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Captive Audience

Lucas Mann | Captive Audience: On Love and Reality TV | Vintage | May 2018 | 13 minutes (3,553 words)

Hi (: I am ______, I am a 17 year old with a story.

I want to quit feeling like I am not important. I want to be somebody in my life, I do not want to be remembered as some face in the yearbook, I want to be heard. Currently, I make youtube videos, and I have 317 subscribers. I know it is not a big number, but I am finally being heard by some people and I love it. I just want to make people happy, in any shape or form. Putting a smile on people’s faces is my dream! If I could be casted on this show, my life would be complete. I just want people to know me more than just some girl who likes makeup. I want people to know who I am. My family is not against this, but they do think I should focus on school, which I agree with but this is my dream.

Height: 5 feet 5 inches
Age: 17
Gender: Female
Dream: This.

Please help me reach for the stars, this is my dream and if it comes true, I can’t even imagine my life. Help me out (: Help me be heard.

— from the Casting Call Hub website http://www.castingcallhub.com

I have, for a long time, suggested that we get rid of cable. I have even suggested that we throw out our TV altogether so that we may eat at our actual kitchen table and play more Scrabble. I’d say these suggestions come biannually, on average — they used to be more frequent, then ebbed, and are now increasing again. They have been going on for the better part of a decade. They arise, as most of my impulses toward change do, out of feelings of shame. They arise when we open up our home and visitors see the way we live — by which I mean what we watch and the frequency with which we watch it — and make remarks that I take to be scornful:

I cannot believe you guys have all the channels.

Or: How can someone retain so much information about Bravo?

Or: How do you do it? If I had cable, I think I would forget how to live. It’s just too easy to let your mind get lost in the slush and forget to look up.

It seems crucial that lovers put themselves in scenarios that would otherwise be boring and then very pointedly not feel bored.

The relationship between television and life is loaded. The relationship between television and love is, perhaps, even more so. Life, the way I think the term is most commonly used, is about action. Go out and live is the kind of thing that people say to those they deem flawed — ride something, climb something. Engage. Or it can be used as an insult to those who have nothing valuable to offer: get a life.

Love, the way I think the term is most commonly used, necessitates the same action. Loving passively is as shameful as living that way. When we love fully, we are doing something to make that love valid; it’s a conscious process, it’s active. Two people see each other in a way that elevates the act of sight to a challenge that must be confronted. Two people refuse to take their eyes off one another; that’s the idea. When we love fully, we are meant to engage.

*

For a long time, when you would refuse to give up television, I would pretend to be grudgingly acquiescent, as opposed to relieved. You would placate me and say that our watching was your fault, that I was merely implicated by association, the same way it is when I buy ice cream and offer you some — those aren’t your calories if you didn’t seek them out. We would, as a way to avoid any long-term legislation, briefly turn off the TV and spend the following hours in a sort of mutual meditation, leaning over the table at dinner, sometimes by candlelight, taking in the contours of the face in front of us, as though it had changed from the previous day, and the one before that, and the countless expanse of days that stretched out behind us (nearly every day of our adult lives), making us forget what it felt like to not know that face.

The literature of love, both the bad kind and the good, hinges on this type of sustained gaze. And, though the word boredom rarely comes up, it seems crucial that lovers put themselves in scenarios that would otherwise be boring and then very pointedly not feel bored. I’m thinking of Keats here, in one of those gorgeous poems to Fanny that I once read aloud to you in college, the last time neither of us owned a TV. I read to you of Keats wishing only to be:

. . . gazing on the new soft-fallen mask
Of snow upon the mountains and the moors —
No — yet still stedfast, still unchangeable,
Pillow’d upon my fair love’s ripening breast. . . .

People used to live at such a slow, sensual pace. This is the kind of thing I still say on the nights when the TV is off. Nostalgia is all wrapped up in slowness. How long we used to linger. The capacity we used to have for sustained care, sustained concentration, sustained quiet.

My favorite book about love is John Berger’s And Our Faces, My Heart, Brief as Photos. Berger wrote it in 1984 — an early–MTV era book — but he wrote with a slowness that implies timelessness, that makes a piece of writing feel resonant, or maybe the word is authentic. He was an aging icon in the French Alps then, describing the way his life had moved, the way he’d seen the world change, but at its core the book is a missive to his lover.

He writes of when he is without her, thinking of her, how she shifts in his imagination:

In the country which is you, I know your gestures, the intonations of your voice, the shape of every part of your body. You are not physically less real there, but you are less free.

How strong a gaze; how long lasting — until his love (who remains unnamed throughout) becomes the image of herself, a creation of his mind and memory as much as the person he knows. There is a bending of reality in this sentiment, and in turn a sort of dehumanizing, but in Berger’s hands it doesn’t feel gross. Instead, it is a way of seeing I aspire to. It’s the elevation of a person to art: to speak to the one I most care for and hopefully witness a grander sentiment (Love! Timeless love!) whisper out from the intimacy of that address. But Berger wrote these words long before anyone ever wrote the word mansplain, and I wonder now if he might ask for a do-over And I wonder, too, if I should try to find a better way to capture and perform my own love. You don’t need me to tell you what’s there, what’s been there, like it’s a show that only I’ve been watching. And yet I do, uncertain, trapped in my own voice, hoping you see at least a sliver of yourself in the portrait, frozen in sustained care.

We went to the Alps once, with your sister and a bunch of other leather-clad Europeans. All that money blown to spend New Year’s partying at high altitudes. Everybody else went skiing, but you knew I couldn’t, so you let me avoid the embarrassment by staying behind in the cabin. I spent a week binge-watching over bad Wi-Fi, and that experience of waiting for the screen to unfreeze while cold rain pecked at the windows of a moldy chalet only ratcheted up the claustrophobia. I watched. Sometimes I walked until I got bored, then returned to the screen again. I waited to hear you come in the door, and we’d put our cheeks together so I could absorb some of the cold from you.

On New Year’s Eve, after a long party, we lay in bed unable to sleep. The shadows of the mountains were maybe visible through our window, framed in moonlight, but we weren’t looking. We watched each other’s faces and waited for the laptop to buffer. Finally, we were able to watch The Real L Word, a show about actual lesbians in LA, developed to capitalize on the success of a show about fictional lesbians in LA that I never had any interest in watching. It’s a program we’ve only ever sought out in transit — in a motel in Pennsylvania, mid-move, U-Haul packed in the parking lot, dog whimpering at the sound of trucks passing outside, or in a semisecluded corner of O’Hare Airport on a night when all connections were grounded for tornadoes.

Sometimes it’s nice to match moods, to decide on that mood matching together. There’s a restlessness to The Real L Word that appeals only in restless moments. There’s a pulsing crassness to the way the most intimately personal is made to feel branded. The women fuck desperately in some scenes, and with the lights on, no pretense that they’re unaware of the cameras. They look up, let us see their faces, and then plunge their heads back between legs. In the nonfucking scenes, every word they say is loaded with as much pressure as sex; anything said about anyone can be taken as a slight. It’s easy to get a sense that they don’t know one another at all, or maybe they really do and this is how shallow knowing someone actually looks when there’s a camera around — another loaded thought.

Reality should not be a performance; a show, if it’s any good, should probably be exaggerating something. The resulting promise of the phrase, then, is an impossibility.

We were on the futon in the dark, in the Alps, listening to the party die down, and there was Whitney on screen, fucking white-dreadlock Whitney, celebrity makeup artist-cum-minor-celebrity, confessing in the confessional room after a pretty graphic tryst with her on-again-off-again.

Lust is easy for me, she said in front of a bright-red curtain, for some reason. Love is hard. Lust is exciting. Love is scary.

We looked at each other, like always. We didn’t say anything, but let Whitney’s cutaway lines hang between us as a question or an invitation. I saw your face, pale, and my face reflected in your dark eyes. It doesn’t take much to approximate profundity. At least not to me.

***

I’ve written about a lot of things, or it seems that way to me, but ultimately they’re all kind of the same thing. I write about loneliness, or dissatisfaction, or incompleteness. I have tried, in different (though not very different) ways, to make sense of the things that hurt. What is harder, and what I have avoided, is trying to honor the truth of everything that doesn’t hurt: that I am not alone; that (although I am reluctant to say the phrase exactly because of Jerry Maguire) I am closer to feeling complete because we are together; that often, in our little house in front of our big TV for hours until my eyes begin to sting, I am satisfied.

This is hard to reread after writing it. It seems an impossibly small statement to make, one meant to be offered only semisincerely, and a bit drunkenly, at special-occasion dinners.

Barthes says that love, as a subject, has been driven to the backwater of the “unreal.” Then, he strives to distinguish between unreal and disreal. The unreal is the fantastical — Tristan and IsoldeIt’s a Wonderful Life, that kind of thing. In its grandness and sincerity and removal, the unreal is easier to explain, always familiar. And so it’s the love story that is easiest to find in any book or movie or TV show, allowing the audience to linger in swelling impossibility.

But the disreal, Barthes argues, is where love belongs. The disreal is lived experience, the flickering, perceived moment, unsayable — if I utter it (if I lunge at it, even with a clumsy or overliterary sentence), I emerge from it.

My problem is that I am immersed in it and because I’m immersed in it, I can’t think of anything else to utter. We are in one place: our home; we see one person: the other. What else is there to say? I want to believe that I’m not interested in fantasy. I am interested in the disreal, not the unreal, both in the art that I seek and the love that I live. But if you look at any life long enough, with enough vested interest, how do you not begin to push toward the fantastical?


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Whenever you catch me looking at you, you say, What are you looking at? Which is a really loaded question. You know what I’m looking at — you, the person in front of me; what else could I be looking at? But what you’re asking for is the difference between image and interpretation — is what I see more interesting than what is really there, or what you think is really there? And all I can ever say is nothing. And then you roll your eyes and we become exactly what the world would expect us to be. And now I’ve gone from Roland Barthes to a sitcom punch line. I turn back to the TV.

***

It’s hard to trace an exact history of the “reality show.” The term is often applied retroactively — roots can be found in The Real World, back in the mid-nineties, or Cops in the late eighties, or in early eighties variety shows like That’s Incredible! or the seminal seventies docudrama An American Family. One thing remains consistent: it’s always been a tortured lineage, a confounding term.

The best parsing of the language I’ve read is this, from a book called Trans-Reality Television: “Reality show” as a phrase is self-confessing.

In proximity, the two words begin to chip away at each other’s meaning. Reality should not be a performance; a show, if it’s any good, should probably be exaggerating something. The resulting promise of the phrase, then, is an impossibility: transforming facts to the level of the spectacular.

I like that the implication isn’t that we who watch so faithfully are being bullshitted, but rather that we are willfully bullshitting ourselves to get what we want. We are promised a dynamic that cannot actually ever exist, and we accept that.

More than accept it. The genre means a lot to us, to me. I’ve never expressed that sentiment with even a gesture toward sincerity because it’s embarrassing. But I think I mean it. Sincerely. At least for now I do.

When you live alongside anything for a long time — any person, any character, any narrative structure, any screen flicker — you become a part of it and it becomes a part of you.

Far more than I’ve read Berger (or Barthes or Sontag, or any of the others on the grad-school syllabus that I claim shaped how I see the world), far more than we have walked through museums together (and really, how many times have I had the patience for more than one wing and the café?), far more than we’ve sat and listened and harmonized to the songs that we so seriously call ours, we have watched and internalized and discussed televised showings of spectacular reality. The Real Housewives of Atlanta (and New Jersey and New York and Beverly Hills and, to a lesser degree, Miami and Orange County), Keeping Up with the Kardashians, The Real World, Road Rules, The Real World/Road Rules Challenge, Love and Hip Hop, Sister Wives, Basketball Wives, Breaking Amish, Storage Wars, My 600-Pound Life, My Big Fat Fabulous Life, Shahs of Sunset, Married to Medicine, Botched, Say Yes to the Dress, Deadliest Catch, Million Dollar Listing, Intervention, The Little Couple, Vanderpump Rules — there are many more that I’m forgetting offhand, and there have been many that came and went and briefly held some importance for us, and there are many more being produced right now that we will soon adopt. These are the narratives that have underpinned our lives. These are the types of stories that we choose to live alongside.

When you live alongside anything for a long time — any person, any character, any narrative structure, any screen flicker — you become a part of it and it becomes a part of you. A part of what — and, more important, how — you remember.

***

We’re on your bed next to the window in your dorm room and we’re nineteen. I’m running my hands along your tattoo, your first one, and you tell me to stop because you don’t like your body, and I tell you that I do. You don’t believe me.

We ask for everything about each other, the kinds of details that other people wouldn’t know, as though that will confirm the importance of our conversations. My first memory was of a red vacuum cleaner on the gray carpet of my mother’s apartment on East Sixth Street. I was scared of the noise it made. It was a cramped basement apartment, and every sound was loud. I was frightened often. This was Alphabet City in the late eighties, and outside our windows I could see and hear the pacing boots of methadone patients waiting for their morning fix.

“Oh, I can picture you,” you say. “Were you blonder? Were you chubby?”

I was, both. And I want you to picture me that way: a cherub in a hard, looming world.

I do remember the vacuum cleaner, and that the carpet was gray. I have heard about the methadone clinic from my mother, mostly cheerful stories about me getting free lollipops. I don’t remember it, but I can picture it now, too.

You are running your fingers through my hair and smiling at what isn’t an outright lie, just an interpretation, the beginning of a character that I would rather you see, another in a quickly building collection — Q: How many partners have you had? A: Plenty. Q: Wait, did you come already? A: {Indecipherable, hopefully erotic grunt}.

You say you remember almost nothing. You didn’t speak as a child, you say, like not ever, because you moved to different countries and had to start learning language all over again. You remember an overall feeling of loneliness, but hardly any images. Oh, here’s one, you say. Coming back from the beach in Italy, drinking peach nectar out of a carton — how sweet and thick and simple it was. Oh, and you had a boy’s haircut. Oh, and you were bullied for your weirdness, and your silence, so you preferred to be alone — most of the memories you have are of that pain. Oh, and one more thing: you were a liar. When you did speak, it was never the truth. And there was one particular lie you told that was too big, too painful, and you’ll never talk about it even still.

This scares me a little but mostly turns me on — a repressed past; an untellable secret; dark, brooding eyes under a strange, little-boy haircut, lonely, sucking nectar out of a carton. It becomes instantly important to know that there is something unknowable about you.

***

I keep thinking of your secrets and the lonely anger, and all those redacted memories for a while, and then I forget about them as other details emerge to pay attention to. But these plot points linger, always, making each new scene a little more enthralling, and then they resurface, brief, overpowering — reminders that we can see so much of each other, know each other as best we can, and yet always, underneath, there is the unknown.

A few years later, at a party in Brooklyn, you’re talking and drinking and laughing, and then suddenly you’re silent and flushed, looking over my shoulder, down a crowded hallway. You’ve seen someone from childhood, from an American camp you were sent to when you knew no English, and your face is the face of a silent girl, alone and enraged. At first you ask me to hide you, but then she comes up and says, “Oh my God, how crazy to see you! Remember camp? Don’t you miss camp?”

I watch you glare at her, silent for a moment, and then you crescendo into emotion. You say that you don’t miss it at all. You tell this girl that she had been so cruel — does she even remember what she did to you? She says, “No, not me,” and you stand closer to her, and say with a new force, “Yes, you.”

There are others around us at the party, turned stiff and awkward, but you don’t see anybody else. The camp girl says she doesn’t remember it the same way, but then she squeaks through an apology. You don’t accept. The crowd watches; I watch, and watch them watch you. I am transfixed — by your tears, by your rage, by this beautiful soap-opera haze that has fallen over the hallway.

On the way home you don’t bring it up. You are silent; you hold your body in what looks to be a performed, anguished seethe, and I keep stealing glances at you as we walk. Years have passed, and I still remember it, a vivid, pleasurable return each time — those mysteries in you, the pain turned to brief power, probably overblown in my mind but always potent.

* * *

Lucas Mann is the author of Captive Audience: On Love and Reality TV, out in May from Vintage Books.  He is also the author of Lord Fear: A Memoir, and Class A: Baseball in the Middle of Everywhere.  He teaches creative writing at The University of Massachusetts Dartmouth, and lives in Providence, RI, with his wife.

From Captive Audience by Lucas Mann.© 2018 by Lucas Mann. Reprinted by permission of Anchor Books, an imprint of the Knopf Doubleday Publishing Group, a division of Penguin Random House.

 

Earning Our Place on the Planet: An Interview with adrienne maree brown

Gant Studios

 

Justin Scott Campbell | Longreads | April 2018 | 19 minutes (5,357 words)

 

When I was first introduced to the work of adrienne maree brown, it was through fiction. A mentor at the time suggested I read Octavia’s Brood: Science Fiction Stories from Social Justice Movements (AK Press, 2015), a science fiction anthology co-edited by adrienne and the activist Walidah Imarisha. Their goal was to produce a collection of “Visionary Fiction” written by social justice organizers; the grounding principle of their collaboration was the idea that “all organizing is science fiction.”

In that project, adrienne asked activists to imagine possible future worlds; in her next project, she’s asked her readers to imagine a future for the only possible world: this one.

The one that’s dying.
Read more…

Here is My Heart

 

Megan Stielstra | An essay from the collection The Wrong Way To Save Your Life | Harper Perennial | August 2017 | 27 minutes (7,366 words)

 

This is the first in a three-part series on gun violence.

In part one, long after the shooting at her old high school, Megan Stielstra worries about her father’s heart.

In part two, Nicole Piasecki writes a letter to the wife of the shooter who killed her father.

In part three, Megan and Nicole talk about the shooting that changed their lives, who owns the story, and what to do with fear. 

 

* * *

Write your name here. Address, here. Here — check every box on this long list of disorders and diseases and conditions that are a part of your medical history, your parents’ medical history, your grandparents’ medical history and down the DNA. So much terrifying possibility. So much what if in our blood, our bones.

I checked two. Melanoma and —

“Heart disease?” my new doctor asked. I liked her immediately; her silver hair, her enviable shoes. Is that an appropriate thing to say to your doctor? I know we’re talking about my vagina but those heels are incredible. Later, I’d love her intelligence and, later still, her respect for my intelligence even when — especially when — I acted bonkers. She removed the weird, spotty growths from my arm and told me they weren’t cancer. She diagnosed my thyroid disorder and fought it like a dragon. She helped me understand my own body and demanded that I treat it with kindness, even when — especially when — I was stressed or exhausted or scared. It’s so easy to forget ourselves, to prioritize our own hearts second or tenth or not at all. Do you see yourself in that sentence? Are you, right this very moment, treating yourself less than? Cut that shit out, my doctor would say, except she’d say it in professional, even elegant doctorspeak and to her, I listen. Her, I trust. Every woman should have such an advocate and the fact that our patient/doctor relationship is a privilege as opposed to a right makes me want to set the walls on fire. Look up — see the wall in front of you? Imagine it in flames.

“Megan?” she said, and I pulled myself away from her shoes. “There’s a history of heart disease in your family?”

“Yes,” I said. “My dad.”
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The Changeling

Headshot of the author at 18, courtesy of the author; body composite by Katie Kosma.

Alexander Chee | Longreads | April 2018 | 16 minutes (3,921 words)

Some years into the writing of my first novel, I was 32, living in Brooklyn and waiting tables in a midtown Manhattan steakhouse a few shifts a week. I worked there instead of some trendier or more downtown place for the exact reasons that made it seem odd to the people I knew: it was a world apart from the one I wanted to live in. The commute was long, 45 minutes on the subway each way from my Park Slope Apartment, but I used the time to read and write, often writing on legal pads as I came and went. My income from three or four nights a week, 5 hours a night, was just 15 percent of what the people who ate there spent on dinners out each year — after taxes, I lived comfortably on this. To my relief, I never saw anyone I knew there, except for a single classmate who worked at Vanity Fair and was good at not condescending to me. Celebrities came so regularly, it was a little like working inside the pages of a gossip magazine. I remember the day O. J. Simpson reserved a private dining room under his lawyer’s wife’s name, but then came out onto the main floor, joking around with the diners. The New York Post cover the next day had a photo of our steak knife, bearing an uncanny likeness to the presumed weapon in his wife’s murder.

The best celebrity sighting for me, however, was Dr. Ruth Westheimer.

The hostess seated her in my section for lunch, at an unassuming but generous table by herself. “I love her,” the hostess said, as she walked by me. We had what I thought of as the ordinary interactions between waiter and guest, and I left, put her order in, and returned to my work. Sometime after her food had been served, she called me over as I passed her table. I stopped and leaned in.

“You’re not a waiter, are you?” She said this with a conspiratorial affection, like she knew me.

“Is something wrong with your service?” I asked, alarmed.

“No,” she said, smiling. “Everything is wonderful. But you’re not a waiter, are you? You’re a writer.”

The lunchtime clamor receded a little around the last word. I felt found out, if in the nicest possible way

“Yes,” I said. “Yes, I am.” I then asked her why she had asked me that.

“You can just tell,” she said, her smile gone cryptic.

I thanked her, then went back to serving lunch. I tried to think of what it was that had caused her to descend into my station like an oracle and make this pronouncement, the sort of unrealistic deus ex machina moment of the kind I eventually made the topic of my eventual second novel. I was surrounded by coincidences then, a forest of messages from the universe. But this couldn’t have been a coincidence. Surely this was something else, a more divine and direct kind of message. The voice from the burning bush, but instead of a bush, the message was coming from that marvelous smile, the familiar, kind eyes, the perfect hair — and that twinkle.

Here I was again in an old story, one that had begun with people always telling me to be a writer, starting at the age of 14. My interaction with Dr. Ruth that afternoon, though, mattered in an entirely new way. By that time, I had finally decided to be a writer. I just wasn’t sure I could do it. But I was trying. I was halfway through the novel, though I didn’t know that then. The difference Dr. Ruth made, however, was this: she wasn’t telling me to go and become a writer. She was telling me I was one. And that it was finally something visible, even legible, no matter what else I was doing.

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The Strike: Chemicals, Cancer, and the Fight for Health Care

Ian Frisch| Longreads | April 2018 | 32 minutes (8,040 words)

When 59-year-old Jack Mack wandered from picket station to picket station to ask the Question, he tried as best he could to ease into the conversation. He didn’t want to scare anyone off. It was two months into the strike, and tensions were high. “You know, we handle some pretty nasty stuff in there,” he’d say. Or, if the guy was older: “C’mon, you’ve been here as long as I have! You know everyone!” Sometimes, if he already knew the person, he’d cut to the chase: “Wasn’t there a guy you worked with down there that was diagnosed with cancer a few years back? Did he make it through?” If they didn’t answer, staring instead at their steel-toed boots, Mack would lean in and say, “You know, I’m sure you heard, but I was diagnosed with cancer myself. Beat it, but — you know.” Then he’d turn toward the sprawling complex across the street — the site of the only job he’d ever had — and nod, adjusting the cap perched on his head. “Yup. Forty years.” He’d inhale deeply, nearly a sigh. “That’s a lot of hours around those chemicals.” He’d shake his head, unsure if he should blame himself or Momentive Performance Materials, the chemical plant in Waterford, New York, where he had dedicated so many years of his life.

Like Mack, many of the employees on the picket line had worked at Momentive for decades, and while they didn’t know for sure that working at the plant caused their cells to metastasize, the workers certainly knew of the inherent consequences that stemmed from handling carcinogenic chemicals on a day-to-day basis. That fear of a link is what troubled Mack and his cohort, and it’s why in November 2016, nearly 700 unionized workers at Momentive went on strike, protesting what they thought was an unfair contract — one that pushed for more expensive and restrictive health insurance for workers and the elimination of health care for retirees altogether, “many of whom,” according to leaflets handed out during the strike, “are suffering from job-related illnesses caused by exposure to dangerous chemicals.” For decades, the workers had mixed and churned chemicals in a variety of forms to produce an endless array of products, which included specialized goods such as F14 fluids and rubber stoppers on syringes along with items encountered on a day-to-day basis like exterior coatings for soft drink bottles and the rubber used to manufacture nipples for baby bottles.

Now, though, those same workers were walking out for the first time, and the union outfitted a defunct hot dog shack across from the plant into a headquarters. Nearly all of them had been picketing the plant’s nine entrances 24 hours a day, powering through snow squalls, huddling around burn barrels for warmth, trudging through slush puddles.

rattman_2017_01_23_L1020435

Union strikers around a burn barrel outside Momentive’s Water Treatment Facility. (Jonno Rattman)

On the picket line, in rare close quarters with men who worked elsewhere in the massive plant, Mack learned his coworkers’ stories. He took a few minutes out of each day to ask strikers if they’d had cancer or knew anyone who did. Sometime after Christmas, Mack had started jotting down the names — current and retired, dead and alive.

He kept the handwritten list folded up in his jacket pocket, adding new sheets as he collected new stories: six pancreatic cancers, seven bladder cancers, nine brain cancers, 11 throat cancers, 18 prostate cancers — spine, skin, stomach, and more. While these are cancers that do afflict men of a certain age—according to the American Cancer Society, one in nine men will be diagnosed with prostate cancer—the diagnoses outpace certain national averages. Brain cancer afflicts .006 percent of adult males, far below the roughly 2 percent of the strikers with throat cancer whom Mack surveyed. By mid-January, he had 85 names. Many of these men had worked in the plant for more than 20 years, which meant they’d tallied up decades of exposure to dangerous chemicals. (Of the scores of men on Mack’s list, I’ve independently confirmed the cancer diagnoses of two dozen, through interviews with either the men themselves or, in the case of 11 who died, with family and friends.) Mack himself had long known coworkers with cancer. To him and other employees, it was almost commonplace to know a guy who had been diagnosed. “Three other electricians I worked with in waste treatment also have cancer,” he told me. “Long-term exposure — in some of these buildings, there’s no way you can avoid that.” Mack, an electrician who works on the machines that process the plant’s chemical waste was diagnosed with prostate cancer in 2014. His brother, who also works at the plant, was diagnosed with tongue cancer the next year. Their father, who worked at the plant for 36 years, died of cancer in 1994.

Mack’s oncologist, Dr. Kandasamy Perumal, who specializes in urology and has operated a practice in nearby Troy for 35 years, is no stranger to cases like his. “As time went on, more and more people came from that area with instances of malignancy, rather than Troy or Latham or other towns. My practice sees comparatively disproportionate numbers of tumors from people who live in Waterford and Mechanicville,” he said. “But do we know if they all worked at the plant? I don’t know for certain,” he added, explaining that his practice is not obligated to collect workplace information from patients. Momentive said that it was unaware of any chronic health problems among employees as a result of exposure to raw materials, and that their well-being is its highest priority. “The company takes all necessary actions to ensure strict adherence to all federal and state health guidelines,” said a Momentive spokesperson.

There were risks in taking on this kind of work, Mack knew. So did many of the men whose names were folded up in his pocket. But there had been some promise of security at Momentive, a belief that their jobs would take care of them — a good living, a secure retirement, health care. Today they’re not so sure. After the plant was acquired by a private equity firm in 2006, things took a dark turn. A decade of control by Wall Street brought pay cuts and a litany of increasingly rancorous labor disputes — culminating in the massive strike.

When I visited Momentive in January 2017, workers sat at the booths inside the hot dog shack wearing camouflage jackets, reading newspapers, drinking coffee, and eating hot dogs and stale pastries. One checked in picketers who, after nine weeks on the line, were eligible for unemployment. They were also paid $400 a week by the union. The 104-day walkout began November 2 and ended February 14, and during that time these men were constantly on edge, both about the security of their job but more importantly about the precariousness of the benefits they desperately relied upon. The men were on strike for many reasons, but high-quality, affordable health care was their main concern. It was what they needed most.

Bill Tullock, a 55-year-old senior advanced control operator, whose doctor had found a tumor in his throat during an endoscopy for acid reflux in 2015, maintains that he’d never have gotten the routine procedure that led to his cancer diagnosis without Momentive’s old health insurance. At the time, his annual deductible was $500; now it’s $3,500. Tullock doesn’t solely blame the plant for his cancer, but he’s adamant that were it not for the generous coverage, he’d never have known he was sick.

“I dodged a bullet,” Tullock said of his battle with cancer, which, thanks to the low deductible he paid courtesy of his previous health care coverage, was caught early. “With the new insurance, I am pretty confident I would’ve never had the endoscopy, and would’ve never known there was a tumor. Then it would’ve spread, and I wouldn’t have known.” Under the new contract, once he retires, he’s on his own. “I dedicated myself to this place,” he said during the strike in January, sitting in the basement of the hot dog shack, holding back tears. “I should have never started working here. And now they are trying to give us this shit insurance and just — what, ‘Go die?’” He rubbed his eyes with the palm of his hand. “Our health insurance is like the final firewall of personal protection,” he said. “It’s all we’ve got.”

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Bill Tullock was told by his doctor to get an endoscopy in 2015; it turned out he had a tumor in his stomach. Jack Mack sits down with his list of sick workers while on a break at union headquarters. (Jonno Rattman)

The men who’ve worked at the plant for decades and battled cancer — whether they think it’s from the chemicals they handled or not — now face a task familiar to millions, one from which they thought they had a reprieve: They must either sign up for the company’s onerous coverage or fend for themselves to get health insurance, with costs varying widely through the complicated, cumbersome public exchange overseen by the government — the precariousness of which is compounded by the Trump administration’s promise to gut the Affordable Care Act, leaving workers in an even more fretful state of uncertainty.

Like so many Americans, they’re threatened by a toxic triumvirate of lax chemical-safety regulations, costly health coverage, and growing pressures on Wall Street to perform — the latter of which has forced businesses to perform under expectations that set them up to fail, with employees taking the brunt of the downfall

The decade of private equity ownership had gradually worn down a generation of workers, stoking a divide between those who would be taken care of and those who would go without. “Sacrifices were made with the expectation that we would get adequate health care when we retired,” Mack said. “If you are going to work in environments like this, you are going to need affordable health care.” The strike marked dividing lines between worker and owner and financier, but it also revealed a rift so deep that it was often left unspoken: What do American workers owe to one another?

***

Waterford, New York, is one of a cluster of manufacturing towns situated north of Albany, where the Mohawk River joins the Hudson. It blossomed into a factory hub as early as the mid-1800s and was known for its paper mills. A reported stop on the Underground Railroad, it was even visited by Alexander Hamilton and Frederick Douglass. Drive into town from across the Hudson and you’re greeted by a memorial to Waterford’s veterans, including men who fought in the Revolutionary War. Keep driving north on Route 4, past the village center, and the Momentive complex flanks both sides of the road, sprawling across an 800-acre plot.

The town greeting in Waterford, New York.

The town greeting in Waterford, New York. (Jonno Rattman)

The chemical plant is one of Saratoga County’s largest employers. First built by General Electric in 1947, it anchors the region both economically and culturally. For decades, the plant with its hundreds of union jobs offered its primarily male workforce a stable, middle-class kind of prosperity, one where high school graduates could eventually earn a six-figure salary. There was a sense of local pride: The soles of the boots in which Neil Armstrong took his one small step were made of silicone rubber manufactured here. “If you’re from here, this is where you work,” said Vinny Anatriello, a third-generation employee. “And if you don’t work here, you work in the school where all the guys’ kids go to, or you work in the doctor’s office where the guy’s sick wife goes, or you work in the grocery store.”

It’s no secret to the workers that materials used in Momentive’s Waterford plant can be dangerous. It’s been this way for decades. The plant sources silicone ore and, through reactions with various chemicals, produces materials used in consumer products ranging from shampoo and medical equipment to caulking and car parts. Numerous longtime workers say that the current operations use dozens of toxic chemicals, among them benzene, lead, mercury, and hydrochloric acid. The waste it has produced over the years — over 11.4 million pounds in 2015 alone — has at times included more than three dozen toxic chemicals, 11 of which are carcinogens, according to the Environmental Protection Agency.

There used to be even more, workers say, decades ago when GE owned the plant. Numerous workers said that until the early 1980s, they cleaned their winter coats with pure trichlorethylene, now a known carcinogen, and used fiberglass and lead as fillers in chemical mixtures. For some processes, they weighed out raw lead by hand. “Back then we’d scoop it like it was salt,” said George LaMarche, 65, who retired in July 2017 after 44 years at the plant and whose doctor is closely monitoring his elevated prostate-specific antigen levels — potentially an early sign of prostate cancer. “We never wore any protection for that.” In a statement, a Momentive spokesperson said that the company provides all its employees with protective equipment, extensive training, and instructions in how to properly handle the materials they work with: “When employees act in accordance with the policies and procedures Momentive has in place, potential risks are mitigated.”

Millions of American workers are exposed to carcinogens, or possible carcinogens, according to the National Institute for Occupational Safety and Health, the division of the Centers for Disease Control and Prevention that researches and investigates workplace safety and health. In 2012 alone, upward of 45,000 diagnosed cases of cancer — and, since the agency is still investigating and uncovering potentially carcinogenic materials used by the American worker, perhaps twice that many — were caused by past workplace exposure. On average, nearly eight times as many people die each year of diseases acquired on the job as die from injuries sustained on the job.

He kept the handwritten list folded up in his jacket pocket, adding new sheets as he collected new stories: six pancreatic cancers, seven bladder cancers, nine brain cancers, 11 throat cancers, 18 prostate cancers.

Since 1976, federal law has required all new industrial chemicals to be submitted for review by the Environmental Protection Agency. (Tens of thousands of industrial chemicals already in use were grandfathered in.) But after that initial environmental review, many industrial chemicals — which don’t necessarily have to get tested before being used in manufacturing — may never get a closer look by regulators. Once chemicals have entered the market, U.S. law only requires the EPA to collect data on the roughly 3,700 of them that are used at a rate of at least 500 tons per year. The data collected pertain mainly to their effects on the environment or the consumers of the products they produce — not on the workers who handle them.

“These chemicals are never sent back with actual information from the workplace,” said Jennifer Sass, a senior scientist with the Natural Resources Defense Council’s health program. “The regulations are focused on the end of the pipeline. But you can’t put the genie back in the bottle at that point. People are already affected.”

Updates to the Toxic Substances Control Act, which was amended by Congress in 2016, mandated more pre-market testing for new chemicals seeking federal approval and required the EPA to review already-approved chemicals in widespread use. Ten of the most toxic of those are slated to be tested in 2018, but it’s unclear whether that deadline will be met. (Two of the chemicals have been commonly used at Momentive.) Since then, however, President Donald Trump has promised to scale back regulations broadly and has targeted federal agencies, the EPA chief among them, for sharp funding cuts.

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Momentive Performance Materials, a chemical plant in Waterford, New York (Jonno Rattman)

In May 2017, Nancy Beck, a former industry advocate and executive at the American Chemistry Council (of which Momentive is a member), was selected to become the deputy assistant administrator of the EPA unit tasked with implementing the updates to the toxic-chemicals law. Just two months earlier, she had gone before a Senate subcommittee as a then-executive at the ACC to push back against the review process. According to an investigation by Eric Lipton at The New York Times, the EPA has spearheaded “a broad initiative by the Trump administration to change the way the federal government evaluates health and environmental risks associated with hazardous chemicals, making it more aligned with the industry’s wishes.” This included reevaluating plans to ban certain uses of two chemicals that have caused dozens of deaths or severe health problems: methylene chloride and trichloroethylene, both of which have been used by Momentive employees.

Regardless of these policy reversals, tens of thousands of chemicals that have been in production for decades still need review. The Union of Concerned Scientists, an environmental-advocacy group, estimated in 2015 that it could take 50 years to reevaluate 1,000 of the most toxic chemicals on the market. “Most toxins have not been adequately studied, employees have no tools to act on their suspicions, the companies have a disincentive to learn the full truth about what its chemicals do in terms of health impact, and the government is underfunded and doesn’t have sufficient tools to fully investigate,” said Dr. Steven Markowitz, director of the Barry Commoner Center for Health and the Environment at Queens College. “It’s a recipe for making the health consequences of working with toxic chemicals invisible.”

***

Tim Larson is a tall, broad-shouldered man who wears a musty cap tossed on his head. When I met him during the strike, he carried a megaphone that he used to shout chants on the picket line. His face lit up when he screamed, and his eyes — which seemed to hang out of his skull — bulged even further from their sockets. I stood with Larson most nights while I was there — he held the late shift on the picket line — and he explained that the plant is a complex of various buildings, each housing in a different part of the production line. You’re either breaking down raw ore, reacting the rock with chemicals, mixing together intermediate materials, packing products, or organizing them for storage and shipment.

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Tim Larson steps off a bus before a protest in Momentive CEO Jack Boss’s neighborhood in Saratoga Springs. (Jonno Rattman)

Larson, a chemical operator, began working at Momentive in 1988 when he was 35 years old. He told me stories about the different parts of the plant, including Building 78. This area of the massive plant is home to the Waterford plant’s fluorosilicone manufacturing operations. There, a silicone base is reacted in roughly 100-gallon “dough” mixers at more than 240 degrees Fahrenheit to produce fluorosilicone gum for use in automobile gaskets and aerospace products. (The mixers are also used to produce “intermediates,” which are unfinished products that passed from building to building within the plant, and included different grades of polymers and fluids.) Long-term exposure to seven chemicals used in Building 78, according to Momentive material-safety data sheets, are suspected of or known to be reproductive toxins. Another chemical, Tris(2-chloroethyl) phosphite, is a carcinogen. Workers call the building the One-Nut Club, for reasons that to them seem less ominous than inevitable.

When GE owned the plant, risks from fluorosilicone production had been on the company’s radar since the 1970s. In a “strictly private” 1977 safety audit, a safety specialist said that research had shown that materials created by these processes, when ingested — which could mean breathing in the chemical or having it touch one’s skin — shrank rats’ prostates and testes “and may have similar effects in man.” The specialist also wrote that tests showed that the chemical compound handled by workers was “probably not a carcinogen.” GE performed a similar toxicity review 20 years after its initial testing and analyzed several chemicals used to the produce fluorosilicones. “The data, although not definitive, did not give rise to any concerns over the potential for carcinogenicity,” the report concluded.

“Nobody admits there is a correlation, but we put stickers on the tanks that hold this stuff, saying that it causes cancer,” Larson told me, referring to the warning stickers that California state law required them to affix. (Many of their products are shipped to the Golden State.) “It’s right there in front of you.” 

“After six years, my eyes started bulging out of my head,” he told me, pointing to his face. He was diagnosed in early 1996 with Graves’ disease, an autoimmune disorder that affects the thyroid. “I had to get my eyelids sliced, because I couldn’t close my eyes,” Larson said. He knows he can’t prove a direct link, he added, but he is “convinced that all my autoimmune problems are directly related to working here.” Soon after his diagnosis, Larson transferred to another area of the plant.

The men were on strike for many reasons, but high-quality, affordable health care was their main concern. It was what they needed most.

Other workers voiced their concerns about Building 78. In 1998, a GE-employed research chemist named Herman Krabbenhoft wrote a letter to two operators who worked there, Joe DeVito and Dan Patregnani, explaining that the previous year he had expressed concerns to managers about the vapors released during fluorosilicone operations. Krabbenhoft wrote that GE’s health and safety manager was supposed to have initiated a study of how to measure the vapors’ concentration, but that after a year nothing had been done, adding that he was told by a colleague to “back off on pushing this because it might affect how GE’s managers viewed me and my performance.”

“Herman was on our side,” DeVito said.“He said, ‘Stay away from it. It’s going to kill you.’” Shortly thereafter, DeVito said, Krabbenhoft was fired. (Multiple attempts to reach Krabbenhoft for comment were unsuccessful; GE declined to comment for this article, referring all questions to the plant’s current ownership, who also declined to comment on the specific incident.)

The building’s ventilation system was updated in the early 2000s, multiple employees who worked there said. The system was supposed to be air and temperature controlled. “It never worked, never sealed the room properly,” said John Ryan, who worked in Building 78 at the time, adding that temperatures could reach 110 degrees in the building due to the faulty system. In 2005, Ryan said he filed a formal grievance, asking to spend less time near the mixer, explaining that he didn’t want to be exposed to the hazardous mixture and its vapors. “But nothing changed,” he said. “And they never fixed the dough mixer either. Materials would come out into the air or spill onto the ground. That’s still going on, until this day.” In mid-2017, Momentive installed a second dough mixer to Building 78 to ramp up production, and though the machine suffered at first from issues relating to its packing seal, there haven’t been any recent health-related complaints. (Both the venting system and the initial dough mixer have also been serviced and are reportedly in working condition.)

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Joe DeVito was diagnosed with throat cancer in 2013. He worked in Building 78. (Jonno Rattman)

Now, DeVito said, workers must wear full-face respirators when they clean the mixers, which have to be pristine before the machine can be used to produce another product. The fluorosilicone is so sticky, Larson claimed, that he used to have to climb into the 100-gallon drum and scrape off any lingering substance with a razor blade. “Fluorosilicone is a highly resistant chemical — oil, water, you name it,” he said. “That’s why it is used on gaskets and car bumpers, or in rocket ships.” According to DeVito, “Momentive took more steps for safety over the years,” but the process itself and the chemicals used in it remained the same. Additionally, the company’s material-safety data sheets do not indicate whether the vapors produced from these chemicals are hazardous to humans, despite there being a warning that TFPA vapors, which are highly toxic, may evolve from the products used to make fluorosilicone gums and polymers. “The company raised certain health issues related to the chemicals used in this building, but despite a very incomplete knowledge base, they draw the conclusion that there is no cause for concern,” said Dr. Markowitz of Queens College, who reviewed the documents. “My conclusion would’ve been: ‘There’s a big gap in what we know versus what we don’t know.’ That’s the proper conclusion.”

DeVito was diagnosed with stage 4 throat cancer in 2013, after a bump on his neck swelled to the size of a golf ball. DeVito told me he knows of five other control operators who worked in Building 78 who were diagnosed with cancer. He told his doctor about his decades of exposure to fluorosilicone vapors. “She said, ‘It would take years to prove that it happened from work,’” he explained. “‘Take care of this and just move on.’” His treatment, radiation, and chemotherapy, were successful. He retired in early 2018.

Some workers, like Tony Pignatelli, who worked in the plant for 34 years, weren’t so lucky. Pignatelli was diagnosed with brain cancer in January 2000 and passed away three weeks later. “My dad knew the risks, but he did it because they took care of them with good pay and health care,” his daughter said. “But I can’t even begin to understand what those guys are going through down there now with this new contract.”

***

Employees accepted the risks associated with working in the plant, the backbone of their community, for over half a century. They felt taken care of: stable pay, a sizable pension, affordable and quality health care, good communication with management, camaraderie with fellow workers. But that all changed when GE sold its global silicone operation, with the Waterford plant as its centerpiece, to a Wall Street investment firm in 2006 in a leveraged buyout. “When it was GE, they treated you like family,” Jack Mack said. “After the sale, everything changed.”

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Matthew, Kenny and Vinny Annatriello—father, nephew, and son—on the picket line. (Jonno Rattman)

Apollo Global Management, a private equity firm that manages $249 billion in assets, bought a controlling stake for $3.8 billion, then saddled the corporation (which changed its name to Momentive Performance Materials in December 2006) with $3 billion in financing debt while it collected a $3.5 million that first year for “financial and strategic advisory services.”

Many employees didn’t understand the implications of the sale until 2009, when nearly 400 production workers received surprise pay cuts. Brian Cameron Jr., a 34-year-old second-generation employee, was making $27 an hour as a chemical operator. He had just bought a house in Waterford and a new Dodge Ram pickup the previous summer. “Everything was going good. I paid my bills,” he said. “I thought I was set for life.” Then his wages were slashed to $17 an hour. He eventually took a higher-paying position at the plant, but his debt piled up too fast. “I thought if I moved quickly, I would be able to save my life,” he said. “But it was too late.” He lost his house, gave back his truck, and moved into a coworker’s apartment.

The cuts meant that his coworker Ron Gardner, then 53, and his wife, Donna, could no longer afford the $1,300 monthly payments on their two-bedroom ranch home in Grangerville. “We were struggling,” he said. A few years later, in 2013, they abandoned it and moved into a trailer park in Saratoga Springs, just two miles from Momentive’s current CEO Jack Boss’s $950,000, 4,375-square-foot home. They took out personal loans to pay for a $23,000 double-wide, then used savings and loans from family members to pay for the roof and the lot’s rental fees. Unable to sell their ranch, they filed for bankruptcy and began paying off their new debts.

The local union contested the wage cuts, and 18 months later, in 2010, with their contract soon to expire, Momentive agreed to settle by issuing back pay — more than $50,000 before taxes for some workers — while making the wage cuts permanent going forward. Gardner, Cameron, and others who had lost their homes or been pushed into bankruptcy by the cuts couldn’t turn down the chance to repay their debts. “People were so broke from the wage cuts, they voted yes for that contract,” said local union president Dominick Patrignani, who has worked at the plant for over 30 years and was the chief bargainer during last year’s strike. “They were given no alternative.”

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Ron and Donna Gardner lost their home, then Ron developed esophageal cancer. Dominick Patrignani, president of the local union, is the chief bargainer for the 700 strikers. (Jonno Rattman)

But Momentive wasn’t done. In 2013, the company froze pensions for workers under 50 and those with less than 10 years of service. “Every contract, they slashed benefits and made it harder for me to do what my father did: provide for his family,” Cameron told me during the strike. All of this is par for the course for private equity firms like Apollo. According to a study led by Josh Lerner, professor of investment banking at Harvard Business School, private equity buyouts lead to sizable reductions in earnings per worker compared with traditional companies, as well as modestly greater job loss, with a comparative decline of 4 percent over a two-year period.

“If a private equity firm needs to goose their returns, they will take it out of worker’s compensation — wages, pensions, benefits, all of it,” said Eileen Appelbaum, a co-director at the Center for Economic and Policy Research and the co-author of Private Equity at Work: When Wall Street Manages Main Street. To her, private equity firms only care about one thing: profit. “The fastest and easiest and least controversial way, in their point of view, is to cut compensation. They make a dollar every time they take a dollar out of workers’ compensation,” she said. “Private equity controls management and the board of directors. They can fire anyone at any time. They sit at both sides of the table. There is no one looking out for the workers.”

In 2014, still under Apollo management, Momentive filed for Chapter 11 bankruptcy, trimming its debt obligations from $3.2 billion to $1.2 billion. This is also a familiar tactic for the firm. “It makes sense [Apollo did that] because you create money out of thin air,” said Tony Casey, professor of law at the University of Chicago, who studied the Momentive bankruptcy case. “Apollo is an aggressive investment firm,” he added. “They are not shy when it comes to using bankruptcy to their advantage.” The company announced a public offering three years after it emerged from bankruptcy, but the offering was postponed. When it did, Apollo owned the largest stake of shares.

Taking advantage of bankruptcy courts is also a preferred method of President Trump, who counts Apollo CEO Leon Black as a friend. And while Trump boasts about his dedication to the American worker, the company he keeps deliberately erodes the foundation upon which the middle class is built. In a 2011 interview with George Stephanopoulos on ABC News, Trump said: “If you look at our great businesspeople today — Carl Icahn, Henry Kravis, Leon Black of Apollo — all of them have done the same. They use and we use the laws of this country, the bankruptcy laws, because we’ll buy a company. We’ll have the company. We’ll throw it into a chapter. We’ll negotiate with the banks. We’ll make a fantastic deal. … You know, it’s like on The Apprentice. It’s not personal. It’s just business. OK?”

“Every contract, they slashed benefits and made it harder for me to do what my father did: provide for his family.”

During Momentive’s bankruptcy proceedings, GSO Capital Partners, the credit arm of Blackstone Group, one of America’s largest hedge funds — headed by Steve Schwarzman, who chaired President Trump’s defunct Strategic and Policy Forum — translated its bond investment in Momentive into public stocks, a 6.8 percent stake. (A spokesman for Blackstone said the firm sold its stake in Momentive on August 3, 2016 — the same day union workers voted to strike if a contract agreement could not be reached. The spokesman, however, could not provide documentation of the sale. The spokesman also confirmed that Blackstone senior adviser John Dionne is still on Momentive’s board of directors.)

In 2013, Blackstone had bought a 20 percent controlling stake in another longtime upstate New York employer, then-declining Eastman Kodak, which had already slashed retiree health care benefits and pensions (though the company did restore elements of its pension plan upon emerging from Chapter 11 bankruptcy in late 2013). When Carl Icahn, the recently ousted special adviser to the president on regulatory reform — whom Trump also counts as a close friend — came to Trump’s rescue and retained full control of his Taj Mahal casino through a bankruptcy proceeding, he shut down the operation rather than give the union employees better health benefits. Roughly 3,000 people lost their jobs. “It’s a classic take-the-money-and-run — Icahn takes hundreds of millions of dollars out of Atlantic City and then announces he is closing up shop,” Bob McDevitt, the president of the local union, said in a statement after the closing.

Others in Trump’s family and inner circle have deep ties with these Wall Street operators, whose business tactics, like those being implemented in Waterford, affect middle-class families. Blackstone has loaned Kushner Companies, the real estate empire of Jared Kushner, Trump’s son-in-law and senior adviser, more than $400 million for real estate deals since 2013. The firm is one of the company’s largest lenders. Two months ago, the New York Times reported that Joshua Harris, a founder of Apollo, met with Kushner several times in 2017, at one point even discussing a possible job opening in the White House; by November of last year, Apollo would lend $184 million to Kushner Companies. (While Kushner is no longer CEO of the real estate company and has sold a chunk of his stake, he still reportedly holds properties and other interests in Kushner Companies — those investments are worth upward of three-quarters of $1 billion.) Kushner Companies is also on the clock to pay the $1.2 billion mortgage debt for 666 Fifth Avenue, a 41-story albatross in Manhattan that the company purchased in 2006, which is due February 2019.

Jack Boss joined Momentive as an executive vice president in March 2014, one month before the company filed for Chapter 11 bankruptcy, and he officially became CEO that December. The union believes that Apollo brought in Boss specifically to weaken the union during the next contract negotiation, which was slated for 2016. “They planned this entire thing,” Dominick Patrignani, the local union president, told me. “They knew what they were doing.”

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Dan Patregnani, a union member who worked in Building 78, and the headquarters of Apollo Global Management at 9 West 57th Street in. New York City. (Jonno Rattman)

In mid-January 2017, workers rallied outside the midtown Manhattan headquarters of Apollo Global Management, the private equity firm that had bought their company more than a decade prior. About a month later, members of their parent union, the Communications Workers of America, also handed out leaflets near the White House as President Trump met with Schwarzman, whom he had named an economic adviser and head of the Strategic and Policy Forum during the early days of the strike. (The 16-member group would disband just months after this meeting.)

Jack Mack, the second-generation worker who compiled the list of employees with cancer, trekked down to New York City to participate in the demonstration outside Apollo HQ. He stood with dozens of other workers and supporters, and his hot breath crusted in the frigid air as he called out Leon Black by name. This was the first time I met Mack — the strike had just begun. As the event came to an end and the NYPD began to shuffle protesters off the street, I asked Mack what he planned to do next.

He looked me in the eye and said, “Go back up to the plant and stand out there until this whole thing comes to an end — until we get what we deserve.”

***

The labor negotiations broke down over the summer of 2016, and by August a strike seemed imminent. In early September, 85 percent of workers rejected an offer that would have forced current employees into more expensive health insurance plans and eliminated the much-beloved benefit for future retirees altogether. They officially went on strike November 2. Five days later they voted again, with the same result — they rejected the offer by a larger margin.

Ron Gardner retired on New Year’s Day 2015. He was 61. He’d already lost his home and moved into his trailer, and he’d spent much of the previous summer at Saratoga’s venerable racetrack, watching and sometimes betting on the races. “I won enough to keep going the entire season,” he said, seated at his dining room table, television game shows audible in the background. Soon after he retired, he changed his health insurance on Momentive’s recommendation, switching providers and opting for a plan that was cheaper from month to month but caused his deductible to rise from zero to $3,500. He wasn’t worried. “I had never been sick a day in my life,” he said. But shortly before he retired, right around Thanksgiving 2015, he began having trouble swallowing. “It scared me,” he recalled. “I couldn’t even swallow my own spit.” There was a nearly two-inch tumor in his esophagus: adenocarcinoma, a form of cancer.

Gardner had begun working at GE’s Schenectady plant in 1973 and transferred in 1988 to Waterford, where he held various positions over the years, including the production of chemical mixers for caulking After GE sold the plant in 2006, he worked for more than two years refining chemicals in Building 30, filtering out cloudy imperfections before transferring those same liquids into drums to be sold to consumers. “I often inhaled a lot of vapors,” he said.

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The water treatment facility at Momentive Performance Materials. (Jonno Rattman)

Gloves, Gardner said, weren’t required for the job. According to material-safety data sheets, gloves are required only if a risk assessment deems them necessary. “He would come home covered in this caulking shit, all over his clothes and his hands,” his wife, Donna, said. “It would be everywhere.”

He transferred five years later to wastewater treatment, where he ran presses that compacted hazardous waste into dry, disposable cakes the size of kitchen tables before dropping them into trailers for disposal. He had to clean up spilled waste by hand and scrape out the presses if the cakes didn’t fall properly. The plant, he added, didn’t require respiratory protection for that particular job. “I breathed that stuff in for three and a half years,” he said. By the time Gardner began his last job at Momentive, the white walls of the facility had long turned gray from the dust produced by the waste. “That’s where I think I got the cancer from.”

Starting in January 2016, Gardner began a six-week course of chemotherapy and a month of radiation, paying off the $3,500 deductible in installments. Despite the treatment’s apparent success, Gardner’s doctor pressed him to undergo an esophagectomy. The operation — which would remove part of his esophagus and reconstruct it with the upper portion of his stomach — would be risky, and one of his lungs would have to be temporarily deflated during the procedure. Gardner decided against it.

By October 27, 2016, his cancer had returned. He needed the surgery to survive. But now he was racing against two clocks: the cancer and the company. Labor negotiations had broken down months before; the strike would begin within a week, and his current insurance coverage would run out at the end of December. “Company-paid medical, dental, vision, and drug coverage will not extend for the duration of employee strike activity,” a letter to employees from Momentive said.

“I wrote all the numbers down, in case I didn’t make it through the surgery, so Donna could get my pension,” Gardner said. “I didn’t trust Momentive to call her and say she was entitled to it.” He called his lawyer and had his will updated. He went into surgery on November 29, and spent nearly two weeks in the hospital. “I wish I could’ve been out there on the picket line,” he said. “It was all such bad timing.”

Once home, Gardner was told by Momentive to sign himself and Donna up for new health insurance through Mercer, a private online benefits marketplace, where employees can choose from a variety of providers and plans. A 2014 Aon Hewitt survey found that despite accounting for only 5 percent of current plans, 33 percent of employers said they would begin offering insurance through private marketplaces in the next three to five years. In a 2016 report, Mike Gaal of Bloomberg BNA wrote that large employers pitch private exchanges to employees as a way for them to “buy down” to more appropriate levels of coverage. “While this may be true,” he wrote, “the reality is that the plan savings, in this example, are derived through shifting costs to employees through high deductible, copayments and out-of-pocket limits.”

“I wrote all the numbers down, in case I didn’t make it through the surgery, so Donna could get my pension,” Gardner said. “I didn’t trust Momentive to call her and say she was entitled to it.”

The Gardners’ 2017 deductible would drop to $600 each, but their monthly premium soared from $262 to $1,152 per month — a hike Momentive promised to offset for already-retired workers under 65 with a $400 monthly subsidy. He got his first subsidy check on January 27, 2017. As a retiree, Gardner was one of the lucky ones. The younger generation was battling a contract that offered them expensive insurance while they worked — and nothing when they were finished with their working lives.

***

As the strike wore on, it drew the attention of elected officials in the area. Twenty-one Albany County lawmakers wrote to Momentive chief executive Jack Boss that the proposed contract seemed “to greatly hurt retirees and take too many health care and retirement benefits away from active employees.” State comptroller Tom DiNapoli reached out to Apollo; he has New York’s state-employee pensions partially invested through the firm. “I urge you to encourage Momentive to work diligently towards an expeditious settlement of this dispute on terms that are fair to labor and management,” he wrote. On the picket line in Waterford, one popular sign slung around the necks of strikers called out Apollo’s chief executive by name: hedge fund billionaire leon black, tell momentive: don’t destroy good jobs.

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Union strikers hold a sign outside of Momentive CEO Jack Boss’s home near Saratoga Springs. (Jonno Rattman)

In early February 2017, likely facing pressure from the governor’s office and intense publicity around both the strike and Momentive’s high-profile shareholders, Boss contacted the union’s regional leadership, bypassing the local chapter, and offered to resume negotiations. Four days later, a tentative deal was reached. Governor Andrew Cuomo, in his first public statement on the strike, announced his support for the deal, calling it key to “investing in the [union’s] world-class workforce, restoring operations at the plant and keeping upstate New York moving forward.”

Under the proposed new contract, to be voted on February 13 and 14, Momentive would keep matching 401(k) contributions of workers whose pensions had previously been frozen and would pay each striking employee a $2,000 bonus upon returning to work. In exchange, the union would accept the proposed health care amendments for current workers — more expensive premiums and deductibles. The company, rather than provide health insurance to future retirees, agreed to give at least 100 veteran workers a $40,000 cash bonus upon retirement — around $23,000 after taxes — that would hopefully cover any medical expenses before workers were eligible for Medicare at age 65. Though this was a win for the union, the next round of negotiations, in 2019, could decide the future of whether retirees will continue benefitting from Momentive’s medical coverage. “We have the right to negotiate now, which we didn’t have before last year’s strike,” says Patrignani. “It was going to sunset, but it’s still a topic of bargaining for future contracts.”

“You either have a preexisting condition, or you have an underlying condition, or you have an undiagnosed condition because of the inherent risk of working in a chemical plant,” said Robert Hohn, a 55-year-old employee. “You would probably have to pay a high premium and a high deductible. Would $23,000 cover that if something went wrong?” Hohn’s wife has degenerative disc disease, which requires constant care, and chronic gastrointestinal inflammation. Under the new contract, Hohn would have to pay $74 per week for him and his wife, with a $3,500 deductible and an annual maximum payment of $7,000. (Most workers signed up for this plan, which is the cheaper of the two; the other option has a $12,000 out-of-pocket maximum for a family). “The health care is going to kill me,” he said the day of the vote. “With my wife’s condition, we will definitely be hitting the maximum every year.” When the new contract came up for a vote, he felt he had no choice but to vote no. (At the beginning of 2018, Hohn’s wife left the insurance plan; he now pays $36 per week and a deductible for himself of $1,750.)

But many other workers feared that if the contract didn’t pass, some would cross the picket line to return to work, giving up their representation and fracturing the union. “They are pitting us against one another and using that to their advantage,” one worker said as he waited in line to vote on the proposed contract. “People are scared, feeling forced to vote ‘yes,’ even though the contract isn’t much better than what we went on strike for.”

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A classified ad for temporary replacement chemical operators in the Saratogian newspaper on a table in the union’s break house.

This internal tension became more and more apparent as the strike wore on, endless weeks of picketing outside during the coldest part of the year for upstate New York. “When it comes to these guys losing their health care, I should give a fuck?” one Momentive worker, speaking on condition of anonymity, wondered aloud in January, before the new union contract was ratified. “Why should I care about you when you didn’t give a shit about me in the past?”

Like some other younger union workers at the plant, he was in the minority and had voted yes on the contract back in September, recalling the wage cuts and pension freezes of years past. To them, the older generation were on their way out; the younger workers needed this place to provide for their families for decades to come. They wanted a fair contract for everyone, but they didn’t want to ruin what they had already — a stable job — and were willing to sacrifice benefits in the process.

Apollo has shut down other manufacturing plants in the past, and that threat was real for workers on the picket line. Noranda Aluminum’s Missouri plant once employed over 800 union workers. Then it began a slow decline, and after Apollo sold its position in 2015, the plant shut down in early 2016. To some workers, a long and intense strike could make that possibility a reality. “To me, it’s not worth losing all of this. If they shut down, where will we go?” said another during the strike. “Stop whining and move forward. These old guys, they’ve had it so good for so long that they don’t want to give anything up. Sometimes, to me, it’s better to take one step back so I am able to still move forward — not like this situation now.”

The contract passed on February 14, 2017. The men went back to work within days. “They didn’t achieve everything they wanted,” said Bob Master, the union’s legislative director for the region. “But sometimes the fruits of victory don’t show up until later on, during the next round of negotiations, when the company remembers the spirit and determination of a united workforce.”

***

Robert Hohn and his coworkers are already anxious about what new concessions their next contract negotiation in 2019 might bring. Since the company’s sale to private equity a decade ago, men like Ron Gardner, who went into bankruptcy after leaving his home for a double-wide trailer and fought cancer from exposure at the plant, have watched as their Wall Street–backed corporation trimmed job benefits they’d counted on for decades — benefits all the more crucial now, as they face retirement tinged with the threat of cancer. This time around, it was health care for retirees. What will it be next time?

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Outside the entrance gate of the Momentive chemical plant. (Jonno Rattman)

Apollo, meanwhile, announced in July 2017 that the firm had raised $24.7 billion for its latest global buyout fund, the largest sum of leveraged-buyout capital ever raised by a private equity firm, poised to pave the way for many more acquisitions like the one that created Momentive. Up in Waterford, there are whispers that Apollo is even trying to force the landlord to sell the hot dog shack — which the union still uses as it’s headquarters — and its surrounding land rights.

But despite these big-picture moves by corporate financiers, workers at the plant are still focused on their benefits — assets that are crucial to their survival. “I still don’t trust Momentive,” Gardner told me. The company had already cut his pay. What, he wondered, would prevent it from eventually taking away the insurance subsidy he received each month? If he lost the subsidy before he got Medicare, he explained at his dining room table, he won’t be able to afford health insurance. “After that, I don’t know what would happen,” he added, looking out the window. It was starting to rain. “If the cancer came back and I didn’t have coverage, I would die.”

***

Ian Frisch is a journalist based in Brooklyn. He has written for The New Yorker, The New York Times, Bloomberg Businessweek, Wired, Playboy, and Vice, among others. His first book, on magic and the secret lives of the subculture’s most prominent young magicians, will be published in 2019 by Dey Street Books, an imprint of HarperCollins. 

Editor: Michelle Legro
Photographs: Jonno Rattman

Fact checker: Matthew Giles
Copy editor: Sean Cooper

When Sartre and Beauvoir Started a Magazine

(Photo: Getty)

Agnès Poirier | Excerpt adapted from Left Bank: Art, Passion, and the Rebirth of Paris, 1940-50 | Henry Holt and Co. | February 2018 | 20 minutes 5,275 words)

In September 1945, together with their band of students and friends, Simone de Beauvoir and Jean-Paul Sartre were working night and day finalizing the first issue of their journal Les Temps modernes. They had launched the idea at the end of 1944, choosing the title as a tribute to Chaplin’s Modern Times, and, apart from Camus who was too busy editing Combat, they could rely on almost everyone else to write for them — Communists, Catholics, Gaullists, and Socialists: their schoolmate and liberal philosopher friend Raymond Aron, the Marxist phenomenologist Merleau-Ponty, the anthropologist and art critic Michel Leiris, the Gallimard supremo Jean Paulhan, and even Picasso, who had agreed to design the cover and logo, along with a new generation of writers who were submitting articles and ideas such as Jacques-Laurent Bost. The British writer Philip Toynbee would contribute a Letter from London, while novels and essays the committee particularly liked would be serialized prior to their publication or with a view to attracting a potential publisher. Les Temps modernes would be a laboratory of new ideas and a talent scout rolled into one. Simone de Beauvoir had personally approached the minister of information, the Gaullist and résistant Jacques Soustelle, to ask for an allocation of paper.

Gallimard had agreed to finance the journal and to give the team a little office where they could hold their editorial meetings. The first issue was planned for October 1, 1945. Jean-Paul Sartre was made the head of the publication, “Monsieur le Directeur,” and he thought it important to make himself available to everyone. This would be democracy and public debate in action. He committed to receiving anyone who asked to see him at the magazine’s office at 5 rue Sébastien Bottin every Tuesday and Friday afternoon between five thirty and seven thirty. This commitment was printed at the beginning of the magazine, along with the telephone number Littré 28-91, where they could be reached. Sartre had decided to dedicate the first issue of Les Temps modernes “To Dolorès,” in all simplicity. Simone did not blink an eye.

In the first issue, Sartre announced loud and clear what Les Temps modernes stood for. It was to be the megaphone that would carry their thoughts far and wide.

Every writer of bourgeois origin has known the temptation of irresponsibility. I personally hold Flaubert personally responsible for the repression that followed the Commune because he did not write a line to try to stop it. It was not his business, people will perhaps say. Was the Calas trial Voltaire’s business? Was Dreyfus’s condemnation Zola’s business? We at Les Temps modernes do not want to miss a beat on the times we live in. Our intention is to influence the society we live in. Les Temps modernes will take sides.

The tone was set, the thinking promised to be muscular and the writing fearless.
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Rules for Departure

Photo: Michael E. Smith, Book: Sarabande Books

Rachel Z. Arndt | Beyond Measure | Sarabande Books | April 2018 | 9 minutes (2,245 words)

 

It’s hard not to giggle when a shirtless sunburned man is chugging beer from a lawn-ornament flamingo whose head has been chopped off while his friends call him “dickhead” in support, while overhearing voices from the front of the bus saying the GPS is wrong, we’re lost, and while trying, from behind sunglasses, to pretend to be asleep. But so it was, as two friends and I hitched a ride to Rock Valley, Iowa, the starting line for the week-long bike ride across the state that would begin the next day.

See? Even the angry one thinks it’s funny, one of them said.

I tried not to flinch. The problem was bigger than the uneasy rapport we’d struck with these strangers — the problem was that the leaving wasn’t going according to plan, and if the plan was already fucked, then the rest of the trip surely would be because for a trip to go well, it has to begin well.

A man called Dr. Dan was supposed to pick us up at 10 that morning, outside the local hardware store. We’d load our bikes, head towards Des Moines, and be on our way to the northwest corner of the state, ready to start riding back across after a good night’s sleep. The day before leaving, the two friends and I wondered what kind of bus it would be — one guessed a yellow school bus, another a Greyhound-style coach. Both possibilities were nauseating, the names alone evoking the sticky vinyl funk (yellow) and chemically cleaned bathroom sweetness (Greyhound) that would make reading impossible. The word, for either choice, was lurching.

Then Dr. Dan was supposed to pick us up at noon, then 2, then 4, then finally 7, when he showed up. I’d spent the day eating the snacks I was supposed to be eating on the bus, taking food-induced naps, and waking to an alarm that made me jump awake every time into a bedroom bright with sunlight from the west windows. Outside the hardware store, men tied our bikes to the ceiling of an enclosed trailer, which would be pulled behind the bus, and we drove off into the already-setting sun. Rick, our first backseat companion, introduced himself. I should clarify: These weren’t seats; these were mattresses perched on some sort of ledge that was about a third the width of each mattress, so the front was always folding and pulling the whole thing toward the center of the bus. Rick apologized. But it’s fun back here! he said, and explained that the bus had two kegs and we could pay for cups if we wanted and he’d been drinking since he got on, just west of Chicago, and boy, that bathroom was already a mess. Rick wore a Hawaiian shirt and black wraparound sunglasses, had a handshake that took too long to get rid of, legs shaved according to that odd bike-riding convention. Rick had done this all before, he said. Ask me anything, he said.

At least I’d left my apartment in good condition. I made sure to clean everything before I left, as I always do, and put everything away where it belongs — the plates in their metal cabinets, the clothes in their fiberboard drawers — thereby guaranteeing that there would be something tangible and exactly in order to return to. A bit of continuity, a ritual, a joyful habit.

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The Writers’ Roundtable: Fiction vs. Nonfiction

Illustration by Kjell Reigstad and Katie Kosma

Eva Holland | Longreads | April 2018 | 23 minutes (5,900 words)

A lifetime ago, it seems, I used to write fiction. I wrote little stories on scraps of paper as a young kid; throughout grade school, I filled my unused notebooks with attempts at novels; I wrote a few short stories in high school and college. But since I started freelancing full-time a decade ago, I haven’t written a single line of fiction.

For a few years now, I’ve been intrigued by the writers who manage to produce both fiction and nonfiction work — the ones who excel on both sides of the divide. How do they do it? Why? Do they prefer one to the other? Does one feed the other? I had so many questions, I finally decided to convene another writers’ roundtable (last time around, we talked freelancing) and I asked a few writers I admire to weigh in.

Benjamin Percy is a Minnesota-based writer of novels (most recently, The Dark Net), comics, and the nonfiction book Thrill Me: Essays On Fiction. His nonfiction stories have also appeared in the likes of GQ, Esquire, Outside, and Men’s Journal. Taffy Brodesser-Akner is a staff writer at the New York Times, a contributor to GQ and many other fine magazines, and the author of a forthcoming novel. Mary H.K. Choi has written for Wired, GQ, The Atlantic, and more. Her first novel, Emergency Contact, recently debuted on March 27. Adam Sternbergh is an editor at New York magazine and the author of the novels The Blinds, Shovel Ready, and Near Enemy.

ORIGIN STORIES

Eva Holland: When I was younger, I admit I barely even understood that nonfiction writing existed, outside of daily hard news reporting. My understanding of “writing” was entirely “fiction writing,” and I only fell in love with magazines and narrative nonfiction much later. So, my first question is: What came first for you as a writer — fiction, or non?

Benjamin Percy: Growing up, my only doses of nonfiction came from The Oregonian, Time, Newsweek, Fangoria, National Geographic, and Archaeology Magazine. Most of my reading was devoted to novels — mass-market paperbacks with embossed titles and dragons on the cover — and that’s what I hoped to become when I stepped into my first creative writing workshop: a genre novelist. The first time I wrote something that resembled “creative nonfiction,” I was in my mid-20s and only attempted it because a magazine approached me about an assignment.

Taffy Brodesser-Akner: I was absolutely, definitely, without a doubt going to be a fiction writer or a screenwriter. And then I wasn’t! When I left NYU with a BFA in screenwriting, I realized I had zero version of a plan. I didn’t know what to do, so I got a job that was advertised in the New York Times classifieds (a fiction writer might call this foreshadowing). It was to work at a Soap Opera Magazine. I was still writing screenplays, but they weren’t good—they were cynical, in the way that ’90s screenplays were cynical. And I was taught how to write those things so that they would sell, not so they would be meaningful. So I worked at the soap opera stuff, and I wrote profiles of the actors. I was going to get back into fiction…one day. But it was always hovering in the background. It seemed very fancy to me, to write a novel. And very big and out of reach. I became a freelance writer after a time, and realized I couldn’t devote the amount of time to a novel that a novel would need because I couldn’t bet so many working hours on something that wasn’t a sure thing. Read more…

“We All Had the Same Acid Flashback at the Same Time”: The New American Cuisine

Getty / 123RF images, Composite by Katie Kosma

Andrew Friedman | Excerpt adapted from Chefs, Drugs, and Rock & Roll: How Food Lovers, Free Spirits, Misfits and Wanderers Created a New American Profession | Ecco | February 2018 | 17 minutes (4,560 words)

* * *

He spent his last pennies on brown rice and vegetables, cooking them for strangers who shuttled him around. Just in time, people started feeding him.

You could begin this story in any number of places, so why not in the back of a dinged-up VW van parked on a Moroccan camping beach, a commune of tents and makeshift domiciles? It’s Christmas 1972. Inside the van is Bruce Marder, an American college dropout. He’s a Los Angelino, a hippy, and he looks the part: Vagabonding for six months has left him scrawny and dead broke. His jeans are stitched together, hanging on for dear life. Oh, and this being Christmas, somebody has gifted him some LSD, and he’s tripping.

The van belongs to a couple — French woman, Dutch man — who have taken him in. It boasts a curious feature: a built-in kitchen. It’s not much, just a set of burners and a drawer stocked with mustard and cornichons. But they make magic there. The couple has adventured as far as India, amassing recipes instead of Polaroids, sharing memories with new friends through food. To Marder, raised in the Eisenhower era on processed, industrialized grub, each dish is a revelation. When the lid comes off a tagine, he inhales the steam redolent of an exotic and unfamiliar herb: cilantro. The same with curry, also unknown to him before the van.

Like a lot of his contemporaries, Marder fled the United States. “People wanted to get away,” he says. Away from the Vietnam War. Away from home and the divorce epidemic. The greater world beckoned, the kaleidoscopic, tambourine-backed utopia promised by invading British rockers and spiritual sideshows like the Maharishi. The price of admission was cheap: For a few hundred bucks on a no-frills carrier such as Icelandic Airlines — nicknamed “the Hippie Airline” and “Hippie Express” — you could be strolling Piccadilly Circus or the Champs-Élysées, your life stuffed into a backpack, your Eurail Pass a ticket to ride.

Marder flew to London alone, with $800 and a leather jacket to his name, and improvised, crashing in parks and on any friendly sofa and — if he couldn’t score any of that — splurging on a hostel. He let himself go, smoking ungodly amounts of pot, growing his hair out to shoulder length. In crowds, he sensed kindred spirits, young creatures of the road, mostly from Spain and Finland. Few Americans.

Food, unexpectedly, dominated life overseas. Delicious, simple food that awakened his senses and imagination. Amsterdam brought him his first french fries with mayonnaise: an epiphany. The souks (markets) of Marrakech, with their food stalls and communal seating, haunt him. Within five months, he landed on that camping beach, in Agadir, still a wasteland after an earthquake twelve years prior. He lived on his wits: Back home, he’d become fluent in hippy cuisine; now he spent his last pennies on brown rice and vegetables, cooking them for strangers who shuttled him around. Just in time, people started feeding him, like the couple in whose van he was nesting. Food was as much a part of life on the beach as volleyball and marijuana. People cooked for each other, spinning the yarns behind the meals — where they’d picked them up and what they meant in their native habitats. Some campers developed specializations, like the tent that baked cakes over an open burner. Often meals were improvised: You’d go to town, buy a pail, fill it with a chicken, maybe some yogurt, or some vegetables and spices, and figure out what to do with it when you got back.

Marder might as well have been on another planet. “This was so un-American at that time,” he says.
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Growing Up Around Funeral Homes Didn’t Prepare Me for Death

Jodie Briggs | Longreads | March 2018 | 16 minutes (3,925 words)

I have never been afraid of dead bodies. Their frequent appearance in my family’s funeral home quickly normalized the sight of motionless limbs in elegant steel caskets. We were the lone proprietors of death in my childhood home of Denton, North Carolina, and my familiarity with the end of life led me to assume a certain ease with mortality. Or so I thought.

***

Every day after school, I walked to the funeral home with my older brother. My grandmother, who was 79 when I was born, lived in the apartment above the business with her two sisters, and our octogenarian babysitters delighted in feeding us Little Debbie Zebra Cakes and teaching us to play card games. When my brother got too old to play, I began slipping downstairs to practice my dance routines in the empty layout rooms.

The funeral home meant everything to my dad, who had grown up poor in an even more rural town 15 miles from Denton. Raised in a house that lacked indoor plumbing and forced to use an outhouse until he was in high school, my dad vowed to make something of himself. He tore a ruthless path through his teen years, raising hogs for slaughter for family income, risking teen ridicule by driving the school bus for a small stipend, and eventually making it through college and working his way up in the funeral business from summer intern to owner.

Our life ran on death. The entire family was recruited into the business even at tender ages. I was 8 or 9 when my dad asked me to catch the phones while he stepped out. He assured me that we probably wouldn’t get a death call but that if we did I only needed to take down the name of the dead, the phone number, and the next of kin. So, naturally, that’s exactly what happened, except that I got nervous and told them to call back.

As teens, my brother and I worked in the funeral home answering the phone, moving flowers, sneakily reading books (me) and washing cars, picking up bodies from the morgue, and observing embalmings (my brother). Two decades into her school-teaching career, my mom also joined the business. But no one could outwork my dad, who prided himself on working up to 12 hours per day, seven days per week, well into his 70s.

While my brother joined my parents in the business after college, I was eager to leave our town of 1,100 and eventually settled in New York, where I reveled in the anonymity, the public transportation, and the seemingly endless array of bookstores. But I was close to my family and visited often. Each visit brought the same barrage of questions from my parents’ friends, funeral home employees, and, usually, whoever was sitting in the neighboring booth at lunch: Was I married? (No.) Did I really feel safe living in New York? (Yes.) And wasn’t I glad to be out of the city for a few days? (Um, no. That’s why I lived there.)

We were the lone proprietors of death in my childhood home of Denton, North Carolina, and my familiarity with the end of life led me to assume a certain ease with mortality.

The shape of my visits depended on how busy the funeral home was. Dinner plans were contingent upon whether or not local characters like Flossie McDowell, a frequent funeral home visitor, made it through the night. I’d often wait around the funeral home until my dad felt content to leave. “Who’s on call?” he’d shout to the entire office, although he likely knew the answer. The employees rotated being the designated remover of bodies that died in the night. My brother had sometimes gone with my dad on these calls of duty when we were kids but I never joined in.

“Your daddy’s getting mighty old to clock in all these hours, ain’t he?” someone would inevitably say with a wink toward me and a nod toward my dad. Dad might let a good-natured curse word slip as he jumped into the air and, even in his late 70s, click his heels together before landing with a laugh.
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