Search Results for: LA Weekly

A Mystery Wrapped in an Engima, Then Shoved Under the Desk

a piece of crumpled paper with writing on it sits on a desk
Photo by photosteve101 via Flickr (CC BY 2.0)

There’s a lot going on in the world; things feel heavy. Sometimes, you want to ignore the news for few minutes and get absorbed in something light, whimsical, irrelevant — like in in-depth look at waste paper baskets. Except whoops! Thanks to Ben Marks’ piece in Collector’s Weekly, we now know that waste paper baskets are way more gravid with meaning than we thought. Who knew?

Until I read Paradox, I had not considered the possibility that waste paper baskets could be imbued with paradox, but Legrand has convinced me. In a perfect world, he postulates, the office is a place where work is performed efficiently and at high speed. But the presence of a waste paper basket is proof of the opposite condition, since it’s designed to be filled with failures. Thus, as Legrand puts it, a waste bin is “a jelled temporality.”

“As long as the bin hasn’t been emptied,” he elaborates, “its contents are the physical rendering of our thinking, our doubts, and ultimately the rejection of everything that doesn’t fit into a certain system. Once emptied, that visibility is over, or, as Heidegger would say, the truth is hidden again.”

Read the story

Contributor Guide

  1. Posts on Longreads.com
  2. Longreads Picks
  3. Weekly Top 5 Email
  4. Image Specifications and Tips

1. Posts on Longreads.com

General Tips

  • Be sure to add a featured image. Refer to the Image Specifications and Tips section below.
  • Enter an excerpt for your post. Excerpts should be under 160 characters long. If you don’t see the excerpt field in WP-Admin, you might need to manually display it via the checkbox in Screen Options at the top of the page.
  • Add a handful of relevant categories, such as “Quotes,” “Essays & Criticism,” and “Nonfiction.”
  • Add tags for additional keywords, plus the author and/or publication names as necessary. Add a maximum of 10-15 tags and categories total to ensure the post appears in the WordPress.com Reader.
  • Add a photo credit to images: In the WordPress media gallery, there is a “Caption” field. Add a photo credit naming the source and linking (using HTML) to the original. Example: Photo via <a href="https://www.flickr.com/photos/skynoir/11224284884">John Smith, Flickr</a>
  • For very short quotes, you can use a larger, bolder font by adding class=”short” to the blockquote. For example: <blockquote class="short">This is the quote</blockquote>

Stories / Exclusives / Excerpts

All of our original stories get the feature article treatment, with large photos and centered headlines/deks. These should all be assigned to the “Story” category. See examples here:

https://longreads.com/category/story/

Dek

The dek is pulled from the “Excerpt” field in WordPress.

Example of a headline and dek on top of a Longreads Exclusive. The dek only appears like this for posts with the “story” or “top 5” categories.

Pullquotes

Add pullquotes to break up the text. They’re formatted like this:

<blockquote class="pullquote center">Here is a sentence copied from the story.</blockquote>

You can also change the alignment for pullquotes (replace the “center” class in the example with “right” or ”left”)

Example of a pullquote on Longreads.com.

Images & Videos

Add images or videos, depending on the story. You can embed most videos on other services (YouTube, Vimeo) by pasting the URL into the WordPress visual editor. To add more images, pick a spot in the story, then click “Add Media.” You can also center the image, or align it left/right.

Header Variations

Our original stories have four options for header treatment:

Here are live examples:

To choose one of these header variations, make a selection from the “Longreads Exclusive Options” panel in the WP Admin interface:

We don’t currently have any strict rules around when each header variation should be used. If you have an especially impactful featured image, give “Image Only” a try. If you have a vertically-oriented image, use “Dual Pane.” Give a couple of the layouts a try, and see which one looks better. Don’t hesitate to ask the group for feedback if you’re not sure.

The “Longreads Exclusive Options” panel also contains an experimental “Move the byline to the top” feature. This checkbox grabs the first paragraph (<p></p>) of the post and moves it up into the header.  It’s a little finicky, so be sure to verify that it worked before you leave it checked.

Here’s an example of a byline that should work, if you’d like to copy and paste it:

<p style="text-align:center;"><em>Author Name</em> | <em><a href="#">Longreads</a></em> | <em>June 2017</em> | <em>22 minutes (1,500 words)</em></p>

If you try the checkbox, but it doesn’t work, give Kjell a ping and he should be able to help. A known issue for the byline feature is that it sometimes will create unfortunate line breaks for longer bylines. We’ll figure that out. 🙂

Quote Posts

A quote post is short and simple, but it’s a great way to distill “what we’re reading,” what we love, and why we love it. A quote post is a short blog post that features a link to a story or book along with a notable excerpt or quote.

Examples: http://blog.longreads.com/category/quotes-2/

It can be helpful to think of a quote and headline or angle that is different from the original story’s headline or angle. Often quote posts work well for surfacing a different story that’s buried deeper inside of a longer piece or inside a book.

Example of a headline rewrite for one of our quote posts.

Quote posts usually begin with a short introduction by you, followed by the quote. You can also do it the other way around: first quote, then context. The latter works best if the quote itself is short. If the excerpt is longer than a couple sentences, then it can be better to start with your own introduction, so people know why they should keep reading.

We usually don’t use more than 3-4 paragraphs to excerpt from the story. Quotes are meant to be quick, notable moments from a story. Exceptions can be made for books, since readers will be taken to a book purchase link rather than the full free story.

For direct quotes in the post, use <blockquote></blockquote> tags.

Every quote post should include a red button to “Read the story” “Read the interview” or (for Amazon links) “Get the book”. This is the code for that button: <a class="button-red">Read the story</a>

 

Interviews

Same as “Story” above but also include “Interviews” category and use bold text for interviewer questions.

Example: https://longreads.com/2017/03/14/ariel-levy-interview/

Reading Lists

A reading list is a list or essay with a collection of links with summaries / excerpts.

See examples here: http://blog.longreads.com/category/reading-list-2/

All list items will be linked and wrapped in <h2></h2> tags. Include the title, and in parentheses, add the author, publication and year if not current.


2. Longreads Picks

Longreads Picks are stories that we recommend. Picks are shown to users in the feed on the right side of the homepage, and on our picks page: https://longreads.com/picks/

In technical terms, Picks are a custom post type (CPT) on Longreads. All that means is that they work a little differently than posts do.

To add a new pick:

  1. visit https://longreads.com/wp-admin/edit.php?post_type=lr_pick and select “New Pick” on the top left.
  2. Enter a title and a short description for your picks. You can see examples here.
  3. Below the main content box, there’s a new box with some additional fields:
  4. Click “Add Author” and start typing the name of the article’s author. This text box will auto-suggest matches from our database. If the author is brand new, you’ll need to visit this page, and add them manually first. Then go back to your pick, refresh the page, and try adding the author again. You can add multiple authors if necessary.
  5. The Publisher box works the same way. If your pick is from a new Publisher, you can add them first from this page.
  6. Enter the URL publsher date, and word count. No need to add tags or a featured image.
  7. Hit publish or schedule the post when you’re ready.

3. Weekly Top 5 Email

The Longreads weekly newsletter goes out every Friday between 3pm-4pm ET. It’s manually built in MailChimp. Here is a brief checklist on preparing each week’s newsletter.

  1. Once you have your Top 5 picks, create a draft blog post, titled “The Top 5 Longreads of the Week.” Use previous versions for formatting code.
  2. In Mailchimp, under “Campaigns” in the top nav, create a new Campaign by going to a previous week’s “Longreads Weekly” campaign, and selecting “Replicate” from the dropdown menu.
  3. Doublecheck that “Recipients” list is “Weekly Longreads Email” (You shouldn’t have to change anything.) Then click “Next”
  4. Under “Setup” leave all settings the same but change the date under “Name your campaign”.
  5. Skip the “Template” section and go straight to “Design” to make the following changes:
    • Click “Edit” on the “Longreads Weekly” section to change the email date and change any intro language or links if necessary. Click “Save and Close” when finished.
    • Click Edit on the Top 5 and story promos section. In this section you will update the Top 5 links and story links, along with their promo images and language.
    • Edit the post grid at the bottom. You can add, hide, or remove rows of stories using the buttons on the top left. Always add stories in groups of two — don’t leave one of the grid cells empty.
    • In the story grid, please make sure to crop the images to 1024px wide by 585px tall. You can do this within Mailchimp by choosing “Edit” when hovering over the image, then selecting “Edit” on the right. There’s a “Crop” tool in the Mailchimp image editor.
  6. In the “Confirm” section, first select “Preview and Test” in the upper right menu and “Enter Preview Mode.” You will see desktop and mobile versions of the emails. This is also a good place to test all of the links. Be sure to check all the links for all the story picks, headlines, images, and “Read Now” buttons.
  7. Close out of the window, and under “Preview and Test,” select “Send a Test Email” and send the email to yourself, Kjell, and at least one other Editor.
  8. Check the email and links.
  9. Before you send the email, be sure to FIRST publish the Top 5 Longreads blog post live, and check that your Top 5 link matches the live Top 5 blog post.
  10. Under Confirm, double check that the email will go to the “Weekly Longreads Email list.”
  11. Hit “Send” in the bottom right corner, and enjoy your weekend!

4. Image Specifications and Tips

Blog Posts and Exclusives

Images for blog posts should be at least 1456px wide. This allows for them to display at full retina resolution on desktop monitors. Landscape images tend to work best, but portrait images can be used from time to time as long as the minimum width is met. Featured images for exclusives are displayed larger than they are for regular blog posts. These images should be 2400px wide by 1400px tall. This is an image ratio of 12:7.

Emails

To keep load times down in emails, images should be no more than 1200px wide. You can resize to this width in Mailchimp. For images in the bottom grid, crop to 1024px wide by 585px tall.

Stock images

We usually use AP Images for our paid stock photos. Ping an automattician to purchase.

The following sources are great for finding Creative Commons photos. Be sure to include credit when necessary.

Other tips:

  • Ping Kjell for help with illustrations for Exclusives.
  • We’re generally welcome to use book and magazine covers when promoting/excerpting stories they include.

The High-Water Mark: The Battle of Gettysburg, the Jersey Shore, and the Death of My Father

Dane A. Wisher | Longreads | April 2017 | 36 minutes (10,142 words)

 

2013

* * *

“What kind of commie bullshit is that?”

“I’m telling you, listen to the album again.” I jam my finger into the bar top for emphasis.

“I don’t need to. It’s called Born in the USA. It’s about good, honest American people. You’re defiling a New Jersey hero.”

“It is about America. But the flag and blue jeans on the cover, the upbeat sound on the title track—it’s all ironic.”

“Here we go. It’s ironic.

“It’s the definition of irony. Apparent surface meaning conveying the opposite of the actual underlying intent of the message. The album is about how people can’t catch a break, how hollow all the patriotic fanfare is.” My speech sounds less pompous in my head.

“This is just like your thing with Forrest Gump.”

I roll my eyes. Forrest Gump has become his latest culture war litmus test. Still, it’s good to see my brother. I’ve been teaching in Qatar for two years and he works odd hours as a cop at the Monmouth County Prison and so the nights when we can shoot the shit are rare. When we do, we eat a lot and drink a lot and tell a lot of stupid jokes and get a sick enjoyment out of fighting with each other. Read more…

We’re Living in the Golden Age of the Corporate Takedown

Elizabeth Holmes. Photo: AP Images

Miki Agrawal, co-founder and “She-EO” of menstrual underwear phenom Thinx, raised eyebrows when she stepped down from her role in the company in early March. Agrawal had long been infamous for her company’s boundary-pushing ads and her well-publicized hesitance to use the word “feminist.” Within days of Agrawal’s announcement, Racked published a gripping article examining corporate dysfunction and alleged sexism at Thinx, and Agrawal struck back with a lengthy post on Medium that detailed her “incredible ride” with the company. “I didn’t put HR practices in place because I was on the road speaking, doing press, brand partnerships, editing all of the creative and shouting from the rooftops about Thinx,” she wrote. Less than a week later, Agrawal was accused of sexual harassment by a former employee.

Such is the power of the corporate hit piece: Fueled by eyewitness accounts, scorned ex-employees, and juicy tidbits about a CEO’s bad behavior, a corporate identity that took years to build can unravel in days. These piquant stories might smack of a slow-motion trainwreck, but they satisfy more than our inner gossips and gawkers. Today, the myth of a CEO is often of their own making—once minted by years of climbing the corporate ladder, now CEOs are made in weeks or months. CEO, we are told, is less a work status than a state of mind.

Read more…

Seven Stories About the Science Behind Fast Food

(AP Photo/Sunday Alamba, File)

I am a pizza apostate. Not only do I use a fork and knife whenever I eat pizza, I also sometimes bypass my normal slice joint for the siren call of deliciously buttered-and-garlic salted crust that only Dominos can deliver.

According to Bloomberg, I am not the only one who can’t resist the Michigan chain’s pies: the company is now worth a staggering $9 billion—its share price has risen more than 2,000 percent since 2010 (outpacing the likes of Google and Apple)—and Dominos has not only been brought back to life, it is now the leading force in the intersection of fast food and technology. As Susan Berfield writes,

Domino’s has always understood the importance of not having to go anywhere. Although you can still walk into a restaurant if you must, there are at least a dozen ways to order a Domino’s pizza in absentia. Some are self-explanatory: mobile apps, Apple Watch, Facebook Messenger. Others need some explanation. To order via Twitter, you must create an online account, save a pizza as your favorite (known as your Easy Order), and connect it to your Twitter account. Then tweet a pizza emoji to @dominos. “We’ll know who you are, what pizza you want, your default location and payment,” Maloney says. “We send a ‘Sounds awesome, are you sure?’ You send a thumbs up.” But if you want to order something other than your favorite, you’re out of luck.

Maloney clears away the remains of our lunch (Pacific Veggie, thin crust) to show me option 12 on his phone: zero-click ordering. “This will freak you out,” he says. “What’s the easiest way to order? When you don’t have to do anything.” One day Maloney and Garcia were in the car with their ad guys, dreaming of how to one-up Amazon’s one-click ordering. Three months later they had their zero-click app, which does require one click to start. “Tap the Domino’s icon to open it and find my Easy Order,” Maloney says. That’s it. “I have 10 seconds before it automatically places the order.” A big countdown clock appears on Maloney’s screen. If he does nothing, his Easy Order, a 12-inch hand-tossed pizza, will be on its way to his home.

While Dominos is at the forefront of our fast food, it isn’t the only company to have paired food science and tech to deliver a product that is utterly craveable. The following are some of the best pieces in the past several years to capture this culinary shift. Read more…

Social Networks Have Always Battled HIV/AIDS

Andrew Savulich / AP

When’s the last time you saved thousands of lives with a Facebook post? It happened last year to Greg Owen, recently profiled by Buzzfeed UK, a part-time bartender and club promoter from Northern Ireland who contributed to last year’s steep drop in new HIV diagnoses in London while homeless, underemployed, and himself HIV positive.

On 11 August 2015, Owen posted on Facebook to let his friends know that he planned to begin taking PrEP. A friend, who was HIV-positive and had been prescribed the drug as part of his treatment before switching medication, offered him some spare pills. Owen’s plan was to start taking them and blog about his experiences—a “blow by blow” account, he says, laughing…

The day after the Facebook post, he went to a sexual health clinic to double-check he was HIV-negative before taking the pills. Moments later, the nurse gave him the result of the rapid pin-prick blood test: It was positive. He had missed his chance to prevent it.

“I felt sick,” says Owen. “I said, ‘I need to have a cigarette.’ I was in shock.”

The following evening, aware that his friends on Facebook would soon be asking how he was getting on with PrEP, and while working a shift in a gay bar, Owen posted an update on the site telling everyone he was HIV-positive.

That single act triggered a chain of events that would change everything.

This single post caused Owen to become the unintentional poster boy for PrEP, or pre-exposure prophylaxis, also known by the brand name Truvada, a pill taken daily that can help prevent the risk of HIV infection. PrEP is available in the US under most insurance programs, including Medicaid, but in 2015, it was still unavailable on the UK’s National Health Service.

With the help of social media and a homegrown website about the PrEP regimen, Owen got word to thousands of people, garnering the attention of public health officials along the way. It’s a trajectory made all the more surprising by Owen’s total lack of resources and official support. Owen managed to turn his social contacts and personal commitment to HIV prevention into a movement—and by doing so, unwittingly became the latest in a long line of underfunded, grassroots activists who have battled HIV/AIDS through social networks.

The gay community confronted the illness in the early 1980s, when public health officials heard reports of a “gay cancer” spreading through San Francisco and New York. Before HIV or AIDS even had a name, gay men gathered in the Greenwich Village living room of playwright and activist Larry Kramer, where they met with Dr. Alvin Friedman-Kien, a dermatologist and virologist who told them what he knew about the disease. They could hardly believe what they heard.

Kramer’s living room became the headquarters for Gay Men’s Health Crisis, now America’s oldest AIDS organization, as HIV/AIDS began to decimate gay communities and disbelief turned to action. The group, and others like it, relied on social networking to get the word out about AIDS. They disseminated the latest research, raised funds, and provided critical support for patients at all stages. “Nobody paid any attention to it, recalls Kramer in an interview with Frontline. “We didn’t exist.” (Kramer later parted ways with GMHC and went on to help found ACT UP, an advocacy group whose in-your-face tactics drew national attention to the crisis.)

For early HIV/AIDS activists, grassroots organizing wasn’t a choice—it was a necessity. Scientific understanding of the virus was in its infancy, and a social stigma surrounded its victims. Researchers struggled to get enough money to finance their work and activists struggled for media attention. Meanwhile, the Reagan Administration ignored both groups’ pleas for public acknowledgment, and the president famously failed to even use the word “AIDS” in public until 1985, and didn’t give a major speech on the subject until 1987. There was no choice but to pick up the phone, make a flyer, or get out into the street.

Part of the problem was what sociologists call “social death”—the exclusion of people who are thought to be beyond saving because of their social status. But grassroots activism gave hope to patients, challenged stigma, and ultimately pushed forward research. Celebrities whose own social networks were torn apart by HIV/AIDS eventually came forward, and slowly, an international movement was born. Today, those living-room gatherings, phone calls, get-togethers, and grassroots marches have resulted in prevention like PrEP and better treatments for HIV/AIDS patients. And they still fuel efforts like Owen’s to make sure those interventions get in the hands of those who are at risk.

As Owen’s story illustrates, there are still big gaps in awareness despite the existence of better treatment and prevention options. In March 2016, the NHS ceased—before it had even started—the process of funding the drug.

The resulting publicity surrounding the decision, however, had an interesting effect: More and more people were becoming aware of the drug and, says Owen, seeking it out on IWantPrEPNow. Traffic began to double and triple. His social media presence swelled, fueling further traffic and media traction: appearances on the BBC, more radio discussions, more press coverage. Greg Owen was becoming Mr PrEP.

In response to NHS England’s decision, all the major HIV charities joined forces to fight it. A series of meetings ensued. Owen was the only activist invited to attend, as every HIV specialist knew that he was the main link to thousands of people wanting the drug…

A legal battle commenced, brought by the National AIDS Trust, to counter NHS England’s claim that it was not their responsibility to provide PrEP as HIV prevention was the job of local councils. At each step of this process, as news reports described what was happening, traffic to IWantPrEPNow continued to climb.

By the time NHS England lost in the High Court in August last year, 12,000 people were visiting the site every month. NHS England swiftly appealed the ruling. Orders of generic PrEP kept rising… As the NHS stalled, an underground movement, facilitated by Owen, was in full swing.

The NHS eventually lost the appeal in November, and announced that it would provide the drugs for at least 10,000 people, but earlier that summer a panel discussion at the International AIDS Conference warned that global funding for the disease is still in danger of a “collapse” that could set back public health goals. If history is any indicator, activists won’t lay down their arms anytime soon. Like Owen, they’ll pick up their cell phones and carry on—even if their invisible labor goes unpaid and unrecognized.

Further Reading
The Epidemic of Gay Loneliness (Huffington Post Highline)
Dustin Lance Black, The Screenwriter Behind “Milk” and “When We Rise” on Coming Out as a Gay Activist (The New Yorker)

Read the Buzzfeed story

Dear New Owners: City Magazines Were Already Great

As the president sucks up the oxygen from the media atmosphere, it’s easy to forget how important local journalism is right now. The regional press—the holy trinity of newspapers, alt-weeklies, and city magazines—is where we can find true stories of friends and neighbors impacted by immigration raids, fights over funding public education, and the frontline of relaxed environmental standards that will impact the water we drink and the air we breathe. We need to support their work. Read more…

How David Bowie Came Out As Gay (And What He Meant By It)

Simon Reynolds | Shock and Awe: Glam Rock and Its Legacy, from the Seventies to the Twenty-first Century | Dey Street Books| October 2016 | 19 minutes (5,289 words)

 

Below is an excerpt from Shock and Awe, by Simon Reynolds.

* * *

People like Lou and I are probably predicting the end of an era … I mean that catastrophically.
Any society that allows people like Lou and me to become rampant is pretty well lost.

On Sunday afternoon, 16 July 1972, David Bowie held a tea-time press conference at the Dorchester, a deluxe five-star hotel on London’s Park Lane. Mostly for the benefit of American journalists flown in to watch him and his new backing band, The Spiders from Mars, in action, the event was also a chance to show off Bowie’s new ‘protégés’, Iggy Pop and Lou Reed. They had – separately – made their UK live debuts on the two preceding nights, at the exact same venue, King’s Cross Cinema.

Glammed up in maroon-polished nails and rock-star shades, Reed sashayed across the second-floor suite and kissed Bowie full on the mouth. Sitting in the corner, Iggy also displayed a recent glitter makeover, with silver-dyed hair, eye make-up and T. Rex T- shirt. Reed, Iggy and Bowie would later pose for the only known photograph of the threesome together, Bowie looking resplendent in a flared-cuff Peter Pan tunic made from a crinkly, light-catching fabric. That was just one of three outfits he wore that afternoon – surely the first time in history a rock’n’roll press conference involved costume changes.

During a wide-ranging and somewhat grandiloquent audience with the assembled journalists, Bowie declared: ‘People like Lou and I are probably predicting the end of an era … I mean that catastrophically. Any society that allows people like Lou and me to become rampant is pretty well lost. We’re both pretty mixed-up, paranoid people, absolute walking messes. If we’re the spearhead of anything, we’re not necessarily the spearhead of anything good.’ What a strange thing to announce – that you’re the herald of Western civilisation’s terminal decline, the decadent symptom that precedes a collapse into barbarism or perhaps a fascist dictatorship. But would an ‘absolute walking mess’ really be capable of such a crisply articulated mission statement? There’s a curious unreality to Bowie’s claims, especially made in such swanky surroundings. Yet the reporters nodded and scribbled them down in their notepads. Suddenly Bowie seemed to have the power to make people take his make-believe seriously … to make them believe it too. Something that in the previous eight strenuous years of striving he’d never managed before, apart from a smatter of fanatical supporters within the UK entertainment industry.

Some eighteen months before the Dorchester summit, the singer had looked washed-up. Deserted by his primary collaborators Tony Visconti and Mick Ronson, he put out the career-nadir single ‘Holy Holy’. (Can you hum it? Did you even know it existed?)

Yet a little over a year later, Bowie had everybody’s ears, everyone’s eyes. His fortunes had transformed absolutely: if not the biggest star in Britain, he was the buzziest, the focus of serious analysis in a way that far better-selling contemporaries like Marc Bolan and Slade never achieved. No longer a loser, he had somehow become the Midas man, a pop miracle-worker resurrecting the stalled careers of his heroes, from long-standing admirations like Lou Reed to recent infatuations like Iggy Pop and Mott the Hoople. Sprinkling them with his stardust, Bowie even got them to change their appearance in his image. There was talk of movies and stage musicals, the sort of diversification that’s tediously commonplace in today’s pop business, but back then was unusual and exciting.

‘People look to me to see what the spirit of the Seventies is,’ Bowie said to William S. Burroughs in a famous 1974 dialogue convened by Rolling Stone. This was not boasting, just the simple truth. How did Bowie manage to manoeuvre himself into place as weathervane of the zeitgeist? The battle was not won on the radio airwaves or at record-store cash registers. There are bands from the early seventies who sold millions more records than Bowie ever did, but they never came near to having the high profile he had at the time and are barely remembered today. Bowie’s theatre of war was the media, where victory is measured in think pieces and columns, controversy and the circulation of carefully chosen, eye-arresting photographs. Read more…

The Fighting Azov Dolphins

Longreads Pick

The Mariupol, Ukraine Dolphins play (American) football seven miles from the front lines — a weekly chance for “three hours of American way of life.”

Published: Feb 15, 2017
Length: 10 minutes (2,575 words)

Trilby, the Novel That Gave Us ‘Svengali’

A scene from the 1931 film Svengali. Via Wikimedia Commons.

Emma Garman | Longreads | February 2017 | 6 minutes (1,788 words)

In the fall of 1894, a New Jersey reader wrote to George du Maurier, the Franco-British author and satirical cartoonist whose Harper’s Monthly serial, Trilby, had just come out as a novel. The concerned correspondent asked that his mind be put to rest regarding the decorousness of relations between Trilby, the young heroine, and musical genius Svengali, under whose hypnotic spell she becomes an overnight opera sensation. Du Maurier replied politely but briefly: “I beg to say that you are right about Trilby. When free from mesmeric influence, she lived with him as his daughter, and was quite innocent of any other relation.” His assurance was published in The Argonaut, a San Francisco weekly, thus alleviating any similar fears for the girl’s reputation among that paper’s readership. In Brooklyn, meanwhile, a woman had a disagreement with her husband over Trilby’s morals, culminating in her smashing an earthenware jar over his head. Luckily for the woman, the injured party declined to give evidence in court. Perhaps he appreciated that when it came to Trilby, emotions ran high.

Irish-Scotch-French model and laundress Trilby O’Ferrall was partly based on real women, including a 17-year-old girl, nicknamed Carry, whom du Maurier and his friend Felix Moscheles knew as art students—and amateur mesmerists—in Belgium in the late 1850s. With her “rich crop of brown hair, very blue inquisitive eyes, and a figure of peculiar elasticity,” Carry modeled nude for them and allowed herself to be hypnotized. Her soul, Moscheles later claimed, “was steeped in the very essence of Trilbyism.” Du Maurier’s granddaughter, the novelist Daphne du Maurier, concurred: “Carry . . . had the same camaraderie, the same boyish attraction, the same funny shy reserve.” Another inspiration was Anna Bishop, an opera star reputed to be in sinister thrall to her older lover-manager, the French harpist and composer Robert Nicolas-Charles Bochsa. In 1839, Bishop caused a scandal by leaving her husband for Boscha, and to his musical accompaniment, the legend went, she sang as she never had before. Read more…