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Burning Out

Illustration by Brian Britigan

Sarah Trent | Longreads | November 2019 | 22 minutes (4,920 words)

Jack Thomas was home in time for dinner, but he wasn’t really home. His head was still in the fire, gnawing on the details of what his strike team had accomplished, hazards they’d found, a care facility they’d partially saved from the flames. For 19 hours of their nine-day deployment, his team had fought to save those 25 senior apartments, which had somehow been spared when the wildfire tore through town. Thomas knew that if they could stop the fire at the building’s central atrium, these homes would stay standing. And they did.

Walking through his front door, in a suburban Santa Rosa, California, neighborhood the weekend before Thanksgiving, Thomas still smelled of smoke.

He had dinner with his wife, shared photos from the fire, and talked through their holiday plans. Afterward, he unfurled parcel maps across the table while his bags waited, packed, on the couch. After more than a week fighting the most destructive wildfire in California history, the Santa Rosa fire captain had just a few hours to study the maps and get some rest: His deployment on a fire crew was over, but hundreds of people were missing, and FEMA’s Urban Search and Rescue Task Force #4 needed someone to help manage the search.

Thomas set his alarm for 3 a.m. He was going back to Paradise.

That night, the next morning, and for many days after, trained search and rescue professionals and volunteers from across California and beyond drove into the smoldering heart of catastrophe. The Camp fire, which started the morning of November 8, 2018, and within hours had overtaken the town of Paradise, was unprecedented: in size, pattern, intensity, damage, and number of people missing, which climbed as high as 1,300. It required the largest search in state history — in conditions few of the searchers were trained for. But to leaders like Thomas, it seemed a portent of things to come: Wildfires are becoming more common and worse. And other disasters are, too.

Rachel Allen got to Paradise two days before Thomas, after dark on Friday, November 16, joining the first wave of volunteer searchers responding to the call for mutual aid. It was the earliest she could arrive, leaving her postdoc research behind for the weekend. A member of the Bay Area Mountain Rescue (BAMRU) team since 2012, she has deployed to dozens of searches across the state, usually for one person missing in the wilderness: a snowshoer lost in a storm, a hiker injured and stuck off-trail, or a person with Alzheimer’s who wandered away from home.

She and her team spend hundreds of unpaid hours each year practicing specialized search and rescue skills. But in Paradise, little of their training in snow conditions, rope systems, or tracking was relevant. Allen wore a white Tyvek suit over her hiking boots and learned how to identify what was typically the only trace of people who hadn’t escaped the blaze: small fragments of bone.

When Thomas arrived Sunday morning, just in time for the morning briefing, searchers in a rainbow of red, orange, and hi-viz agency-branded jackets filled the Tall Pines Entertainment Center parking lot: county search teams, mountain rescue teams, law enforcement, the National Guard, all ready for the day’s assignments.

Thomas joined the fray with USAR Task Force #4 — one of 28 teams in the nation equipped for large-scale disaster relief. Most USAR members, like Thomas, are professional firefighters. On top of a grueling season fighting record-setting wildfires, this was his team’s third urban search deployment in as many months. They’d been to the sites where Hurricane Florence made landfall that September. Where Michael had hit in October. And now this. 

New kinds of disasters require new response plans and training, and bigger ones need more people who know what to do.

All weekend, the air was thick with smoke and a pervasive otherworldliness. “If you had told me I was on Mars, I’d be like, ‘OK, right,’” Allen told me. She searched for two days, mostly in silence, wearing a mask she had to remove to speak. Her hiking boots sank with every step into ash up to eight inches deep. The sky was a murky orange. Trees were still green. Everything else was gray. It was a town like any other. But everything had changed.

In 2018, wildfires swept not only California, Australia, and Greece, but also the colder, wetter landscapes of England, Ireland, and Sweden. Kerala, India, was hit by one of the worst floods ever recorded, killing more than 500 people; a heat wave hospitalized 22,000 in Japan; and a series of tropical storms and typhoons affected more than 10 million across the Philippines. A bomb cyclone slammed the U.S. Northeast. Avalanches crushed Colorado. Mudslides buried Montecito, California. Record-breaking hurricanes battered the Southeast. As of this writing, what has come to be known as “fire season” is well underway in California, and fires blaze in New South Wales and Queensland, Australia. 

To climate scientists, the pattern of increasing extremes comes as no surprise — it’s in line with projections for life on a warming planet. And at 1.5 degrees Fahrenheit above average, according to NASA, 2018 was one of the hottest years on record. 2019 is on track to be hotter.

When disaster strikes, rescuers like Thomas and Allen drive toward the danger the rest of us are desperate to escape. They’re trained to find us when we’re stuck somewhere — lost, injured, or worse. But a changing planet has raised the stakes: Avalanches, tornadoes, fires, and floods fill news cycles with counts of the missing and cell phone footage of neighborhoods turned to wilderness. The U.N. warns that climate catastrophes are now happening once a week across the globe. And unpredictable shoulder seasons — the busiest months for search and rescue calls — are getting longer. New kinds of disasters require new response plans and training, and bigger ones need more people who know what to do.

Search and rescue teams train for the worst conditions. But the worst conditions are getting worse. Search teams are stretched. Rescuers are burning out. We are all less safe.

***

On a May 2013 day in Naujaat, in the Canadian territory of Nunavut — an Inuit hamlet known at the time as Repulse Bay — the local search and rescue team was called after a nearby traveler activated an emergency GPS beacon. It was a day with almost 18 hours of sunlight, but blizzard conditions postponed the search.

The call itself was unremarkable — Nunavut search and rescue records are full of similar reports: emergency signals turned on in harsh weather, hunters who’ve run out of gas, a group trapped by moving ice. Nearly everyone is brought home safe. But one trend is nonetheless alarming: In 2016, researchers showed that search and rescue calls in the province had doubled over a decade.

The reasons were complex. More powerful boats and snowmobiles carried hunters, fishers, and travelers farther from safety; people’s preparedness for harsh conditions had not kept pace with their ability to travel so far; high costs to maintain equipment led to makeshift repairs and more frequent breakdowns. But one factor stood out: As the Arctic warms — and it’s warming faster than anywhere else on earth — weather and ice conditions have become less and less predictable. 

“It’s the perfect storm” for accidents and the ensuing calls for rescue, researcher Dylan Clark told a Canadian Senate committee in 2018. And this storm is anything but localized.

In Iceland, where tourism is booming and glacier driving tours are popular, the ice is melting, opening crevasses that threaten vehicles and people. A woman died in 2010 after falling into one with her 7-year-old son just a short distance from a tour jeep. 

In the Alps, retreating glaciers have changed popular climbing routes, increasing exposure and difficulty on nearly all alpine climbs. Where there once was snow, there’s now ice. Where there once was permafrost, there’s now unstable rock. One catastrophic rockfall in Bondo, Switzerland, killed eight hikers in 2017. Their bodies were never found.

Search and rescue teams train for the worst conditions. But the worst conditions are getting worse.

Eddy Cartaya, a Portland Mountain Rescue volunteer and expert on glacier cave exploration and rescue, says that across the Pacific Northwest, more and more people are exploring the backcountry. Outdoor equipment is better and less expensive than ever, cultural interest in the outdoors is surging, and longer summers mean more access to beautiful, wild places. 

Normally, “deep snow-pack insulates some of these locations from inexperienced people,” Cartaya said. But that’s changing. Hiking into areas with now-melting glaciers — in which ice caves are prone to sudden collapse, volcanic gas-filled fumaroles are becoming exposed, and flash floods of glacial melt can occur on the bluest of bluebird days — even an expert outdoorsperson is more likely to run into trouble.

Many of these hazards are new to rescuers, too, making operations riskier for everyone. Now, Cartaya said, his team trains in glacier caves — areas most mountaineers spend their entire careers trying to avoid. After two rescues in noxious fumaroles, the team has purchased new equipment to measure crevasses for hydrogen sulfide. And with a higher volume of calls than ever before — to a group of volunteers in an industry where burnout is already high (few last more than a couple of years) — they’ve increased their recruitment efforts, tripling their most recent cohort of trainees.

But you don’t need to be a backpacker, hunter, or mountaineer heading deep into the wilderness to require rescue from a disaster compounded by climate change. Increasingly, that disaster is coming to us.

In Switzerland, rockslides have buried villages and stranded residents. In Alabama, devastating tornadoes have cut swaths through towns and neighborhoods. Across the Midwest, floods have done the same. In Florida, Mexico, and the Caribbean, residents have evacuated from record hurricane after record hurricane. And all of this, according to climate scientists, is at least partially attributable to a warming planet, in which ice is melting at record speed and rising levels of atmospheric water are strengthening storms and producing unprecedented rainfall. 

While the Eastern U.S. is inundated with water, the Western states suffer without it: As temperatures rise, the snowpack melts faster and forests dry out. By late summer, much of California is a tinderbox. Any spark — lightning, a barbecue, a faulting power line — can set the whole thing off.

***

Ten of the 20 most destructive wildfires in California’s history have occurred since 2015. They include the two most destructive (2018 Camp and 2017 Tubbs fires), the two largest (2018 Mendocino Complex and 2017 Thomas fires), and the deadliest by far: In Paradise, searchers found 85 people dead. Two remain missing. This is more than the previous three deadliest fires combined.

For Thomas and his team, the Camp fire set another kind of record and, leaders believe, a precedent: It was the first time FEMA USAR teams had ever been called to a fire. Thomas and others doubt it will be the last. The federal program, which launched in 1991, was designed primarily to respond to catastrophic earthquakes. But as the nature of disasters has evolved, USAR task forces have too. In 1994, teams deployed to the Northridge quake in Los Angeles. A year later, to the Oklahoma City bombing, and in 2001, to downtown Manhattan after the World Trade Center attack. 

In 2005, all 28 teams went to Hurricane Katrina, and as the size and severity of hurricanes have increased since, so have the calls to USAR: Sandy in 2012. Matthew in 2015. Harvey, Irma, and Maria in 2017; Florence and Michael a year later; Dorian this fall.

Thomas went to most of them. “We’re in the water business now,” he said. And the fires? “I totally think that’s going to be in our scope now.”

As a firefighter of more than 30 years who fought the 2017 Tubbs Fire in his own city and countless more around the state, Thomas knows firsthand the ways wildland fires have changed. “It never used to be like this,” he said. When he first started, he’d go to one, maybe two “mutual aid” calls (that is, requests to help other agencies) per season, fighting wildland fires to the scale of around 10,000 acres. “Since 2015 it’s just been non-stop with these major fires,” he said. 


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In 2018, between USAR calls and wildland fire response, Thomas spent 75 days working outside Santa Rosa County, including 21 days in a row at the Mendocino Complex fire. When he came home from that blaze — which burned nearly 460,000 acres before it was finally contained — he had just enough time to move his daughter to college before he was deployed again.

“It pulls on your heartstrings to go help,” he said. But every time he arrives at base camp for another wildland fire, he sees the same guys, grim with fatigue.

“You can see it in guy’s eyes,” he told me. “It seems like it’s more and more and more and more.” Between fighting fires around the state, flying east for hurricane missions, and expecting that USAR’s scope will grow, the effort is not sustainable, he said. “But you know the thing is, who are you going to call? With the amount of missing residents, the amount of destroyed homes — who’s going to do that work?”

Headquarters for Thomas’s team — one of eight in California — is tucked between I-880 and the train tracks in East Oakland, behind a city vehicle maintenance facility. On a cold March morning, a dozen men and women in dark shirts and caps emblazoned with their agency logos — Pittsburg Fire, Sonoma Fire, Contra Costa Fire — ambled from room to room, catching up and collecting signatures for their annual reorientation exercise. 

Each member checked the fit of their issued full-face air mask, re-upped their baseline EKG test, and verified, essentially, that they knew the drill: Every checkpoint is a step they’ll repeat in the hours before an actual deployment. In the garage, Thomas signed off on helmet fits and asked each member if their go-bag was ready. 

“97 you said?” He searched for Tracey Chin’s duffel among the hundreds of numbered red bags on the shelves surrounding the garage. He found it and pulled it down, and she unzipped the pockets to inspect what was inside. She checked the size of the clothing, in case it had changed, and the toothpaste’s expiration date. The team has just four hours to deploy when a call for mutual aid comes in, and they must be prepared for 72 hours of self-sufficiency. The “creature comforts,” as Chin calls these basic necessities, are nearly as important as a tightly sealed air mask.

She zipped the bag closed over carefully folded T-shirts, and Thomas snapped a red plastic lock seal through the zipper pull. Her mask fit. Her photo had been taken. Her sign-off sheet was full. Chin was ready to deploy.

And this team fully expects to — though until recently, that was far from their norm.

“We went eight years without deploying,” said Oakland Battalion Chief Robert Lipp, who leads the task force. But since 2017, they’ve fielded six calls. Now, come autumn, when hurricane and wildland fire seasons are both in full swing, he said he’s “more surprised if we don’t go somewhere than if we do.” 

To climate scientists, the pattern of increasing extremes comes as no surprise — it’s in line with projections for life on a warming planet.

As the need for rescuers goes up, the whole response system is stretched thin. Two Southern California USAR teams, which largely pull on members from one fire department each, were undeployable for USAR calls last fall while wildfires raged in Riverside and Orange counties. The Oakland team is more insulated from that pressure: Its 230 members — enough for three full rescue units — come from 15 different departments. The team has never had to turn down a call for mutual aid, Lipp said. “But we’ve been awful close.”

“When there’s a disaster, we all want to go.” But, he added, “anyone who says it’s not worsening is not paying attention.”

***

On the first day of SAR-Basic — required for anyone who hopes to join Bay Area Mountain Rescue — 15 recruits listened and took notes as veteran members explained the weekend training. Wearing an array of technical fleeces and down coats, it was obvious that they were the newbies: Every sworn-in member wore a red jacket — BAMRU patch on one shoulder and the San Mateo County Sheriff star on the chest — to insulate against the early morning chill.

The first lesson in every emergency response training — from first aid through wilderness paramedicine — is the same, though every teacher has their own way to phrase it: The most important person at the scene is you; don’t let someone else’s emergency become your own; your safety comes first. Adrenaline and the powerful urge to help someone in need can be difficult to overcome — and dangerous to everyone. 

Under the county park picnic shelter, Nathan Fischer sat atop a long wooden table, his gray waffle fleece and close-cropped beard blending into this year’s cohort of mostly twentysomething men. With one leg casually folded, he absorbed the morning lectures. He, like everyone seated around him, was there in part to fulfill that urge to help. “Other people adopt kittens or mentor kids,” he told me. “I’m awful with kids, but maybe I can stop the bleeding.”

An instructor addressed the group. “The first rule of search and rescue,” he said, “is don’t create more subjects.”

This year’s safety talk was unusually personal for the team. Just months earlier, a Ventura County mountain rescuer was killed and two teammates were injured in a storm while trying to help the victims of a rollover crash. The team was en route to a training exercise. The roads were slick. Another vehicle lost control.

At every training station at SAR-Basic, the safety talk was reinforced. Fischer and the other recruits learned to perform a fine grid search, crawling shoulder to shoulder looking for shell casings in the dirt and leaves — while also scanning for poison oak. They learned how to load and carry a person in a titanium-frame litter — along with effective communication to spread the load, and to lift and move as one. Navigation skills, radio skills, tracking skills. And then, finally, a mock search.

Fischer, leading a team of three, talked his group through the details of the briefing. Two trail runners were missing. Their team had been assigned a trail to search. They grabbed a radio and a map and set out for the trail, flanked by mentors.

’It’s the perfect storm’ for accidents and the ensuing calls for rescue.

The mock search is an audition of sorts, at which members and the soon-to-be can feel out their future colleagues. Trust, teamwork, and leadership are as important as technical skill and search savvy. Those who are accepted to train with BAMRU will start deploying on calls as soon as they wish: Trainees join searches while they work through a long list of skill sign-offs and training exercises that typically take a year to complete. The best lessons — and the hardest — will come in the field.

After a morning of searching for the “missing” runners, Fischer’s team broke for lunch. Mentor Eric Chow — just a year into his own tenure on the team — knew that the action would soon pick up. He pulled Fischer aside. “What do you have for PPE?” Chow asked, using shorthand for personal protective equipment — namely, in this case, nitrile gloves. Fischer had none. Chow found a pair in his radio chest harness and handed them over. 

Then the radio blared, cutting into the quiet on the trail. Another team had found the last missing subject. Fischer looked at the map. They were close. When they arrived on scene, his wilderness medical training kicked in. He went straight toward the subject — a woman who had fallen off-trail and injured her leg — and joined another rescuer assessing her injuries. He removed her shoe and checked the circulation in her foot.

Uphill, proctors were watching. One of them whispered: “Where are his gloves?”

Blood is a hazard. Smoke is a hazard. Needles, nails, cornices, rocks, hypoxic subjects, moving vehicles. The powerful urge to help someone can come at profound personal cost. Forgetting safety precautions in an exercise merely means failure. Being without them in the field can mean creating more subjects. 

Physical safety is paramount, but psychological preparation is important as well: The emotional costs can be just as high.

This team typically deploys to difficult, far-away searches — ones that have already gone on for days without success. Stopping the bleeding (or rescue at all) is not usually involved: Often, they recover bodies.

Veteran team member Alice Ng is haunted by the search for a young mountaineer crushed by an avalanche. The recovery of a body brings closure to everyone, but this one hit her hard. The traumatic stop of this boy’s life, while doing something she might have done too; his family, walking in circles around the airfield, with nothing to do but wait. The day after finding him, while chopping vegetables for dinner, she suddenly broke down in tears. The task was so normal, she told me: “That can be taken away from you so quickly.”

For Eric Chow, one of the mentors who took part in the mock rescue, one search near Lake Tahoe was especially memorable. “We were in our element there,” he remembered. It was high angle, high altitude, in avalanche conditions, a search for one missing person. It was everything this team trains for. The Paradise fire, on the other hand, felt like the opposite. There were scores of bodies reduced to bone fragments, cesspits hidden under the ash, and “widowmakers” — the precarious branches of burned trees — that could fall at any moment. “We don’t know any of those hazards,” he said.

***

It’s difficult to plan or train for what’s never been experienced before, and in climate-influenced disasters, nothing is as it was. The Camp fire was apocalyptic. Michael St. John, long-time leader of Marin Search and Rescue and newly retired from the Mill Valley Fire Department, deployed to Paradise on day five of the blaze to help Butte County search coordinators and state search and rescue leaders wrap their collective heads around organizing such a massive search.

“What’s your PPE plan?” he recalled asking the leaders at search command. He knew they’d need air masks. Tyvek. Steel-shanked boots if they could find them fast enough. And decontamination facilities. When a forest burns, the smoke is dangerous. When a city burns — with all its plastics, paints, chemicals, and more — it’s deadly. If not today, then perhaps years from now when the cancers start growing, St. John said. And while many teams like BAMRU and Marin SAR have limited county insurance for in-field accidents, volunteers don’t get workers’ compensation. They just get sick.

You don’t need to be a backpacker, hunter, or mountaineer heading deep into the wilderness to require rescue from a disaster compounded by climate change. Increasingly, that disaster is coming to us.

From search headquarters at the Tall Pines bowling alley, where cots were set up in the bar and a rec room was converted to mission command, St. John searched Amazon for boots. A dozen deputies raided every Home Depot in the Central Valley for supplies. The National Guard was called to set up mass decontamination tents. 

On the first day of the search, central command ran out of P-100 masks, which offer more protection than the N-95 masks the public was encouraged to wear. Some rescuers who couldn’t get masks in the first days of the search, before donations poured in, turned around and went home. The air was so thick with smoke and particulate matter that it choked out even the sun. Just a few hours in Paradise was too much for some: The personal risk was just too great.

Over the week, St. John and search leaders troubleshot challenges. They had state, county, and federal resources at their disposal, and while every one of them was trained in the same incident command structure — a logistics and hierarchy system built to scale to any emergency — each group had its own culture, communications, and even GIS mapping systems. 

Leaders struggled to manage the growing list of missing people — and to commit enough resources to sort all 1,300 reports, winnow out redundancies, and narrow the search. As best they could under pressure, they integrated lessons from failures along the way, improving the system a little bit more every day.

And every day, the massive search continued across 240 square miles, where homes, stores, schools, and retirement homes — more than 18,000 structures in all — were now gone. Just the grid of streets remained, along with stone, metal, and randomly spared objects. Chimneys stood like sentries. So did radiators. Mailboxes. The intricate metalwork of a headboard. Cars had melted by the roadside, their metal shells resolidified as river-flows on pavement.  Read more…

Why Lhasa de Sela Matters

Lionel FLUSIN/Gamma-Rapho via Getty Images

Fred Goodman | Why Lhasa de Sela Matters | University of Texas Press | November 2019 | 27 minutes (5,471 words)

 

A sorceress of the soul, the multi-lingual singer Lhasa de Sela captivated music fanatics around the world with her spellbinding songs and other-worldly performances. Yet ten years after her tragic death from breast cancer in Montreal at 37, America’s first world music chanteuse remains largely and inexplicably unknown here, an under-the-radar icon in her own country. Why Lhasa de Sela Matters, her first biography, charts Lhasa’s road to musical maturity. —Fred Goodman

 

The slowest nights for bars and clubs come early in the week, which is why many clubs are closed on Mondays, leaving Tuesday as the lightest night of the week. As a result, Lhasa de Sela didn’t waitress on Tuesdays. Instead, she found local Montreal bars that would let her sing a set a cappella. Wearing a black dress and a long knit hat, she cut a figure that was both striking and subdued.

Working on assorted standards and the Billie Holiday songs she loved, Lhasa was primarily focused on two tasks: overcoming her own shyness and learning how to hold a listener’s attention. She had a ways to go.

Read more…

The World’s Tallest Dwarf

Illustration by Zoë van Dijk

Sara Fredman | Longreads | November 2019 | 10 minutes (2,750 words)

 
What makes an antihero show work? In this Longreads series, It’s Not Easy Being Mean, Sara Fredman explores the fine-tuning that goes into writing a bad guy we can root for, and asks whether the same rules apply to women.
 
The question at the core of the antihero show has always been what it would take to turn the bad guy — the mobster, the drug kingpin, the Russian spy, the mad and murderous queen — into the hero of the story. And the answer is that our willingness to root for a bad person who does bad things, sometimes to good people, is dependent on a carefully constructed context. Successful antiheroes have all been portrayed in a certain way: as special — particularly skilled at something or somehow different than those around them — and as three-dimensional human beings with unmet desires. They are usually surrounded by even more unsavory antagonists and are invariably trying to survive within an oppressive system they can’t fully understand. Our empathy for them comes in large part from seeing their pain and the forces that oppress them even when they don’t, perhaps especially when they don’t. But our ability to relate to them also hinges on the possibility of redemption, if not its actualization. We see ourselves, however dimly, in antiheroes. Their potential for change is our own. We can stand to watch them do terrible things because we harbor hope that they, and we, can change.    Read more…

Olympic Destroyer: The Cyberattack on the 2018 Winter Games

Getty Images

As the opening ceremonies of the 2018 Winter Olympics began, a cyberattack crippled the games’ digital infrastructure, jeopardizing WIFI connections, event tickets, and even the Olympics app, packed full of information on event schedules, maps, and hotel reservations. At Wired, in this excerpt from his book, Sandworm, Andy Greenberg unravels this digital whodunnit. Who was bent on creating chaos at the Olympics to publicly embarrass South Korea? Was it China? North Korea? Or was it Russia?

Over the next two hours, as they attempted to rebuild the domain controllers to re-create a more long-term, secure network, the engineers would find again and again that the servers had been crippled. Some malicious presence in their systems remained, disrupting the machines faster than they could be rebuilt.

A few minutes before midnight, Oh and his administrators reluctantly decided on a desperate measure: They would cut off their entire network from the internet in an attempt to isolate it from the saboteurs who they figured must still have maintained a presence inside. That meant taking down every service—even the Olympics’ public website—while they worked to root out whatever malware infection was tearing apart their machines from within.

For the rest of the night, Oh and his staff worked frantically to rebuild the Olympics’ digital nervous system. By 5 am, a Korean security contractor, AhnLab, had managed to create an antivirus signature that could help Oh’s staff vaccinate the network’s thousands of PCs and servers against the mysterious malware that had infected them, a malicious file that Oh says was named simply winlogon.exe.

At 6:30 am, the Olympics’ administrators reset staffers’ passwords in hopes of locking out whatever means of access the hackers might have stolen. Just before 8 that morning, almost exactly 12 hours after the cyberattack on the Olympics had begun, Oh and his sleepless staffers finished reconstructing their servers from backups and began restarting every service.

Amazingly, it worked. The day’s skating and ski jumping events went off with little more than a few Wi-Fi hiccups. R2-D2-style robots puttered around Olympic venues, vacuuming floors, delivering water bottles, and projecting weather reports. A Boston Globe reporter later called the games “impeccably organized.” One USA Today columnist wrote that “it’s possible no Olympic Games have ever had so many moving pieces all run on time.” Thousands of athletes and millions of spectators remained blissfully unaware that the Olympics’ staff had spent its first night fighting off an invisible enemy that threatened to throw the entire event into chaos.

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A Fresh Look at The Smashing Pumpkins’ 1998 Album Adore

Billy Corgan, Smashing Pumpkins. Photo by Niels van Iperen/Getty Images

Jovana Babovic | The 33 1/3 B-Sides | Bloomsbury Academic | September 2019 | 10 minutes (2,025 words)

 

I saw the Smashing Pumpkins play in 1996 as they toured in support of their third studio album Mellon Collie and the Infinite Sadness. It’s difficult to articulate exactly what I liked about the band’s music at the time beyond that it resonated with my general teenage angst, but I do remember that I jumped around, sang along, and nearly experienced euphoria during the show. I continued to follow the Pumpkins for several more years. I bought their two subsequent records as well as some B-sides and live recordings. My enthusiasm, however, gradually waned. The more time passed, the less likely it seemed that I would ever revisit my favorite bands from the 1990s like the Smashing Pumpkins, let alone their less popular albums like 1998’s Adore and 2000’s Machina/The Machines of God.

I wasn’t the only one who lost interest in the Smashing Pumpkins by the end of the 1990s. Album sales plunged, and the group eventually disbanded. In the years that followed, primary songwriter and frontman Billy Corgan reformed the Pumpkins in several different incarnations and released four more albums under the band’s name. Corgan also performed under different monikers, published a book of poetry, and opened a tea shop and art space in Chicago, while the other original members similarly remained active with new projects. Although the Smashing Pumpkins never left the public eye, they did not accrue many new listeners after the mid-1990s. Instead, most fans retrospectively cite Mellon Collie and its predecessor, 1993’s Siamese Dream, as the band’s cornerstone outputs. When Rolling Stone conducted a readers’ poll of the best Pumpkins songs in 2012, only one of the twenty tracks voted onto the list (“Ava Adore” from Adore) had been released on an album proceeding Mellon Collie. Critics tend to agree with this hierarchization. When Stereogum writer and 33 1/3 author Ryan Laes ranked the Pumpkins’ ten best songs in 2018, only one (again “Ava Adore”) was not from the mid-1990s. “There’s a lot to love about Corgan’s work after his peak years,” Laes conceded, “but nothing matches the weight and impact of what he did when he was young and furious.” Others were more forthcoming. New York Times music critic Joe Coscarelli suggested that Corgan “has never again sniffed the creative or commercial success of the band’s heyday.” By all estimations, that heyday ended with the release of Adore.

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Unearthing the Story: An Interview with Peter Hessler

Penguin Press

In the fall of 2011, Peter Hessler arrived in Egypt, with his family — twin toddlers, and his wife, the writer Leslie Chang. The two had met in China, where Hessler first landed as a Peace Corps volunteer in 1996. His first book, River Town: Two Years on the Yangtze, details his two years teaching English. Two other books, Oracle Bones: A Journey Through Time in China and Country Driving: A Journey Through China from Farm to Factory, followed. After leaving China in 2007, the family settled in southwestern Colorado, where they are now based. A few years later, they decided to wipe the slate clean and move to Egypt. But just as they planning their move, the Egyptian Arab Spring started, sending the country down the chaotic path it has followed until today.

Hessler’s latest book, The Buried: An Archaeology of the Egyptian Revolution, chronicles both the revolution itself, and the lives of the people they met during their five years in Cairo. It’s a deep look at what is, in some ways, the oldest country in the world, and it bears the hallmarks of Hessler’s work: vivid scenes, elegant narrative arcs, and a long lens that examines the links and gaps between Egypt’s troubled present and its ancient past.

Today, Hessler is a staff writer at The New Yorker. He won a National Magazine Award for his 2007 National Geographic story, “Instant Cities,” and in 2006, Oracle Bones was a National Book Award finalist. In 2011 he was named a MacArthur Fellow. After leaving Egypt, his family returned to Colorado again, before decamping this year for another stint in China, where Hessler plans to teach at Sichuan University, 20 years after he first taught at Fuling Teachers College. Frank Bures spoke to him about the value of language, learning from John McPhee, and what your garbage man can teach you.

***

Frank Bures: You built your career writing about China, but how did you start writing in the first place?

Peter Hessler: My first interest was in 10th grade. I had an English teacher in high school who thought that I had some talent at it, and encouraged me. She was the one who made me think seriously about becoming a writer. That was one of the reasons I ended up at Princeton, because they had a good creative writing program. I was encouraged there by Russell Banks, who was my teacher and a thesis advisor, and also John McPhee.

I originally was interested in fiction. I didn’t do journalism in high school, didn’t work for a paper or anything, and at Princeton I never published a word in a college publication. Later, after I took McPhee’s class, I started doing a little freelancing. In grad school overseas I started shifting towards nonfiction, partly because I couldn’t sell short stories. It was hard to publish them, whereas I could publish my travel pieces and essays and get paid for them, and that was encouraging. But I was still unsure when I joined the Peace Corps at age 27. I’d published a lot of travel pieces, but I’d never held a job in journalism, and the kind of stuff I published wasn’t enough for me to support myself.

I didn’t do journalism in high school, didn’t work for a paper or anything, and at Princeton I never published a word in a college publication.

FB: What kind of travel pieces had you done?

PH: The New York Times used to have these essays. The first one I wrote for them was about taking the Trans-Siberian train. Because after I finished grad school at Oxford I traveled for six months, and I consciously researched stories along the way, thinking that when I got home I would write pieces, and possibly write a travel book. I wrote the train essay, and just sent it to a name on the masthead at the Times, and by some miracle they read it and published it. After that I started doing some stuff for them as a freelancer.

FB: When did you start thinking about books?

PH: When I joined the Peace Corps, I wanted to learn Chinese and become a better writer. But I didn’t think I was going to write a book about that experience. I felt I was too young, and I really was. I didn’t have the maturity to write a book, nor did I really have the material at that point. But I did take a lot of notes. It was my way of processing what was going on. I would write about experiences I had, or encounters with people, things on campus, but just in a diary format. And I tracked a lot of my students’ writing because they were such beautiful writers, and I thought they were fascinating people.

Then with six months to go, we got Internet for the first time, and I got back in touch with people. If it had been any earlier, it probably would’ve been a distraction, but at that point it was good to start thinking about the future.

He said, ‘It’s there. It’s in you. You just need to do it.’

I had written to John McPhee throughout my time there, and he had written back often. But now we were on email, and I remember writing to him because I was thinking about applying for journalism jobs, and applying for an internship at Newsweek in Beijing. John wrote me a long letter, telling me: “You should write a book about Fuling.” Because he’d read these letters. He said, “It’s there. It’s in you. You just need to do it.”

That was a powerful moment, because I hadn’t thought about it. Once I got that email and started thinking, it immediately made sense. When I went back through all my notes in my diaries, I realized, “I’ve really got a lot of stuff here.” But I could also see what I needed: more detailed descriptions of the landscape, and some deeper observation of the community and of the city.

FB: Did you write the book then?

PH: No, I didn’t write the book until I left. I went back to my parents’ home in Missouri, and I decided I would take about half a year. I was 29 years old and I had never held a job. I had college debt, so I felt a lot of pressure. I was applying for journalism jobs at the same time, sending out resumes to The New York Times, Washington Post, and Time, pretty much anybody who had a China bureau, and I got form rejections across the board.

When I finished the book, I sent a resume to Amazon, because they had sent me a recruiting thing when I was in Fuling. I had no idea what it was. I guess my life could’ve been pretty different. I sent them a resume, but they never wrote back.

I was so depressed by that point. I had completely lost all perspective. I just wanted to get rid of the thing and put it behind me and do something else. After a couple weeks of this sort of thinking, I finally sent the book out to agents, and a couple of agents were interested. I went to New York and met with them, and I ended up signing with a young agent named William Clark. He sold the book to HarperCollins, and it happened very quickly. It wouldn’t be considered a big advance, but it was enough to pay off all my college loans, and suddenly I realized, “I can just go back to China on my own. I don’t need a job. I’ll just go and figure it out.” And that’s where Oracle Bones starts, in that I was just showing up, and I had a part-time assistant position at The Wall Street Journal, for $500 a month, and that gave me a base.

I was so depressed by that point. I had completely lost all perspective. I just wanted to get rid of the thing and put it behind me and do something else.

It took a while for River Town to come out, because I took a long time editing it. But there was a lot of stuff going on that year and people were starting to get interested in China. So I very quickly had a lot of work. After about a year I got a break with National Geographic and The New Yorker. I was on the ground there for just a little more than a year when I sold my first story to The New Yorker in 2000. Then a week later I sold my second story to them, and we were pretty much off and running.

FB: It was a great time to be writing about China.

PH: Yeah, I was very lucky. I was at the right place in the right time. But it did take some faith, because it was very discouraging earlier, when I was rejected for those jobs and living at my parents’ house. I didn’t grow up with any money, so I couldn’t rely on anything else. And the college debt weighed on me.

FB: Was there anything you learned from John McPhee that influenced the way you write, or think about writing?

PH: There were huge numbers of things that I learned from him. There’s technical stuff. Probably one of the best examples is a “set piece.” He’d teach us that in his course, and show us an example from his writing. It’s something, actually, that a lot of journalists don’t learn, because you only do it in long-form writing, but it makes you think differently about the structure and organization, and that was a really useful lesson to have as a young writer. The example he gave came from his Alaska book, where he’s on his trip through the Alaska back country, and they see a bear. The thing shifts to maybe 1,000 or 1,500 words about bears, and it’s no longer in his experience. It talks about the nature of bears, things they do, and their size. There’s all this, of course beautifully written, but it’s a way of getting background information in an interesting way. It also allows you to step away so the voice doesn’t get stale.

McPhee had a lot of technical lessons, but I think the most important thing was the deeper ways of thinking about writing. One of them, for me, was that you can do fascinating creative writing as a nonfiction writer. I had always been so focused on fiction that I was kind of turned off by the newspaper style of writing. My parents didn’t get The New Yorker, so I didn’t realize there were these other ways of writing nonfiction, and that it could be just as dynamic and fascinating as fiction, and just as artistic.

FB: How did you and Leslie choose Egypt?

PH: There are a couple things. We wanted something different from China. We wanted a different kind of challenge, and something that would give us a new perspective. We wanted to study a language that would be fascinating and rich. I like the idea of a place with a long history, and especially with ancient history because I like archeology. But we also needed it to be a place that would interest The New Yorker. I couldn’t go to Portugal, right? I mean, how many stories about Portugal are you going to write for The New Yorker? I had to be able to support my family.

We thought about India, but I didn’t like the way that there wasn’t one language that unified it, and it seemed like maybe it was too close to China in some sense. So we eventually settled on the Middle East. It was going to be Damascus or Cairo, because those are good places to study Arabic. We were leaning toward Damascus for a while, but once the Arab Spring started it was clear that Cairo was the place. But we’d never been there. We showed up in Cairo with these kids, and neither Leslie nor I had ever been to Egypt.


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FB: Having kids myself, I can’t imagine a move like that.

PH: When I look back, it’s totally crazy. Leslie and I, maybe we’re delusional or something, but we’re also pretty calm people. It helps, too, if you’re doing this with somebody else who’s totally on board. It was definitely a hard first year. I mean, I think the whole thing was hard, because it’s hard with little kids to do something like that, and it’s hard to be in the midst of this chaotic political period. It was very intense. But it’s an engaging place. The people are likable, even though Egypt has problems on a level that we had not experienced in China. There’s serious dysfunction in many aspects of Egyptian society. But it was a phenomenal experience, and I was also fortunate in that I did get to know individuals who brought some light to what was going on, and not just in the sense of understanding. They were engaging, positive people that I liked to spend time with. Sayyid, and Manu and Rifaat, our teacher. We loved it.

FB: What’s your feeling about the importance of learning the language of a place where you’re writing about or living?

PH: To me, it was fundamental. I’m not interested in writing in-depth about a place where I’m not at least doing my best to learn the language. In Egypt I didn’t become fluent like I was in Chinese, but I was very conversant, comfortable with somebody like Sayyid. I could spend a lot of time with him and his family and understand what’s going on, and that was really important to me.

FB: With Egyptian Arabic, what did you learn about Egypt that you wouldn’t have learned without that?

PH: There’s the deep religious nature of the language, and the impact of religion on the language itself. It’s fundamental to that language. I think that that’s pretty rare in the world. There aren’t that many cultures where you have the religion so deeply embedded in the language. It’s a huge part of what you’re saying when you’re using these terms all the time.

I had always been so focused on fiction that I was kind of turned off by the newspaper style of writing.

The language also makes you think a lot about the Pharaonic world, and the ways in which it lasted or didn’t last. There are remarkably few Pharaonic words in Egyptian Arabic. It’s quite striking. There are probably more Turkic words than there are Pharaonic words. But it’s also striking that a lot of those Pharaonic words are very foundational, like the vocabulary for agriculture has a lot of Pharaonic stuff in it, and the word for women, the word for water, the word for land, the Nile, the river. These are things that have deep roots, and those survived the adoption of Arabic.

FB: I love how in both The Buried and Oracle Bones, you’re writing about the distant past and the present, and finding connections and divergences. Do you think that was one of the reasons that you were attracted to Egypt?

PH: I definitely liked the idea of this place with an incredibly rich ancient history. I think there are always some people who say, “Well, that’s not really relevant to what’s going on today.” But I don’t believe it disappears. There are too many echoes that you can see. Also, it’s not just whether things stay the same. I’m not saying that everything is static, but more what I’m saying is that the ancient Egyptians were brilliant politicians, and a lot of what they did politically we see echoes of. For example, their use of nostalgia. Even 3,000 or 4,000 years ago, they were already writing nostalgically about the past, and the perfect political world of the past. That’s an effective political strategy. It’s what Trump does now. People do this all over the world.

FB: What’s your sense of the difference between how people in China and Egypt relate to that distant past?

PH: It was a huge difference. The Chinese are much more comfortable with it, and there are a couple reasons for this. The main one, of course, is they see their history as an unbroken line. It’s a very powerful thing to have that link. Egypt does not have that. The other huge difference is that the last Egyptian to declare himself Pharaoh was somewhere in the second century BC, and from that point until 1952. there was not a single Egyptian leader.

FB: What was the biggest challenge as a writer in Egypt?

PH: It was getting enough language, and being able to do that while the revolution was going on and while I had small children. I couldn’t study all the time the way I had in Fuling. In Egypt I was having to go report on stuff, and I had kids to take care of.

FB: In Oracle Bones you say that in writing narrative nonfiction stories, you’re collecting fragments and organizing them into stories. Some of your stories have arcs that span years. How do you know when a fragment, or something that you’ve collected, is part of that story?

PH: It’s an instinct you develop over time. It took me a while to get there, but by the time I left China I had a pretty good sense of this. When I was in Colorado, for example, and I was reporting on the uranium industry in my corner of the state, and I ran into a town where everybody was telling me to talk to the pharmacist, because he knew everything. That confused me, because why would a pharmacist be somebody who knows a lot? Then I talked to him and realized, well, there’s no medic, there’s no hospital anywhere near here, so he’s basically like a doctor.

I feel like when you start with an issue or a theme, maybe you’re dehumanizing people from the start.

He also mentioned the story of some loner in town who died and left him half a million dollars, and at that point my instinct kicked in and I thought, “There’s something going on here.” So I left him out of the uranium story, with the idea that I was going to pursue this. I didn’t know where it was going to go, but I thought there was something there. You get those instincts over years of writing stories and books. The same thing in Egypt when the garbageman, Sayyid, kept bringing me stuff from the neighborhood and he knww so much about people.

FB: Do you typically start with an idea?

PH: It’s usually either a person or a place. It’s almost never an idea. I don’t start with themes or issues. Partly that’s my instinct, but partly it’s also deliberate because I feel like when you start with an issue or a theme, maybe you’re dehumanizing people from the start. Maybe you’re fitting them into a larger narrative or idea that isn’t appropriate. So I tend to start either with a place or a person, and then the issues and the themes are secondary. They come in as I get to know the person or the place.

So I get to know Sayyid. Then I start to learn about him. Then that leads me into the informality of Cairo and the self-organization of those communities. Then it also leads me into gender relations, because I start to get to see how him and his wife interact. It leads me to issues of education, because I realize that this incredibly intelligent person is illiterate, and I get to know what his children are doing in school, and educate me in new perspectives. But it all starts with him.

FB: And now you guys are going back to China. Where are you going to be?

PH: We’re going to Chengdu. I’m going to teach for a year at Sichuan University. It’s been 20 years since I taught in Fuling.

FB: Is Chengdu near Fuling?

PH: It’s close. I wanted to teach in Fuling, but I wasn’t allowed for political reasons. I could do it in Chengdu. I’ll also be tracking down my former students and seeing what they’re up to, and revisiting Fuling.

FB: Are you going to write a sequel to River Town?

PH: I suspect some kind of follow-up book. But, I don’t know. I always wait until I’m into it before I really know what form it’s going to take. I do want to build on that experience, and I want to try to write something about how this place has changed and what it feels like on the ground, both for the people involved and for me as an observer. I’m also interested in my former students, who were a remarkable generation, because they were born around the time that Mao died, and they grew up with the changes. I’m curious to know more about their perspective on what they’ve seen and what they’ve lived through, because they’re middle-aged now.

FB: Is your plan to be there for a year?

PH: Right now, I think we’ll be there for five years. I’ll do one year of teaching, and then transition to writing full-time and reporting. Leslie is finishing her Egypt book, and then she’ll transition to writing. We also want our children to learn Chinese.

FB: How did you guys meet?

PH: I was working at The Wall Street Journal as an assistant, and she was a journalist, or a correspondent for them in China. I was the lowest guy on The Journal totem pole, and she had a real job, back in ’99. But we didn’t date then. We were in the same circle of friends, and then in 2003 we started dating.

FB: Can you say what Leslie’s Egypt book is about?

PH: It’s about women factory workers in Egypt. She reported on the factory in Alexandria. She has really good stuff, and she’s partway through it now.

FB: That will sit nicely on the shelf next to Factory Girls.

I’ve never wanted feedback from anybody while I’m writing, because I add in stuff a lot while I’m going, and I want to be the one to shape it.

PH: I think the two books will be interesting. My book and her book also will be interesting because we’re looking at Egypt from slightly different angles. There are some cross-themes, and it was fun to have these projects being researched at the same time. It helps, I think, both of us to have all these conversations while we’re doing research.

FB: Do you guys read each other’s work, like Joan Didion and John Dunne?

PH: Pretty late in the game. We don’t do it as we’re working. I’ve never wanted feedback from anybody while I’m writing, because I add in stuff a lot while I’m going, and I want to be the one to shape it. Actually, for this last book, she didn’t read it until pretty late in the process because I think she was feeling a lot of pressure for her book and trying to get it going, and I didn’t feel like I wanted to throw it on to her. She needed to focus on her thing, but I think that was a little bit of an unusual time, just part of the whole challenge of doing these projects with young children. We’re both very supportive, and it helps a lot in terms of the reporting, because each of us is learning things that help the other person.

FB: With two writers in the family, how do you balance your life and work?

PH: I guess that develops kind of naturally. It’s all we ever knew together, because both of us were writing from the time we met. The hardest thing about having two writers is probably financial, and lack of stability. Neither of us have a steady paycheck, but we had kids so late, and then both of us had the good fortune to start in China, which was a good place to get established. Though we would never write together. We have no interest in that. We are not a team of writers. It’s an individual sport, like running.

***

Frank Bures is the author of The Geography of Madness and editor of Under Purple Skies: The Minneapolis Anthology. He writes about travel, culture, language, science, outdoors, narrative, and belief for publications such as Harper’sAeonLapham’s QuarterlyThe Washington Post MagazineOutside, and the Best American Travel Writing

Editor: Aaron Gilbreath

He Never Intended To Become A Political Dissident, But Then He Started Beating Up Tai Chi Masters

Longreads Pick

He’s a so-so MMA fighter with political views that are moderate at best. But since he’s outspoken on the internet — most recently, about Hong Kong — he’s become one of China’s best-known dissidents.

Source: Deadspin
Published: Oct 3, 2019
Length: 14 minutes (3,596 words)

Regarding the Interpretation of Others

Jean-Regis Rouston/Roger Viollet via Getty Images

Patrick Nathan | Longreads | September 2019 | 30 minutes (8,235 words)


“The only review of Under the Sign of Saturn would be the eighth essay — an essay describing me as I have described them. The pathos of intellectual avidity, the collector (mind as every-thing), melancholy & history, arbitrating the moral claim versus aestheticism, and so forth. The intellectual as an impossible project.”

Susan Sontag, journal entry, May 1980


 

1:

Differently, we buy and borrow, and steal, our ongoing educations. American writers tend to forget this, even dissuade it. There is an assumption — general, if not unconscious — that “we” have all read Raymond Carver and Joan Didion, seen Dazed and Confused and The Princess Bride, and exhausted “prestige” television from Lost to Big Little Lies. That these works are canon in a post- or anti-canonical culture highlights the need for inexhaustible and pluralistic inspiration against the deprivation of that need. What’s worse, if you are labeled — black, queer, immigrant, disabled, trans, or a woman — those expectations constrict; the canon tightens. To be a gay writer means one must have read Edmund White and seen Mean Girls; to write as a black woman means one must have read Angela Davis and seen Kara Walker’s silhouettes. What was supposed to liberate our literary sensibilities has reduced us, clinically, to trained specialists. Under this pressure, so carefully curated and categorized, it’s difficult to will one’s own work into being. To learn passively, and ultimately write passively, is the great cultural temptation.

Yes, I have been reading — and reading about — Susan Sontag. There is nothing passive in her legacy. In her combined erudition, ambition, and seriousness, she has few peers, and for several years she has symbolized my aspirations as a writer — the uncompromising rigor with which she approached her essays; her self-proclaimed interest in “everything”; an urgency in dissenting, when ethically necessary, from received opinion; her energy in consuming art constantly; and the esteem, to the end of her life, in which she held literature, above all fiction. Her passion is contagious. Sontag’s narcotic approach to art and experience is, for a provincial writer with little access, renewably invigorating; and because Sontag’s lifetime of work is willed, Nietzscheanly, from her passions, reading about her life is its own invigorating project. In this, Benjamin Moser’s Sontag: Her Life and Work, at 832 pages, is certainly her legacy’s largest complement. Read more…

Keeping My Promise to Popo

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Anne Liu Kellor | Longreads | September 2019 | #of minutes (2,604 words)

No one can agree on how old my grandmother is. Because she was born in wartime China, because they use the lunar calendar, because she immigrated from the mainland to Taiwan to America and declared her own birthdate, or because she’s always been vain and told people she is younger. Is she 98, 100, 102? Her sister claims one age, Popo another, her Social Security card yet something else. How can there be such a range of unknown?

Regardless, now she is finally, undeniably, old. I watch as Popo rests in the hospital bed in Monterey Park, her body thin, dressed in a pale green gown. Oxygen tube in her nose and around her neck, short greasy hair flattened, black with white roots. Mouth curved into a frown. Hearing aid, glasses, wig, glittery rings, all removed. Fingers no longer able to scrawl characters on her erasable black board with the pointed stick. Eyes no longer able to watch Chinese soap operas on TV. Mouth involuntarily moving, like she’s chewing, or rooting. Voice involuntarily making sounds, eh, eh, eh, eh. Sleep coming in short intervals, drifting off for an hour here and there, in between nurses coming to check on her.

The nurses are Filipino, Chinese, East African. They come in and open her curtain every hour or two, glance at her vitals, rotate her body, write things down on a chart and leave. On the white board beside her bed it says “Mandarin,” so sometimes they speak to Popo in Mandarin, but the white board does not say that she is basically deaf, and that in the last many years she’s reverted to speaking Cantonese, her childhood language. They might as well be whispering to her in Tagalog or Somali. She does not hear a thing they say.
Read more…

The Top 5 Longreads of the Week

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This week, we’re sharing stories from Sandra Sidi, Lena Solow, Aubrey Hirsch, Noelle Mateer, and Amanda Hess.

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