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The Louvre Abu Dhabi and the Ethical Enjoyment of Museums

Jacques-Louis David's 'Napoleon Bonaparte, First Consul, Crossing the Alps,' on loan from Versailles. The Louvre Abu Dhabi has over 300 pieces on loan from the Louvre. (Giuseppe Cacace/AFP/Getty Images)

A great museum is a great catalog of plunder. Not just of objects stolen, bought, traded or loaned, but of entire civilizations, placed out of time and plundered of meaning. The Louvre itself was opened on August 10, 1793, a year after the arrest of Louis XIV. The royal collection became a national collection, and under Napoleon it became a symbol of empire, with entire new wings built just to house the plunder sent back during military campaigns.

Today, what can no longer be gotten through force can be rented. The Louvre Abu Dhabi is a beautiful new building with a rented artwork and a borrowed name — the museum needs time to develop a collection of its own, preferably without several revolutions. But what will be the character of this new collection, the first of its kind in the Middle East? In his review of the Louvre Abu Dhabi for The New York Times, art critic Holland Cotter reflects on what the museum does — and what it should do.

In short, the Louvre Abu Dhabi fails where most, if not all, encyclopedic art museums do: in truth-telling. And the failure applies to the present as much as to the past. In news releases and public advertising, the institution promises to be “a museum for everyone”; to show “humanity in a new light”; to embody an “openness” and “harmony” reflecting the “tolerant and accepting environment” of Emirati society. But in the years since the building broke ground, international human rights groups have repeatedly criticized the Abu Dhabi government for mistreatment of immigrant laborers at work on Saadiyat Island projects.

During the museum’s inaugural week, two Swiss journalists, filming laborers as part of their coverage of the opening, were arrested by the police, grilled, forced to sign a “confession” and then expelled from the country. Over the past several years, people campaigning for workers’ rights have been barred from entering Abu Dhabi, or deported.

A walk through Mr. Nouvel’s domed museum complex, with its luminous shade and its breeze-channeling sea vistas, is an enchantment, almost enough to make you forget grim physical and social realities that went into creating it. And the manifold beauty of galleries filled with charismatic objects nearly persuades you not to remember that art is a record of crimes as well as of benign achievements. It takes an exercise in ethical balance to engage fully with our great museums, to walk the shaky bridge they construct between aesthetics and politics. A mindful visit to the Louvre Abu Dhabi requires this balance. That may be what is most universal about it.

New York Radical Women and the Limits of Second Wave Feminism

New York Radical Women protest the Miss America Pageant on the boardwalk at Atlantic City, 1969. (Santi Visalli Inc./Archive Photos/Getty Images)

At New York magazine, Joy Press has compiled an oral history of New York Radical Women (NYRW), a collective that existed from 1967 to 1969 and played a large role in defining second wave feminism in the United States. Its founders were generally younger and more radical than the women of the National Organization for Women (NOW), who’d come together in 1966 to address specific legislative failures in Washington, DC. NYRW focused more on elements of the culture that held women back.

The theatrics of the group’s organizing has been seared into the public’s imagination. In 1968, they protested the Miss America pageant by interrupting its telecast, crowning a live sheep on Atlantic City’s boardwalk, throwing objects symbolizing female oppression into a “freedom trash can.” The media called them “bra-burners” for this spectacle, and though nothing caught fire that day, the myth endured.

Along with their image-making, NYRW’s intellectual work, in the form of speeches, essays, pamphlets, and books laid the foundation for women’s studies as an academic discipline. Press explains:

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The Joys and Sorrows of Watching My Own Birth

JoKMedia / Getty

Shelby Vittek | Longreads | December 2017 | 13 minutes (3,315 words)

 

It’s a hot August night in 1991 at the Greater Baltimore Medical Center, and the delivery room is filled with bright lights. A film crew is documenting a woman giving birth. After almost 12 hours of active labor, it’s time for her to really push.

A few anxious rounds of counting to 10 and many deep breaths later, the doctor says, “Ooooh there you go, lots of hair.”

“That’s it, the baby’s coming!” the red-haired nurse says with excitement.

That’s when I enter the picture, with a head full of red hair of my own.

* * *

I know this scene well. It’s my own birth. Not many people can say they’ve watched their own delivery, but I can.

In fact, I’ve watched myself be born more times than I should probably ever admit to. I’m doing it again tonight for the ninth time this week, sitting on the floor in my studio apartment with my eyes fixated on the television. The sight of my fiery red hair making its debut will never fail to amaze me.

The video of my birth in no way resembles your typical home video. It’s more like a documentary, with my parents and family, and then finally me, as its subjects. Every single reaction of theirs is recorded in the truest manner, and edited as well as early ’90s technology could allow. That’s because it was not shot by a proud father-to-be, but instead a professional film crew. I was paid $300 to be born (the check went directly into my first college fund, I’ve been told), and the footage was used to make an educational video for other expecting parents to watch during Lamaze birthing classes. Hundreds, if not thousands, of other people have watched me be born, too.

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Lake Chad: The World’s Most Complex Humanitarian Disaster

Longreads Pick

As the massive Lake Chad started drying up in Central Africa, famine sent the native tribes scrambling to survive. Now political factions and jihadists have compounded the climate change and food shortages to throw this region where four nations meet into turmoil.

Author: Ben Taub
Source: The New Yorker
Published: Dec 4, 2017
Length: 31 minutes (7,981 words)

A Lonely Death: The Extreme Isolation of Japan’s Elderly

Takashimadaira housing complex in Tokyo. (AP Photo/Katsumi Kasahara)

With a population of 127 million, Japan has the most rapidly aging society on the planet. As Norimitsu Onishi reports at The New York Times, elderly individuals often live in extreme isolation, albeit only a few feet from neighbors on all sides, “trapped in a demographic crucible of increasing age and declining births.” Their fate? A “lonely death” where their body may remain undiscovered in their small government apartment for days (or even years) because family is distant both physically and emotionally, and friends have all long since passed away.

The first time it happened, or at least the first time it drew national attention, the corpse of a 69-year-old man living near Mrs. Ito had been lying on the floor for three years, without anyone noticing his absence. His monthly rent and utilities had been withdrawn automatically from his bank account. Finally, after his savings were depleted in 2000, the authorities came to the apartment and found his skeleton near the kitchen, its flesh picked clean by maggots and beetles, just a few feet away from his next-door neighbors.

Mrs. Ito, age 91, lives alone in a small government apartment built back in the 1960s for up-and-coming salary men.

She had been lonely every day for the past quarter of a century, she said, ever since her daughter and husband had died of cancer, three months apart. Mrs. Ito still had a stepdaughter, but they had grown apart over the decades, exchanging New Year’s cards or occasional greetings on holidays.

So Mrs. Ito asked a neighbor in the opposite building for a favor. Could she, once a day, look across the greenery separating their apartments and gaze up at Mrs. Ito’s window?

Every evening around 6 p.m., before retiring for the night, Mrs. Ito closed the paper screen in the window. Then in the morning, after her alarm woke her at 5:40 a.m., she slid the screen back open.

“If it’s closed,” Mrs. Ito told her neighbor, “it means I’ve died.”

Mrs. Ito felt reassured when the neighbor agreed, so she began sending the woman gifts of pears every summer to occasionally glance her way.

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Assertiveness Training

Alex Milan Tracy / Sipa via AP Images

Susan Sheu | Longreads | December 2017 | 23 minutes (5,862 words)

In the early 1980s, my mother took a class at the local Wisconsin university’s student psychology center called “Assertiveness Training.” She was awakening belatedly to a version of the mind-expanding youth she had missed by marrying and dropping out of college at age 20 in 1967, during the Summer of Love. The class was taught by Dr. B, who told the students to use “I” statements to ask for what they wanted in plain terms during work and family interactions. (“I am unhappy that you said that to me. I feel that I am not heard when I speak to you.”) The idea was to learn to be assertive but not aggressive, to stop being a silently suffering martyr or someone who holds in all their anger and resentment until it boils over into inappropriate and ineffective rage or self-destructive behavior. It goes without saying that the class was all women. As she immersed herself in college again, my mother began to tell me that when I grew up, I could be anything I wanted — a doctor, a lawyer, a scientist. Even though the Equal Rights Amendment had not been ratified, she wanted me to believe that my future was up to me. Perhaps that was one reason she took Assertiveness Training, to be the kind of mother who raised a daughter who wouldn’t need a class like that.

My grandmother was the model of someone who regularly displayed inappropriate anger, someone my mom was trying to avoid becoming. My grandma Violet had once been docile, and my mom believed that she made the rest of us pay for that false submissiveness for the rest of her life. The short version of my grandmother’s story is that she didn’t marry the man she was in love with because he was Catholic and she was Protestant (this was Nebraska, circa 1928); she didn’t attend college despite receiving a debate scholarship because her mother feigned illness to keep her youngest child at home; and she tried to be a good wife in a marriage with a decent, practical man with whom she was not in love. She ran my grandpa’s restaurant while he was serving in World War II, and when he returned, no longer had any day-to-day responsibilities in the business operations.

By the time I knew her, my grandmother was smoking, alternating between Camels and Newports, drinking gin and, if she was feeling moderate, Mogen David wine (“The Jews” drank it. And Sammy Davis, Jr., “that talented Negro,” was a Jew. It had a screw top. And it was sweet.). She told off anyone who stood in her way, and for decades after her death, my mother made me pretend she was still alive, because it was the memory of my grandma’s fiery temper more than the restraining order that kept my father away. My grandma also took Valium, prescribed by the psychiatrist she began seeing shortly before her death in 1978. I was 9 when she died, but I already knew that her outspokenness and self-medication were a great source of shame for my mom and grandpa.

I’ve since come to understand that my grandma had the appropriate response to her circumstances.

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How Some Apache People Deal with Intergenerational Trauma

AP Photo

After over 30 years fighting the US military and American settlers, the Chiricahua Apache medicine man named Geronimo surrendered to the US government in a canyon in Southeastern Arizona in 1886. Mexican and American soldiers had already murdered many of Geronimo’s wives and children, and sold others into slavery. After surrendering, Geronimo and 341 other Chiricahua were permanently moved to an Oklahoma military base as prisoners of war. There, separated from their land and the plants and animals that inhabit it, their children were sent to schools designed to strip them of their language and cultural identity.

At Lithub, journalist Anna Badkhen pays homage to the tribe’s intergenerational trauma and their attempts to reconcile their pain with their proud ancestry. Invited by a Lipan Apache friend, she travels to a small town in the Sierra Madre Occidental of northern Mexico, where descendants of Geronimo perform the Ceremonia del Perdón — a Ceremony of Forgiveness, but also a celebration of their lineage. As the Apache try to forgive, Badkhen tries, in her words, “to learn what forgiveness is and whether it is possible.”

The Holguíns are lighting a ceremonial flame in a pedestal grill, to prevent a forest fire. One of Geronimo’s many great-great-grandsons, Alex Holguín, hands out pieces of paper. Bernarda has explained her idea for this: “It is a ceremony to ask God to forgive, in the name of our ancestors, the perpetrators and the victims. We will ask for forgiveness for the wars against Indians. For the turbulent times the consequences of which we are still suffering today.” People are already lining up to torch their pain. In the rain, smoke over the grill billows white.

I guess forgiveness means making peace. But I don’t want to make peace. Not with the prisoner of war cemetery at Fort Sill. Not with Charlottesville. Not with Tulsa or the Osage murders, not with the Holguíns’ abducted and enslaved grandmothers. Not with the orphaning of entire nations of their ancient rituals. Not with the banality of evil around the globe, nor with my own prejudiced cruelties and malice. All of them make me who I am, allow me to see the world the way I do, make me want to bring it to some kind of accountability. I must carry the heartbreak of it, this dark fire.

Hilda Holguín says it simpler:

“All these things I have, they form me,” she explains over a paper plate loaded with what she calls “Apache food:” a stew of potatoes, onions, hot dogs and ground meat cooked up in an enormous communal vat.

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The Sandwich Whisperer of Victoria Street

Photo by Eric Hossinger (CC BY 2.0)

Sandwiches are a booming, multi-billion-pound industry in the UK. In The Guardian, Sam Knight’s history of the modern British sandwich follows its transformation from a soggy excuse of a meal into a signature product of late-capitalist discipline. What made the story irresistible for me, though, are the people we meet along the way — from the Wembley factory workers stacking chicken on 33 sandwiches per minute to Julian Metcalfe, the tireless founder of Pret A Manger.

Soaring above them all, though, is Frank Boltman. A veteran filled-croissant innovator, his business never grew to the scale of the Prets of the world, but each of his multiple appearances in the piece comes full of compact, delicious morsels of sandwich wisdom.

“My idea of relaxation is to write down five new sandwiches,” he said when we met recently at his latest baby, a vaguely hipsterish place called Trade, on the Essex Road in north London. The quest of the sandwich inventor is a mostly pitiless one. The industry has its own 80:20 rule: 80% of sales come from 20% of the flavours. These are often referred to as “the core” – the egg mayonnaise, the BLT, the chicken salad – and they are as familiar as our own blood. Pret’s best-selling sandwiches (the top three are all baguettes: chicken caesar and bacon, tuna and cucumber, cheddar and pickle) have not changed for seven years. M&S’s prawn mayo has been its No 1 for 36.

Undaunted by this, Boltman starts out by choosing the bread, and the ingredients from those he is already using on his menu. The art of the sandwich designer is to think inwards, to find variations within a known and delineated realm. “It is a question of using tenacity, knowledge, know-how, flair,” said Boltman. People in the industry talk about seminal new combinations – Pret’s crayfish and rocket; M&S’s Wensleydale and carrot chutney – like Peter Brook’s Midsummer Night Dream, or Zeffirelli’s Romeo and Juliet. The story comes alive again. Someone finds a new move in chess.

It is possible to be a showman. Boltman talked about a chicken and broccoli bun he made in the 80s. “Granary seeded roll as a vehicle,” he said. “Unbelievable.” While we were talking, the kitchen made me Boltman’s interpretation of the Reuben, which he sells for £8.50. I hadn’t eaten that morning, and the pastrami, which had been cured for a week, lay deep. The taste of caraway seeds in the rye bread lingered in the roof of my mouth. “Did the secret sauce come through?” he asked.

Boltman has been round the block a few times. He had a McDonald’s franchise for a while. He observed that, even as sandwiches function as an accelerant of our harried, grinding lives, they also offer a moment of precious, private escape. “People want to eat,” he said, leaning close. “They want comfort. They want solace. I’ve had a shit morning. I’ve fallen out with my boss. I’ve had a fucking horrible journey in. A poxy lettuce-and-whatever concoction in a plastic bowl is not going to do it for me. I want a cup of tea, a chocolate biscuit and I actually want to cry. I am going out for a fucking sandwich.”

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When Newspapers Cover the Private Lives of Nazis

Adolf Hitler on the patio of the Berghof wearing civilian clothes around 1936. (Imagno/Getty Images)

By now you’ve likely read Richard Fausset’s troubling New York Times’ profile of a “white nationalist and fascist” that tries to normalize and sympathize with its subject. You’ve also likely read the countless follow-ups damning not only Fausset’s article but also the Times’ tepid and inept response.

The profile attempted let ordinary details speak for themselves, and it opens with a description of a wedding registry: “On their list was a muffin pan, a four-drawer dresser and a pineapple slicer…Weddings are hard enough to plan for when your fiancé is not an avowed white nationalist.” But these ordinary details don’t contain meaning, they merely surround it. As Josephine Livingstone of The New Republic explains,

writers who simply represent (rather than report on) extremists leave rhetorical spaces open for Nazi ideology to flood in. You cannot let a Nazi hang himself, because he is the one left holding the rhetorical rope.

Fausset’s article wasn’t the Times‘ first attempt to transform racism into a personality quirk. From 1933, when Adolf Hitler was appointed chancellor of Germany, to his 1939 invasion of Poland, there was a significant movement both in the United States and worldwide to portray Hitler as a misunderstood genius whose everyday likability could better connect with the working class German people and lift the country from its post-war depression.

Magazines and newspapers like the Times of London, The New York Times, The Saturday Review (“Hitler at Home”) and even the American Kennel Gazette (“Hitler Says His Dogs are Real Friends“)  were more interested in Hitler’s interior design sensibility, his gustatory preferences, and his love of German Shepherds. In 1936, Vogue toured Hitler’s chalet as part of a package showcasing the interior design of the homes of foreign rulers. (Federico Mussolini’s villa was also included). Their coverage of Hitler successfully peddled these themes of austerity, industriousness, and single-minded drive to the masses eager to believe in Germany’s rebirth.

In her 2015 book Hitler at Home, Despina Stratigakos, a professor of architecture and history at the University of Buffalo, catalogued numerous attempts to normalize the dictator, which started with the publication of The Hitler that Nobody Knows, a 1932 photo album that doubled as a behind the scenes peek into Hitler’s private life. With more than a hundred photographs taken by Hitler’s personal photographer, the book — which sold 400,000-plus copies by 1942 — meant to serve as a beacon proclaiming Hitler as the leader of the new Germany. But Stratigakos stresses the effect was a more insidious.

Until the turnabout in 1932, National Socialist publicists had diverted attention away from or suppressed stories about their leader’s private life. Yet even as they continued to fight reports that could harm Hitler’s reputation, the Nazis began to construct for public consumption their own version of the private individual. The image of “Hitler as private man” would now be reconfigured from a liability into an asset…Bildung and self-improvement, together with self-discipline, a strong work ethic, and modesty, formed the core moral values of the German middle classes. The components of the “good” Hitler were thus artfully assembled with an eye to courting this constituency of voters and persuading them to abandon their allegiance to [war hero and political opponent Paul von] Hindenburg.

Even the New York Times wasn’t exempt from indulging in Hitler’s spin. Laurel Leff, a professor of history at Northwestern University, published Buried by the Times in 2005, examining the ways the Times either ignored or inadequately covered the Holocaust, partially due to a distaste among the editors for Zionism. In October 1935, the Times magazine included a fawning profile of Hitler as an architect, featuring his remodel of a small Bavarian cottage and it’s transformation into the fortress of Berghof, which was shown completed on the cover of a May 1937 issue.

But perhaps the strangest Times article was, “Herr Hitler at Home in the Clouds.” Written by Hedwig Mauer Simpson, the wife of Stanley Simpson, a British journalist and Munich-based correspondent for the New York Times and Times of London (she was a frequent contributor to the The Associated Press and The Daily Mail)—he would be the first to report on the Dachau concentration camp, a piece that was ultimately turned down by the Times of London. A journalistic power couple within Munich, the Simpsons were among the first reporters to have early access to Hitler, and she was known for her ability to file several stories at once and under intense pressure.

In the article, Simpson rehashes worn troupes about Hitler’s vegetarianism, the long walks he enjoyed with his Alsatian dogs, and his love of the German people. The tick-tock of his daily routine is described down to the minute. Breakfast is at 9 am, lunch is served by “white uniformed butlers,” and dinner is promptly at 8 p.m., with the ladies of the Berghof in evening dress and Hitler in English tweeds. In a rare step back from the festivities, Simpson writes that the setting contains “all the elements of exacting bureaucracy and secret-police efficiency.”

The Times article was published on August 20, 1939, 11 days before Hitler’s invasion of Poland. Simpson would take one of the last peacetime trains out of Munich to London, and it appears she gave up writing following her departure from Germany. There is nothing in the article that suggests the chancellor, who “no makes no secret of being fond of chocolate,” has anything on his mind except the promise of an afternoon nap. Simpson clearly feels pampered and privileged to be in his presence. Whatever she felt on that last train out of Germany isn’t recorded here.

Longreads’ Catherine Cusick recently discussed why articles like Fausset’s and Simpson’s are dangerous: “Reporters and editors committed to covering this movement may not be able to feel their own hearts beating faster out of fear.”

Ordinary details can furnish a room, they can set a table, they can fill the time between hushed meetings of planned genocide or the quiet tapping at a computer, spreading hateful slurs to thousands of followers. If a writer can’t feel that fear, can’t show those feelings on a page, then all the reader is left with is Hitler at home.

The Cost of Being a Regular Ol’ American Place

AP Photo/Seth Perlman

Some places have easy-to-describe landscapes: Southeastern California is hot and dry. Southern Mississippi is swampy and green. Culture is something else, though — even though the Midwest’s flatness seems to define it, people mistakenly conflate its geography with its culture, which eludes easy description.

In The Hedgehog Review, Phil Christman recounts his struggle to make sense of his native Midwest after he moves back there with his wife. People call the Midwest “flyover country” and “the American breadbasket.” They comment on its orderly grid of roads and towns and its endless fields. But when locals tell Christman this is “the middle of nowhere” and “just like anywhere,” he not only realizes a place can’t be both anywhere and nowhere, but that viewing the region as average and normal works to the Midwest’s own detriment. As he wonders what normalcy in America even is, he questions what effect the Midwest’s sense of its own average American-ness has on people, including himself.

What does it do to people to see themselves as normal? On the one hand, one might adopt a posture of vigilant defense, both internal and external, against anything that might detract from such a fully, finally achieved humanness. On the other hand, a person might feel intense alienation and disgust, which one might project inward—What is wrong with me?—or outward, in a kind of bomb-the-suburbs reflex. A third possibility—a simple, contented being normal—arises often in our culture’s fictions about the Midwest, both the stupid versions (the contented families of old sitcoms) and the more sophisticated ones (Fargo’s Marge Gunderson, that living argument for the value of banal goodness). I have yet to meet any real people who manage it. A species is a bounded set of variations on a template, not an achieved state of being.

I took the first option. As a child, I accepted without thinking that my small town, a city of 9,383 people, contained within it every possible human type; if I could not fit in here, I would not fit in anywhere. (“Fitting in” I defined as being occupied on Friday nights and, sooner or later, kissing a girl.) Every week that passed in which I did not meet these criteria—which was most of them—became a prophecy. Every perception, every idea, every opinion that I could not make immediately legible to my peers became proof of an almost metaphysical estrangement, an oceanic differentness that could not be changed and could not be borne. I would obsessively examine tiny failures of communication for days, always blaming myself. It never occurred to me that this problem might be accidental or temporary. I knew that cities existed, but they were all surely just Michigan farm towns joined together n number of times, depending on population. Owing to a basically phlegmatic temperament, and the fear of hurting my parents, I made it to college without committing suicide; there, the thing solved itself. But I worry what would have happened—what does often happen—to the kid like me, but with worse test scores, bad parents, an unlocked gun cabinet.

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