Search Results for: California

Women Are Relating to James Comey’s Senate Testimony

Credit: AP Photo/Carolyn Kaster

Former FBI Director James Comey’s testimony was released Wednesday, in advance of his Thursday appearance before the Senate, and promptly set the internet abuzz.

Editors praised the style of Comey’s writing, though a few took issue with his double-spacing between sentences. People shared screenshots of particularly shocking excerpts, such as President Donald Trump’s repeated insistence that Comey show him “loyalty.”

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Announcing New Writers and Expanded Coverage

Illustration by Kjell Reigstad. From "Wrestling With the Truth," published in May.

We wanted to take a moment to share some of our recent work with you, and to let you know about some exciting announcements for what’s next on Longreads.

May 2017 in Review

Longreads Members made it possible to publish nineteen Exclusives in May 2017, featuring:

Coming Up

In addition to a full lineup of curated picks, exclusives, and in-depth reporting, keep an eye out for these new additions:

  • Danielle Tcholakian joined Longreads as a staff writer.
  • Meaghan O’Connell is joining us as a columnist.
  • Danielle Jackson is a new Longreads contributor.
  • Garrett Graff is joining us as a contributor covering border security, immigration, federal law enforcement, and how government works.
  • Alice Driver will publish a series covering border stories and migration.
  • Laurie Penny will write a series of political advice columns addressing broader themes of consent, desire, and power. (We’ll be publishing an excerpt from her upcoming essay collection, Bitch Doctrine, this summer, too.)

Join Us

We’ve made it our mission to publish and curate the best longform stories on the web, from personal essays to investigative journalism — and we wouldn’t be here without supporters like you.

If you like what you’re reading, we’d love for you to become a Longreads Member. 100% of your contribution goes directly to authors, and helps raise the bar for longform writing and its value.

We look forward to continuing our work bringing you the Top Longreads of the Week, and to delivering the quality you crave from the writers you love the most.

Catherine Cusick, Audience Development Editor


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Another Tech Casualty: Dating

Cane Toad
Cane Toad via Wikimedia

“I want to punch them and make them take off their damn sunglasses,” the bartender said. I’d said something uncharitable about the guys at the far end of the room, but the bartender heard me — and shared my disdain. He went on a tirade about how “those tech bros are rude, entitled, and synonymous with everything I hate about the neighborhood.”

Tech bros might be the cane toads of cities like Seattle and San Francisco. Cane toads were imported to Australia in the ’30s to keep the bugs down; brogrammers are meant to do the same, but the crop isn’t sugar, it’s code. Cane toads were wildly successful at reproducing, but if you ask the women trying to navigate the brogrammer-riddled dating pool, reproduction is not in the cards.

My judge-y conversation with the bartender was last spring, but it’s not a new discussion.  Back in 2014 for Dame, Tricia Romano shared her own dating trials and those of women who want to spend time with guys who are — go figure — interested in them. In spite of a sea of more recent apps, this is an issue tech bros haven’t been able to disrupt.

The exact same scenario has been playing out in San Francisco for the last few years. One woman, Violet, a 33-year-old who has lived in the Bay Area for eight years, with one of those in the “belly of the beast,” Palo Alto, experienced many of the same things I and other women did. They had money, but they were boring. They had a lot to say about their job, but their development as a complete human being seemed to be stunted. And they exhibited little to no interest in the other person at the table.

One woman, Bridget Arlene, spent three years in Seattle for graduate school, and said that she actually moved out of the city, in part because of the type of available men—most of whom had computer science or engineering degrees and worked for Google, Microsoft, or Amazon. “The type of person who is attracted to these jobs and thus to the Seattle area seems to be a socially awkward, emotionally stunted, sheltered, strangely entitled, and/or a misogynistic individual,” she wrote in an email. Arlene said that she was once contacted by a Microsoft programmer on OKCupid who required that she read Neuromancer before “he would consider taking me out on a date. He was not joking.”

It’s not just the dating pool that’s been affected. Spaces that have traditionally been held for — and by — subcultures have lost their character as new residents seek out places that aren’t dominated by sunglasses-indoors-throwing-their-money-around dudes.

This wasn’t what I’d signed up for. I’d moved back to Seattle, in particular to Capitol Hill, because when I’d lived here during the ’90s it was a beacon of diversity for weirdos. (I stress “weirdos”—there are few people of color in Seattle.) The weirdos were: young gay boys, old hippies of varying sexuality, straight artists and musicians, softball lesbians, punk-rock dykes who played house music, metal musicians, ravers, or people into the fetish scene. They were not straight, white guys from flyover country or California imported by a software company. They spent their time doing things other than making Jeff Bezos more money.

The problem has become pervasive enough in Seattle that when I went with a few girlfriends to Pony, one of the last true gay bars on Capitol Hill, I was shocked when I found out that the adorable pair of 25-year-old boys talking to us were heterosexual. They were there because—as one of them told us—”It was the only place on the Hill on the weekends where there are no bros.”

Cross-reference this experience with skyrocketing housing prices and the erasure of retail jobs; the homogeneous dating pool is unlikely to diversify without diverse jobs and housing options.

You can’t date the guy at the record store if there’s no record store.

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A Witness to Other People’s Lives, Not Living My Own

Author portrait by Shaun Guckian

Jennifer Romolini | Weird in a World That’s Not | Harper Business | June 2017 | 10 minutes (2,475 words)

 

Long before author Jennifer Romolini’s name appeared high up on the mastheads of publications such as Time Out NY, Tina Brown’s Talk Magazine, and Lucky, and websites like Yahoo Shine, Hello Giggles and Shondaland, she struggled to find herself. She spent her early 20s waitressing in restaurants and hotels, and was soon rushed by a pregnancy that ultimately wouldn’t last into marriage that wouldn’t, either, with a summer fling who should probably have been no more than that. She felt lost and stuck. She felt limited by her working class upbringing with weird parents who fashioned themselves after the oddball parents in Bowie’s “Kooks,” and by her academic failures — mostly for lack of trying — first in high school, then in college, which she didn’t finish. A perennial misfit where ever life took her, she assumed doors would always be closed to her. But a few years later, after leaving her first husband, she committed to figuring out what she wanted, getting her life together, and finding a place for herself in a career she liked, without compromising who she was.

When she was struggling, none of the career books on the market quite spoke to her, or offered solutions for someone who’d never been on a traditional career track. Now, after years building her career as an editor, she’s decided to fill that void for younger women who find themselves in her old shoes. Weird in a World That’s Not: A Career Guide for Misfits, F*ckups, and Failures, out today, is the book she wished she’d had — an interesting addition to the growing category of Misfit Lit, a hybrid of memoir and self-help. What follows is an excerpt, recommended by Longreads Essays Editor Sari Botton.

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El Padre de Los Migrantes

El Padre Javier, director del albergue en Juárez durante los últimos siete años, sentado en su oficina entre pilas de libros. Fotos de Itzel Aguilera.

Alice Driver | Longreads | Junio ​​2017 | 22 minutos (5,698 palabras)

READ IN ENGLISH

“¿Qué tan buena es una frontera si no hay gente dispuesta a abrirla de par en par?”
— Hanif Willis Abdurraqib *cita del relato en vivo en el “California Sunday Popup” en Austin, Texas, 4 de marzo de 2017

* * *

A la orilla de la tierra prometida se levantan tormentas de polvo provenientes del desierto obscureciéndolo todo, incluso los migrantes tienen que esperar frente a un complejo rodeado por una valla metálica coronada por alambre de púas. Pero el Padre Javier Calvillo Salazar es oriundo de Ciudad Juárez, México, y está acostumbrado a todo esto, así como a todos aquellos que llegan después de una jornada en la que bien pudieron haber transcurrido miles de kilómetros y cientos de días, casi todos llegan cubiertos de cicatrices, con huesos rotos o sin alguno de sus miembros, con heridas que dejan en evidencia la falta de humanidad que se encuentra a lo largo del camino. Son personas que llegan llorando, con rostros endurecidos, con embarazos, con enfermedades venéreas y hasta con historias que remiten a las de Gabriel García Márquez, en las que cuentan haber visto con sus propios ojos a un cocodrilo devorar a un recién nacido de una sola y tajante mordida.

Nicole fue entregada en los brazos de su madre, Ana Lizbeth Bonía de 28 años, en un hospital de la frontera norte de México. Después de una travesía de 9 meses, que inició en Comayagua, Honduras, Ana Lizbeth llegó al albergue de migrantes Casa del Migrante Diócesis de Juárez con su esposo Luis Orlando de 23 años, y su desnutrido hijo José Luis de 2 años, que tenía unos ojos redondos como platos que brillaban con emoción. Ana nunca terminó la primaria, y pasó su niñez en las calles, vendiendo verduras desde los 4 años.

El albergue para migrantes en Juárez está tan cerca de El Paso, Texas, que los migrantes sienten el agridulce llamado de una tierra que pueden ver pero en la que difícilmente pueden vivir de manera legal. El albergue cuenta con 120 camas para hombres, 60 para mujeres, 20 para familias, así como con un área aparte en donde los migrantes transgénero pueden quedarse si así lo desean. La mayoría de los migrantes que llegan son hombres solteros, y durante las entrevistas realizadas ellos mencionaron que la amenaza del presidente Trump de separar a los niños de sus madres ha provocado una caída en la migración de estos grupos. Inicialmente, cada migrante tiene permitida una estancia no mayor a tres días, pero pueden quedarse más tiempo dependiendo de su condición, como es el caso de Ana, que necesitaba tiempo para descansar y recuperarse después de haber dado a luz a Nicole. Read more…

The Top 5 Longreads of the Week

White House senior adviser Jared Kushner listens during a meeting with Palestinian leader Mahmoud Abbas at the White House, Wednesday, May 3, 2017, in Washington. (AP Photo/Evan Vucci)

This week, we’re sharing stories from Alec MacGillis, Justin Heckert, Peter Vigneron, Michael Lista, and Anthony Breznican.

Sign up to receive this list free every Friday in your inbox. Read more…

The Curious Case of the Disappearing Nuts

Longreads Pick

In California, massive nut heists were underway for two years before the industry figured out they were the target of a well-organized theft ring. “Nut theft has ­exploded into a statewide problem. More than 35 loads, worth at least $10 million, have gone missing since 2013.” At Outside, Peter Vigneron reports on these daring nut jobs, thought to be linked to a Russian organized crime ring.

Source: Outside
Published: May 24, 2017
Length: 15 minutes (3,789 words)

Chasing the Harvest: ‘It Used to Be Only Men That Did This Job’

Illustration by José Cruz

Gabriel Thompson | Chasing the Harvest: Migrant Workers in California Agriculture | Voice of Witness / Verso Press | May 2017 | 22 minutes (6,254 words)

The stories of the more than 800,000 men, women, and children working in California’s fields—one third of the nation’s agricultural work force—are rarely heard. The new book Chasing the Harvest compiles the oral histories of some of these farmworkers. Longreads is proud to publish this excerpt about Maricruz Ladino, who shared her story with journalist Gabriel Thompson.

***

Maricruz Ladino

Age: 44

Occupation: Produce Truck Driver

Born in: Sonora, Mexico

Interviewed in: Salinas, Monterey County

Agricultural region: Salinas Valley

 

Sexual harassment and violence in agriculture is both widespread and underreported. For years, the everyday threats and assaults faced by female farmworkers was a story that mostly stayed in the fields. In the past decade, however, a number of investigations—made possible by the bravery of women who have come forward—have uncovered a human rights crisis. In 2010, UC Santa Cruz published a study based on interviews with 150 female farmworkers in California. Nearly 40 percent reported that they had experienced sexual harassment, often from their supervisors; this harassment ranged from unwanted verbal advances to rape. Two years later, Human Rights Watch published a report, “Cultivating Fear,” based on interviews with more than fifty farmworkers across the country, which concluded that the persistent harassment and violence faced by women in the fields was “fostered by a severe imbalance of power” between undocumented farmworkers and their supervisors.

Maricruz Ladino knows all about that imbalance of power. “A supervisor can get you fired with the snap of his fingers,” she tells me. And so she stayed quiet, putting up with her supervisor’s daily harassment—and later, violent sexual assault—in order to hang on to her job at a lettuce packing plant in Salinas. Then came the day she gathered the courage to walk into the company’s office and file a complaint. She feared the worst: she could lose her job, or be deported. Both came to pass. But she has never regretted her decision.

We meet at a vegetable cooling plant in early October, where Maricruz welcomes me aboard her truck, which is carrying pallets of iceberg lettuce eventually destined for Honolulu. While she waits for more produce to be loaded, she talks about growing up on the border, her intense drive to always keep moving forward, and why she eventually broke the silence about the abuse she suffered. Read more…

The ‘Artwashing’ of East Los Angeles

In the late 1950s, a thriving Mexican-American neighborhood was bulldozed to build Dodgers Stadium. Not far away, a half a century later, that same process continues, except the process now has name: gentrification. The socio-economic forces of gentrification are creating activists everywhere from Queens to London. At Newsweek, Alexander Nazaryan reports from the front line in Boyle Heights, Los Angeles, where activists are fighting art galleries, which they believe are the first wave of gentrification and real estate redevelopment that lead to the inevitable the predictable displacement of people of color. This process is called “artwashing.” In this historically Latino community, where 89% of residents rent and 5% have college degrees, activists have drawn a line in the Los Angeles sand, and if some of them get squeezed out, they will do so with their voices carrying news of this problem to the world.

The above process is known as artwashing, which has come to widely describe displacement efforts in which the artistic community is tacitly complicit. The term appears to have first been used in mainstream media in 2014 by Feargus O’Sullivan of The Atlantic, in an article about a tower in once-destitute East London that had been redeveloped for high-paying tenants. They were being enticed, in part, by suggestions that they wouldn’t be gentrifiers but, rather, original members of a new artistic community. “The artist community’s short-term occupancy is being used for a classic profit-driven regeneration maneuver,” O’Sullivan wrote. He labeled the process “artwashing.”

Yet for many the notion of artwashing is no less urban myth than alligators in the sewers of New York. Several studies have concluded that art galleries do not displace low-income residents, but Defend Boyle Heights and the Boyle Heights Alliance Against Artwashing and Displacement (BHAAAD, pronounced “bad”) don’t care about academic urbanists’ peer-reviewed studies. They know the galleries are a cancer that must be eradicated, for they are “enemies of the people,” as Luna called them. “I want these galleries to get the fuck out of Boyle Heights,” he said, finally managing a bite of food.

The course of chemotherapy recommended by Defend Boyle Heights is relentlessly aggressive. Someone shot a potato gun at the attendees of an art show, and someone spray-painted “Fuck white art” on the walls of several galleries. Like the Battle of Stalingrad, this is a furiously contested, block-by-block affair. Both sides have suffered painful losses: the closure of Carnitas Michoacan #3, a 33-year-old eatery beloved for its nachos, the shuttering of PSSST, one of the Anderson Street galleries.

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Into the Woods: Three Personal Essays on ‘Twin Peaks’

Image by abdurrafeykhan (CC BY 2.0)

The return of Twin Peaks fills me with dread. It’s an excited dread — I can’t imagine not watching the third season of a show that has shaped my teenage years, and which I never expected to see brought back to life. But the unease is real. If it stinks, can its failure leave the original wholly intact? (I doubt it.) If I think it’s great, can I trust my own reaction? To what extent can I decouple aesthetic judgment from the thick ropes of nostalgia that bind the mythology of the show to my carefully constructed narrative of coming of age?

I watched the original two seasons of Twin Peaks as a ninth-grader in suburban Tel Aviv. The world it depicted was not simply foreign; beyond the sheer power of narrative and emotion this was a largely hermetic surface. It invited obsessed, but mostly context-less, fandom. U.S. viewers have always seen in Lynch’s work a dark distortion of ’50s Americana; I observed it like a creepy diorama in a natural-history museum.

For better or for worse, this won’t be the case with the third season. I’ve now lived in British Columbia for six years. Those douglas firs, those clouds, that delicate balance of extreme beauty and extreme dreariness are no longer exotic. Strip away the otherworldly elements of the show, and you’re left with development, poverty, sexual violence, immigration, drug and human trafficking: the very same issues facing the Pacific Northwest / Lower Mainland I call home. What will this proximity do to the way I absorb the new season? I don’t know. For now it’s just adding another layer to the dread.

To help me process this feeling of cultural malaise, I’ve been reading a lot about the show in recent months: from its problematic representation of Native Americans and Indigenous culture to the making of Angelo Badalamenti’s matchless score. I stumbled on some contemporary features from 1990, which capture the show’s initial reception in the U.S. — something I couldn’t have experienced firsthand. But the pieces that I’ve enjoyed the most (maybe it’s the relief of seeing my narcissism refracted through others’ experiences?) are personal essays about the show and its place in the writer’s life. I belatedly discovered the Twin Peaks Project, a curated selection of writing on the show by author Shya Scanlon, and scoured its archives at length. Below are three pieces that stayed with me.

1. “The Trees, The Trees.” (Nathan Huffstutter, The Los Angeles Review of Books, February 6, 2015)

Huffstutter spent his childhood as a Pacific Northwest transplant — his family had moved from Southern California to Bend, Oregon, in the late 1970s (he has since returned to San Diego). This essay weaves together memories of teenage angst — in 1990 he wasn’t watching Twin Peaks but rather listening to Sonic Youth and the Pixies — with an exploration of the unspoken acts of violence that lurk under the surface in small towns both fictional and real. It’s a rich mix (Martin Heidegger and Michel Houellebecq make important cameo appearances) and it’s deeply satisfying and troubling.

2. “Our Doubles, Ourselves: Twin Peaks and My Summer at the Black Lodge.” (Linnie Greene, Hobart, December 12, 2014)

“In the first summer of my adulthood, after graduation, I would insert a VHS tape, already vintage, and inhale Twin Peaks like life support, transfixed and terrified.” Greene recounts a tumultuous period in her life — it included depression, an abusive relationship, and sexual assault — and how watching the show gave her a new, more sobering perspective on her position (and her limitations) as a young adult.

3. “Falling and Always Falling: Twin Peaks and the Clear-Cut Landscape.” (Matt Briggs, Moss, Winter 2014)

The endless forests of the Pacific Northwest are a key character in Twin Peaks; decades later, some establishing shots are still seared into my memory. In this piece, Briggs — who grew up in the Snoqualmie Valley, where many of the show’s outdoor scenes were filmed — focuses on the abrupt transitions between old-growth forest and human-built areas. He lingers on the ever-present threat of development, and how it plays out not just in the show’s narrative, but also in the region it depicts: “The fictional town is a location that reflects the tension between the fecundity of the ancient forests and the constant change of the new. The landscape of Twin Peaks represents loss inside of loss of loss.”