Search Results for: Esquire

Derivative Sport: The Journalistic Legacy of David Foster Wallace

David Foster Wallace in New York City's East Village, circa 2002. (Janette Beckman/Redferns)

By Josh Roiland

Longreads | December 2017 | 32 minutes (8,200 words)

At a hip Manhattan book launch for John Jeremiah Sullivan’s 2011 essay collection Pulphead, David Rees, the event’s emcee, asked the two-time National Magazine Award winner, “So John…are you the next David Foster Wallace?” The exchange is startling for its absurdity, and Sullivan shakes his head in disbelief before finally answering, “No, that’s—I’m embarrassed by that.” But the comparison has attached itself to Sullivan and a host of other young literary journalists whom critics have noted bear resemblance to Wallace in style, subject matter, and voice.

When Leslie Jamison published The Empathy Exams, her 2014 collection of essays and journalism, a Slate review said “her writing often recalls the work of David Foster Wallace.” Similarly, when Michelle Orange’s This is Running for Your Life appeared a year earlier, a review in the L.A. Review of Books proclaimed: “If Joan Didion and David Foster Wallace had a love child, I thought, Michelle Orange would be it.”

Wallace was, himself, a three-time finalist for the National Magazine Award, winning once, in 2001; yet he compulsively identified himself as “not a journalist” both in his interactions with sources and reflexively as a character in his own stories. Nonetheless, he casts a long shadow in the world of literary journalism—a genre of nonfiction writing that adheres to all the reportorial and truth-telling covenants of traditional journalism, while employing rhetorical and storytelling techniques more commonly associated with fiction. To give better shape to that penumbra of influence, I spoke with Sullivan, Jamison, and Orange, along with Maria Bustillos, Jeff Sharlet, Joel Lovell, and Colin Harrison about Wallace’s impact on today’s narrative nonfiction writers. They spoke about comparisons to Wallace, what they love (and hate) about his work, what it was like to edit him, their favorite stories, posthumous controversies, and his influence and legacy.

Joel Lovell only worked with Wallace on one brief essay. Despite that singular experience, Lovell’s editorial time at Harper’s and elsewhere in the 1990s and 2000s put him in great position to witness Wallace’s rising status in the world of magazine journalism. He was unequivocal when I asked him which nonfiction writer today most reminds him of Wallace.

Joel Lovell: The clear descendant is John Jeremiah Sullivan, of course. For all sorts of reasons (the ability to move authoritatively between high and low culture and diction; the freakishly perceptive humor on the page) but mostly just because there’s no one else writing narrative nonfiction or essays right now whose brain is so flexible and powerful, and whose brainpower is so evident, sentence by sentence, in the way that Wallace’s was. No one who’s read so widely and deeply and can therefore “read” American culture (literature, television, music) so incisively. No one who can make language come alive in quite the same way. He’s an undeniable linguistic genius, like Dave, who happens to enjoy exercising that genius through magazine journalism. Read more…

The Top 5 Longreads of the Week

Heart drawing on the pavement
atosan / Getty Images

This week, we’re sharing stories from C.J. Chivers, Sheelah Kolhatkar, Libby Copeland, Amanda Petrusich, and Bryan Menegus.

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Kevin Young Is Ready to Engage the Public with Poetry

(A. Scott/Patrick McMullan via Getty Images)

Kevin Young, the director of Harlem’s Schomburg Center for Research in Black Culture and author of the National Book Award long-listed Bunk: The Rise of Hoaxes, Humbug, Plagiarists, Post-Facts, and Fake News, became poetry editor of The New Yorker just this past March. In this profile of Young in Esquire, he talks about the “great hoax” of race, the musicality and influences of his own work, and his desire to engage the public anew with poetry, which he says can “take us out of ourselves and bring us back a little bit different.”

Young claims Lucille Clifton, Seamus Heaney, and Rita Dove as important influences, and says he sees music as the essence of his art. Though his poems do not lack for depth, they rarely scan as difficult, let alone forbidding. He likes puns, and freely borrows forms from other fields (the blues, fugitive-slave posters, film noir). In college, he told me, he realized that “poetry was not this thing in the atmosphere. You have to look in your backyard. That’s the stuff to write about.” At the time, he’d never read a poem that represented someone like his grandmother. “I remember thinking, If I can get her in a poem, then I’ll have done something.” Young began to look to poetry as a sort of archive, vindicating evidence of “family—blood, adopted, imagined,” to borrow the dedication of Most Way Home. In “Oblivion,” he writes what might be his motto, or maybe a fervent dream: “Nothing // stays lost forever.”

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Meditations in an Emergency

(AP Photo/ Evan Vucci)

If America’s storytellers “lost the narrative they had been creating for decades” the morning after the 2016 elections, as Esquire explains in its oral history of the national trauma that began one year ago today, we’ve been writing our way out ever since. We’ve been knocking on doors, asking people why they did what they did, and asking ourselves how to fix it. We’ve been writing out our feelings, making fun where we can and commiserating where we can’t. Storytelling has been a way of getting through this, and we’re still getting through this.

Perhaps you won’t want to read this piece. I understand. I had to let one more election night pass before I could even begin a history that starts with Steve Bannon’s triumphant proclamation, “You have a hundred-percent chance of winning.”

We’re not the only ones reliving this day: it was also the day the nightmare began for Donald Trump. It was his last good day and he won’t let us forget it. Instead, think about how much has changed, and how far we still have to go.

David Remnickeditor of The New Yorker: I thought about, and actually wrote, an essay about “the first woman president,” and the historical background of it all. Elizabeth Cady Stanton, the suffragettes, the relationship with Frederick Douglass…a historical essay, clearly written in a mood of “at long last” and, yes, celebration. The idea was to press “post” on that piece, along with many other pieces by my colleagues at The New Yorker, the instant Clinton’s victory was declared on TV…

We agreed that night, and we agree today, that the Trump presidency is an emergency. And in an emergency, you’ve got a purpose, a job to do, and ours is to put pressure on power. That’s always the highest calling of journalism, but never more so than when power is a constant threat to the country and in radical opposition to its values and its highest sense of itself.

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Can Kevin Young Make Poetry Matter Again?

Longreads Pick

For Esquire, Robert P. Baird talks to Kevin Young, director of the Schomburg Center for Research in Black Culture and the recently appointed poetry editor at the New Yorker about the future of poetry.

Source: Esquire
Published: Nov 6, 2017
Length: 15 minutes (3,768 words)

Cast by Chronic Illness Into a Limiting Role

Illustration by Giselle Potter

Maris Kreizman | Longreads | November 2017 | 10 minutes (2,462 words)

 

In junior high, I had my heart set on attending a famous performing arts sleep-away camp in upstate New York. All I’d ever wanted from the time I was 4 and saw a local production of Oliver! was to be a Broadway star. I could barely contain my jealousy of all the child actors who were making it big in musical theater that year, 1990: the orphans of Les Miz, the orphans of The Secret Garden, the orphans of Annie. I had the talent to be an orphan too! I just needed a chance to go away from home, I reasoned, because very few successful orphan characters are discovered living with their parents.

If only I could attend French Woods, the place where Natasha Lyonne and Zooey Deschanel had spent their summers — a destination for suburban preteens on the East Coast who had Broadway ambitions, kids who perhaps idolized Bernadette Peters (me) and had strong opinions about Andrew Lloyd Weber’s early work (also me). I had always fit in just fine in my New Jersey town, but I knew I would find my people at French Woods.

Instead, I found myself at the Clara Barton Camp for girls with diabetes. I wrote my parents a “please come pick me up or I will die” letter after my first night.

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Language Acquisition

Dennis K. Johnson/Lonely Planet Images/Getty

Diana Spechler | Longreads | October 2017 | 16 minutes (3,875 words)

It begins at an outdoor café while you’re working for a month in central Mexico. From one table away, you zero in on his brown forearm, the two black cuffs tattooed around it. You want to touch those cuffs, encircle his arm with your hands. Soon you’ll learn the word esposas, which means both “handcuffs” and “wives,” but today you know only polite Spanish, please-and-thank-you Spanish. You smile at him until he approaches. When he asks if you have a boyfriend, you start to cry and can’t stop. You want to explain something to him — that you loved someone the way a dog loves her owner — but the only available language is snot. He holds a cocktail napkin to your nose. “Blow,” he says. For a second, you think he’s serious. Then you laugh so hard you feel something shift, the way the sky shifts from blue to pink.

***

His socks never match. His clothes and his dog are splattered with paint. His mother embroiders designs on his guayaberas and does his laundry. At night, he crashes wherever he is — on a porch, on a couch, by the lake in his pueblo. He takes you hiking to see the bursting white moon. He takes you to meet the shaman who can erase your pain with feathers. He takes you to see pyramids and an eagle carved into a mountain. He knows how to build a fire. He knows how to prepare a sweat lodge. He knows how to get people to buy him drinks. He knows how to wrap your hair around one hand and undress you with the other. During sex, he says all kinds of things you wish you understood. By the lake, you get so stoned together he stares at your face and asks if you’re Buddha.

“If I were Buddha, I couldn’t tell you,” you say.

“You have the face of Buddha.” He takes a drag, exhales a cloud, leans back on one elbow. “But don’t tell me. You are right. It is better not to tell me.”

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The Top 5 Longreads of the Week

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This week, we’re sharing stories from Jane Mayer, David Zax, Christopher Glazek, Farah Stockman, and Alex Mar.

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Judging Books By Their Covers

Illustration by Kjell Reigstad / Collage by Richard Kehl/Getty

Jason Diamond | Longreads | October 2017 | 19 minutes (4,639 words)

I had two wardrobes growing up: The first, at my father’s house, was made up of Air Jordans, Lacoste, Ralph Lauren, and Calvin Klein. At my mother’s house I had no-name brands, sneakers that were worn until they were falling apart, and second-hand shirts and sweaters that we’d pick up at the local Goodwill. That was life living under two different roofs of divorced parents in different economic brackets. My father had everything, my mother had very little. My father took us to the mall to buy things, my mother, more often than not, to thrift stores. Malls, where everything was laid out perfectly, were places to be seen carrying shopping bags; thrift stores, meanwhile, were intimate and offered more adventure. At some point, despite kids making fun of me for my shabby clothes, I grew to like the second-hand places more; you never knew what you would find. As I got older, I still shopped at thrift stores out of financial necessity, but it was also an aesthetic choice.

When I think back on the things I found in thrift stores as a teenager, my mind flashes to the jerseys of former Chicago Bulls who played during the first-half of the team’s dynasty run in the 1990s (#54 Horace Grant, #10 B.J. Armstrong), electronics no more than a decade old that were already considered obsolete, and countless copies of Whipped Cream & Other Delights by Herb Alpert & the Tijuana Brass. Like a prospector, I spent my high school years combing through Abercrombie & Fitch shirts worn by the kinds of kids I tried to avoid, strings of used Christmas lights, power suits I considered wearing as a David Byrne in Stop Making Sense Halloween costume, and other things people didn’t want or need anymore, all to find one tiny morsel of gold. Those little nuggets included an “Aloha Mr. Hand” Beastie Boys ringer T-shirt when I was 14 at a Salvation Army, an autographed picture of Tim Allen that I taped up in my locker as a joke, a sealed vinyl copy of Let it Be by The Replacements, and a Mies van der Rohe-designed Barcelona chair for $40. In my trash heap of a college apartment, I played video games and spilled beer on this pricey piece of designer furniture. I assume my roommates threw it out after I left.

I’ve always gravitated towards older things. I didn’t want to wear anything brand new from The Gap or “No Fear” shirts like my classmates did, and I liked the idea of being surrounded by items people didn’t want anymore. I preferred the old VHS players that went out when DVD players came in. Cassette tapes, old copies of National Geographic and Esquire, along with other relics, served as an education of sorts. They were things I saw as a small child but hadn’t been allowed to touch or own. I’d look at old furniture and notice hand-carved signatures in the wood, a sign that somebody had made it — it wasn’t some mass-produced lump of particle board.

Then there were the books. High school had taught me about Mark Twain, Charles Dickens, Virginia Woolf, Edith Wharton, F. Scott Fitzgerald, and James Baldwin. Thrift stores gave me my first tastes of Karl Marx, Saul Bellow, Albert Camus, Mary McCarthy, and Salman Rushdie. Both invaluable curriculums, but second-hand books allowed me an opportunity to design my own for about 25 cents a lesson, or five for a dollar. The covers made me feel like I was in a dusty little art gallery: The Modernist designs of Alvin Lustig for New Directions; the iconic, handsome, orange Penguin paperbacks; the seedy, sexy characters of 1950s pulp fiction.

I mostly judged the books by their covers, but there was one in particular I became obsessed with, inside and out. Used copies of this ghostly relic from 1984 are as common in thrift stores as old Barbra Streisand records or Sega Genesis video games. It’s a book I love, which I’ve had on every bookshelf I’ve owned; a book and a cover that I think sum up so much of my taste: Jay McInerney’s Bright Lights, Big City.

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The Sacred Right of Universal Narcotic Entitlement

Julie Rinaldi, left, and Lynn Locascio, right, both of Tampa, Fla., react as names are read of people who have died from OxyContin abuse. Rinaldi's daughter, Sarah, died at 17 from taking OxyContin. (AP Photo//Bristol Herald Courier, David Crigger)

The Sackler family funds top-tier museums (the Met, the Tate, the Smithsonian), universities (Princeton, Cambridge), and scientific research institutes (the Mayo Clinic, the National Academy of Sciences). Where does their cash come from? Writing in Esquire, Christopher Glazek tells us: pharmaceuticals — these days, largely OxyContin, which generates over a billion dollars in sales each year on the back of a campaign built on misleading both doctors and the public about its addictive potential. Over 200,000 people have now died of OxyContin overdoses, and many more from heroin after first becoming addicted to opioids via Oxy.

The Sacklers have experience turning an addictive drug into a household name. In the 1960s, family patriarch Arthur Sackler did it with benzodiazepene:

In the 1960s, Arthur was contracted by Roche to develop an advertising strategy for a new antianxiety medication called Valium. This posed a challenge, because the effects of the medication were nearly indistinguishable from those of Librium, another Roche tranquilizer that was already on the market. Arthur differentiated Valium by audaciously inflating its range of indications. Whereas Librium was sold as a treatment for garden- variety anxiety, Valium was positioned as an elixir for a problem Arthur christened “psychic tension.” According to his ads, psychic tension, the forebear of today’s “stress,” was the secret culprit behind a host of somatic conditions, including heartburn, gastrointestinal issues, insomnia, and restless-leg syndrome. The campaign was such a success that for a time Valium became America’s most widely prescribed medication—the first to reach more than $100 million in sales. Arthur, whose compensation depended on the volume of pills sold, was richly rewarded, and he later became one of the first inductees into the Medical Advertising Hall of Fame.

Later, the company would do the something similar with OxyContin and pain, when it “rebranded pain relief as a sacred right: a universal narcotic entitlement available not only to the terminally ill but to every American.”

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