Today marks the birthday of Ida B. Wells-Barnett — the educator and journalist who pioneered investigative reporting techniques still used today to uncover details of lynchings across the South. Wells-Barnett ran a newspaper, the Memphis Free Speech, and also helped found the NAACP and the National Association of Colored Women.
Wells was born enslaved on July 16, 1862, in Holly Springs, Mississippi. She moved to Chicago in 1894 and died there in 1931.
In its series “Overlooked,” launched last March, the New York Times ran obituaries of important figures whose deaths had previously gone unmentioned in the paper. Wells-Barnett’s was among the first wave of belated obituaries:
Wells was already a 30-year-old newspaper editor living in Memphis when she began her anti-lynching campaign, the work for which she is most famous. After [her friend, Thomas] Moss was killed, she set out on a reporting mission, crisscrossing the South over several months as she conducted eyewitness interviews and dug up records on dozens of similar cases.
Her goal was to question a stereotype that was often used to justify lynchings — that black men were rapists. Instead, she found that in two-thirds of mob murders, rape was never an accusation. And she often found evidence of what had actually been a consensual interracial relationship.
She published her findings in a series of fiery editorials in the newspaper she co-owned and edited, The Memphis Free Speech and Headlight. The public, it turned out, was starved for her stories and devoured them voraciously. The Journalist, a mainstream trade publication that covered the media, named her “The Princess of the Press.”
Readers of her work were drawn in by her fine-tooth reporting methods and language that, even by today’s standards, was aberrantly bold.
“There has been no word equal to it in convincing power,” Frederick Douglass wrote to her in a letter that hatched their friendship. “I have spoken, but my word is feeble in comparison,” he added.
He was referring to writing like the kind that she published in The Free Speech in May 1892.
Four-year-old Marjorie West was snatched by someone (…or something…?) from a Pennsylvania park in 1938. Her case remains one of the oldest unsolved mysteries in the U.S. and theories still abound — did a she-bear take her? A wildman? Is she still alive? Caren Lissner details the case’s history and the media frenzy it created for Narratively.The tale includes shoulder-to-shoulder searches, John Walsh’s Stranger Danger, and there’s even a mention of professional wrestler Ric Flair.
Her search was one of the largest for a child since the Lindbergh Baby kidnapping six years earlier. Residents of Western Pennsylvania and Marjorie’s surviving relatives still hold out hope she’s alive. If she is, she may yet celebrate her 85th birthday next month.
If Marjorie was snatched, it could have been for profit. During the Great Depression, child kidnappings became a popular, low-tech way to make a buck. “Kidnapping wave sweeps the nation,” blared a New York Times headline on March 3, 1932, two days after the abduction of the son of aviator Charles Lindbergh. At the time, some feared that cars, still a relatively new technology, were going to cause an increase in kidnappings, and they weren’t wrong. Abductions did increase with the use of automobiles and with greater highway usage. Still, many of those who believed Marjorie was abducted thought it was not for ransom, but for a different type of moneymaking enterprise.
Harold Thomas “Bud” Beck, a writer, raconteur, and college professor with a Ph.D. in linguistics, researched the case after he heard about it in a bar he used to run. Around 1998, when internet access was becoming more widespread, he posted a $10,000 reward for information about Marjorie. He included up-to-date photos of Dorothea, figuring Marjorie would resemble her.
Sixteen years ago, my mother found my father behind the shed on a Saturday morning in June. “Get up off the ground in your good shirt,” she told him, before she understood he was dead. “He looked like he was sleeping,” she told us. “The gun glinted in the grass.”
Seven years after my father’s suicide, I opened the envelope containing police photographs of the scene. He did not look like he was sleeping. Limbs: a swastika. Angles inhuman. Violence and velocity rendered in two hundred pounds of a six-foot man. The gun glinted in the grass — she was right about that.
Initially, I was upset she got it wrong. Did she get it wrong? Or she lied to protect her children, three grown adults. (I was 25 at the time.) Or shock wrote its own version. She says that shock drove her back into the house to start a load of whites. She watched her hand grasp the silver knob on the washing machine.
Maybe we’re trying to protect each other. I haven’t told her that I’ve read the autopsy report, or that I viewed photographs of the scene.
I remember how, on the night of his death, when I’d flown home to Michigan from Los Angeles, she tapped her temple twice, quickly. “Not a lot of blood,” she said. That was true, though I wouldn’t know until years later that the temple wasn’t the site of the entrance wound. “Intra-oral,” it said on the report. Of course. He was a dentist who collected guns, and his expertise in those two fields converged at the palate, the most vulnerable place in the skull. Bypassing bone, the impact destroys the control center for vital organs.
I’ve since revised my account to believe he was standing. He was standing behind the shed, and then—I can’t piece it together anymore. Read more…
NEW YORK, NY - JUNE 26: Progressive challenger Alexandria Ocasio-Cortez celebrartes at a victory party in the Bronx after upsetting incumbent Democratic Representative Joseph Crowly on June 26, 2018 in New York City. Ocasio-Cortez upset Rep. Joseph Crowley in New York’s 14th Congressional District, which includes parts of the Bronx and Queens. (Photo by Scott Heins/Getty Images)
I was in Canada when I watched Alexandria Ocasio-Cortez do what many, myself included, thought was the impossible: win the nomination as the Democratic Congressional candidate for New York’s District 14, beating incumbent party boss Joe Crowley, one of the most powerful machine Democrats in New York City, who hadn’t been challenged since he was essentially handed his congressional seat nearly two decades ago.
I watched it on Twitter, sensing the shock of my colleagues in the New York press corps. Those of us who were natives had grown up in, and continue to live in, a New York City that is ruled by money at every turn. Politics is no exception; if anything, it is the rule. Candidates in New York are typically taken seriously based on the weight of their “war chest,” how much money their campaign has accrued. In one campaign funding quarter, incumbent party boss Joe Crowley had out-raised her 30-to-1.
And yet. She had done the impossible. And in doing so, she had shown us — the press, and also voters — what is possible. It is hard to believe something is possible if you have never seen it happen before. Now we’ve seen it happen. Now we know.
I could not tear my eyes away from Twitter, from the impossible becoming real before my eyes. It felt too magical. I kept waiting for someone to say, no, we spoke too soon. No, we were wrong. Instead I saw video footage, filmed by NY1, the local news channel I grew up watching, depicting Ocasio-Cortez at the moment she realized it, too: That she had made the impossible a reality.
I watched it over and over. Ocasio-Cortez’s eyes widen, her hands flutter in agitation, then go to cover her mouth. She is overwhelmed. She reaches out one hand and grips the shoulder of the NY1 reporter, unconsciously, the way one reaches out blindly for any stability in a moment of reeling. Her other hand is still covering her mouth. She is still in shock, her eyes still so wide. She looks a little terrified, and who can blame her? How completely terrifying must it be to commit such magic, to make the impossible real for a generation who’d never seen it? A woman near her is crying now. It’s been only a matter of seconds so far. The NY1 reporter says something to her, and Ocasio-Cortez takes her hand from her mouth, looks at the reporter as if seeing her all of a sudden, and then she is back, and she is on, and she shakes her head with a little dip of conviction, a little dip that said, to me, I’m ready.
I wondered, what that must be like, to do something so tremendous, and then to have barely seconds to recover from it? I was awed by her grace and temerity. And I wasn’t scared for her, not even a little bit. She was ready.
***
That moment made me wonder, though, if some part of her had braced herself for the outcome so many people had said was inevitable: a stinging loss. All that effort for nothing — though it wouldn’t have been nothing, for she had activated voters, and pushed Crowley to the left, enough that he backed a Medicare for All bill that he’d previously scoffed at.
But still, how could she not have anticipated the possibility of losing? She had been ignored by television media, and by much of the mainstream political media. When they did write about her, her defeat seemed preordained. “It’s an understatement to say the underfunded Ocasio-Cortez has an uphill battle,” POLITICO wrote in February, near the end of a long piece about progressive candidates nationwide. Crowley was “heading into an all-but-certain victory,” POLITICO New York wrote in June, just before the primary.
But even those stories contained tacit hints about the potential for an Ocasio-Cortez victory. The June story reported:
“The No. 4 House Democrat’s longtime colleagues in the New York delegation say they’re not worried about his primary — and brushed aside any idea that the race could hurt Crowley’s ambitions to become Speaker one day.
‘Everybody is supportive of Joe and how he’s running the race,’ said Rep. Gregory Meeks, who represents parts of Queens and Nassau County. ‘The fact that Joe is the chair of the Queens Democratic Party and how he’s held that organization together — he’s got Democrats working together — works in his favor of his leadership as chair of the Democratic Caucus.'”
Perhaps voters finally asked: Working together for what? A sharply divided nation in which racists no longer feel the need to wear masks when they rally, safe with their hatred out fully in the open? A city in which economic disparity seems to widen year after year? Apartments that are affordable for few, if any, and healthcare out of reach for most, while this party boss takes cash from real estate and pharmaceutical companies?
Or, as Ocasio-Cortez herself told POLITICO in February:
“What this is about is that if we reelect the same Democratic Party that we had going into this mess, then we’re going to have the same exact result,” Ocasio-Cortez said. “In order for the country to move forward, the Democratic Party has to transform.”
And she wasn’t universally ignored by media outlets. She was profiled by the Village Voice as early as last year, in June 2017, and WNYC later that year. Mic profiled her in February of this year, and Splinter News in March 2018. Ozy, Elite Daily, Refinery29, The Cut and Vogue all followed. The Intercept wrote about her repeatedly, and Politico Media’s Michael Calderone quoted Intercept reporter Ryan Grim at her election night party:
“She represented the perfect contrast to Crowley’s model of politics,” Grim said. “Our theory is that big money corrupts politics. The corollary to that is there is another way to do politics. Otherwise you’re just nihilists. People like Alexandria Ocasio-Cortez, who are doing that kind of politics, are important to highlight, to show there is an alternative.”
I couldn’t help but recall here what an anonymous Democratic operative, fearful of offending Crowley, told POLITICO New York for their June article: “Once there is an initial threat, a challenge in his dominance, it changes people’s perception on the Hill about his power.”
Hopefully, others like Ocasio-Cortez will see this and feel emboldened to take on the political machines in their own communities. New York’s is powerful, with deep roots — but often lazy, a laziness that sometimes seems intentional, in light of the low voter turnout that results. (I wrote last year for The New York Times about efforts to counter this in Brooklyn.) Per POLITICO New York:
“Crowley’s dominance over the Queens machine — formally known as the Queens County Democratic Organization — remains unchallenged. He’s been in charge since 2006, shortly after former Rep. Tom Manton, who had molded Crowley as his political protege, died of cancer. Since then, both supporters and detractors say Crowley has run a well-oiled operation that controls everything from the Queens judicial system to who wins local city and state elections, who gets on the ballot and who can tap into the resources available at the disposal of the operation.
Still, interviews with several Democratic operatives, elected officials and political advisers show the Queens County operation’s bark may be worse than its bite. The county has power, but it has a nearly non-existent ground operation; it does not deliver votes or ensure that people hit the polls on election day. Rather, it offers candidates a friendly “how-to” map for running for office in Queens which includes everything from who to hire for consulting to ensuring a specific ballot line.”
It’s hard not to be hopeful that Ocasio-Cortez’s victory will extend to other candidates like her all over the country who are brave enough to challenge the antiquated machine politics around them.
After all, her victory was also one for “millennial” publications, according to HuffPost. POLITICO’s Calderone detailed how outrage at The New York Times’ dismissive characterization of Elite Daily, Mic and Refinery29 as “websites most often associated with millennial and female audiences” as opposed to “national” outlets provoked such outrage that “national” was changed to “traditional.”
Here is a reading list about Ocasio-Cortez, including González-Ramírez’s piece and others.
The Voice article gives crucial background on how Crowley came to power — as, essentially, a prodigal son of New York City machine politics. Most gallingly, and personally for Ocasio-Cortez, it shows how that same machine politics has brought wealth to only a select few, due to the hardship of those who most need their elected officials’ assistance — as Ocasio-Cortez and her mother did when her father died of cancer.
The day-to-day operations of the Queens party have remained in the hands of a trio of Crowley- and Manton-aligned lawyers for three decades.
These men — Gerard Sweeney, Michael Reich, and Frank Bolz — have a law firm that has earned millions in Surrogate’s Court, where the estates of people who die without wills are processed, and from representing banks foreclosing on people’s homes. The judicial system in Queens is effectively under Crowley’s control, since no one becomes a judge or receives a court appointment without staying in the county organization’s good graces.
Bergin’s story looked at Ocasio-Cortez and three other women in Queens hoping to destabilize the borough’s entrenched political machine. Perhaps most interesting in her story is context she provides for the responses she gets from Crowley, like the following (among others):
“The way the Queens Democratic Party machine has worked, they operate on a politics of exclusion,” said Ocasio.
I asked Crowley what he says to people who see how the local party operates and say, the system is rigged.
“I think ‘rigged’ is an interesting word to use when the judges in this county are elected by the people,” Crowley replied. That’s technically true, but slightly misleading: Judicial candidates are nominated by the party. In a one-party town, voters don’t have much choice at the polls.
After Ocasio-Cortez’s primary victory, a Twitter user posted a photo of the suburban house where she grew up, claiming that it proved the urban roots she claimed were a lie.
But she’d never denied that she grew up in a privileged zip code. As far back as February, she told Mic that her father moved her family to a neighborhood with better opportunities, but most of her extended family remained in the Bronx, where her father continued to commute for work.
The experience of living between the two worlds of New York’s poorest borough and its more affluent suburbs gave Ocasio-Cortez an early firsthand look at some of the inequities facing the country.
“I grew up with this reality and understanding of income inequality as, ‘When I’m in this zip code I have these opportunities, and when I’m in that zip code I don’t have these opportunities,’” she said.
“At a very young age I knew it was wrong. I knew that the fact that my cousins didn’t have adequate resources or adequate public services and good schools, and I did, was something that just didn’t strike me as right.”
Chang’s Q&A with Ocasio-Cortez is thorough and well worth a read — particularly the context she provides on the call to abolish ICE, and the hopes she has for New York and national politics at large.
In order for our country to move forward both parties have to transform fundamentally. On the Democratic side, we need to be the party of working people again and no one has stepped up to the plate. People have been too scared in New York’s frankly very intimidating political environment.
The Intercept did multiple stories on Ocasio-Cortez, but its initial profile is a really compelling retelling of the story of Ocasio-Cortez’s call to activism — in part due to the chaos that ensued after her father’s death — and a good explanation of how the Queens political machine flexes its power, especially when it comes to the court system.
“Crowley’s allies in the machine, Ocasio-Cortez charged, ‘defend him in court and they bump his opponents off the ballot,’ referring to ballot challenges filed with the Board of Elections against candidates Crowley did not support or who oppose the machine. Last year, as DNAInfo reported, a candidate in a City Council primary was booted from the ballot for not having enough valid signatures; she said she was bullied for not ‘kissing the ring’ of the party boss, Crowley. In that race, Crowley supported Assemblyman Francisco Moya, who went on to defeat Hiram Monserrate, a former council member and state senator who was expelled from the legislature after a 2009 conviction for assaulting his girlfriend.
The machine has a tight relationship with developers. Ocasio-Cortez noted in a follow-up email that Crowley’s organization reaped large sums of real estate money before the Queens machine installed the new City Council speaker, Corey Johnson, who has since led the council in rezoning neighborhoods for luxury developments — pricing out local families and constructing high rises when the city already has 275k vacant units.'”
The update to this article states, “Ozy told you about her first,” which likely isn’t true — unless their readers don’t have access to the Village Voice, WNYC, CityLab, Mic, Splinter and The Intercept. But their profile is good nonetheless, opening with a glimpse into Ocasio-Cortez’s campaigning efforts and sweet details about her personality and background.
“There were times when Ocasio-Cortez would wonder whether it was worth it, especially when she’d drag herself home to her Bronx apartment after midnight, her campaign materials crammed into a Trader Joe’s bag. But this is the mid-February moment when she passes the point of no return: She’s quitting her day job to campaign full-time through the June Democratic primary, living off her savings and her partner’s income. Her social media and volunteer following, as well as the community members she meets, won’t let her quit. ‘It is simultaneously so exciting and terrifying,’ she says.”
Elite Daily’s look at Ocasio-Cortez emphasizes her youth, with good reason: to show the importance of having legislators who by necessity need to take a long view on complicated issues. As Ocasio-Cortez tells the publication, most members of Congress “won’t have to deal with 20-foot storm surges, but we will.”
“If elected, Ocasio-Cortez could be the youngest woman ever elected to the House. According to the Congressional Research Service, the average age of a House member at the beginning of this session was 57.8 years, and 61.8 years for a senator. That’s one of the highest averages in the legislature’s history. Under the U.S. Constitution, House representatives must be at least 25 years old (and senators 30) when they take office. The youngest member of Congress currently is fellow New Yorker Elise Stefanik, who was 30 years old when she took office in 2015.
In fact, it’s out of a sense of responsibility as a young person that Ocasio-Cortez is daring to take on a high-profile member of her own party. ‘Congress is too old, they don’t have a stake in the game,’ she says. Issues like climate change and the rising costs of higher education and housing, she adds, aren’t being addressed by the current representation.
Andrea González-Ramírez’s story is full of important and notable statistics and data and great quotes from Ocasio-Cortez, but perhaps the one that struck me the most was that Ocasio-Cortez had at one point decided she would not like to run for office.
“But Ocasio-Cortez argued that for all the power Crowley wields in Congress, he has failed to serve the people of Queens and the Bronx. Though she never planned to run for office because she didn’t like the culture behind it, she decided she couldn’t continue to stand-by.
‘While it’s not that nothing has happened in the Bronx, it feels that we are dealing with the same problems 20 years later,’ she said. ‘I’m an organizer here and I know no one ever sees him, he doesn’t have a presence in this community. It would be different if he was around.’
(In 2011, the New York Post reported that Crowley lived in Virginia and was raising his family there, though he maintains a house in Queens.)”
The Cut’s profile gives further context to Ocasio-Cortez’s previous stance against running for office.
“Ocasio-Cortez’s candidacy has made the race one of this year’s most buzzed-about primaries, even if she didn’t have political ambitions until recently. ‘I counted out that possibility because I felt that possibility had counted out me,’ she told the Cut. ‘I felt like the only way to effectively run for office is if you had access to a lot of wealth, high social influence, a lot of high dynastic power, and I knew that I didn’t have any of those things.’
And while she may be running a long-shot progressive campaign against a powerful old-guard opponent, she’s determined to run on her own terms. The weekend before the Democratic primary, for instance, Ocasio-Cortez opted to fly down to the U.S.-Mexico border to address the Trump administration’s child-separation policy instead of doing last-minute campaigning.”
Vogue’s Q&A with Ocasio-Cortez, a week before her victory and right before she left the city to visit a detention center in Texas, contains great answers about her background and political positions, including this on how abolishing ICE should not be a “fringe” position.
“One of the biggest dangers of this administration is the erosion of norms, which is pretty typical for authoritarian regimes. This is one of the problems when it comes to immigration. My opponent has literally called ICE “fascist”, yet he refuses to take the stance of abolishing it, which, to me, is morally incomprehensible. Words mean something, and the moment you have identified something as fascist, that with it carries a moral responsibility to abolish it. That’s what I’m talking about when we say that norms have been eroded: that we literally have elected officials arguing to basically retain fascist agencies.”
My love for this little story is certainly related to being a local news nerd and native New Yorker, but I think it also proves my earlier point about how an entire generation of New Yorkers had never seen a win like Ocasio-Cortez’s in their lives: The last time anything like this happened was with Elizabeth Holtzman in 1972.
“There were no news cameras present when Elizabeth Holtzman did the unthinkable 46 years ago, beating Emanuel Celler in the Democratic primary for the congressional seat he held for a remarkable 50 years.
Tuesday night, Holtzman couldn’t help but think of that moment as she watched Alexandria Ocasio-Cortez pull off an equally implausible victory.
‘I was excited for her and I felt obviously a real bond there,’ Holtzman said. ‘I said, “Oh my goodness, nobody gave her a chance.”‘”
And now for a post-victory story, because of course Ocasio-Cortez’s work has only just begun. This HuffPost story opens with a candidate forum in Michigan, 600 miles from New York, where the mere mention of Ocasio-Cortez’s name elicits excited cheers from the crowd. Since her victory, established politicians who couldn’t be bothered to take the risk of endorsing her are now rushing to curry favor with her, while she is using her platform to endorse young, progressive candidates all over the country.
“Earlier in the day, Ocasio-Cortez had used her massive Twitter platform to endorse El-Sayed. He has since picked up an additional 2,500 Twitter followers and is awash in national press inquiries.
Ocasio-Cortez, a 28-year-old former Bernie Sanders organizer who just a few short weeks ago was scolding establishment Democrats on Twitter for ignoring her campaign, now has 600,000 followers hanging on every 280-character missive ― far more than the typical rank-and-file member of Congress.
And those same establishment Democrats are now knocking on her door. A little over a week since her upset of Joe Crowley, the Democratic Party boss of Queens County, Ocasio-Cortez finds herself as an unlikely kingmaker.”
Photo by LauralG via Wikimedia Commons (CC BY-SA 4.0)
Aaron Hamburger‘s essay in Tin House, “Sweetness Mattered,” was our top #longread of the week last week, and with good reason. His story of gradual recovery from a vicious sexual assault, aided by Smarties candy, is equal parts heartbreaking and redemptive, told with simple, complete honesty. I won’t belabor things with any more of my words — go right to his.
Then the detective told us Bradley’s defense: I wanted it. Deep, hot color flooded my cheeks, and my voice caught in my throat. Still, I managed to choke out that it wasn’t true, that I kept telling him no, and the detective said quickly, “And I knew that, I just had to hear you say it.”
Later, as we staggered down the front steps of the police station, back to our car, I wondered if there’d been some kind of mistake. Had Bradley really thought I wanted it? I went over and over what had happened: his deep barking voice threatening to slice off my balls as if I were that dog his friends had mutilated, the knife he’d found in our kitchen drawer and held over me so it lightly grazed the surface of my skin, his fists finding the soft spots all over my body, the weight of his body pushing me so firmly against my parents’ bed I couldn’t breathe.
In all of these details of the actual events I was innocent. But in my mind, specifically that corner of my mind that knew that I liked boys and not girls, I felt guilty.
Americans report seeing Bigfoot with surprising frequency, yet no one has ever confirmed Bigfoot’s existence. The Tasmanian Tiger was real. Even though the last confirmed living tiger died in captivity in 1936, thousands of people have reported seeing the tiger in Tasmania and the Australian mainland. Some witnesses snap photos. Some shoot footage. Still no one has been able to confirm that the extinct animal exits. For The New Yorker, journalist Brooke Jarvis traveled to the rugged Australian island to investigate both the tiger and the culture of truth-seekers surrounding it.
All sightings bring up questions of witness reliability, the psychology of perception, and contaminated memory. Tasmanians’ insistence that they see tigers also suggests that, despite humanity’s best efforts, we haven’t ruined the entire earth, and that our overpopulated, mapped world still contains mysteries. If these tigers still exist, they also function as a form of ecological redemption, a way of absolving Tasmanians for their pillaging of the land and Aboriginal people. In the words of one Tasmanian wildlife expert, “the ongoing mystery of the thylacine isn’t really about the animal at all. It’s about us.”
Tasmania doesn’t appear regularly in the news. Photos of the island’s lush rainforests make it look like something from Out of the Silent Planet. How did you learn about this story? As a journalist, how do you find your stories in general?
I saw one of the headlines that makes the rounds occasionally — about a new sighting or new footage — and I had to know more. I didn’t think I was going to head into the bush and find a definitive answer, but that was never the point. Like everybody else I found the mystery compelling: We’re so used to thinking we have this old planet figured out that it felt like a debate left over from another era. And I wanted to explore that, why we still need and want this uncertainty in our know-it-all time, what that says about us. Read more…
Thomas Swick | Longreads | July 2018 | 19 minutes (4,829 words)
In the fall of 1976 I returned home to New Jersey after a year in France. I had been pursuing my dream of becoming a travel writer by studying French in Aix-en-Provence and working on a farm in Kutzenhausen, Alsace. Now I needed a byline, preferably a steady one. Making the rounds of newspaper offices, I stopped one day at the two-story brick building of the Trenton Times. I wasn’t allowed to see anyone. This was the state capital’s leading newspaper, after all, and I was simply handed a job application. There seemed little reason to play it straight.
What was your last employment?
“Working on a farm.”
What were your duties?
“Picking cherries, baling hay, milking cows.”
Why did you leave your last employment?
“I got tired of stepping in cow shit.”
May we contact your last employer?
“Sure, if you speak Alsatian.”
A few days later I got a call from the features editor asking me to come in for an interview — my reward for being original, and knowing my audience, or at least guessing at it correctly.
I drove the river road south from Phillipsburg, where I was then living with my parents, back to Trenton. The features editor looked like a young Virginia Woolf in tortoiseshell glasses. She told me the paper was owned by the Washington Post and that one of her writers, a young man by the name of Blaine Harden, was exceptionally talented. The gist of the interview was that the editor — who, I later learned, had posted my job application on a wall in the newsroom — could not hire someone with no experience, as everyone else had come to the Times from other newspapers. But they would give me a three-month trial writing feature stories.
This suited me fine for, without a place in the newsroom, I was able to conceal the fact that I still wrote in longhand. I was possibly the last American journalist to do so. I knew how to type, but the typewriter was not a friend to the undecided. It was good for deletions — a quick, brash row of superimposed x’s — but for additions, I had to scribble with my pencil between immovable lines and on virgin margins.
In the evening, back home in Phillipsburg, I would write my stories. Then in the morning I’d get in my mother’s car and drive the river road through Milford and Frenchtown (whose bridges I’d worked on during summers in college), Stockton and Lambertville, the docile Delaware often visible through the leafless trees. The scenery was not as dramatic as in Provence, and the towns were not as picturesque as in Alsace, but there was a quiet, unassuming beauty to the place that suited my temperament, no doubt because it had helped shape it.
Once in the newsroom, I’d borrow a desk and type from my half-hidden handwritten pages.
After I was hired full-time, I bought my first car, a sea-green Datsun, and rented a studio apartment in Trenton. Most of the people at the paper lived in the more attractive surrounding towns like Yardley, Lawrenceville, and Princeton. Daisy Fitch, a fellow feature writer, had grown up next door to Albert Einstein. She was one of a dwindling minority of locals at the paper, as it was increasingly being written by out-of-staters who swooped in for a spell, then left to careers at the Post or someplace equally grand. Many were Ivy Leaguers — this was a few years after Woodward and Bernstein made journalism as sexy as it was ever going to get — and some, like Daisy, had interesting backstories. Celestine Bohlen, a young reporter, was the daughter of Charles “Chip” Bohlen, who had served as the American ambassador to the Soviet Union in the ’50s. Mark Jaffe, a former fencer at Columbia, was living with the daughter of Lyle Stuart, the publisher made rich and famous for putting out the 1969 handbook for women’s sexual pleasure The Sensuous Woman. David Maraniss, who exuded a kind of drowsy gravitas, and for whom everyone predicted glory, was the product of a marriage of editors: mother, books; father, newspaper. I was told that I had just missed the Mercer County careers of John Katzenbach, soon-to-be crime novelist and son of the former U.S. Attorney General, and his wife, Madeleine Blais, both of whose auras still flickered in the brick building on Perry Street.
It was astonishing to find this assembly of near and future luminaries in Trenton, a city I had associated mainly with Champale, whose brewery we used to pass on family drives to the shore. Add the fact that everyone had previous newspaper experience and you can understand if I say I felt a bit out of place. All I brought to the party was an irreverent job application.
Anne Thériault | Longreads | July 2018 | 23 minutes (5,932 words)
From the notorious to the half-forgotten, Queens of Infamy, a Longreads series by Anne Thériault, focuses on badass world-historical women of centuries past.
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Looking for a Queens of Infamy t-shirt or tote bag? Choose yours here.
Are you the sort of person who loves a high court drama with plenty of devious intriguing? Is learning about grisly murders one of your guilty pleasures? Do you get a voyeuristic thrill out of tracking the rise and fall of royal romances? What about plagues? Do you like plagues? If you are currently clutching your chest and muttering “yes, yes, a thousand times yes,” then: a) sick, and b) keep reading. We’re about to take a deep dive into the life of Joanna I of Naples, and shit’s about to get really, really real.
Joanna — or Giovanna, as she was and still is known in her mother tongue — was born in 1326 to Charles, Duke of Calabria and heir to the Kingdom of Naples, and Marie of Valois. Although she was Charles and Marie’s fourth child, Joanna was predeceased by her three older siblings and became second in line to the throne at birth. A member of the Angevin dynasty, Joanna was the great-great-great-great-great granddaughter of Eleanor of Aquitaine. Like Eleanor, she would prove to have a knack for ruling. Also like Eleanor, her ambition and capability would threaten the powerful men around her. Perhaps unsurprisingly, both queens found themselves having to run for their lives. Joanna’s flight — which involved escaping her besieged castle under the cover of night and then undertaking a dangerous journey across plague-ridden seas (all while pregnant, mind you) — might be less famous than that of her predecessor, but it’s arguably an even more incredible story.
DEERFIELD BEACH, FL - JUNE 23:Hip-hop mourns rapper XXXTentacion after fatal shooting at roadside memorial. The Rapper Jahseh Dwayne Onfroy, who performed under the name Xxxtentacion was shot, June 18, 2018 on June 23, 2018 in Deerfield Beach, Florida. Credit: Hoo-Me.com / MediaPunch /IPX
Jahseh Dwayne Onfroy, the singer-rapper known as XXXTentacion, died after an apparent armed robbery on June 18. He was 20 years old. His first album, 17, debuted at number two on the Billboard 200 last August, and a follow-up, ?, landed the number one spot in March. The popularity of his emotionally raw lyrics and sparse, cutting beats did not wane when allegations of strangulation, head-butting, kidnapping and other forms of physical and sexual abuse were made public last September. In fact, XXX’s appeal only grew; fans as well as music industry insiders seemed to double down on their support. When the streaming service Spotify announced a plan to classify XXX and R. Kelly’s music as “hate content” and curtail promotion of the two artists, representatives of established hip-hop acts and label heads protested. Spotify abandoned the policy less than a month later, citing its “vague” language as one of the reasons for retracting.
I wrote about the accusations XXX’s former partner made against him in a post last month on Kelis, Nas, and hip-hop’s #MeToo problem. At the time, I hadn’t yet spoken to enough people younger than me, like my 16-year-old nephew, to try to understand the hold XXX’s music had on them. I hadn’t thought enough about how, when I was 15, I’d lose myself on the dance floor to 2pac’s “How Do U Want It,” finding respite from everything going on at home. Pac had already been accused and convicted of sexual assault by then, and though I didn’t yet have the language of feminism to help me process things, I have enough faith in my own intelligence to believe there was more to my love of Pac than simply ignorance or self-hate. He had a ferocious creativity and communicated a sense of striving and overcoming, and he was defiant of the hypocrisy of respectability. I needed to tap into all that to survive those times. Like XXX, Pac often toyed with the possibility of his own early death, and he lived racing towards it. At 15, I read this, too, as defiance.
Still, adult-me is resolutely angry about the harm these and other hip-hop men have caused. I am also curious about what it is in XXX’s desperately sad body of work that his fans cannot bear to part with. I can wager guesses, because we live in desperate times. This is a burning house with a weaponized high court, menacing ICE agents, screaming toddlers at the border and the killing of innocents in our interior. We want our heroes to transcend these circumstances, but often, they simply reflect our own horror right back at us.
Reporter and critic Stephen Kearse tries to make sense of XXX’s enduring appeal in a thoughtful essay for Pitchfork, for which he speaks to some of XXX’s listeners.
I sought out XXXTentacion fans expecting to meet reactionaries and trolls mired in bad faith and adulation—a cult, essentially. Instead I found folks who make the same choices and suspensions of disbelief as other fans and listeners, consumers enthralled by and navigating the same badlands of treacherous content as the rest of us. These fans’ relationship to XXXTentacion was—and, perhaps more than ever, is—entirely based on the music and its importance to them, and everything outside of that was dismissible hearsay. For them, “the charges” against him took the form of a vague stigma without a particular origin.
I was alarmed by their skepticism, but the way XXXTentacion’s fans conflated newsgathering, rumors, and #inspiration was no different from radio DJs or Reddit users opinionating into the void. Stigma is the opposite of prestige, but it functions the same way, providing a readymade lens for interpreting art regardless of new terms or information. This doesn’t mean that XXXTentacion and his fans were beyond reproach or that the widespread reluctance by the press to embrace his music was unwarranted. But it does reveal the limits of music being treated as a lifestyle—to embrace or reject wholesale—and artists being worshipped rather than engaged with, challenged, doubted.
If our current cultural moment is predicated on a more honest reckoning with who we idolize and who is harmed by that idolatry—the abused, the assaulted, the discarded, the ignored—perhaps we should also consider the how just as emphatically.
Kearse says a large part of our problem is the nature of fandom itself — how we adore our favorites so unequivocally. He wonders how we can love what we love soberly. By the end of the essay, Kaerse describes how his own approach to listening to and critically engaging with music has changed.
Taking abuse allegations seriously has altered how I discuss music, professionally and personally. I don’t leave artists’ controversies out of reviews or shy away from the hard questions in interviews. I don’t mount convoluted defenses for questionable lyrics, even for dead or respected artists. I respect and acknowledge the apprehension of other listeners when a song or line or tweet grates. Above all, I no longer stan, for anyone. I realize this could never be the universal approach to ethical consumption—contrary to the saying, not everybody’s a critic. But it’s a system of constant engagement, with artists, with their actions, and with myself. Even for my faves, finality never comes.
Is this sober approach to fandom enough of a stand? Kaerse’s piece reminded me of the work of Pearl Cleage, whose essay “Mad at Miles” from a now out-of-print volume of the same name, grapples with the crimes jazz innovator Miles Davis admittedly committed against actress Cicely Tyson. Certainly, the fans of Davis occupy a more rarefied space in the American imaginary than those of any Soundcloud rapper. It’s nearly impossible to conceive of a world where Kind of Blue isn’t heralded. In her piece, Cleage spends time with Davis’ music and takes care to consider its utility, asking, “Can we make love to the rhythms of ‘a little early Miles’ when he may have spent the morning of the day he recorded the music slapping one of our sisters in the mouth?”
While Kearse gives us a blueprint for ethical consumption of the work of artists who cause such harm, Cleage suggests there can be none.
XXXTentacion’s death has caused another surge in his music’s popularity. I listened to “SAD!” for a while on a trip last week. On the track, the rapper threatens suicide if a lover leaves. That’s an abuse tactic, and it me hurt to listen. I wondered if my nephew, who makes beats and had been mournful of the late rapper’s death, was okay, so I reached out. That is all I know to do.
My parents met as library students at the University of Kentucky in 1979. From my intimate point of view, library school is a bit of an academic catchall, sometimes a plan B, appealing to weirdos of many backgrounds. People assume that librarians love books, but that isn’t even it. University librarians like my parents love flying below the radar, omniscient about university curriculum but not bound by classroom teaching, grading, or even regular students. When she went to library school, my mom was a 25-year-old polyglot, very pretty and shy, who until then had been taking graduate German courses and hanging around Lincoln, Nebraska, listening to the Who. My dad was 32, starting a new career after years of working for the army as an Arabic translator. He is very loud and friendly, bubbly even. Contrary to the stereotype, he is a librarian who is constantly being shushed.
On their first date, he raced up the stairs to her apartment too enthusiastically and fell and broke his arm. He tried to deny that he had injured himself, and they went to a showing of Casablanca. He cradled his arm like a baby in the dark of the movie theater until the pain became too great, and my mom took him to the emergency room. The next day was Labor Day, and no pharmacies were open within walking distance of my dad’s house. He didn’t have a car, so he sheepishly called my mom to ask if she would drive him to get his prescription. She took him back to her house and made him grilled cheese and tomato soup.
The patently adorable and weird quality of their first date seems to have set the tone for their entire relationship. Early on, my dad gave my mom a copy of one of his favorite books: Roseanna, the first in a series of ten mystery novels by Swedish writers Maj Sjöwall and Per Wahlöö that follow the detective Martin Beck. “You’ll find it ironic,” he told her coyly, and she did: the title character, whose murdered corpse washes up on the shores of a Swedish lake, is a librarian in her 20s from Lincoln, Nebraska. My mom was not put off by the implications of this macabre coincidence, and she and my dad are still together now, many decades later. Improbably, my parents’ marriage echoes the Dead Girl story, but with a happy ending.
***
Uncovering the origins of my dad’s Martin Beck obsession has been more of a project than I first anticipated. When I asked how he discovered the books, he first told me that he read about them in a footnote in Robin Winks’s 1969 essay collection The Historian as Detective, a study in the methods and pitfalls of the academic historian, imagining historians as sleuths solving thorny cases. Throughout the book, there are references to actual detective fiction, which my dad used as a syllabus. He talked to me at length about The Historian as Detective, but later was fuzzy on whether Winks had mentioned Sjöwall and Wahlöö at all. He was only certain that it was where he had heard about Robert Hans van Gulik’s Judge Dee novels, historical mysteries about Tang Dynasty China. (The last Judge Dee mystery is called Poets and Murder, a possible alternative title for this book.)
When that lead dried up, he launched into a story from when he was in the army, working a desk job in Charlottesville, Virginia, and, as he told me, “having a lot of fun.” Unexpectedly in 1973, he was called back from vacation and ordered to report to Fort Bragg. The Russians were in danger of joining the Arab-Israeli War, which might require reciprocal action from the United States. Nixon had put all of the 82nd Airborne, of which my dad was nominally a member, on alert. His superiors on the base refused to issue him a uniform because they didn’t know how long he would be staying there. Instead of having him run information in street clothes, they sent him to the library and told him to read whatever he wanted. “I asked them whether they could teach me to jump out of an airplane if we had to go to the Middle East,” he said of his time at Fort Bragg. “They told me, ‘Eh, no problem.’” He read several of Sjöwall and Wahlöö’s books there, but he was already very familiar with the series, so in the end, they were not very important to that story.
A few days later, he called to tell me he actually first read the Martin Beck books when he was a student at the Defense Language Institute in Monterey, California. He had known he would be drafted and sent to Vietnam, so he joined the army and became an Arabic translator, an ironic way to avoid combat, considering our current geopolitical situation. In Monterey, he said, he had studied stupidly hard and had no fun, but he found a Martin Beck book on a rare trip into town. Later, he emailed me another confounding update: he visited a relative, a man named Jim who he claimed was his father’s “cousin/nephew,” the night Nixon had fired his attorney general. Jim had worked briefly in the Nixon White House, he told me. His stories unfold this way, full of the small, intriguing details that in a novel might work as foreshadowing. “I typically spent the first hour of the workday looking through The Washington Post to see what the latest Nixon news was,” he went on to say before circling back. “I think I was at Jim’s when I got a call instructing me to go to Fort Bragg.”
I have found his stories often share an eccentric focus on what he was reading during his somewhat Forrest Gumpy journey through the 20th century. Once he regaled me with memories of his time as a firefighter in Idaho in the late 1960s, when he lived with an agriculture student who was later a prisoner in the Iran hostage crisis. (Rory Cochrane, the guy who played Lucas in Empire Records, portrayed Dad’s roommate in the movie Argo.) Dad hitchhiked down to Jackson Hole during a day off and got The Twenty-Seventh Wife, Irving Wallace’s biography of Ann Eliza Young, Brigham Young’s wife, and Fawn Brodie’s No Man Knows My History: The Life of Joseph Smith the Mormon from the library. He took issue with my saying in an early version of this essay that he checked out books about the Mormon Trail. “I was more interested in biography than the settler experience,” he wrote me. “I have since read books like Angle of Repose, and taken an interest in TV shows like Deadwood and Hell on Wheels.”
***
Maj Sjöwall and Per Wahlöö were a pair of Swedish journalists, a married couple who wrote the Martin Beck novels over long nights after their kids were asleep, working on alternate chapters. Their ten novels, released between 1965 and 1975, were an unexpected sensation, popular worldwide and the subjects of dozens of film and TV adaptations. The books are violent, sexually frank, and political, updating the hard-boiled American noir for the liberal Scandinavian 60s. Nearly everyone acknowledges Sjöwall and Wahlöö as the origin point for Nordic noir, a regional genre that has produced international stars like Henning Mankell, Stieg Larsson, and Jo Nesbø. But Sjöwall and Wahlöö didn’t just inspire other Scandinavian writers to embrace the murder mystery: they shaped the genre so completely that all of their descendants bear their eccentricities. The Martin Beck series is bizarre, a fitting starting point for what has become a multimillion-dollar industry selling other bizarre, exasperating books.
The novels follow the melancholy detective Beck and his cohort in the Swedish National Police’s Homicide Division as they solve cases including a serial sex murderer preying on children, a mass shooting on a bus, a “locked room” mystery involving a corpse decayed beyond recognition, and the assassination of the Swedish prime minister. Sjöwall and Wahlöö’s books hold very little allegiance to the typical noir that is sparsely written and pessimistic, showing one man against the world. Beck is the putative hero, but in practice, the books are ensemble dramas, shading often into ensemble comedies. His colleagues are annoying misfits, described by their quirks, like the fastidious Fredrik Melander, who has a photographic memory, passionately loves his ugly wife, and spends too much time on the toilet. The series abounds with pairs of hapless bozos whose comedic value is underlined by their alliterative names. Bumbling beat cops named Kristiansson and Kvant wreak havoc at several crime scenes until Kristiansson is tragically killed. After that, Kvant gets a new partner named Kvastmo.
Sjöwall has said she and Wahlöö were influenced by “progressive” crime writers like Dashiell Hammett and Georges Simenon, but they took this progressive imperative rather further. Believing that “people read more mysteries than they do political pamphlets,” they set out to write a Marxist indictment of the failures of the Swedish welfare state disguised as a series of mystery novels. They titled their series “The Story of a Crime”—that is, the crime of a cruel and unequal society. They described their political agenda as “the project,” as if it were a covert mission of infiltration, when it could not have been more obvious. In book after book, the authors include pages-long polemics about the nationalization of the police system, Stockholm’s overdevelopment and the miseries of urban life, and the many demographics that had fallen through society’s cracks. Their political tirades are written in a strident, journalistic tone, fissures where narrative conceit drops out completely. A visit to Beck’s elderly mother becomes an occasion to bemoan (at length) the state of Swedish retirement homes:
Nowadays they were called “pensioners’ homes,” or even “pensioners’ hotels,” to gloss over the fact that in practice most people weren’t there voluntarily, but had quite simply been condemned to it by a so-called Welfare State that no longer wished to know about them. It was a cruel sentence, and the crime was being too old. As a worn-out cog in the social machine, one was dumped on the garbage heap.
My notes from the books are filled with comments like “so didactic” and, more to the point, “why didn’t somebody cut this?”
Critics revisiting Sjöwall and Wahlöö’s books now are fawning, using that canonizing method of inverting their weaknesses instead of acknowledging them. A write-up in The Wall Street Journal from 2009 hilariously calls the Martin Beck books “anything but polemical.” Louise France writes in The Guardian that while the action in the books is “often slow,” they are addictive: “You want to block out a week of your life, lie to your boss, and stay in bed, gorging on one after another, as though eating packet upon packet of extra strong mints.” I admit that I don’t recognize the impulse to stay in bed for a week binging on mints, so maybe that’s why I found the experience of reading these slow books a bit slower than France. The sometimes-tedious lack of action in the books is often pointed to as a strength. In his introduction to Roseanna, Henning Mankell writes that “it’s probably one of the first crime novels in which time clearly plays a major role.” Sjöwall echoed this idea recently, saying that “slowness, and the tension that waiting, distance, and irritating gaps in communication create, became an aspect of the books’ realism.” This argument smacks of imitative fallacy to me, but the wonky pacing of the series does point to its redeeming strength: the utter wonkiness and unconventionality of their entire approach.
Roseanna is more wrapped up in Dead Girl genre tropes than the rest of the books. At first, the series seems less a treatise against corrosive changes in Swedish society than a darkly funny and melancholy meditation on the absurdity of Swedish bureaucracy. The novel opens by describing the administrative procedure for dredging the lake that eventually reveals Roseanna’s body: it is unclear who can okay plans for dredging, and papers for it move among agencies, “passed from one perplexed civil servant to another,” a process that takes months. This critique is more existential than political, a mirror for the frustration Martin Beck experiences in his marriage and his career. As a good Dead Girl should, Roseanna haunts and excites Beck, who for a time is unable to identify her. The case consumes him, so that “when he closed his eyes he saw her before him as she looked in the picture, naked and abandoned, with narrow shoulders and her dark hair in a coil across her throat.” Once he identifies Roseanna, though, his image of her is inevitably complicated.
In conversations with her roommate and her boyfriend, back in Nebraska, Beck learns that she was promiscuous and odd, that she looked messy and slept with her friend’s boyfriends. Where Beck thought he had found a Dead Girl, he had, in fact, found an ordinary dead woman.
Sjöwall and Wahlöö’s books at first seem to follow the Dead Girl genre’s usual depiction of female sexuality as sinister and crazy. Women are constantly described as “nymphomaniacs,” including Roseanna and other female victims, seemingly indicating that they have been punished for their insatiability. There are the requisite femmes fatales, many of whom make attempts to seduce Martin Beck, who distractedly rebuffs them—like many noir detectives, Beck is at first little more than a neutered intellect. But especially as the series wears on, we see that many of the regular characters have adventurous and unconventional sex lives, like Beck’s detective friend who lives with his wife only on the weekends and has a girlfriend in Copenhagen. Beck releases himself from his unsatisfying marriage and finds new love with a magnetic and iconoclastic leftist. Unlike most detective series, which rely on the bleakness of their protagonists’ lives, Sjöwall and Wahlöö allowed their detective a journey of enlightenment and redemptive love.
Sjöwall and Wahlöö did not have a conventional relationship either: Wahlöö was married when they met, and Sjöwall was twice divorced. They lived together for 13 years but never legally married. Sjöwall has said that after Wahlöö died, shortly after the publication of the last Martin Beck novel, she was “kind of wild for a while. With guys, with pubs.” She has had relationships since then but maintained her independence. “I know many guys,” she said. “Some of them I have been together with for a while, some are just good friends. That is enough for me.” Considering the authors’ lifestyles, the books read as less judgmental of their promiscuous female characters. Despite my skepticism, I’ve come to believe Sjöwall and Wahlöö did what they set out to do: write a series of novels that are truly progressive, or, at least, that have fewer hang-ups.
***
My dad told me he had read the entire Martin Beck series “five or ten times.” “Why?” I asked him. “Because I love them,” he replied. I don’t know why it’s so frustrating that my dad refuses to say or even think about why he likes the things he does, when his preoccupations run so deep and are so consistent. When I ask him why he likes something, it’s a perverse exercise less to gain new insight than to trick him into admitting to his personality. It’s obvious to me why he likes the Martin Beck books. They are exactly the kind of thing he likes!
When I was a kid, the Martin Beck books were everywhere in my house, old duplicate copies my dad bought at garage sales and used-book stores, leering out at me with their incendiary titles: Cop Killer. The Terrorists. I had never read them until I began working on this book, when I read all of them over the course of several trying months, capping off that experience by reading another Swedish mystery series, the only one that has managed to supplant the Martin Beck books in my dad’s heart: Stieg Larsson’s The Girl with the Dragon Tattoo and its sequels The Girl Who Played with Fire and The Girl Who Kicked the Hornet’s Nest. I thought I was reading them in a quest to understand him better, but I’m not so sure that’s true now. At worst, this essay seems like a Freudian patricidal project to ignore, then obsessively read, then talk shit in print about my dad’s favorite books.
My dad’s fixation on the Dragon Tattoo books began so quickly and has held for so long it is stunning. He listened to the audiobooks on his iPod over and over again, until he reached the point where he would listen to their chapters on shuffle. I am admittedly inclined to be frustrated with Stieg Larsson’s project, especially because after Larsson’s idols Sjöwall and Wahlöö so cleverly subverted Dead Girl tropes, he embraced them. His books have the Dead Girl story’s typical investigator with a good-guy complex, the crusading investigative journalist Mikael Blomkvist, whose career is dedicated to revealing fraud and corruption in the financial industry. In the first book, he is drawn into solving the 30-year-old disappearance of a wealthy industrialist’s niece, Harriet Vanger. The second and third have him trying to get to the bottom of an ever deeper conspiracy that begins with the smuggling of prostitutes from the Baltics and ends with a secret and all-powerful cabal in Sweden’s security police. Since Dead Girl stories are so psychologically fraught, harried by every demon Freud ever thought up, they often have the torturously complex plots of nightmares. The serial killer plot in the first book particularly has that frenzied kitchen-sink feel: there is not one but two killers, targeting scores of victims over many decades. Some of the murders are humiliating and bizarre, inspired by verses in Leviticus, and on top of this, the killers have ties to nascent Swedish Nazi organizations.
The key element of any Dead Girl story is the investigator’s haunted, semi-sexual obsession with the Dead Girl, or rather, the absence that she has left. Larsson plays with this overtly, as Blomkvist investigates Harriet Vanger’s case and he finds himself “hopelessly fascinated with the enigma of the dead girl’s disappearance.” A police officer he talks to also admits that he is still captivated by the Harriet Vanger “puzzle.” The implication of this choice of vocabulary, if I am being uncharitable, could not be more clear: that women are problems to be solved, and the problem of absence, a disappearance or a murder, is generally easier to deal with than the problem of a woman’s presence. True, Blomkvist (spoiler alert) eventually finds Harriet alive and has an affair with her, as he does with most of the women he comes into contact with in these novels, lending this Dead Girl story a stupefying and ambiguous denouement.
After Larsson’s death, one of his hangers-on, the Swedish journalist Kurdo Baksi, wrote a strange hagiography of him for the Daily Mail, in which he discusses Larsson’s passionate opposition to violence against women. When they discussed this violence, Baksi writes, “Stieg’s eyes would fill with tears. He could not accept someone could be denied their freedom simply because of their gender.” Larsson’s disgust at what he saw as a ubiquitous misogyny was supposedly the impetus for the Dragon Tattoo books, with the original Swedish version of the first novel being titled Men Who Hate Women. But forgive me if I find the Dragon Tattoo books to be something less than the feminist treatises they claim to be. As Christopher Hitchens wrote in his characteristically rude piece on Larsson, their “moral righteousness comes in very useful for the action of the novels, because it allows the depiction of a great deal of cruelty to women, smuggled through customs under the disguise of a strong disapproval.”
More troubling to me than the books’ violence is a flaw at the core of Larsson’s anti-misogynist mission. Throughout the novels, characters insist that “men who hate women” are not monsters: they are everyday people. Blomkvist’s fellow investigator, Lisbeth Salander, says in the first book that their villain is “not some insane serial killer … he’s just a garden variety bastard who hates women.” But Larsson’s villains are as monstrous as he can make them, even though they may hide in plain sight. They are cruel, insatiable, and meticulous, with strange and deviant sexual appetites. The first book is obsessed with sexual sadism, ending with a flourish in a serial killer’s tricked-out torture chamber. This depiction sidesteps the complicated truth of sexual desire and fantasy, which is that in certain circumstances, a person can be turned on by the idea of violence that they would never commit or condone. In the same way, the books sidestep the true face of misogyny: if men who hate women are normal and common, then misogynist violence does not have to be so diabolical. Larsson’s partner, Eva Gabrielsson, has said that Larsson was inspired by comic books, and he obviously could not resist the temptation of the archvillain, a worthy foe for his hero. Where Sjöwall and Wahlöö succeeded in deromanticizing crime and criminals, in his mission to condemn violence against women, Larsson has ended up lionizing its perpetrators by exaggerating the same old prudish tropes.
The first Dragon Tattoo novel features what is in my eyes a maddeningly long final act, where Blomkvist, having solved the mystery of Harriet Vanger’s disappearance, seeks revenge on a corrupt Swedish billionaire who has sidelined his career. Later I came to see that this fight against corruption was exactly the point of Larsson’s books, with misogyny functioning more as an occasional thematic hobbyhorse. Larsson was a lauded investigative journalist, having founded the anti-fascist Expo magazine, and his plots about corruption among CEOs and government agents gave him the opportunity to write random op-eds a la Sjöwall and Wahlöö on subjects including the injustice of the stock exchange, the Swedish police force’s use of hollow-point bullets, and inconsistencies in enforcing prostitution laws.
In fact, twisted misogyny often acts as a metaphor for other kinds of personal corruption, with fascism, authoritarian overreach, and greed manifesting as sexual malignancy. The political intrigue Blomkvist is investigating in the second and third books turns out to be a conspiracy of perverts, as a sadistic rapist lawyer, a security agent who consorts with prostitutes, and a pedophile psychiatrist conspire to get Salander institutionalized. Blomkvist and Salander hack the hard drive of the psychiatrist, Peter Teleborian, and discover masses of child pornography. This evidence is sprung upon him during his testimony against Salander in the third book, and he is led in handcuffs from the courtroom. After that, as if caught off guard by the implausibility of the book he has found himself in, the judge remarks, “I have never even heard of a case in which the prosecutor’s chief witness is arrested during a court in session.” My dad told me that the downfall of Peter Teleborian is “one of the great moments in literature.”
***
If I sound completely fed up with Larsson’s books, it’s because I have barely talked about Salander, the girl of the books’ titles, who is undeniably their soul and their selling point. When Blomkvist first meets her, she is working as a private investigator at a firm called Milton Security, a role she dispatches so brilliantly, we later learn, because she is one of the most skilled hackers in Sweden, as well as a polymath with a photographic memory. The books are as preoccupied with her unusual appearance as with her unusual talents: she is very small and looks very young, with tattoos, piercings, and a personal style that could be approximated as motorcycle Goth.
Larsson is seemingly in love with the trick of having his heroine judged as a child, a criminal, a deviant, only to have her prove everyone wrong with her unbelievable intellect. The longest arc of the novels is correcting the injustice she suffered from Sweden’s guardianship system. She was put in a mental hospital as a child, and when she was released was assigned a guardian within the government who had control of her legally and financially. An incorrect psychological assessment from when she was a teenager had the government believing she was mentally ill, with criminal tendencies and very low intelligence. Her edgy appearance did nothing to persuade the guardianship agency of her competency.
But despite the Dragon Tattoo books’ focus on Salander’s journey to seize self-determination, she is often constrained by the narrative’s own gaze, even when it is mediated through characters who will end up in the wrong. Descriptions of her are icky either in their prurience or disgust, with a creepy focus on her body. In the first book, I count six times where she is described as looking anorexic (she is not anorexic). Before we have gotten to know her at all, several pages are devoted to her boss’s coming to terms with his sexual attraction to her, a plot element that goes exactly nowhere. She later jumps into bed with Blomkvist, as she is (conveniently) into older men. Salander is, in many ways, a male fantasy of a rebel girl: she is bisexual, rides a motorcycle, works out at a boxing gym, and eats only junk food. Considering that she is only one of Blomkvist’s many paramours, her characterization works especially to distinguish her from his other girlfriends. As with so many detective series, the Dragon Tattoo books seem to be a study in every kind of woman the detective, as proxy for the writer, could possibly be attracted to.
Luckily, Salander is a more compelling, surprising, and complex character than Blomkvist, in his possessive and protective desire, can see. Salander, a classic avenging angel, has her own notion of justice, but it is hard to rationalize her actions, as Blomkvist repeatedly does, as stemming from some deep morality. She uses her computer skills to steal millions from the corrupt industrialist at the end of the first book because he is a bad guy, but also because the opportunity presents itself. When she was 12 years old, she attempted to kill her abusive deadbeat father by throwing a burning bottle of gasoline into his car. This violence is constantly justified by Blomkvist and others, who say that she was only trying to protect her mother, but I do wonder if she could have protected her in a way that did not involve a firebomb.
Larsson created a character so interesting that she wriggled from the grasp of his narrative, letting ambiguity and chaos into a world he set up as black and white, good guys versus bad. Larsson’s widow, Eva Gabrielsson, often speaks about the books like sacred tracts, seeing them as being didactic first, entertaining second. I would tend to agree. But with Salander, who is impulsive, intransigent, and sad, very often unable to be there for the people she cares about most, it is difficult to say what lesson is to be learned—fortunately for the reader. Without her, we would have only Blomkvist, a character as intolerably, triumphantly decent as Perry Mason. (Mason, the hero of Erle Stanley Gardner’s legendary detective series, is the smuggest, most well-adjusted milquetoast in the history of mysteries. In the early nineties, my dad recorded every episode of the Perry Mason TV series onto VHS tapes and cataloged them on our old DOS-prompt computer.)
***
Salander injects into Larsson’s matrix of morals some of the anarchy of children’s literature, and that was by design. Gabrielsson explains how Salander was inspired by Pippi Longstocking:
this delightful and formidable little girl has been a champion of equality between the sexes: she doesn’t depend on anyone, can use a revolver, has sailed the seven seas … But the main thing about Pippi is that she has her own ideas about right and wrong—and she lives by them, no matter what the law or adults say.
But Salander lends some of the melancholy of children’s literature, too. Pippi’s story, after all, is not only about how she brings excitement to a staid Swedish village but the problem of her loneliness, as she seeks friendship and understanding in a world that wasn’t made for her.
I am charmed by Gabrielsson’s description of Pippi Long- stocking, not only because it describes the near-superhero Salander so well, but because in spirit (though in not many practical details), it describes my dad, too. I always think of him as an impish mischief-maker, something of a manic pixie dream dad, whistling in public, sobbing at stories on NPR, flirting with babies, buying candy and stuffed animals, and generally pissing off uptight assholes. Once when he was walking with my brother, they saw a car with a “Who is John Galt?” bumper sticker, a reference to Ayn Rand’s Atlas Shrugged. He stuck a notecard on the windshield that said you are an idiot.
As I think about my dad and Pippi, it illuminates another common feature of the films, books, and TV that he likes: girls who kick butt. He was an early fan of Buffy the Vampire Slayer (though he believes it took a downturn after she graduated from high school) and is even more ardently committed to the cult teen detective show Veronica Mars, whose plucky heroine wields a Taser almost as well as Salander does. I first told him to watch Veronica Mars, and later, after he had breathlessly emailed me about Veronica and Logan and Dick Casablancas enough times, I regretted ever watching it. I used to think that he only had some embarrassing pervy attraction to girls who kick butt, and, I mean, he definitely does. But after he told me through tears that “he only wants Veronica to be happy,” I should have gotten the picture that he sees himself in them, too. I guess it is no surprise that he identifies with teenage girls, when there is an illustrious tradition of grown men expertly crafting young women’s entertainment, from boy bands of all eras to Sixteen Candles and Pretty in Pink, to Buffy and Veronica Mars.
“I definitely think he relates to those girls,” my mom told me. She reminded me of a scene at the end of the first Dragon Tattoo book, when Salander realizes she has fallen in love with Blomkvist and resolves to confess her feelings to him. When she finds him, he is on a date with another woman, and Salander is crushed. This is the most affecting part of the books for my dad, my mom told me. “He’ll just cry and cry about that part,” she said. All along I thought he saw himself as the valiant everyman Blomkvist, who comes to the aid of the sexy girl who kicks butt. I was wrong about that, and I shouldn’t make the mistake of thinking I have figured him out again. I told him that I thought he identified more with Blomkvist, but then it occurred to me that he maybe identified with Salander. “I don’t think I’m like any of them,” he told me stubbornly. “I just think the books have the ring of realism,” a description that in my opinion could not be more incorrect.
***
When I complained to my mom about my dad describing books that strain plausibility in every way as having “the ring of realism,” she explained to me how this is one of the phrases he uses indiscriminately to describe works that grab his imagination (the other is “the spark of greatness”) in the manner of, for instance, the cop show Hill Street Blues. This shorthand praise is another way for him to avoid analyzing his own whims. It’s also, maybe, a defensive posture to keep us from analyzing him.
This could be why I have delayed addressing what was supposed to be one of the points of this essay: whether my dad has autism and if it matters. The therapist he works with has suggested that he has Asperger’s syndrome, based on his difficulty reading conversational cues and other people’s moods; his short temper; his many intense enthusiasms; and his almost complete lack of social inhibition, which often leads to totally inappropriate behavior. When I asked him about it for this essay, it was the first time we had ever spoken about it. “Why are you asking me about that?” he said incredulously, and I explained that it made me think of him when Blomkvist privately guesses that Salander has Asperger’s because of her savant-like skills and social awkwardness. “Yes, that is one possible diagnosis,” he said about Salander. Of his own diagnosis, he would only say, oddly, that he didn’t remember it, comparing it to the apparent amnesia he developed in the 1990s when he had bursitis of the elbow. I pressed him, but he stood by his “no comment.” “I have zero memory of anyone ever saying I have Asperger’s,” he said. “I’d completely forgotten that and I hadn’t thought about it. I don’t have any thoughts or any opinions.”
I really don’t blame him for having no thoughts or opinions. No one even raised the possibility that he was on the autism spectrum until he was 68, and charging someone that age with a condition we often associate with childhood is complicated by a lifetime of ambiguities and examples to the contrary. As he approached his eighth decade, the methods he had learned to navigate the world were just his personality, as they are, I assume, for everyone. He was also unwittingly encountering a fateful tendency in my family to monumentalize the eccentricities of its members, to talk and laugh about them among ourselves and with strangers—write about them, even—until the picture shifts into focus, and those eccentricities reveal themselves as dysfunction.
And no matter his age, I’ve come to see autism spectrum diagnosis as an alienating thicket, where there is no textbook case. At his therapist’s suggestion, he read David Finch’s memoir The Journal of Best Practices, the story of Finch being diagnosed with Asperger’s as an adult and using this new self-knowledge to become a better husband. Despite what would seem to be obvious commonalities between Finch and my dad, he found no applicable lessons in his story, and he thought the book made Finch look, frankly, like a jerk. Finch and his wife, Kristen, were on an episode of This American Life in 2012, where Kristen, a speech therapist who worked with disabled kids, says that she and her coworkers would always joke that their husbands were autistic. The stereotypes in that joke are uncomfortable for me in both directions. Joking about men’s emotional stuntedness seems at best inaccurate, at worst self-reinforcing, and joking about autistic people as socially retarded and robotic almost certainly increases their ostracization. But it also collapses the almost endless variation among people with autism spectrum disorders: my dad didn’t recognize Finch’s compulsions, which isn’t to say he has none of his own.
I found myself combing through websites about the autism spectrum, many of which are compiled by civilians who have the disorder themselves, who I think are also trying to come to terms with the many ways one can have autism. One particular website called Inside Perspectives of Asperger Syndrome and the Neurodiversity Spectrum describes possible autism spectrum symptoms across an exhaustive list of categories, including work, sex, eating, sleep, phone problems, “spacing out,” and even allergies and drug sensitivities. The primary sources on every page are testimonials from web users who identify as having autism and related conditions, like Asperger’s and ADHD, describing their own experiences. Many of these don’t describe my dad at all, while others do with eerie accuracy. During the conversation we had about his possibly being autistic, this description was dinging in my head: “Some have problems with reciprocity & timing and either talk on and on without letting anyone else get a word in edgewise, constantly interrupt others without realising that it’s disrespectful to do so, or say nothing at all unless asked a direct question.” There is of course also the claim that many with autism “are able to hyper-focus intently on the same thing for hours, days, sometimes weeks on end, and keep up a special interest for years”—see Sjöwall, Wahlöö, Larsson, et al.
One of the most helpful things I read on Inside Perspectives is this eloquent description from one of the site’s users of the problem with seeing autism as a disorder:
If you have one neurodiverse trait you are more likely to have additional neurodiverse traits. I am not sure why this is. The more of these traits you have, the more difficult it is to function . . . If you can’t function in society because you have too many of these traits and/or they are too intense then it becomes a disability. And when it becomes a disability then they have to put a label on it. . . . The ‘clump traits together and give them a name’ strategy is fundementally [sic] flawed . . . Labeling falsely claims you have one thing, not a group of things which may be better treated individually.
But viewing the autism spectrum as a matrix of possible traits evokes all the problems of mental health diagnosis, because, to put it simply, everyone has traits. The American Psychiatric Association’s Diagnostic and Statistical Manual of Mental Disorders (DSM) does not seek to describe what a healthy person looks like: psychological “normalcy” is judged only by an absence of any of the dysfunctions it addresses. Considering the gargantuan length of the DSM, there are nearly as many ways to be crazy as there are to be alive. But despite the DSM’s attempt at exhaustiveness, it remains very difficult to wrangle a human being’s habits, thoughts, desires, quirks, and pain under the heading of a single diagnosis of mental illness. This is underlined by the manual’s primary use, which is not therapeutic, but clerical: a diagnosis of a disorder with a DSM classification is often the requirement for an insurance company to authorize treatment.
I gained the most insight from the wonderful autistic writer and rhetorician Melanie Yergeau, who discusses the problem of diagnosis on her blog autistext.com. As she writes, “For many, diagnosis is validating and/or leads to self-understanding. Diagnosis can explain a lot.” But a disease model of autism, where there are degrees of severity and some have it “worse” than others, effaces the individual value of autistic people. Yergeau writes powerfully for the model of disability that relies on disabled people’s rights to advocate for their own needs:
Whether your disabled child screams in the grocery checkout line or testifies in front of Congress, he is self-advocating. Whether your disabled child throws peas in your face or writes a snarky blog post or falls asleep during board game nights or says NO in all capital letters, she’s self-advocating. And none of these things is less noble or gutsy than the other.
All people have needs that flow from their humanity, not from a predetermined list of problems that we call disability. Diagnosis and the vocabulary that it trades in should be tools to help people understand themselves and ask for what they need. It follows, then, that if the language of disability doesn’t help someone advocate for himself or herself, he or she should be free to reject it.
For my dad, navigating the “neurodiverse traits” that make functioning more difficult individually—like helping him to remember not to make too much noise around the house, to reflect more on his emotions, not to give in so quickly to frustration—is most helpful, and it doesn’t require him to align all the vagaries of his personality with a diagnostic label. The autism designation isn’t helpful for him. The autism spectrum is one more place I’ve looked for my dad, with only partial success. My mom told me that, library cataloger that she is, one of her greatest interests is in creating typologies, finding categories and seeing where things fit. But she has never been that good at categorizing the people close to her, not suspecting that there was anything in my dad’s weirdness that might be explained by someone else’s weirdness. “I tend to be accepting of the way that people are,” she told me helplessly, which might be another way of saying that love is blind.
***
Larsson died of a heart attack shortly after delivering the manuscript for The Girl Who Kicked the Hornet’s Nest, never living to see his novels published, much less the worldwide sensation they would become. Per Wahlöö died after he and Sjöwall finished the tenth Martin Beck novel, blessedly missing most of the social degradation he had warned against. These deaths are both eerie in the same way: socially conscious writers not living to know how right they were. Sjöwall cheerily admits now that “the project” was a failure. “Everything we feared happened, faster,” she says. “People think of themselves not as human beings but consumers. The market rules, and it was not that obvious in the 1960s, but you could see it coming.” What would have been harder for them to see coming was the murder of the Swedish prime minister Olof Palme in 1986, 11 years after they wrote about a fictional Swedish prime minister being assassinated in The Terrorists. The most remarkable thing about reading the Dragon Tattoo books now, in the spring of 2017, is their overwhelming, prophetic resonance with the scandals of the 2016 election and the Trump administration, as they involve neofascists, computer hackers, sexual misconduct scandals, Russian spies, government corruption, evil billionaires, and journalistic integrity. It makes me wish Larsson had lived to comment on it, although I assume the current era would immediately make him wish he were dead.
Many people have noted the marketing brilliance of changing the title of Larsson’s Men Who Hate Women for the English translation, shifting the focus from creepy men to always more salable “girls.” Men Who Hate Women could be another alternate title for my book, and I have chosen, maybe hypocritically, to sell it on girls instead. In the end, the careers of Larsson and Sjöwall and Wahlöö turn out to be Dead Man stories, where men leave their wives and collaborators to deal with their absence for decades. This female survival is probably the truer story and, I think Larsson, Sjöwall, and Wahlöö would agree, a better one, but it doesn’t have the same addictive glamour that comes with a Dead Girl. In Roseanna, one of Beck’s colleagues mentions a movie that the suspect they’re trailing goes to see. “It has a wonderful ending,” he says. “Everyone dies except the girl.”
Larsson died at 50, after years of working too much, eating too much junk food, drinking too much coffee, and smoking too many cigarettes. There has been extended drama involving his partner of 30 years, Gabrielsson, who, since they never legally married and Larsson left no will, is not entitled to any of his posthumous millions. His death was ironic and unjust, having happened at altogether the wrong time. I can’t help but think about my dad when I read about Larsson’s heart attack: how Larsson’s colleagues found him in a chair, breathing heavily and in a cold sweat, and even then he did not want to admit he was sick. My dad was probably in congestive heart failure for weeks before my brother and his boyfriend found him hunched over in a parking lot, gasping for air. I burst into terrified tears when I saw him on a gurney in the emergency room, looking so gray and puny. “It makes me cry, too,” he said and sobbed.
Insofar as this is a Dead Girl story with a happy ending, you know that my dad got better. His cardiac emergency became another episode in his life, another story underscored, appropriately, by reading. In the hospital after his angioplasty, he had a paradoxical reaction to a sedative that launched him into an hour-long panic attack. Every 60 seconds, he would jump out of bed and run around his hospital room, endangering his fresh stitches. At one point my mom, her nerves completely shot, picked up The Girl Who Kicked the Hornet’s Nest and began to read from Salander’s trial. This was the only thing that soothed my dad, and she read to him until he fell asleep.
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