Search Results for: Outside

Fox and Friends

Rachael Maddux | Longreads | August 2015 | 21 minutes (5,232 words)

 

The hounds of Shakerag Hounds, the oldest mounted fox hunt in the state of Georgia, are trained as pups to heed every note of their huntsman’s horn. They know a quick double-note means it’s time to head out into the field, three short bursts followed by a sad undulation means they’ve landed on a covert with no quarry, and three long, shimmying notes mean they’ve run their quarry to ground. It’s a fox these hounds are after, in theory—red or gray—but out here, just beyond the furthest reaches of metro Atlanta’s sprawl, they might find themselves on the trail of a coyote, a bobcat, an unlucky armadillo. Whatever they’re chasing, when they hear the horn’s three long, blooming notes, they know what to do. Three means let it go. Three means let it live.

John Eaton, Shakerag’s huntsman, likewise had the horn’s particular vocabulary ground into him at a tender age. He grew up in Somerset, England, the sixth generation of a fox hunting family. His grandfather was a huntsman, too, and his mother was a whipper-in, one of the hunt staff that rides along to keep the hounds (not “dogs,” never just “dogs”) in line. His family did the kind of fox hunting you think of when you think of fox hunting: tall boots, red and black jackets, black helmet, regal horses. The kind about which a character in Oscar Wilde’s A Woman of No Importance quipped, “The English country gentleman galloping after a fox—the unspeakable in full pursuit of the uneatable.”

In the Britain of Eaton’s childhood, fox hunts operated pretty much as they had for half a millennium: as a combination sporting event, social gathering, and elaborate means of pest control. Back then, it was unheard of to call hounds off a quarry the way he now does as a matter of course—like a pinch hitter knocking one out of the park and walking off the field, or a fisherman hooking a big one then chucking his rod and reel into the lake. What’s the point of coming so close and giving up at the last moment? Why even bother at all? Read more…

What is Sista Grrrl’s Riot? Punk Music, Collaboration and Revolution

Photo: Kate Milford. Punk musician Tamar-kali Brown, founder of Sista Grrrl Riots, performs at Willie Mae Rock Camp for Girls in 2010.

Vice’s new vertical, Broadly, is off to a strong start with reporting like Gaby Bess’ “Alternatives to Alternatives: the Black Grrrls Riot Ignored.” Tamar-kali Brown, Maya Glick, Simi Stone, and Honeychild Coleman founded Sista Grrrl Riots, an alternative safe space for black women punks to rock out and revolutionize. The founders continue to support each other and other women making music to this day.

On their first flyer:

“It was a lipstick heart with our silhouettes in it, like Charlie’s Angels, and we had weapons. I brought my father’s machetes and BB guns for our shoot.” But unlike the flyer’s silhouetted BB guns and machetes would suggest, the riot’s real ammunitions were electric violins, bass guitars, and the raging voices of women who were lifelong punk outsiders. On this momentous night at Brownies, a now-defunct rock club on Avenue A, these four women had found their place, playing to a packed crowd who could finally see versions of themselves onstage.

If you bore passing witness to this night, you might have casually referred to Brown, Glick, Stone, and Coleman as Riot Grrrls, if you didn’t know any better. They were girls. They were angry. They were tired of playing shitty gigs and taking a backseat to the boys. But these women would scoff at the thought of designating themselves “Riot Grrrls,” or just plain correct you. “You had Riot Grrrl,” Brown explained, “and this was a Sista Grrrl’s Riot.”

Their dedication to visibility and representation, in addition to sisterhood and killer musicianship, should not be underestimated:

The Riot Grrrl box may have been decidedly off-limits in the eyes of Brown and other black women who couldn’t see themselves in the movement, but as [Rhonda] Davis points out, these women shirked boxes, created their own wave, and reclaimed rock for black women. After all, rock music is black music. While the Sista Grrrls didn’t see themselves in Riot Grrrl or in the men they had been playing with in bands, they saw themselves in each other. “I got what Riot Grrrl was about. I didn’t think it was exclusive, but it didn’t feel inclusive to me,” said Brown. “I didn’t see myself or my story, and so that’s why Sista Grrrl came about later on–out of other women of color that I knew who were punk rock and navigated that scene and had similar feelings about it. Sista Grrrl was my response to Riot Grrrl because it just felt super white.”

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My Undertaker, My Pimp

Photo: Wikimedia Commons (edited)

Jay Kirk | Harper’s | March 2002 | 29 minutes (7,333 words)

This essay by Jay Kirk first appeared in the March 2002 issue of Harper’s, where it was edited by John Jeremiah Sullivan. Our thanks to Kirk for allowing us to reprint it here.

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For a year I worked in an office where I spoke to dying people on the telephone every day. The office was that of a funeral-consumer watchdog, which meant that we kept an eye on the funeral industry and helped the imminently bereaved and imminently deceased to make affordable funeral plans. Above my desk I kept an index card with a Faulkner quotation, “Between grief and nothing I will take grief.” On a particularly bad day I scratched out the last word and changed it to “nothing.” Read more…

The Minds Behind Diversity in Comics: A Reading List

Comics inspire me to be brave, to collaborate with my friends, to try new things, to stand up for myself. Maybe that’s trite, but it’s true. Vanity Fair’s profile of Kelly Sue DeConnick (#7) includes statistics about women: they are the fastest-growing demographic interested in comics; they are protagonists of twice the story arcs. Wired says diversity isn’t just good business–it’s honest, truthful storytelling (#1). I want everyone who walks into a comic book store to feel comfortable (#4), to find someone who looks or feels like them (#9) when they open a new issue of their favorite series. The people interviewed and profiled in the following pieces–creators and critics who advocate for diversity and inclusion in pages and on-screen–are the real superheroes.

1. “It’s Time to Get Real About Diversity in Comics.” (Laura Hudson, Wired, July 2015)

Rather than a superficial issue of optics or quotas […] Rather than seeing diversity initiatives as a matter of altruism or avoiding controversy, the most transformational approach advocated by critics and creators alike is the one that views it both as a form of honesty and as a valuable creative investment… Read more…

The World’s Most Lethal Border Crossing

Europe is “experiencing a maritime refugee crisis of historic proportions,” the United Nations warns. Thousands of refugees escaping conflict in Africa and the Middle East are trying to reach Europe via the Mediterranean Sea. More than 1,900 migrants have lost their lives in its waters so far this year, over twice the amount of people during the same period in 2014, according to the International Organization for Migration. Brad Wieners profiled the millionaire husband-and-wife team trying to save them with their own search-and-rescue operation in his April Bloomberg Business cover story “Dying at Europe’s Doorstep.”

That afternoon, and well into the night, he and Regina discussed what Pope Francis, on his first visit outside the Vatican, had described as “the globalization of indifference” to the plight of refugees at sea. “Papa Francesco said that everyone that could help, should do it, [and] with his own skills,” says Regina, who speaks English as well as her native Italian. “So we start to think, what are our capabilities? We have a good background in helping people in trouble.”

As with the U.S.-Mexico border, immigration is a perennial, intractable problem for the coastal states of Southern Europe, but it’s become a full-on humanitarian crisis in the four years since the Arab Spring. In 2014, 218,000 irregular migrants (the inelegant term of art for refugees and those traveling without documentation) tried to reach Europe by crossing the Mediterranean, according to the Office of the United Nations High Commissioner on Refugees (UNHCR). That’s more than five times the number that tried in 2010. Some are from poor nations in sub-Saharan Africa, simply seeking a better life. Most have fled civil wars and lawlessness in Syria, Eritrea, and Somalia. Last year at least 3,419 died in the attempt, making the Mediterranean the world’s most lethal border crossing.

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The ship’s first rescue was on Aug. 30, 2014, about 30 nautical miles from Libya. “You had several boats, including one filled with children that was getting ready to capsize,” says Catrambone. “You had the water coming up—the boat was filling up, the children were screaming and crying, many of them didn’t know how to swim.” Before it was over, more than 100 people were in the drink, floating with the aid of MOAS’s plastic orange life jackets. Once the crew had everyone aboard, they almost ran out of infant formula. “On that day, it went from zero to 358 immediately. And it was no holds barred for the next 20 hours.”

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The Wandering Years

Lawrence Ferlinghetti | The American Scholar | Summer 2015 | 23 minutes (4,685 words)

Our latest Longreads Exclusive is a series of travel journal entries adapted from poet and painter Lawrence Ferlinghetti’s forthcoming book, Writing Across the LandscapeIt first appeared in The American Scholar’s Summer 2015 issue (subscribe here!).

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I was part of that Greatest Generation that came of age at the beginning of the Second World War. As I worked in San Francisco, the days and years fell away into the great maw of time. America went through a sea change after that. San Francisco, which had been a small provincial capital, grew up. So did I, and I started voyaging. I was usually traveling to some literary or political event or tracking down some author whose undiscovered masterpiece I could publish at City Lights Books. I didn’t keep journals consistently, so some literary capers went unrecorded, such as when I visited Paul Bowles in Tangier to pry from him his Moroccan tales in A Hundred Camels in the Courtyard. This was agreed to, and then we sat dully in his high-rise apartment near the American Embassy. And when Jane Bowles suggested we turn-on, Paul said he didn’t have any hash. I was clean-shaven in a white suit, and I imagine he thought I was a narc. Paranoia, the doper’s constant companion! I wrote these peripatetic pages for myself, never thinking to publish them. It is as if much of my life were a continuation of my youthful Wanderjahr, my walk-about in the world. Rereading them now, I see a wandering figure in momentous times. …The war ends, decades whir by, there is a rumble in the wings, the scene darkens, and Camelot lost! Read more…

Who Killed Dolly Wilde?

Dolly Wilde, photographed by Cecil Beaton

Megan Mayhew Bergman | Almost Famous Women | Scribner | July 2015 | 36 minutes (6,383 words)

 

Our latest Longreads Exclusive is a short story from Almost Famous Womena collection by Megan Mayhew Bergman, as recommended by Longreads contributor A. N. Devers, who writes: 

“In her vital and poignant themed story collection, Megan Mayhew Bergman explores the interior lives of women who lived on the precipice of notoriety before falling into obscurity. The story here, ‘Who Killed Dolly Wilde?,’ delves into the unusual life and mysterious death of Oscar Wilde’s niece, Dorothy Wilde, building a rich portrait of a witty and wild bon vivant who dated both men and women (but mostly women), drove an ambulance in World War I, and fell prey to dangerous addictions. Bergman daringly imagines Wilde’s last days suffering with cancer and her addictions as something other than what history has recorded, which leaves a unsettling and dangerous aftertaste in the reader’s mouth—if we write women out of history, we never know the truth of things.”

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Desperate Characters

Photo via Roger W/Flickr

Paula Fox | Desperate Characters | W.W. Norton & Company | 1970 | 16 minutes (4,046 words)

 

Below is an excerpt from Desperate Characters, the novel by Paula Fox first published in 1970 and re-(re-)released this year on the 45th anniversary of its publication. Read Sari Botton’s Longreads interview with Fox about her book.  Read more…

The Power of Reddit as a Public Health Advocacy Tool

Writing for Backchannel, Andrew McMillen recently profiled a woman named Tracey Helton. Helton—a former heroin addict who now works as a public health advocate—has taken to Reddit to advocate harm reduction strategies among addicts and to distribute the overdose-reversing drug naloxone. Dubbed the “mother of r/opiates,” Helton’s program “illustrates the unexpected good that can emerge from darker corners of the internet.” But what makes the online forum so well-suited for outreach to addicts?

“There’s an anonymity involved with Reddit that I appreciate, because I know it’s really hard for people to come out if they’re involved with drugs,” she says. She has been open about her own past and identity because she wants her online companions to see her as living proof that recovery is possible. “I used my name so people could Google me and see I’m the same person,” she says. “I thought that, by being a semi-public figure willing to share my own experience, it would help people open up in a different way around their using.”

As her profile grew in this community of social outsiders and outcasts — many of whom feel stigmatized by the poor public perception of intravenous drug use — Tracey realized that her experience in running public health programs in San Francisco could offer another avenue of assistance on Reddit.“People were contacting me saying they had no access to naloxone, and I thought, ‘Well, that’s something I guess I could do.’” She mailed her first care package in August 2013. “I assumed a long time ago that somebody else would take over. I didn’t expect to be doing it for this long.”

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Love, Identity, and Genderqueer Family Making

Illustration by Kjell Reigstad

Maggie Nelson | The Argonauts | Graywolf Press | May 2015 | 17 minutes (4,137 words)

Published to great acclaim earlier this year, The Argonauts blends memoir and critical theory to explore the meaning and limitations of language, love, and gender. At its center is a romance: the story of the author’s relationship with artist Harry Dodge. This story, which includes the author’s account of falling in love with Dodge, who is fluidly gendered, as well as her journey to and through a pregnancy, offers a firsthand account of the complexities and joys of (queer) family-making. 

A note: In the print edition of The Argonauts, attributions for otherwise unattributed text appear in the margins in grayscale. We’ve tried to recreate those marginal citations here. However, due to the limitations of digital formatting, if you are viewing this excerpt on a mobile device the citations may appear directly above the quotations, as opposed to alongside them.

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October, 2007. The Santa Ana winds are shredding the bark of the eucalyptus trees in long white stripes. A friend and I risk the widowmakers by having lunch outside, during which she suggests I tattoo the words HARD TO GET across my knuckles, as a reminder of this pose’s possible fruits. Instead the words I love you come tumbling out of my mouth in an incantation the first time you fuck me in the ass, my face smashed against the cement floor of your dank and charming bachelor pad. You had Molloy by your bedside and a stack of cocks in a shadowy unused shower stall. Does it get any better? What’s your pleasure? you asked, then stuck around for an answer.

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