Search Results for: Guardian

Arundhati Roy Doesn’t Care What You Think 

Arundhati Roy in 2009. (Photo by Satish Bate/Hindustan Times via Getty Images)

Seven thousand, three hundred days. Twenty years. Judging by the response to the release of Arundhati Roy’s long-anticipated follow-up to her first novel, 1997’s The God of Small Things, you’d think it had been two hundred. Reviews of The Ministry of Utmost Happiness are almost as ecstatic as the ones that accompanied Roy’s first book — and they almost always include a lament that it took her so damn long to produce.

The God of Small Things received a Man Booker Prize, bestseller status, and a whirlpool of accolades, but after its publication, Roy opted out of fiction altogether, pursuing a career as a political activist-cum reporter, unearthing the stories of society’s rebels and outcasts, advocating for a non-nuclear India, the independence of Kashmir, and criticizing prime minister Narendra Modi.

How dare she?

That’s the underlying question in nearly every interview with Roy that’s followed. Who wouldn’t give just about anything for a fawning debut New York Times book review, a public clamoring for the next book? Doesn’t she owe her readers another glimpse into her imagination? Read more…

Our Contemporary Notion of Self-Esteem Was Born — Surprise! — in 1980s California

Image via Pixabay (CC0)

The connection between how we feel about ourselves and how well we do (at work, in school, in our personal lives) feels unshakeable. Doesn’t it seem intuitive — if not axiomatic — that confidence in our abilities begets success? Not so fast. In an excerpt from his recent book, shared at the Guardian, Will Storr uncovers the recent history of self-esteem — including its origins in shaky science that was expertly packaged and marketed by John “Vasco” Vasconcellos, a California legislator on a mission:

In the mid-80s, the notion that feeling good about yourself was the answer to all your problems sounded to many like a silly Californian fad. But it was also a period when Thatcher and Reagan were busily redesigning western society around their project of neoliberalism. By breaking the unions, slashing protections for workers and deregulating banking and business, they wanted to turn as much of human life as possible into a competition of self versus self. To get along and get ahead in this new competitive age, you had to be ambitious, ruthless, relentless. You had to believe in yourself. What Vasco was offering was a simple hack that would make you a more winning contestant.

Vasco’s first attempt at having his task force mandated into law came to a halt in 1984, when he suffered a heart attack. His belief in positive thinking was such that, in an attempt to cure himself, he wrote to his constituents asking them to picture themselves with tiny brushes swimming through his arteries, scrubbing at the cholesterol, while singing, to the tune of Row, Row, Row Your Boat: “Now let’s swim ourselves/ up and down my streams/Touch and rub and warm and melt/the plaque that blocks my streams.” It didn’t work. As the senate voted on his proposal, Vasco was recovering from seven-way coronary bypass surgery.

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El Padre de Los Migrantes

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

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

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

* * *

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

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

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

Between Life and Death, There’s San Francisco: A Reading List

(Photo by Justin Sullivan/Getty Images)

They came in the tens of thousands, pushing baby carriages and packing roller skates. All in all, an estimated 200,000 pedestrians crossed the Golden Gate Bridge on May 27, 1937, its first day in business. The bridge was already a San Francisco landmark—a flaming, burnt-orange beacon conceived a decade earlier by Leon Moisseiff, who had engineered the Manhattan Bridge. It was a graceful design, but suspension bridges still weren’t entirely safe—the engineer’s Tacoma Narrows Bridge would fail spectacularly only a few months after it opened in 1940.

The Golden Gate also has a dark side. To afford a view of the city, the bridge has a low barrier that is easy to scale. (In “Jumpers,” the New Yorker’s Tad Friend meditates on the bridge’s reputation for death—for the families and friends of those who succeed in their jumps, it’s an indelible monument to their loved ones’ pain.) This month, city workers will finally begin the installation of a new barrier, a grey netting that will blend into the water without obscuring the view. Officials hope it will finally reduce suicide rates on the deadly bridge.

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If You Think You Understand the Montana Special Election, You Probably Don’t

Democratic congressional candidate Rob Quist talks with supporters in Great Falls, Montana. (Justin Sullivan/Getty Images)

I’ll forgive you if you’ve forgotten the reason for the Montana special election, which takes place today. It’s for a single congressional seat—the state has only one House representative due to its population—which was vacated earlier this year by Ryan Zinke when he was chosen by Trump to become the Secretary of the Interior.

Anne Helen Petersen has been reporting for BuzzFeed from Montana for months, and her definitive feature on the special election is a careful, compassionate, and clever look at the Montana voter—a true political unicorn who won’t be pandered to or told how to vote.

The special election may seem like a tantalizing chance for Democrats to turn a red state blue—56 percent of voters swung for Trump. “But that same election, 50.2 percent also voted for their Democratic governor, Steve Bullock,” Petersen reminds us, and “in 2012, 48.6 percent voted for Senator Jon Tester, a Democrat.”

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Our Gardens, Growing: A Reading List

Photo: Joe Pitha

As a child, I dreaded my family’s annual trip to the plant nursery. Embarrassingly, I cannot tell you a single plant my parents purchased. My sister and I romped through the aisles of the greenhouses, hoping to trigger the sprinklers. Neither of us had a passion for gardening. I can’t speak for my sister, but I still don’t. Nevertheless, I’ve listened to two gardeners speak about their passions and philosophies in the past two weeks: Nancy Lawson, author of The Humane Gardener, and Marianne Willburn, who wrote Big Dreams, Small Garden. I pored over their books, replete with gorgeous pictures of very different gardens and their animal and human inhabitants. While I wasn’t inspired to take up a trowel, between their suggestions for dodging Maryland’s infamous gnats and peaceful coexistence with rabbits, I gained a new appreciation for a dedication to the dirt.

1. “Bitter Greens.” (Mindy Hung, The Toast, December 2014)

“When I was seven years old, my grandparents began a squatter’s garden over empty city land.” So begins Mindy Hung’s essay about bitter vegetables, the Japanese occupation of Taiwan, the unpredictability of cruel teenagers, and scarcity versus security.

2. “Arcadia.” (Emma Crichton Miller, Aeon, August 2013)

Psychoanalysts, artists, and poets have long drawn on imagery of nature. The garden, with its chaos cultivated and conquered, is lush with metaphor.

3. “Lessons From My Mother, the Grave Gardener.” (Anna Gragert, Catapult, May 2017)

Not even a childhood spent assisting her mother in tending to gravesides could prepare Anna Gragert for the inevitability of her loved ones’ deaths.

4. “Why Would Someone Steal the World’s Rarest Water Lily?” (Sam Knight, The Guardian, October 2014)

A fascinating, frustrating tale of PLANT CRIME: The tiniest water lily, Rwandan in origin, is taken from Kew Gardens in England, ostensibly in plain sight. But there are no cameras and no witnesses. What’s a conservatory to do? And what’s the end game of the wheelers and dealers on the black market for the world’s most endangered plants?

5. “The Neoliberal Green Space.” (Marisa Mandabach, Jacobin, July 2015)

The Turkish construction boom is eliminating the historical link between Muslim life and working-class gardens, over the protests of the people:

Istanbul’s bostans preserve an alternative model for urban gardening: one that provides a living for professional small farmers, who supply their communities with produce and have relative autonomy over the spaces they cultivate. That this livelihood is being destroyed right as gardens are becoming fetish objects in the urban imagination might seem ironic — but it is perfectly compatible with the rise of the neoliberal green space.

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

Image by abdurrafeykhan (CC BY 2.0)

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

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

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

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

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

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

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

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

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

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

My Electric Bike is Not ‘Cheating.’ And It Could Replace Cars for Millions of People

Boy learning to ride a bicycle
Learning to Ride a Bike via Wikimedia

“Hey, no fair! You’re cheating!”

The guy was wrapped head to toe in black Lycra. He had clip-in cleats and a racing helmet. I was wearing a skirt and blue suede shoes. He was annoyed because I’d passed him. He was riding hard, I could see his effort and as I pulled out on the left, I could hear him breathing.

This stretch of road doesn’t look like much, but it’s an uphill grade. When I’m heading into town, I hit it from a right turn or a full stop, both of which kill my momentum. It’s nowhere near the gut emptying climb before you reach my house, but it’s not a coast, either. Road bike guy had probably come from the park at sea level; he’d likely been climbing for a mile already. Read more…

On the Frontline of Disaster: The Volunteer Ambulance Drivers of Karachi, Pakistan

Pakistani volunteer Latafatullah Hassan, second from left, working at the Edhi Foundation, waits for visitors to claim dead bodies, at a morgue in Karachi, Pakistan, Sunday, Nov. 13, 2016. (AP Photo/B.K. Bangash)

At The Guardian, Samira Shackle profiles Muhammad Safdar, an ambulance driver in Karachi, Pakistan, where religious violence, workplace disasters, and multiple explosions are just another day on the job. The Edhi Foundation’s ambulance service, which refuses state money and donations from businesses it deems unethical, is funded largely by donations from “the common man.” Standard work shifts run between 18 and 36 hours, and drivers earn about $1.30 US per day.

The impact of the explosion sent Muhammad Safdar flying backwards. He looked up from where he had landed and saw that the windows of his parked ambulance had shattered. As he tried to pick himself back up, fellow volunteer drivers working for the Edhi ambulance service gathered around him; it looked as if Safdar was bleeding. But he had not suffered any external injuries. “Human flesh got stuck to me,” he recalls now, as we sit in the ambulance control centre in downtown Karachi. “My friends were checking me for injuries, but it was pieces of other people. I was trembling hard and I couldn’t hear my own voice when I spoke. It sounded juddering. I could only hear whistles.”

Sporting red T-shirts emblazoned with bold white letters reading “EDHI”, these workers are a familiar sight at Pakistan’s all-too-common disaster scenes. Here in Karachi, a megalopolis of around 20 million people, there is no state ambulance service.

Like other Edhi ambulance drivers, Safdar is technically a volunteer and works for a basic salary of 4,300 Pakistani rupees a month (£33). A private driver would earn 10,000–15,000 rupees. This basic salary covers the high-risk rescue work; the easier “patient services” jobs – moving people between hospitals and transporting corpses – incur a small fee, so drivers receive a commission of around 100 rupees (76p) per trip. Sometimes patients tip. But clearly, money is not the motivating factor.

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The (Re)selling of Maria Sharapova

Maria Sharapova is returning to tennis after her 15-month suspension for failing a drug test. (AP Photo/Damian Dovarganes, File)

Sarah Nicole Prickett | Racquet and Longreads | April 2017 | 17 minutes (4,278 words)

Our latest Exclusive is a new story by Sarah Nicole Prickett, co-funded by Longreads Members and co-published in conjunction with Racquet magazine’s third issue.

To be in the backseat of a car, the cyanotype night on some minor highway, and pass at a distance of one or two hundred yards a rectangle of total green under pooled white lights is to see North American heaven. A community baseball field, a high school football field. A tennis court, occasionally. Say you’re a tennis-playing child from an oil town in Siberia where there are no courts, and no oranges, and in photographs of home it’s always snowing or sleeting or for another reason it’s gray. Around the age of 6, having first picked up a secondhand racket on the clay courts in Sochi, off the Black Sea, you arrive in Bradenton, Florida, home of Tropicana Products and IMG’s Bollettieri tennis academy. Will you ever get over it, the way the green lies shining against the dark? Maria did not. Maria Sharapova was, for a brief lambent time between 2004 and 2006, when she was 17 and 18 and 19, the best female tennis player on grass.

She was trained by Nick Bollettieri at the IMG Academy on mostly hard courts, to hone her technique absent variables. She moved on clay, she said later, jokingly, like “a cow on ice.” But on grass she was a dancer, a ballerina. One other body moves like hers, and it is that of the actual ballerina Sara Mearns, who shares with Maria a fissive mix of rigor and bounce. Some of Maria’s best serves in the middle 2000s are unbelievable when seen in slow motion. The extension of the right, working leg, reaching à la hauteur. The high toss followed by a hyperbolic swing of the racket, almost dismissive of the ball. Richard Williams, a former chief sportswriter for The Guardian who happens to share his name with the father and former coach of Venus and Serena, wrote that a poem about Maria “might start with a description of the moment when she tosses the ball up to serve and, as it reaches its apogee, a line through her left arm and right leg forms a perfect perpendicular.” Which is to say, the girl knew her angles.

Green clay and grass showed Maria to advantage in early photographs. The verdancy made wonder of her coloring, brought out the complementary flush of her cheeks, the gray-green in her cat’s eyes, the analogous streaks of gold in her long straight hair. She looked like a sixth Lisbon girl in Grosse Pointe, as if she’d been away at summer camp while the other five virgins were suiciding. She wore tank tops and little A-line skirts in white or pink or powder blue, obviously from Nike, and a simple gold-plated cross in the Orthodox style. No makeup. Quick-bitten nails. Goody-brand snap clips in her basic ponytail. Before each serve, she paused to brush back the newly escaped baby hairs with her ball hand, and the down on her forearm snagged the light. In 2003 she won no matches on the hard courts at the Australian Open nor on the clay at the French Open, but when she got to Wimbledon, to the grass, she beat the 11th-seeded Jelena Dokic and reached the fourth round, where she was beaten by fellow Russian Svetlana Kuznetsova. The tour made her Newcomer of the Year. A talk-show host began to compare her to Anna Kournikova, and she was ready, saying, “That’s so old.” Read more…