person to obtain access to pertinent medical and court records [that] clarify many aspects of Farmer’s history.” Furthermore, no one during Frances’s lifetime claimed or even implied that Frances had been lobotomized—not Frances, not her doctors, not her family, not her bitter former lovers, not her ex-husbands three, not even that veritable (albeit charming) bullhorn of calumny, movie gossip columnist Louella Parsons. No one.

“Burn All the Liars.” — Matt Evans, The Morning News

See also: “Unauthorized, but Not Untrue.” — Kitty Kelley, The American Scholar, Dec. 3, 2010

Scientists are discovering how chemicals can affect the way memories are formed, paving the way for a future where it could be possible to forget anything we wanted by taking a single pill:

This isn’t Eternal Sunshine of the Spotless Mind-style mindwiping. In some ways it’s potentially even more effective and more precise. Because of the compartmentalization of memory in the brain—the storage of different aspects of a memory in different areas—the careful application of PKMzeta synthesis inhibitors and other chemicals that interfere with reconsolidation should allow scientists to selectively delete aspects of a memory. Right now, researchers have to inject their obliviating potions directly into the rodent brain. Future treatments, however, will involve targeted inhibitors, like an advanced version of ZIP, that become active only in particular parts of the cortex and only at the precise time a memory is being recalled. The end result will be a menu of pills capable of erasing different kinds of memories—the scent of a former lover or the awful heartbreak of a failed relationship. These thoughts and feelings can be made to vanish, even as the rest of the memory remains perfectly intact. “Reconsolidation research has shown that we can get very specific about which associations we go after,” LeDoux says. “And that’s a very good thing. Nobody actually wants a totally spotless mind.”

“The Forgetting Pill Erases Painful Memories Forever.” — Jonah Lehrer, Wired

See also: “Remember This.” — Joshua Foer, National Geographic, Nov. 1, 2007

Featured Longreader: Jonah Ogles, an associate editor at Cincinnati magazine. See his story picks from the magazine, plus more from The New York Review of Books, Outside magazine, plus more on his #longreads page.

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Twenty years ago, The Simpsons gave the Fox Network its first-ever prime-time ratings victory with an all-star baseball episode that beat out The Cosby Show and the Winter Olympics:

Aside from the logistics of recording nine separate guest roles, plot lines had to be rewritten on the fly. Jose Canseco’s scene originally called for him and Mrs. Krabappel to engage in Bull Durham-inspired extramarital shenanigans. Canseco’s wife rejected the scene, and the staff had to do a last-minute Saturday afternoon rewrite when Oakland came south on a mid-August road trip.

Instead of Lothario, Canseco got to play hero, rushing into a woman’s burning house to rescue her baby, then cat, followed by a player piano, washer, dryer, couch and recliner combo, high chair, TV, rug, kitchen table and chairs, lamp, and grandfather clock. Requesting the new sequence turned out to be the wiser move. Canseco and his wife had nearly divorced earlier that year before reconciling, and a week before “Homer at the Bat” aired, Canseco was arrested by Miami police for chasing down and ramming his wife’s BMW twice with his red Porsche at 4:30 a.m. After the chase ended, he allegedly got out of his car, came over to his wife’s driver-side window, and spit on it.

“The Making of ‘Homer at the Bat’.” — Erik Malinowski, Deadspin

See also: See also: The Making of ‘Nevermind’ (Excerpt from ‘Everybody Loves Our Town: An Oral History of Grunge’) — Mark Yarm, MTV Hive, Sept. 19, 2011

Flechtheim was driven out of Germany by the Nazis—and many works from his galleries are now in private collections and museums around the world. A lawsuit brought by his heirs raises questions about provenance:

Works in the MoMA online database today with Flechtheim in their provenance histories were sold prior to 1933, meaning they are legally deemed to have been acquired absent any Nazi persecution, though, as Mr. Dascher put it, ‘Flechtheim was confronted with anti-Semitism already before 1933, even as a German officer during World War I.’ Museums around the world that now possess works the Nazis sold off can and do claim that they have them legally, even though some of the art may have come through galleries like Flechtheim’s, shuttered under anti-Semitic persecution.

“Haunting MoMA: The Forgotten Story of ‘Degenerate’ Dealer Alfred Flechtheim.” — Nina Burleigh, New York Observer

See also: “The Goddess Goes Home.” — Ralph Frammolino, Smithsonian, Oct. 1, 2011

Featured Longreader: Writer Eva Holland. See her story picks from Vela Magazine, Outside magazine, Esquire, plus more on her #longreads page.

[Fiction] A woman on an Arctic cruise encounters her past:

At the outset Verna had not intended to kill anyone. What she had in mind was a vacation, pure and simple. Take a breather, do some inner accounting, shed worn skin. The Arctic suits her: there’s something inherently calming in the vast cool sweeps of ice and rock and sea and sky, undisturbed by cities and highways and trees and the other distractions that clutter up the landscape to the south.

Among the clutter she includes other people, and by other people she means men. She’s had enough of men for a while. She’s made an inner memo to renounce flirtations and any consequences that might result from them. She doesn’t need the cash, not anymore. She’s not extravagant or greedy, she tells herself: all she ever wanted was to be protected by layer upon layer of kind, soft, insulating money, so that nobody and nothing could get close enough to harm her. Surely she has at last achieved this modest goal.

“Stone Mattress.” — Margaret Atwood, The New Yorker

See more #fiction #longreads

Nick Roses is a 22-year-old Hollywood agent who specializes in working with child actors. But former clients say he’s scamming families with promises of Disney stardom:

Howard Meltzer, a longtime casting director, calls Roses “Bernie Brillstein in a 20-year-old’s body.” Many others in Hollywood deem him either a gimlet-eyed child prodigy prone to the occasional youthful indiscretion or a shark-eyed huckster with the face of a Mouseketeer. Or both.

Roses’s status as a communal lightning rod began in April, when the Los Angeles City Attorney’s Office charged him with seven counts of, in essence, criminal Hollywood skulduggery. Parents of children that Roses represented complained that he, among other things, baited them into moving to Los Angeles and becoming clients at a poorly run management company which bilked them out of money. In July, the case was settled when he pleaded no contest to violating a new law prohibiting managers from charging fees to clients for the promise of work or auditions. Such fees are deemed red flags by the Hollywood Establishment; mainstream talent managers work on a commission basis—they don’t make a penny until the client does.

“Shark in the Kiddie Pool.” — Ned Zeman, Vanity Fair

See more #longreads from Vanity Fair