Search Results for: Outside

Werner Herzog Walks to Paris

Werner Herzog | Of Walking in Ice | University of Minnesota Press | April 2015 | 12 minutes (3,048 words)

 

Long out of print, then in print in only a difficult-to-find small press edition, Herzog’s brilliant, strange jewel of travel writing has been reissued this spring. It is excerpted here courtesy of the University of Minnesota Press in the U.S. and Vintage in the U.K.

* * *

At the end of November 1974, a friend from Paris called and told me that Lotte Eisner was seriously ill and would probably die. I said that this must not be, not at this time, German cinema could not do without her now, we would not permit her death. I took a jacket, a compass, and a duffel bag with the necessities. My boots were so solid and new that I had confidence in them. I set off on the most direct route to Paris, in full faith, believing that she would stay alive if I came on foot. Besides, I wanted to be alone with myself. What I wrote along the way was not intended for readers. Now, four years later, upon looking at the little notebook once again, I have been strangely touched, and the desire to show this text to others unknown to me outweighs the dread, the timidity to open the door so wide for unfamiliar eyes. Only a few private remarks have been omitted. Read more…

After Water

Susie Cagle | Longreads | June 2015 | 21 minutes (5,160 words)

 

The sun was going down in East Porterville, California, diffusing gold through a thick and creamy fog, as Donna Johnson pulled into the parking lot in front of the Family Dollar.

porterville-2-donna-truck_1200

Since the valley started running dry, this has become Johnson’s favorite store. The responsibilities were getting overwhelming for the 70-year-old: doctors visits and scans for a shoulder she injured while lifting too-heavy cases of water; a trip to the mechanic to fix the truck door busted by an overeager film crew; a stop at the bank to deposit another generous check that’s still not enough to cover the costs of everything she gives away; a million other small tasks and expenses. But at the Family Dollar she was singularly focused, in her element. Read more…

The Art of Running from the Police

Photo by Joe Thorn

Alice Goffman | On the Run: Fugitive Life in an American City | University of Chicago Press | May 2014 | 45 minutes (12,478 words)

 

Below is a chapter excerpted from On the Run, by sociologist Alice Goffman, as recommended by Longreads contributing editor Dana Snitzky. Goffman spent six years living in a neighborhood in Philadelphia. In her groundbreaking book, she explains how the young black men in her neighborhood are ensnared in a Kafkaesque legal system which makes running from the police their only option, and how these men have made running into an art. Read more…

The Art of Running from the Police

Longreads Pick

A young man concerned that the police will take him into custody comes to see danger and risk in the mundane doings of everyday life. To survive outside prison, he learns to hesitate when others walk casually forward, to see what others fail to notice, to fear what others trust or take for granted.

Source: Longreads
Published: May 26, 2015
Length: 49 minutes (12,478 words)

The Mountain Carver

Parviz Tanavoli. Photo by Kamil Bialous

Nadim Roberts | Maisonneuve | Spring 2015 | 12 minutes (2,885 words)

 

The following Longreads Exclusive comes from journalist Nadim Roberts and Montreal-based Maisonneuve magazine.

* * *

One morning in March 2014, shortly after returning to his home in Iran, sculptor Parviz Tanavoli awoke to the sound of his daughter’s screams. About twenty men had broken the locks on his front door and entered his house. It looked like the clumsiest art heist in history, but this ragtag group worked for the municipality of Tehran. They were there on strict orders to confiscate Tanavoli’s artwork. Read more…

A Woman on the Margins

Photo: Mitchell Bach

Jessica Gross | Longreads | May 2015 | 17 minutes (4,223 words)

 

I first encountered the work of the memoirist, critic, and journalist Vivian Gornick in graduate school when we were assigned The Situation and the Story, her handbook on personal writing. Gornick explains that the writer must create out of her real self a separate narrative persona. The narrator has wisdom and distance the writer may not, and can craft a meaningful story out of the raw details of life. This slim book cracked open my understanding of what it means to write.

In Fierce Attachments, her 1987 memoir, Gornick wields her narrative persona to construct an incisive, nuanced portrait of her conflicted bond with her mother. She describes the Bronx tenements where she grew up, the early death of her father, the complex relationship with their neighbor Nettie and, at the center of it all, a struggle with her codependent maternal bond. Her new memoir, The Odd Woman and the City, a collage of interactions in the New York City streets and with her longtime friend Leonard, is a meditation on friendship, her status as an “Odd Woman”—a second-wave feminist—and her place in urban life.

We met at a restaurant on the Upper West Side of Manhattan, where Gornick was staying for spring break before she returned to the University of Iowa where she teaches at the nonfiction program. It was sleeting out, and Gornick asked me if her mascara was running, then ordered a mezzo plate and a glass of Sauvignon Blanc. She began by telling me how much she hates teaching.

Why do you teach so much?

I don’t do it often at all anymore. In this case, they offered me too much money, and I felt I couldn’t say no. But I was wrong: I should have said no.

Why is that?

I can’t live for four months in a place like Iowa City anymore. I’m really too old for that. I’m not even sure I do need the money, but you always feel you need the money. I always taught just to make a living, and I made myself a good teacher of writing; I certainly made myself a good editor. But this time around I saw that I am so deeply out of sympathy with the whole enterprise that it’s immoral for me to teach. Read more…

Four Stories About Disordered Eating

(TW: eating disorders, weight loss, body image.)

No woman I know has a 100 percent healthy relationship with food, with eating. Our childhoods deny us. We see the furrowed brows of our moms and our sisters; we hear the offhand comments about the women on TV or read headlines in Impact font on the magazines at the grocery checkout. Even in the most well-intentioned comments, there is a veiled threat. “You look so thin.” “I could never wear that.” “Have you lost weight?” You don’t always look this good. Careful, or you might not be able to wear that one day. You were fat before, and fat is the enemy. I’ve met many people who would say they’ve had experiences with “disordered eating”—I’m one of them. I never binged or purged, I never purposefully starved myself, but in college, eating fell by the wayside. I was depressed and overworked, and food didn’t seem important.

I think many of us have experiences with disordered eating, subconsciously or not. According to the National Association of Anorexia Nervosa and Associated Disorders (ANAD), 95% of those with eating disorders are between 12 and 25 years old. That’s middle school, high school, and college, right there. That’s the first few years out of college when many of us (myself included) are negotiating how to cook, what snacks to bring to our office jobs, where we can afford to buy groceries despite thousands of dollars in student debt.

I’ve gained weight. Even though I identify as a body-positive feminist, I lament my fat rolls to my boyfriend. I cry and tell him I’m the fattest one in my friend group (as if there was something wrong with that!). As though my body is quantifiable through a number on a scale or the fit of my old jeans. I can buy new jeans. I can learn to love my body. Read more…

Mysteries of the Universe, Still Out of Our Reach

Photo by Carl Jones

Cosmology’s hot streak has stalled. Cosmologists have looked deep into time, almost all the way back to the Big Bang itself, but they don’t know what came before it. They don’t know whether the Big Bang was the beginning, or merely one of many beginnings. Something entirely unimaginable might have preceded it. Cosmologists don’t know if the world we see around us is spatially infinite, or if there are other kinds of worlds beyond our horizon, or in other dimensions. And then the big mystery, the one that keeps the priests and the physicists up at night: no cosmologist has a clue why there is something rather than nothing.

To solve these mysteries, cosmologists must make guesses about events that are absurdly remote from us. Guth’s theory of inflation is one such guess. It tells us that our Universe expanded, exponentially, a trillionth of a trillionth of a trillionth of a second after the Big Bang. In most models of this process, inflation’s expansive kick is eternal. It might cease in particular parts of the cosmos, as it did in our region, after only a fraction of a second, when inflation’s energy transformed into ordinary matter and radiation, which time would sculpt into galaxies. But somewhere outside our region, inflation continued, generating an infinite number of new regions, including those that are roaring into existence at this very moment.

Ross Andersen, in Aeon, exploring the questions we still haven’t begun to answer about the beginning of the universe.

Read the story

Q. Sakamaki and the Art of the Socio-Photo-Documentary

Homeless people line up for food on Christmas Day at the soup kitchen at La Plaza Cultural, on Ninth Street and Avenue C. December 1987.

Lucy McKeon | Longreads | May 2015 | 15 minutes (3,806 words)

 

Photographer Q. Sakamaki was born and raised in Japan, but he moved to New York City in 1986, and has lived there ever since, covering the nightclub scene of ‘80s and ‘90s New York, documenting political efforts like the anti-gentrification movement, and capturing everyday life through striking street photography across the city.

New York is not his only focus. While Sakamaki has taken photographs around the world, from Burma to Haiti, China to Kosovo, Bosnia to Israel, Palestine to Liberia, and Afghanistan to Harlem, where he resides today—it’s his Instagram feed that has recently attracted many new fans. There, his daily, often-impressionistic images communicate a sense of profundity, even melancholy, in representing the quotidian.

Sakamaki’s photographs have appeared in books and magazines worldwide and have been the subject of exhibitions in New York and Tokyo. Among the many honors he’s received are four POYi prizes, two Overseas Press Club awards, and a first prize World Press Photo in 2006. He has published five books, including WAR DNA, which covers seven conflicts, and Tompkins Square Park, which documents the Lower East Side protests of the late ‘80s to mid-‘90s. Sakamaki is represented by Redux Pictures. We spoke recently about how he got his start and how he aims to combine identity with photography.

* * *

I’ve read that you began your career in photojournalism covering the Tompkins Square Park uprising in New York City in the late 1980s—is that right? Did you take photographs even before that, if not professionally?

I photographed before, but it was more fashion photography [and] portraits. I was doing that and trying to get a job, when something started in the Lower East Side at Tompkins Square Park. It started before ’88, the summer of ’88, and then continued until the middle of the ’90s, depending on people’s definition of what is a movement. It was like a real melting pot, there. The only real melting pot I’ve ever seen in New York City. Not like here [in Harlem] today. But anyway, after [the Tompkins movement in reaction to gentrification and other labor issues], I decided I would like to cover more—I don’t like the term photojournalism. [We’ll return to this later.]

I used to be very political, when I was 13 or 14 year old. Then I loved fashion and entertainment in my late teens. So the Tompkins Square Park movement felt like something of a flashback. Until the mid-’90s I covered a lot of New York political movements, like the anti-gentrification movement. But then the Tompkins Square Park movement was gone—with Mayor Dinkins closing the park. People tried to keep it going, but in the mid-’90s, they couldn’t. So the mid-90s in New York started to feel very boring for me. I started to pay attention more to outside, worldwide. I went to many conflict zones, war zones—to Haiti, Cambodia, and Israel, Palestine, then Afghanistan, Kosovo, Bosnia. Read more…

Jessica Hopper on Being a Writer Who’s ‘Rough Around the Edges’

I was told by editors that my weird auto-didactic style and reference points…basically my lack of a college or journalistic education meant the quirks in my writing hadn’t been bred out of me when I went on to be a full-time writer. I was told that again and again until I was like, oh, perhaps that’s my calling card: I’m a little bit rough around the edges. I do not have this critical framework … I did not come in with anything more than a high school education and an absolute devotion to music and a very sincere desire to give everyone my opinion about everything at all times.

– Jessica Hopper is the author of The First Collection of Criticism by a Living Female Rock Critic, editor of The Pitchfork Review and a legend in her own right. Anupa Mistry recently interviewed her for The Hairpin about living outside of NYC, her brilliant writing team and feeling like an outsider.

Read the story