Search Results for: The American Scholar

We Still Don’t Know How to Navigate the Cultural Legacy of Eugenics

Illustration by Tom Peake

Audrey Farley | Longreads | June 2019 | 13 minutes (3,381 words)

 

On May 28, Justice Clarence Thomas issued an eyebrow-raising opinion. It concurred with the Supreme Court’s decision to uphold an Indiana law that requires abortion providers to follow a certain protocol to dispose of fetal remains and prohibits abortions on the sole basis of a fetus’s sex, race, or disability. It wasn’t the justice’s position that caught attention, but rather his method. In speaking to the law’s second provision on selective abortions, Thomas launched into a history of eugenics, the debunked science of racial improvement that gained popularity in the early decades of the 20th century.

Arguing that abortion is “an act rife with the potential for eugenic manipulation,” the justice offered a lengthy discussion of the origins of the birth-control movement in the United States. In this discussion, written for the benefit of other courts considering abortion laws, Thomas explains how Planned Parenthood grew in tandem with state-sterilization campaigns, providing the foundation for the legalized abortion movement. (As historians corrected, legal abortion preceded birth control, as it was not regulated until the 19th century.) The justice cites the disturbing rhetoric of Planned Parenthood’s founder, Margaret Sanger, who wrote in The Pivot of Civilization that birth control was a means of reducing the “ever increasing, unceasingly spawning class of human beings who never should have been born at all.” While conceding that Sanger did not support abortion, Thomas nonetheless argues that “Sanger’s arguments about the eugenic value of birth control in securing ‘the elimination of the unfit’ apply with even greater force to abortion, making it significantly more effective as a tool of eugenics.”

Thomas does not offer concrete evidence that American women actually abort fetuses solely because of sex, race, or disability. Nor does he explore the possible reasons for abortions related to these criteria, such as financial hardship or the lack of societal support for individuals with chronic conditions. His grievance with abortion boils down to this point: the practice is ill-borne. This claim is inaccurate, for reasons that historians swiftly noted; it also obscures the fact that eugenics did in fact initiate many traditions in this country, not all of which are perceived to be heinous today. Thomas’s incautious opinion, which echoes other voices in the abortion debate, unwittingly invites a more nuanced discussion of eugenics’ legacies.

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We Could Have Had Electric Cars from the Very Beginning

An advertisement depicts a Baker Electric automobile, the Baker Queen Victoria, driven by a young woman, 1909. (Stock Montage/Getty Images)

Dan Albert | An excerpt adapted from Are We There Yet? : The American Automobile Past, Present, and Driverless | W. W. Norton & Co. | June 2019 | 25 minutes (6,750 words)

Most people reasonably expect the story of the evolution of the automobile to begin with the invention of the automobile itself. I’ve disappointed enough people in my life already, so I give you the Jesuit Rat Car of 1672. In that year, missionary Ferdinand Verbiest created a steam wagon to bring the Emperor of China to Jesus, but the car was only big enough to carry a rat.

If you don’t like the Jesuit Rat Car as an automotive first, you might consider Nicolas-Joseph Cugnot’s cannon hauler of 1769. A product of the French army’s skunk works, it was canceled in beta testing. In 1790, Nathan Read got the first American patent for a steam-powered wagon, a remarkable feat because the US Patent Office itself had yet to be invented. Perhaps that counts. In London, Richard Trevithick set a Georgian coach body atop a steam boiler and eight-foot wheels, creating the first giraffe-less carriage. In 1805, American Oliver Evans drove his harbor dredge, the Orukter Amphibolos, down the streets of Philadelphia in hopes of enticing investors for a car business. Philadelphia cobblestone street paving gave horses purchase but shook the Orukter so violently that the wheels broke. Let’s call his the first amphibious car. Read more…

‘They Happen To Be Our Neighbors Across the Span of a Century, But They’re Our Neighbors.’

White children celebrating after having raided the home of African Americans during the race riots, Chicago, 1919. Jun Fujita / Chicago History Museum / Getty Images

Adam Morgan | Longreads | June 2019 | 10 minutes (2,587 words)

 

Precisely one hundred summers ago, at least 165 people were killed in “race riots” against black Americans in cities ranging from Washington, D.C. to Bisbee, Arizona. The bloodiest conflict of that “Red Summer” unfolded on the South Side of Chicago between July 27 and August 3. It started at the 29th Street Beach, where a white man threw rocks at black swimmers and killed a 17-year-old boy named Eugene Williams. Over the next few days, 38 people were killed and more than 500 were injured as roving gangs of white men terrorized Chicago’s Black Belt.

“Chicagoans tend to be enthusiastic and vocal discussants of our own history,” Eve Ewing writes in the introduction to 1919, her second book of poetry. “But 1919 didn’t seem to make it into the timeline alongside titanic stories about Fort Dearborn, Jean-Baptiste Point du Sable, the World’s Columbian Exposition, the 1968 riots, Richard J. Daley, or Harold Washington.”

So Ewing — the poet of Electric Arches, the scholar of Ghosts in the Schoolyard, the comic book writer of Marvel’s Ironheart, the playwright of No Blue Memories, and arguably the most powerful cultural voice in Chicago over the past five years — set about telling the story of 1919 in a characteristically clever way. Flecked with historical photos and evocative quotes from a post-riot commission report, filled with biblical and mythological references, seamlessly bending time and genre, 1919 is an unforgettable conversation-starter. Every poem leaves a bruise. Read more…

William S. Burroughs and the Cult of Rock ‘n’ Roll

Paul Natkin/WireImage

Casey Rae | William S. Burroughs and the Cult of Rock ‘n’ Roll | University of Texas Press | June 2019 | 28 minutes (4,637 words)

 

Naked Lunch is inseparable from its author William S. Burroughs, which tends to happen with certain major works. The book may be the only Burroughs title many literature buffs can name. In terms of name recognition, Naked Lunch is a bit like Miles Davis’ Kind of Blue, which also arrived in 1959. Radical for its time, Kind of Blue now sounds quaint, though it is undeniably a masterwork.

Burroughs wrote the bulk of his famous novel Naked Lunch in Tan­gier, Morocco between 1954 and 1957. During those years, Burroughs was strung out and unhappy, living off of his parents’ allowance and getting deeper and deeper into addiction. He had friends but rarely saw them, preferring to spend days at a time staring at his shoes while ensorcelled in a narcotic haze.

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Peers in Healing

Photo by The Tonik

Livia Gershon | Longreads | June 2019 | 8 minutes (1,883 words)

On a Tuesday morning in May, Priscilla Matos was at Revive Recovery Center, an art gallery-turned substance use recovery hub on Main Street in Nashua, New Hampshire, organizing supplies and filling out paperwork. Around her, hand-lettered signs offered advice: “Find Your Purpose,” “Love Yourself Everyday.” On a nearby bulletin board, flyers advertised support groups that borrowed wisdom from Christianity and Buddhism. A man with tattoos wearing a New England Patriots shirt came by; Matos showed him how to make tea with a plug-in pot and congratulated him on landing in a sober housing program. Matos, who is 28, with dark-rimmed glasses and a warm smile, helps visitors at Revive find whatever resources they need—food pantries, treatment centers, places where they can take a shower and wash their clothes. She’s good at it in part because, for much of the past decade, she’s needed those kinds of things herself.

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The 19th Century Lesbian Made for 21st Century Consumption

Jay Brooks, HBO / document courtesy of the Pforzheimer Collection at the New York Public Library

Jeanna Kadlec | Longreads | June 2019 | 12 minutes (3,114 words)

When we call Anne Lister, the 19th century British diarist and adventurer reimagined in HBO’s hit series Gentleman Jack, the “first modern lesbian,” what do we mean, precisely? Critics don’t seem to know. The catchy tagline coined by Lister’s devotees and perpetuated by the show’s marketing is good branding, but makes for a slightly confusing moniker: what is it, exactly, that makes Anne Lister a “modern” lesbian, let alone the first?

The answer goes beyond a casual Wikipedia-esque list of Lister’s propensities and accomplishments that most coverage of the show has thus far relied on. To understand what makes Anne Lister unique, you have to understand how lesbianism and identity were understood in the 1830s — and it’s far too simplistic to say that women with women was simply “unimaginable” for the time, that Lister was completely solitary in her pursuit of as public a commitment as would have been socially acceptable.

Lesbian content was not unfamiliar to 17th, 18th, and 19th century audiences. From lesbian eroticism in pornographic texts such as the psuedonymous Abbé du Prat’s The Venus in the Cloister: or, the Nun in Her Smock, published in 1683, to the trope of a “Female Husband” (which had historical grounding in famous figures like Mary Hamilton) to the romantic friendship of Ladies of Llangollen, who were contemporaries of Lister’s, the idea of women loving (and fucking) women was hardly new, if deeply socially unacceptable. Among women of the upper class with means, Lister was hardly alone in forging her own kind of life. The “first”? No.

Lister was ahead of her time, but not in the obvious way: not because of her desire, or even her willingness to throw off norms. Rather, her desire to live what we would identify as an “out” life (or, as “out” a life as possible) was informed by a distinctly Enlightenment-informed conception of her individuality and her psychosexual identity that would have been more at home in 2019 than 1839. In Lister’s time, lesbian wasn’t the distinct identity category it would later become. Lister’s prescient insistence on a cohesion between her public and private personas — an insistence on her sexuality as a vital component of her identity — was remarkable. Thanks to her diaries, we also have unprecedented access to how she herself thought of her identity and sexuality, as well as an explicit record of sexual activity. Ultimately, this means that Lister is a historical figure made for 21st century consumption, onto whose life we can easily project (if anachronistically) ideas like that of the closet and the difficulty of living an “out” life in Regency England.
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Cultural Differences

Longreads Pick

An American scholar looks at literature and her own marriage to see the way culture does and does not influence interracial relationships.

Source: The Yale Review
Published: May 24, 2019
Length: 19 minutes (4,756 words)

I’ve Done a Lot of Forgetting

Getty / Illustration by Homestead

Jordan Michael Smith | Longreads | May 2019 | 10 minutes (2,744 words)

If someone spits bigotry at you while you’re a kid, you’re unlikely to forget it. You’ll remember it not because it’s traumatic, though it can be. You’ll remember it not even because it’s degrading and excruciating, though it is certainly those things, too. No, you’ll remember it because it instills in you an understanding that people are capable of motiveless evil. That humans can be moved to hate because they are hateful. You aren’t given a reason for why people hate you, because they don’t need a reason. You’re you, through no fault of your own, even if you want desperately to be anyone else. And that’s enough.

I am a Canadian. I was born in Markham, which is a small city about 30 kilometers northeast of Toronto. That distance meant a great deal. Markham was a large town of middle- and working-class families when my newlywed parents moved there, in the late 1970s, with a population that hovered around 60,000. It was pretty mixed demographically, I recall, though containing a white majority. My older sister and I were the only Jews in our elementary school, except for one other family who arrived after we did and seemed not to attract much ire; I imagined it was because they were beautiful and popular (we were neither).

We were one of the minority of Canadian Jewish families living outside Toronto or Montreal. More than 71% of all Canadian Jews reside in these two cities, according to Allan Levine’s serviceable but unexceptional new book on the history of Jewish Canada, Seeking the Fabled City. Levine describes a familiar story of an immigrant group gradually gaining acceptance (and some power) in a once-largely white Christian country. For the first half of the 20th century, Jews in Canada were arguably detested to a greater degree than in America. By the 21st century, Canadian Jews felt as safe as Jews anywhere felt safe. Levine quotes a Toronto rabbi as saying, “Living in Toronto, my children don’t know that Jews are a minority.” Read more…

Confessions of a Lapsed Catholic Dancer

Getty, Stephen Arnold, Illustration by Homestead

Kate Branca | Longreads | May 2019 | 22 minutes (5,497 words)

 

You hear the drums before you see us, a circle of figures facing inward, our arms rigid, our feet pounding the stage in an even, rhythmic, side-stepping march. The circle bobs up and down with our forcefulness. Our costumes are geometric bodysuits, designed not to contour to our human bodies, but to transform them into something more angular, hardened, like a shell. They have V-neck fronts and stiff cap sleeves and straight pant legs that stop suddenly at the shin, transforming our bodies into great Xs of yellow, purple, and black. We wear strips of black tape on our cheeks, like war paint. Our costumes make us look like ancient Aztecs or alien warriors — beings of a past or future time.

When I am wearing that costume and bound to that ring, I am transported back nine years; suddenly I am a 19-year-old performing the choreography of Robert Battle with my college dance company — and also none of those things. It feels like I am nothing, or that we are collectively something else, emptied, but electric, maybe capable of boring a hole in space or time. During a performance, when I catch sight of something mundane among us, like a wisp of hair sprung from Brittany’s bun, or a nervous twitch in Erin’s fingers, my chest blooms with love for the moment: for the startling gift of feeling like I am many people, in many places, traversing many times all at once.

We twist and extend our arms into wide, heavenward Vs and beckon the stage lights with flicks of our hands. We tuck and splay and smack our thighs. Then the pace of the drumming quickens with a RAPAPAPAPAP! and one in our company enters the center of the circle where a spotlight appears. She spins wildly in one direction, then the other, her feet stamping the ground as fast as the mallets hitting the drums. Meanwhile, those of us around her shoot our arms into the air like crops hit by a sudden gust of wind. She rejoins the circle so that only the light remains inside the ring made up of our bodies, and now that it’s there, finally there, we are frenzied by it. Hopping, slamming, jumping, falling, flinging ourselves in patterns around its edges. With a final pound, the drums stop, leaving us standing around the light’s rim with our feet wide, arch to arch with one another, arms by our sides, chests heaving, but open to the sky, our necks craned toward whatever bulb or star gave us this brightness. We lower our chins as the stage fades to black.

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After a Fashion

Vianney Le Caer / AP, Illustration by Homestead

Soraya Roberts | Longreads | May 2019 |  8 minutes (2,349 words)

Rufus: Models help people. They make them feel good about themselves.
Meekus: They also show them how to dress cool and wear their hair in interesting ways.
Zoolander: I guess so.

The schadenfreude was swift and it was sharp the moment the Met Gala announced this year’s theme: camp. “do you ever wake up in the middle of the night because you remembered the met ball is camp themed this year and so many celebrities are going to have to explain what they think camp is,” tweeted New Yorker fashion columnist Rachel Syme. The idea that the fashion industry, infamously out of touch, was not only bypassing urgent matters of the present to focus on the past, but that the past it chose is defined by its indefinability — Susan Sontag’s attempt, “Notes on Camp,” is a series of contradictions for a reason — was too delicious. We were all Divine, in drag, crouching next to that puli, waiting for that shit. And when Lady Gaga and Celine Dion showed up vamping their souls out, it was the perfect symbol of fashion’s near-constant missing of the mark even when it is the mark. Because camp, a lurid pink flourish on the margins of society, is at its core the opposite of what fashion has become: a sanitized institution that sets itself apart from the mess of our reality. “Without passion, one gets pseudo-Camp,” wrote Sontag, “what is merely decorative, safe, in a word, chic.”

The stars who seemed to intrinsically understand camp, from Danai Gurira to Natasha Lyonne, are familiar with the fringes of Hollywood. And it was a surprise to no one when Billy Porter — who made his name in Kinky Boots — arrived like the second coming of Tutankhamun, in head-to-toe gold, carried by a coterie of beefcakes. This is the man whose name few knew three months ago, whose style alone threw him to the top of the red carpet, above the old A-listers in the likes of Chanel and Valentino. Like Queer Eye’s Jonathan Van Ness, he is fashion precisely because he poses outside of it. Established fashion these days is a place where tradition trumps trendiness, and the biggest couturiers seem to be moving backward rather than forward. Prada, Gucci, Burberry, and Dolce & Gabbana, among others, have lately made missteps so basic it has become clear that being clueless is not the exception but the rule. “Fashion is old-fashioned,” says Van Dyk Lewis, who has worked as a designer and teaches fashion at Cornell University. “The clothes might be cool, but actually the sentiment of fashion in our moment isn’t.” Read more…