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Los mutilados y los desaparecidos

Secuestradores en el camino migratorio asesinaron a sus dos hermanos, pero Miguel Ángel Rápalo Piñeda, de 20 años, sobrevivió. Las dos cicatrices de bala en su espalda aún son visibles, y las balas permanecen dentro de él. (Cambria Harkey)

Alice Driver | Longreads | Enero ​​2018 | 21 minutos (5,284 palabras)

AVAILABLE IN ENGLISH

“Es muy fácil desaparecer gente.” — Aracy Matus Sánchez, directora de Jesús el Buen Pastor del Pobre y el Migrante, el único albergue en México para migrantes que han sufrido mutilaciones a lo largo de la ruta del migrante.

* * *

Una boca apareció del otro lado de la rendija de seguridad que era del ancho de un puño; le siguieron unos ojos vigilantes. El migrante, cuyo cuerpo temblaba, permaneció de pie con los ojos bien abiertos y se agarraba el brazo gimiendo de dolor. ¿Qué quieres?, preguntó la voz detrás de la puerta metálica. “Yo… yo… alguien me golpeó” dijo el migrante, que parecía tener unos 25 años y se inclinaba sobre sus muslos, como si esa posición compacta lo hiciera estar más protegido.

La puerta se cerró con un sonido sútil, mientras que el migrante se balanceaba de un lado a otro para luego desplomarse estruendosamente en el suelo. El muchacho permaneció lo suficientemente rígido como para poder sentarse, aún vacilante, sobre unos escalones de cemento. Sostenía su brazo izquierdo, el cual tenía una protuberancia debajo del codo, y aunque su respiración estaba entrecortada, no derramó ni una sola lágrima. Después de varios minutos se levantó de nuevo, se dirigió a la segunda puerta que estaba a un costado del edificio y tocó tímidamente. Una vez más esperó mientras agarraba su brazo, se recargó contra la puerta, sus ojos no tenían expresión alguna. Empezó a hiperventilarse, parecía como si su respiración estuviera atrapada dentro de su pecho de ave y luchara desesperadamente por escapar. La puerta seguía cerrada. El muchacho dirigió su mirada a sus pies llenos de lodo, sus dedos se desbordaban sobre un par de chancletas muy delgadas.

La puerta se abrió brevemente y otra vez se pudo escuchar a aquella voz indiferente preguntar al muchacho por qué estaba ahí. Finalmente, cuando la puerta se abrió lo suficiente, el migrante entró en una oficina y se tumbó sobre el sillón más cercano. El hombre que cuidaba la puerta desapareció, y en su lugar apareció una mujer que miró al muchacho y le preguntó: “¿Tienes hambre? Puedes ir con los demás a desayunar” La mujer no parecía notar el estado de shock en el que el joven se encontraba. Después de unos segundos él respondió con un tartamudeo “S..ss..ssí”, y ella señaló el camino hacia el comedor del albergue para migrantes Jesús el Buen Pastor del Pobre y el Migrante, el único albergue en México para migrantes que han sufrido mutilaciones a lo largo de la ruta del migrante. Read more…

The Top 5 Longreads of the Week

Olympic gymnast Aly Raisman
Olympic gymnast Aly Raisman. (Photo by Mireya Acierto / FilmMagic)

This week, we’re sharing stories from Aly Raisman, Joseph Williams, Jenna Wortham, Mayukh Sen, and Sirin Kale.

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The Handgun and the Haunted Range

Justin Quarry | Longreads | January 2018 | 22 minutes (5,444 words)

 

When my father died in the winter of 2000, back when I was newly 19, the single thing he left me was a nine-millimeter pistol. The day after his funeral, my grandfather simply told me my father wanted me to have it, handing it to me in its ragged original packaging — spare bullets, along with the pistol, spilling from the Styrofoam encasement as I opened the discolored box.

This inheritance both surprised and confused me. For one thing, though I’d spent my early childhood with rifles and shotguns racked against the walls of our home and the rear window of my father’s Jeep, with countless taxidermied deer heads gazing down at me apathetically, I’d never known my father to own a handgun. For another, unlike all the other men in my family, I’d never spent a second in a tree stand, didn’t even recall playing with toy guns; rather than pretending to shoot deer or Iraqi soldiers, for instance, one Christmas I requested and received a custom-made deer costume for my Cabbage Patch doll, Casey.

The pistol also puzzled me because I hadn’t necessarily expected to inherit anything at all from my father. Over the prior 10 years, my mother had to fight for nearly all the child support she’d received, and it was an open secret that, when my mother had divorced him, he’d spent the $20,000 my great-grandmother had given him to split between my older brother and me, once we were of age, on a revenge Grand Prix. My mother had pined for a Grand Prix in the months before she left him, and so he bought one for himself, kept it immaculate, and always left it in the furthest reaches of parking lots, where it was least likely to get dinged.

Two weeks before I’d gotten the gun, and hardly a month into my second semester at Vanderbilt University in Nashville, my father’s family called me back home to Northeast Arkansas to visit him for the last time I would see him conscious. Only a week after that, they called me home again to see him, then in a coma, die.

That day, when we all knew his body was finally going to expire as we listened to its death rattle, none of the other men in my family, which is to say none of the people closest to him, could bear to be with him. My brother, who was six years older than me and had lived with my father after our parents divorced, was too afraid. My grandfather, who was also my father’s best friend, my father his namesake, was too emotionally unstable, sleepless for weeks, having had a dream in which my father was lost on a hunt at night, and as he called for my grandfather, no matter which way my grandfather pointed his light, no matter which way he stumbled in the woods, my grandfather couldn’t find his son. And so there I was at my father’s bedside with the women of the family — with the women, where I usually was. I thought that as one of his three closest living relations, even though he and I weren’t at all intimate, it was my place to be with him when he died.

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Is ‘RuPaul’s Drag Race’ the Most Radical Show on TV?

Longreads Pick

In her first cover piece for the New York Times magazine, Jenna Wortham profiles RuPaul, making note of the ways in which he — and his 9-year-old reality competition TV show — have had to evolve along with shifting understandings of gender, and the politics around it.

Published: Jan 24, 2018
Length: 24 minutes (6,234 words)

Reclaiming Our Rage

(Raquel Minwell/EyeEm/Getty)

There’s a lot being written about women and anger right now and I am here for all of it.

Rebecca Traister, who is writing a book on the subject, recently posted a thread on Twitter pointing to a number of recent articles on women’s anger: “Does This Year Make Me Look Angry?,” by Ijeoma Oluo in Elle; “#MeToo Isn’t Enough. Now Women Need to Get Ugly,” by Barbara Kingsolver in the Guardian; “We are Living Through the Moment When Women Unleash Decades of Pent-Up Anger,” by Katha Pollitt in The Nation; “Most Women You Know Are Angry — And That’s Alright,” by Longreads columnist Laurie Penny in Teen Vogue.

But one piece she included resonated with me on a deeply personal level: “I Used to Insist I Didn’t Get Angry. Not Anymore,” by Leslie Jamison in The New York Times Magazine.

Jamison examines women’s long-standing conditioning against owning and expressing anger, instead sublimating their rage in sadness, which has historically been more acceptable. I know this mechanism all too well. It long ago became second nature for me to respond to affronts and offenses of all kinds by bursting into tears and withdrawing deep into sorrow rather than raging or even just speaking up for myself in a firm and reasonable way. In my 50s, I’m only first learning how to do the latter, and usually only after first defaulting to the emotional bypass toward crying instead. For so many of us — maybe for most women — this is a conditioning that is difficult to root out because of a culture that taught us our anger makes us threatening.

The phenomenon of female anger has often been turned against itself, the figure of the angry woman reframed as threat — not the one who has been harmed, but the one bent on harming. She conjures a lineage of threatening archetypes: the harpy and her talons, the witch and her spells, the medusa and her writhing locks. The notion that female anger is unnatural or destructive is learned young; children report perceiving displays of anger as more acceptable from boys than from girls. According to a review of studies of gender and anger written in 2000 by Ann M. Kring, a psychology professor at the University of California, Berkeley, men and women self-report “anger episodes” with comparable degrees of frequency, but women report experiencing more shame and embarrassment in their aftermath. People are more likely to use words like “bitchy” and “hostile” to describe female anger, while male anger is more likely to be described as “strong.” Kring reported that men are more likely to express their anger by physically assaulting objects or verbally attacking other people, while women are more likely to cry when they get angry, as if their bodies are forcibly returning them to the appearance of the emotion — sadness — with which they are most commonly associated.

A 2016 study found that it took longer for people to correctly identify the gender of female faces displaying an angry expression, as if the emotion had wandered out of its natural habitat by finding its way to their features. A 1990 study conducted by the psychologists Ulf Dimberg and L.O. Lundquist found that when female faces are recognized as angry, their expressions are rated as more hostile than comparable expressions on the faces of men — as if their violation of social expectations had already made their anger seem more extreme, increasing its volume beyond what could be tolerated.

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The Top 5 Longreads of the Week

Anti-death penalty activists march with a sign to free Jeff Wood
Family and friends of Jeff Wood and anti-death penalty activists march to deliver a petition with over 10,000 signatures asking the governor and the Texas Board of Pardons and Paroles to commute Wood's sentence. (Tamir Kalifa / AFP / Getty Images)

This week, we’re sharing stories from Sabine Heinlein, Leslie Jamison, Ijeoma Oluo, Eric Newcomer with Brad Stone, and Jill Lepore.

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Diary of a Do-Gooder

Illustration by Nusha Ashjaee

Sara Eckel | Longreads | January 2018 | 19 minutes (4,774 words)

In the fall of 2016, I stood on the concrete steps of a mustard-colored ranch house off the New York State Thruway in Ulster County, a broken red umbrella hooked below my shoulder. The mustached man at the door — 50ish, in a t-shirt and khakis — had the stern, dry look of a high-school science teacher.

“Hi, Thomas?”

He nodded.

“Hi, Thomas, my name is Sara, and I’m a neighborhood volunteer for Zephyr Teachout for Congress.”

Thomas didn’t tell me to go away, didn’t slam the door or scold me for interrupting his day. He stoically endured my spiel about why I was spending my Sunday afternoon doing this — because Zephyr has been fighting corruption for her entire career, and I believe she’ll go to Washington and represent the people of New York’s 19th District, rather than corporations and billionaires.

“Okay, thank you,” he said, closing the door.

“Would you like some literature?” I asked, proffering some rain-dotted pamphlets.

“No, you people have sent us plenty.”

You people.

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We’re Not Done Here

CSA Images/Getty

Laurie Penny | Longreads | January 2018 | 19 minutes (4,764 words)

The problem of sexual violation can not be treated as distinct from the problematic of sexuality itself. The ubiquity of sexual violations is obviously related to what is taken to be routine, everyday sex, the ‘facts’ of pleasure and desire.
— Linda MartAn Alcoff, Rape and Resistance

This kind of mania will always at some point exhaust itself.
— Andrew Sullivan, New York Magazine

***

Oh, girls, look what we’ve done now. We’ve gone too far. The growing backlash against the MeToo movement has finally settled on a form that can face itself in the mirror. The charge is hysteria, moral panic, hatred of sex, hatred of men. More specifically, as Andrew Sullivan complained in New York magazine this week, “the righteous exposure of hideous abuse of power had morphed into a more generalized revolution against the patriarchy.” Well, yes. That’s rather the point.

Sullivan is far from the only one to accuse the MeToo movement of becoming a moral panic about sexuality itself, and he joins a chorus of hand-wringers warning that if this continues — well, men will lose their jobs unjustly, and what could be worse than that, really? The story being put about is that women, girls, and a few presumably hoodwinked men are now so carried away by their “anger” and “temporary power” that, according to one piece in the Atlantic, they have become “dangerous.” Of course — what could be more terrifying than an angry, powerful woman, especially if you secretly care a little bit more about being comfortable than you do about justice? This was always how the counter-narrative was going to unfold: It was always going to become a meltdown about castrating feminist hellcats whipping up their followers into a Cybelian frenzy, interpreting any clumsy come-on as an attempted rape and murder. We know what happens when women get out of control, don’t we?

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Wallace Shawn’s Late Night

Wallace Shawn in 1988. (AP)

Troy Jollimore | Zyzzyva | Winter 2017 | 30 minutes (8,142 words)

More than a decade ago, in the aftermath of the release of the Abu Ghraib photographs, the playwright and actor Wallace Shawn wrote:

A few months ago, the American public, who in political theory and to some extent even in reality are “sovereign” in the United States, were given a group of pictures showing American soldiers tormenting desperate, naked, extremely thin people in chains — degrading them, mocking them, and physically torturing them. And so the question arose, How would the American public react to that? And the answer was that in their capacity as individuals, certain people definitely suffered or were shocked when they saw those pictures. But in their capacity as the sovereign public, they did not react. A cry of lamentation and outrage did not rise up across the land. The president and his highest officials were not compelled to abase themselves publicly, apologize, and resign, nor did they find themselves thrown out of office, nor did the political candidates from the party out of power grow hoarse with denouncing the astounding crimes which were witnessed by practically everyone throughout the entire world. As far as one could tell, over a period of weeks, the atrocities shown in the pictures had been assimilated into the list of things which the American public was willing to consider normal and which they could accept. And so now one has to ask, well, what does that portend?

Thirteen years later, we have a quite good idea of what such a thing portends. Thirteen years later we know much more than Shawn, or anyone, could have known at the time about just how much could be “assimilated into the list of things which the American public was willing to consider normal and which they could accept.” We know so much about this now that it is rather a wonder any of us can sleep at night. And in fact, some people tell me that they aren’t sleeping, that they have not been sleeping well for a while. Not since November. That’s what I keep hearing. Of course, there are those who lost the ability to enjoy an untroubled night’s sleep long before that. Read more…

Ten Books to Read in 2018

Books with hidden spines
Geography Photos / UIG via Getty Images

We asked writers, editors, and booksellers to tell us about a few books they felt deserved more recognition last year. Here are their 10 suggestions.


Maris Kreizman
Writer and critic, former Editorial Director of Book of the Month Club

Sorry to Disrupt the Peace (Patty Yumi Cottrell, McSweeney’s)

There’s nothing I love more than an unreliable narrator, and the protagonist of Patty Yumi Cottrell’s debut novel is a doozy. Sorry to Disrupt the Peace is the story of Helen, a school teacher from New York City, who casts herself in the role of lead detective on a very tough and personal case — her adopted brother’s suicide. When Helen returns to her childhood home of Milwaukee to investigate, truths about Helen and her family are slowly revealed, and we begin to realize that Helen may be worthy of scrutiny herself. Sorry to Disrupt the Peace is both a clever and poignant exploration of the distance between how we imagine ourselves to be and who we truly are.

Read more…