At age thirty-two, after years working as an exotic dancer, the daughter of a mysteriously absentee father finally puts together the pieces that had been missing her whole life.
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The Fantasy of an Enemy
“It’s still raining in Houston, and Game of Thrones is not a show about climate change, not really, because it’s possible to win The Game of Thrones.”
Longreads Best of 2019: Music Writing
We asked writers and editors to choose some of their favorite stories of the year in various categories. Here is the best in music writing.
‘I’m a Big Fan of Writing To Find Out What You Don’t Know.’
Mark Haber discusses “Reinhardt’s Garden” and its protagonist’s quest for a true understanding of melancholy: “not a feeling but a mood, not a color but a shade, not depression but not happiness either…”
Longreads Best of 2019: Food Writing
We asked writers and editors to choose some of their favorite stories of the year in various categories. Here is the best in food writing.
Guy Gunaratne on the ‘Push-Pull of Ancestry and Meaning’ in London
Guy Gunaratne’s Man Booker-longlisted “In Our Mad and Furious City” recognizes multiple, overlapping versions of London and its inhabitants, examining the ways violence can bubble up through the city’s fissures.
A Kendrick Lamar Syllabus
The Pulitzer Prize-winner’s work always feels honest, as writers have found when they dive deep into his literary influences.
‘In a Marriage, You Grow Around Each Other’: An Interview with Tessa Hadley
Tessa Hadley on gaining the sense of authority she needed to write fiction, the authors whose work opens the door for her to write, and the way we are formed by our connections with other people.
Telling Stories In Order to Live: On Writing and Money
Sarah Menkedick examines the perils inherent in trying to earn a living as a full-time writer.
On Watching Boys Play Music
“With a drink in my hand and earplugs responsibly in place, I’m very aware that I’ve spent more than half my life essentially standing in the same spot: off to one side of the stage (close but not too close), eyes forward, shifting weight from foot to foot.”
