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Could Paulette Jordan of Idaho Become the Country’s First Native American Governor?

LAS VEGAS, NV - JANUARY 21: State Rep. Paulette Jordan (D-ID) speaks during the Women's March "Power to the Polls" voter registration tour launch at Sam Boyd Stadium on January 21, 2018, in Las Vegas, Nevada. Demonstrators across the nation gathered over the weekend, one year after the historic Women's March on Washington, D.C., to protest President Donald Trump's administration and to raise awareness for women's issues. (Photo by Sam Morris/Getty Images)

For BuzzFeedAnne Helen Petersen profiles Idaho gubernatorial candidate and former state representative Paulette Jordan, whose left-of-center views are an anomaly in a region that has been a Republican stronghold for decades. She’s a woman of color in a state that is 82% white, and at 38, nearly half the age of A.J. Balukoff, her opponent for the Democratic nomination. Jordan grew up in a ranching family on the Coeur d’Alene Reservation, began her political career on a tribal council, and developed a reputation in the state legislature for reaching across party lines. She’d become the U.S.’s first Native American governor if elected; Petersen describes how Jordan represents a new model of leadership.

When people meet [Paulette] Jordan, they often assume she’s younger than her 38 years. But she emphasizes that she has more than a decade of experience, on the local, state, and national levels — it’s just that much of that experience was tribal, and often ignored as a form of governance, leadership, or service. Words like “tribal” and “Indian” aren’t included within the (white, male-dominated) spheres of “experience,” especially when it comes to preparation for political office. (Natives aren’t the only ones who see their experience cut out of those definitions. As A’shanti Gholar, political director for Emerge America, told Newsweek, “When people think about a successful candidate, they still tend to imagine a straight white man as the person to get the job done.”)

“I have ten years of elected experience,” Jordan emphasizes. “For [opponent] [Balukoff] to try and suggest otherwise is dishonest. I think women — and men! — should be disgusted for him to say that a woman with leadership experience should step aside. That I should ‘wait my turn.’”

“I think we’re done with that,” Jordan said. “This is a generation that says, we’re not going to tolerate old white men telling us to step aside anymore. This is when it’s time for us to take action — and to lead.”

As much as her name, and her campaign, is preceded by “first Native American woman,” Jordan doesn’t see herself uniquely in those terms. “I never really bring it up,” she told me. “Other people do. Maybe they like the idea. Which is fine. I want people to see beyond my race and my color and know that I actually have had a strong career. I want them to understand that when I do make a decision, they might slightly disagree, but they’ll know why I made it.”

The chance to support a history-making candidate is an effective hook, and one that Jordan’s own campaign has embraced in its online rhetoric. Sometimes, however, it can elide, or displace, her greater policy ideas. When asked what they liked about Jordan, attendees at her Boise fundraiser responded with variations on, “Wouldn’t it be incredible for Idaho to have a female governor?” and “I like what she stands for.” Most also identified as progressives and early supporters of Bernie Sanders, who won the Idaho Democratic caucus with 78% of the votes.

While Jordan’s policy positions have been labeled progressive, she resists comparisons to Sanders. And it’s hard to evaluate the aptness of the comparison, as Jordan’s positions, like many candidates still in the primary, remain vague. She’s for increasing the minimum wage in the state, which is currently the lowest in the West, but is more focused on promoting educational training opportunities for highly skilled, more sustainable jobs. She wants to invest more in education, especially in rural areas, as a means of attracting businesses and sustaining the rural economy. She vows not to “shy away from the topic of discrimination” and to “promote legislation that ensures people feel safe and heard.”

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Maybe We’re the Circle

 

Megan Stielstra with Nicole Piasecki | Longreads | April 2018 | 18 minutes (4,936 words)

 

This is the third 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. 

* * *

On December 16th, 1993 there was a shooting at my high school in Chelsea, Michigan. A sleepy little town west of Ann Arbor, the reporter called it. I was a freshman in college. I watched it unfold on the national news from a thousand miles away. This was years before Twitter, before we all had cell phones in our pockets. I couldn’t get through to anyone at home. I couldn’t find out what had happened. One fatality, said the reporter. A local school administrator.

My father was a local school administrator.

Hours later, I heard his voice on the phone. Anyone who has been through such waiting knows that planet of relief. But here’s the brutal truth: as I learned that my dad was alive, another girl learned that hers was not. Our superintendent and friend, Joe Piasecki, was killed that day. He had a daughter a year younger than me. Her name was Nicole.

I’ve thought about writing to her at least a hundred times.

“Here,” I would say. “Here is my heart.”

A few years ago I started working on an essay about my relationship with my dad. He lives on an island now in the Gulf of Alaska. He had heart problems while hunting in the mountains, and, after surgery, went right back up. I was angry at the risks I thought he was taking with his health. I was scared I would lose him and I didn’t know what to do with that fear, but I learned something in the writing about the choices we make to keep living. He’d quit his job and moved to Alaska not long after the shooting. He needed those miles. He needed that mountain. I get that now.

After I finished a draft, I looked Nicole up online. She’s a writer now, and a writing teacher, same as me. How do you start with someone you haven’t spoken with in 20 years? I wrote. I sent her the essay, asking if she wanted me to change anything, cut anything, leave it in a drawer. I’d never given anyone that kind of power over my work but in in this case it felt vital. It didn’t matter who I was as a writer. It mattered who I was as a person.
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The Top 5 Longreads of the Week

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This week, we’re sharing stories from Chelsea G. Summers, Linda Villarosa, Ben Smith, Chappell Ellison, and Louisa Thomas.

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This Is What It Was Like Learning To Report Before Fake News Was The Biggest Problem In The World

Longreads Pick

BuzzFeed editor-in-chief Ben Smith recalls what it was like working as a young reporter in Belarus in 2001. One of his first major stories resulted in his source being beaten and thrown in jail — or so he thought, until he discovered the truth more than 15 years later.

Author: Ben Smith
Source: BuzzFeed
Published: Apr 8, 2018
Length: 17 minutes (4,300 words)

A Journalist Takes Stock of His Formative Years

AP Photo/Enric Marti

Learning on the job means making mistakes, but journalists get to make theirs in front of the reading public and their seasoned colleagues. At BuzzFeed, the site’s Editor-in-Chief Ben Smith looks back at his early years as a reporter, when he worked in Belarus as a stringer for the Wall Street Journal. In Belarus’ history, 2001 was a tumultuous time and the young Smith wasn’t experienced enough to see it all clearly. Revisiting this part of his professional life, he sees the hard lessons he learned, not about writing ledes or getting scoops, but about stories’ consequences, reporters’ moral responsibilities, and the naiveté that leads to false predictions about democracy.

There’s an axiom in reporting — crystallized by Janet Malcolm in The Journalist and the Murderer — that at the core of journalism is betrayal. I thought that’s what I’d done to Shydlovski. And I’ve thought a lot about the balance of responsibility to your sources and to your readers.

One night last summer, I found myself googling him yet again, when I decided to try some alternate spellings of his name. Up popped an interview with him on a Czech website — in which he mentioned, in passing, that he was lucky not to have been jailed for his beliefs.

I couldn’t quite believe it. The Google translation was so rough, the source so obscure, that I accused myself of fantasizing his words in order to expiate my guilt, and I put it out of my mind. But I always think about Minsk around 9/11, when most people are thinking about the moment when they first heard about the attack on the Twin Towers. I was reading Hansen’s book, and I began to think about writing this piece, and I thought I should at least ask Shydlovski himself what really happened.

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Leslie Jamison Fesses Up

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Big lies, small lies, lies of omission. At BuzzFeed, Leslie Jamison reveals how lying had become a way to avoid conflict, her flaws, and having to face up to her uglier emotions.

It was a way to pull the puppet strings of the world, or convince myself — for a moment — that it was possible to control what lay beyond my grasp. Lying, at its core, is little more than this: an attempt to tell the world a story, or tell yourself a story, and to believe that the telling of that story is enough to make it true. It never is. But sometimes it can be enough to help you figure out what the false world you’ve forged might say about what you want from the world itself — the one you are bound to, the one you cannot bend to your will.

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The Top 5 Longreads of the Week

The Edmund Pettus Bridge in Selma, Alabama, where civil rights marchers attempting to walk to the Alabama capitol in Montgomery for voters' rights clashed with police in 1965. (Brendan Smialowski/AFP/Getty Images)

This week, we’re sharing stories from Rahawa Haile; Hannah Dreier; Rukmini Callimachi; Mary Anne Mohanraj, Keah Brown, S. Bear Bergman, Matthew Salesses, and Kiese Laymon; and Molly Fitzpatrick.

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Sharp Women Writers: An Interview With Michelle Dean

Photo illustration by Katie Kosma

Natalie Daher | Longreads | April 2018 | 15 minutes (4,014 words)

The subjects of cultural critic Michelle Dean’s new book Sharp: The Women Who Made an Art of Having an Opinion — including Dorothy Parker, Janet Malcolm, Joan Didion and Nora Ephron — have appeared in Dean’s writing and interviews again and again over the years. It’s not difficult to see how Dean would develop a fascination with opinionated women — she is one herself. Lawyer-turned-crime reporter, literary critic, and Gawker alumnus, Michelle Dean’s has had her own “sharp” opinions on topics ranging from fashion to politics, from #MeToo to the Amityville Horror.

The book is more than just a series of biographical sketches. Dean is fascinated by the connections between these literary women — their real-life relationships, their debates, and the ways they were pitted against each other in a male-dominated field.

We spoke by phone between New York and Los Angeles and discussed writing about famous writers, the media, editors, and feminism.
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This Is How They Saved Me

Getty / Photo courtesy the author / Photo illustration by Katie Kosma

Neda Semnani | Longreads | March 2018 | 20 minutes (4,986 words)

August 8, 1982. It was nearly five in the morning when my uncle Kavoos woke up my six-year-old cousin Laleh to say goodbye. He left her his calligraphy pen and asked her to keep it safe for him until he could come back for it. She nodded sleepily and promised that she would. She kissed him before falling back to sleep. In the other room, my mother, aunts, and uncles were gathering the last of our belongings and arranging them in the trunk of the car, while Laleh’s older brother, my cousin, Asef, wailed.

Why can’t I come? he asked, tears streaming down his face. At eight years old, he knew a long road trip meant picnics, and picnics meant freshly grilled kabobs.

I want to come too! he screamed, inconsolable. I want to kabob!

For goodness sake, his mother said. No one is going to eat kabob without you.

***

When my father’s eldest brother first contacted the smugglers to get us out of Iran, they promised we would make the journey to Turkey by car. It would be a long trip, but a relatively simple and straightforward one: an eight-hour drive from Tehran to Tabriz, a city in the north near the Turkish border. From there, a five- or six-hour drive by Jeep or Land Rover to the border. Once at the border, another car would pick us up and we’d drive three hours to Van, a border city in Turkey.

My mother was seven months pregnant and worried that the car rides would be dangerous. She wouldn’t agree to the plan until her doctor assured her that, as long as she took breaks whenever possible, both she and the baby would be fine. If the pressure in her legs became too painful, he prescribed Valium to help relax her muscles. My mother’s fears assuaged, she agreed that she and I would leave the country. My mother then convinced my father’s father to send his youngest daughter, Astefe, over the border with us. She promised him that she would be safe with us. She told my father’s youngest brother, Kavoos, he must come too. His place, my mother insisted, was with his wife and daughter, not waiting for the Revolutionary Guards to find him.

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It’s Not a Literary Renaissance When You’ve Been Telling Stories Since the Dawn of Time

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The Native literary community suffered a very public loss when author Sherman Alexie admitted to sexually harassing women. But Alexie was only one of the most visible indigenous writers. Many Native people have written strong literary work for a long time, from Leslie Marmon Silko to Joy Harjo to N. Scott Momaday. At BuzzFeed, Anne Helen Petersen reports on the new generation who is redefining indigenous literature, and how these writers are reclaiming the means of production in the form of their own creative writing programs.

Traditional MFA programs are very Eurocentric, just as American commercial publishing is Eurocentric. Native American tribes have ancient oral traditions, proving again and again that there are many ways to tell stories outside the Western tradition. Now Native American writers have the Institute of American Indian Arts (IAIA) MFA program to provide room to create art unburdened by white aesthetic standards. Founded in 2012, two-thirds of IAIA’s faculty are indigenous, and two of its graduates, Terese Marie Mailhot and Tommy Orange, have recently published searing books that have gotten people talking. In addition to education and encouragement, the program aims to “claim visibility,” because, as the author notes, “Many people in the US have never met a Native American; they don’t see or interact with Natives in their everyday lives. Natives aren’t characters in the books and films and music and art they consume.”

“One of the reasons I wrote a polyphonic novel is that I come from a voiceless community,” Orange told me. “And in a similar way, with IAIA, I want to usher in as many new voices as possible. We’re just trying to get to the baseline of humanity, and not be a textbook image that’s remembered and spoken of in the past tense. That’s where our urgency comes from.”

For Mailhot, Orange, and so many writers I spoke to at IAIA, it’s not just about the book deals. It’s about what they call Native Excellence — and creating a path to it with its own expectations and standards, instead of relying on those established by white academia or publishing.

“I think it’s a type of arrival, when you get to make those decisions for yourself,” Mailhot said. “It’s very different for indigenous people, and black people, and people of color, because we are so often told to doubt ourselves, and our aesthetics, and what we do, simply because some of us are not traditionally taught how to write. And even if we are, we are looked at as if we don’tknow how — that we’re not authorities of our own work. And I just don’t buy it anymore.”

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