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The State of Waiting

Photos and artwork throughout courtesy of Wafa Almaktari. Background image of Sana'a by Santiago Urquijo/Getty Images. Illustration by Cheri Lucas Rowlands.

Caitlin Dwyer| Longreads | May 2021 | 22 minutes (6,168 words)

 

This story includes audio interludes. Listen to Wafa talk about her life, her relationship, and Yemeni culture through cherished objects.

Read an interview with Caitlin about her reporting and writing process for this story.

She is in a Toyota RAV4, somewhere in the mountains of south-central Yemen. It is hot, desert hot, and the AC doesn’t work. There is no road. The driver maneuvers the car through dry riverbeds, which show the cracks of prior floods. 

In the back seat, Wafa Almaktari tries not to throw up. She tries not to think about the men with guns who will stop them, demand money, and search their baggage over 50 times in the next 16 hours. If they don’t like her, or she cannot pay, she may disappear in these hills. She tries not to think about the fact that the driver, hired privately for $300, does not have a map.

How the hell does he know where he is, in the middle of the mountains? she wonders. But the alternative — a bus that blunders at even slower speeds, and attracts even more attention at armed checkpoints — was unthinkable. She has to get through the mountains as quickly as possible, because Moutaz is waiting for her.

It is June 2019. Moutaz Al-Qershi, her fiancé, lives in the northern Yemeni capital city of Sana’a. He was going to meet her when she landed in the port city of Aden. But she knows she can’t trust herself not to fling her arms around him and kiss him. In the U.S., where Wafa has lived for the last four years, public affection is normal for young couples, but in Yemen, unmarried couples can’t publicly embrace. She told him to wait at her family’s home.

Not that Wafa cares about what other people think. She’s waited too long. She has a lady in Sana’a baking her wedding cake (she found her on Facebook). There is a butter shortage, but she’s got connections. She’s even got a female DJ lined up.

“If Moutaz was not in Yemen, I would not go. I would not even visit,” she says. But he is here, and so she has returned — enduring the heat, the nausea, the armed checkpoints —  to a country in the midst of violent civil war. She does not know if she will be allowed to return to the U.S. after her wedding.

“Home is where Moutaz is,” she reminds herself. She twists the ring on her finger. She hopes — no, she knows — coming back was the right choice.

* * *

In 2021, the small Middle Eastern nation of Yemen ranks as the world’s largest humanitarian disaster. Civil strife has mired the country in famine, cholera outbreaks, and violence. Since 2015, a complex set of combatants has battled for control: armed rebels in the north, known as the Houthis, who rule the capital; Saudi Arabian forces, who are determined to stop the Houthis; Al-Qaeda in the Arabic Peninsula, who rose up briefly to fill a power vacuum; and southern separatists in the port city of Aden.

Wafa and Moutaz met before the war. Although a poor country, Yemen had been a democratic one. During the Arab Spring, protesters had demanded reforms, leading to a transitional government. In 2014, the transitional president was struggling to stabilize the country. Soon, international embassies would begin to close, and the militant group Ansar Allah, often referred to as the Houthis, would take the capital. Saudi Arabia would step in to oppose the Houthis, whom they saw as Iranian proxies. By 2015, ports would be blockaded, airports closed, and cities bombed.

But politics mattered very little to two young people who, despite societal restrictions and the potential scandal, were falling in love. 

Wafa and Moutaz exemplify the long-haul love story of many immigrants, whose children, parents, and spouses remain on the other side of geopolitical barriers.

At the time, she was in high school and he studied electrical engineering at Sana’a University. Wafa had a huge, trusting smile, expressive eyes, and a laugh that rose up out of her chest. Moutaz was a serious, slender introvert, prone to long conversations on mathematical concepts. He was detail-oriented; she was all big ideas. She recalls how taken aback he was during their first interaction: “All the ideas that I tell him, and my hijab is not very on point. … I don’t have makeup on my face. So he’s like, you’re not normal.”

Despite the differences in their education, Moutaz didn’t intimidate her.

“It was this very weird chemistry that was between us,” she says.

They kept their relationship secret. Young Yemenis couldn’t date without being engaged or married, but the two of them did “all the crazy things in a very conservative society,” Wafa says. On one of their dates, Moutaz thought it would be romantic to ride Arabian stallions. The huge horses terrified Wafa. They were out in a sunlit field, beyond the city limits, far from prying eyes. She remembers watching him feed the animals, showing gentle care. “Although I was scared, around him I was very safe,” she recalls.

At the time, she had been suffering from tonsillitis and had been told not to eat any ice cream to avoid a possible surgery. On the way home, Moutaz stopped for a treat.

“I was like, oh, this is love. You’re giving me ice cream that I’m not supposed to eat, so I know you love me,” Wafa recalls with a smile.

That subtle spirit of rebellion would permeate their relationship for the next seven years. Soon what divided them would not be family objections, but the policies and decisions of world nations: who allied with whom in the war, who offered visas for Yemeni citizens, who blocked the airports. Surrounded by immigration restrictions and bound by national policies they cannot control, Wafa and Moutaz have refused to give up on each other. For them, love has become a kind of defiance of boundaries, borders, and rules. Separated for years, they search for ways back to each other.

* * *

In the movies, love resolves itself quickly: Two chemicals combine, and either reject each other or dissolve into a single solution. It’s more difficult to convey the reality on screen. Love hits, and we wait, watching the colors creep up the pH strip, waiting for the hiss of reaction. Sometimes we know what the result will be, but still must wait for proof.

Most people wouldn’t watch a film of all those empty hours. We like the catharsis, the moment of triumph, the release of tension: a climactic kiss in the rain. But for many people whose loved ones live across borders, separated by visas, wars, or financial circumstances, there is no such easy resolution. Patience becomes the story.

Sometimes — as in Wafa’s case — waiting feels unendurable, and migrants buck against the helpless hours, months, and years. They might act to gain a sense of advocacy or autonomy, but rarely do the massive national circumstances that surround their situation shift.

Wafa and Moutaz exemplify the long-haul love story of many immigrants, whose children, parents, and spouses remain on the other side of geopolitical barriers. They want to be together. They long for the normalcy of family dinners, daily commutes, and coffee dates. And so they wait.


 

* * *

Wafa arrived in the U.S. in 2015, joining her mother, Susan Kassim, and leaving her secret boyfriend behind. The two had been separated for a year, first by visa processing and then by war.

Kassim hoped her spirited, outgoing daughter would acclimate well. Three weeks after arriving in Oregon, Wafa started college, taking ESOL and math classes at community college. She then transferred to Portland State University to study business. 

But Kassim soon noticed that Wafa locked herself in her room for hours a day, talking on the phone to a “friend” back in Yemen. Like many moms of teens, she became suspicious. It wasn’t that a romantic connection back home was bad; in fact, if the phone kept Wafa from staying out late and going on unsupervised dates, Kassim was all for it. But she didn’t want secrets. 

So she watched. She saw that Wafa didn’t clean her room or make her face up for video dates. She noticed that they laughed a lot. She liked that Moutaz had a calming influence. Afraid he would get frustrated with Wafa’s sass, Kassim urged her to be more demure.

Wafa didn’t agree: “This is me. If I change then I’m not going to be me. It’s like fooling somebody.”

Satisfied, Kassim gave her blessing — but required that Wafa finish college before any marriage could take place.

So they waited. Donald Trump became president. Anti-immigrant rhetoric in the U.S.  rose. And in January 2017, Trump signed Executive Order 13769, which banned U.S. entry for several Muslim-majority countries, including Yemen. Before the ban, the wait time for a family visa to the U.S. could range from months to several years — and Moutaz hadn’t even proposed yet. After the ban, they were faced with an indefinite wait.

Wafa knew she had only one choice: “I’m going to fight.”

Trump’s travel ban worked the way it was intended; it forced immigrants to choose between their families and their visas. It deterred. It broke hearts, if not spirits.

Her defiance shifted to her new country, which seemed to be rejecting her love and her future. She became more outspoken about immigrant rights. At her job, she began questioning a manager about microaggressions. She joined her school’s Muslim Student Association and developed her campus activism, starting her own student coalition in 2017.

A few years before, Saudi Arabia had begun an aerial bombing campaign called Operation Decisive Storm. Originally planned to last only a few weeks and drive the Houthis from the Yemeni capital, it instead became a prolonged aerial bombardment of the city. Sections of old Sana’a, built before the 11th century, were destroyed. Thousands of civilians died in those and subsequent airstrikes. The Houthis remained in control of the city.

Moutaz was working on an MBA when Operation Decisive Storm began. Bombs fell while he commuted to and from classes.

“At first it was intimidating and scary, but with time I got used to it so quick because the airstrikes would last for long hours and would occur daily,” he wrote in a WhatsApp message. “It took me two weeks to get used to the fear, the loud bombing, and accept the reality that I was living in.”

He adopted an attitude many Yemenis would come to embrace: If he was going to die from a bomb, so be it. If it wasn’t a bomb, it would be something else. Life had to go on.

“Although it was hard to be lonely during that time, when Wafaa left the country I felt much better. I worry about her more than myself,” he wrote.

They spoke every day on WhatsApp, sometimes trying seven or eight times before they could get a connection. When she heard about a new bombing, she would often call, panicked, to make sure he was all right. Video dates helped Moutaz get through the stress of school, separation, and airstrikes.

While Wafa grew more outspoken, Moutaz developed a stoic endurance. “I never saw our separation as a goodbye; rather I saw it as ‘see you soon in better circumstances,’” he explained.

In late 2017, Moutaz sent her a ring — ostensibly to ward off interested men from whom Wafa got a lot of attention. But along with the ring came 365 handwritten reasons why he loved her. A proposal came the following year.

“Hell yes, I want to marry you,” Wafa recalls thinking. They both knew what that meant: He was banned from coming to the U.S., so she would go to him, perhaps putting her green card in jeopardy. On the day that she submitted her last final exam to graduate, against the best advice of nearly everyone, she flew back to Yemen.


 

* * *

Americans often think of immigration policy as a grand national project. Politicians wax hopeful or fearmonger, drawing broad statements about the way we view ourselves as a nation, or the way we think of the Other. Such thematic strokes capture the immensity of the issue, but they fail in the details. 

Details like these: One day, Wafa walked into a grocery store in Beaverton, Oregon. There were tulips in pots, cheap sweatpants on racks, and sale bins of candy. Behind the standard smells of rotisserie chicken and plastic was another scent: Moutaz’s cologne. Someone in the store was wearing it. The smell overwhelmed her, and she collapsed on the floor in grief.

Starting in 2017, Donald Trump’s immigration policies explicitly used family separation as a means to discourage migration to the United States. This was a new twist: not just to separate families currently in violation of immigration law, but to use separation as a deterrent against future migration. 

Soon what divided them would not be family objections, but the policies and decisions of world nations: who allied with whom in the war, who offered visas for Yemeni citizens, who blocked the airports.

But for many years prior to Trump’s administration, U.S. immigration policies had been de facto separation policies. Undocumented parents could be deported, while their U.S.-born kids remained in the country. The parents often had little legal recourse. Long processing times, high fees, and complicated paperwork have meant that husbands and wives, mothers and daughters, kids and parents, are often separated for months or years while they wait. In Moutaz’s case, and the case of thousands of other applicants sidelined by the travel ban, the separation became indefinite.

“I talk to a lot of people every day [about] how hard it is,” Wafa says. “It’s just emotionally draining. It is expensive, it is risky.” 

Wafa has filed an I-130, Petition for Alien Relative, for Moutaz. It costs over $500. Add an international flight: When his case finally comes up for processing, he will need to fly to Malaysia, Algeria, or another transit country; the U.S. embassy in Yemen has been closed since 2015. Add $300 to hire a private driver for the 16-hour trip through mountains to Aden, which has the country’s only functioning airport.

“The Yemenis who have fled the country are very often from the middle and wealthy classes. For the most vulnerable, there are very few opportunities to leave the country,” write Solenn Al Majali via email. Based in Jordan, Al Majali studies Yemeni emigration at Aix-Marseille University and the French Institute of the Near East, and is a non-resident fellow at the Sana’a Center for Strategic Studies.

Wafa knows she is lucky. Her dad studied abroad in the 1980s, and her eldest brother was born in the U.S. He was able to sponsor some of his family members and help them escape the worst of the war. As a U.S. permanent resident, she has some leverage.

“If I didn’t have the resources or the money, I would not be able to apply for him. If he didn’t know how to speak English, he’s not going to come. If they see him at the embassy and he is not dressed well or he doesn’t speak well or he doesn’t have a career, you know, anything, they can just reject it,” Wafa says.

Since 1965, the U.S. has been relatively open to family immigration, mostly as a result of the Immigration and Naturalization Act. That legislation got rid of quota systems based on current U.S. census data. It opened the country up to immigrant families from more diverse countries. Thought about generously, the 1965 act was “driven by recognizing that family units are critically important for happiness, well-being, economic prosperity,” says Duncan Lawrence, the executive director of the Immigration Policy Lab at Stanford University. (Full disclosure: Lawrence is a friend of mine.)

Support for families — from permission to find work to early access to ESOL programs — are the backbone of healthy immigration policy, according to Lawrence. But there’s one overwhelming factor in the health and well-being of families: keeping them together.

“If you had this magic wand of tools that you could use to positively impact families, I think that is probably one of the most powerful things you could do,” Lawrence says. Kids are especially vulnerable to separation from their parents, but all families suffer from the threat and reality of being apart.

No matter where we live, we take refuge in those we love.

There is a kind of helplessness to this process that overwhelms Wafa. Despite her defiance of the travel ban, which was lifted by President Biden in January 2021, she remains at the mercy of international law. She cannot speed Moutaz’s visa interview or guarantee that he will not be rejected. Will U.S. Customs and Immigration Services see their relationship as one of convenience? How does she prove that she truly loves this man who she has seen only twice in five years?

There have been times when she felt like giving up and going back to Yemen. At least they could be together. In that sense, Trump’s travel ban worked the way it was intended; it forced immigrants to choose between their families and their visas. It deterred. It broke hearts, if not spirits.

That kind of heartbreak leads a young woman to collapse in a grocery store. It sends her, desperate, back to a war zone.


 

* * *

Wafa arrived at her family home in Sana’a at night, after a harrowing 16-hour drive through the mountains. She still had the taste of vomit in her mouth. The smell of sweat clung to her. She dropped her bags off inside, briefly greeting her father before running out the back door.

Moutaz was waiting. Completely forgetting where she was, she burst out into the street and hugged and kissed him, not caring they were in public.

“I kept telling him, ‘This is a dream. This is not real,’” she says. “I think that night was the best night of my life.”

Planning a wedding in a war zone posed challenges. In 2019, four years of fighting had cost many Yemenis their businesses. Moutaz told Wafa that Houthis demanded a cut of private sales; the extortion, combined with the high price of goods, forced many people to move their businesses online. A 2015 Saudi-led blockade of the port of Hodeidah, where most Yemeni food had been imported, created massive shortages. Women especially had become Facebook entrepreneurs, making sweets and doing makeup from home. 

If he was going to die from a bomb, so be it. If it wasn’t a bomb, it would be something else. Life had to go on.

Wafa recalls the mixed emotions of that moment: “You feel guilty because you’re celebrating and you’re doing all these plans, and people are dying. People are dying out of hunger. People are dying in the airstrikes. Even the availability of things like who’s going to do the wedding cake. … I was telling him, should we downsize it? And he was like, ‘I loved you for five years. I’m not going to downsize my wedding and the celebration of love that we have.’”

Wafa also struggled to adjust to her Yemeni relatives. Her naturally ebullient personality, combined with years of living in American society, made her relatively intolerant of strict traditions. She invited Moutaz to tea at their family home, only to have her father kick him out. When an aunt complained that Wafa shouldn’t see her fiancé before the wedding, Wafa bristled: “I don’t really care what you think.”

Despite the tensions, a week later an imam proclaimed them married.

After the religious ceremony, she hugged Moutaz freely in front of others for the first time. It no longer felt wrong. “It just felt like, here we are. We worked hard. We waited. It was beautiful. And then we just danced the night out.”

More celebrations followed: a spa day for the women, donations of food to the poor. Wafa and Moutaz were still required to keep their distance from each other, a tradition they mostly ignored. They weren’t trying to anger their relatives; this formal celebration period just felt like another barrier to being together.

Finally, they had a party with hundreds of guests. Wafa wore a white, sparkling off-shoulder dress with a sheer cape. Moutaz wore a black tuxedo, his beard shaved close, and a dapper chain clipped to the vest. Their initials hung on the wall in huge gold letters, the W and M intertwined. They went back to a hotel afterward, without secrecy or shame.

They had agreed to write their own vows, but to read them privately. In the hotel, Moutaz pulled out a sheet of paper. To her horror, Wafa realized she had forgotten to write hers.

“He was like, ‘babe, you crossed the ocean for me,’” she recalls, smiling. “‘That’s your vow.”’


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* * *

As Solenn Al Majali points out, Wafa and those like her, whose families have emigrated to escape violence, make up a small and privileged minority of Yemeni citizens. Most remain stuck in Yemen. 

Bordered by only two countries, neither of which is accepting refugees, Yemen remains geographically isolated. Saudi Arabia, Yemen’s neighbor, has been a main player in the conflict. The United States and other Western countries have supplied Saudi Arabia with weapons, tactical assistance, and training. The bombs that fall on Yemen are American-made. In turn, Iran has given some tactical and financial support to the Houthi rebels.

For those who remain, safety has shattered. The United Nations has found that all parties in Yemen share responsibility for war crimes, including “arbitrary deprivation of life, enforced disappearances, arbitrary detention, gender-based violence, including sexual violence, torture,” and more. Children are greatly at risk for death in airstrikes, but also from common childhood diseases and hunger, for which there is limited medical assistance. Saudi and United Arab Emirates blockades of the ports where Yemenis import food have created famine conditions. According to UN Secretary-General António Guterres, “More than 16 million people are expected to go hungry [in 2021]. Nearly 50,000 Yemenis are already starving to death in famine-like conditions.”

Back in Yemen, she faced physical risks unimaginable in Oregon — but she also had a sense of worth and belonging. She wondered if the two of them could make a life in Sana’a. Could survive, with just each other.

Before leaving office, the Trump administration designated the Houthis as terrorists, making international aid delivery trickier. While the Biden administration has reversed this decision and pledged to end support for the conflict, it remains to be seen how much they can disentangle themselves from Saudi allies.

For many Yemenis, the conflict no longer seems to have a foreseeable end. The civil society they knew is gone. There is only endurance and the slender hope of escape. For Moutaz, that hope is Wafa: “She always find[s] a way out,” he told me.


 

* * *

In the past, Yemen had coffee shops where people could gather and chat. There were seaside towns with beaches along the Indian Ocean. Men chewed qat at house parties, sharing the news. Ancient rammed-earth buildings were beautifully inlaid; brick minarets and winding stone streets were part of a long, proud history of Arab culture, from the Queen of Sheba to rare Islamic manuscripts.

“I keep that beautiful image for my country inside me,” Susan Kassim says.

When she flew back for her daughter’s wedding, the first time she’d been home in five years, her beloved Yemen had been transformed by war. The seaside towns where she had vacationed were destroyed. Community institutions struggled to operate. Buildings had been destroyed in aerial bombing campaigns, leaving swaths of ancient cities in ruins. The highway between Sana’a and Aden, formerly a brisk six-hour drive, was blockaded, forcing her to endure the same harrowing mountain journey her daughter had taken. More than anything, the guns scared her. Armed men patrolled the streets and stopped cars. There was no government, only martial law.

“But people there, they accept the reality. They are not afraid,” says Kassim. Her local relatives teased her that living in the U.S. had made her soft. “And I say no, it’s normal to be afraid. This is horrible.”

To her newlywed daughter and son-in-law, however, the summer of 2019 was bliss. They seemed so elated, Susan asked if they had been taking drugs.

“I’m like, ‘everything is perfect,’” Wafa says. Airstrikes hit a building nearby, and the couple slept through it. 

Being together had made them immune to fear — or perhaps it was a deliberate blindness. If they paid attention to the reality of their situation, they could see the precarity of it all. Wafa only had six months of travel allowance before she had to go back to the U.S. Despite court battles, Trump’s travel ban still stood in modified form, and visa processing for Yemeni citizens had ground to a near-halt.

For many Yemenis, the conflict no longer seems to have a foreseeable end. The civil society they knew is gone. There is only endurance and the slender hope of escape.

Ten days after the wedding, Moutaz got called back to work. Every six months to a year, he was given a new project-based contract by an NGO. He traveled outside the city to small villages, interviewed tribal communities about their needs, and attempted to provide infrastructure: bathrooms, running water, menstruation products, housing. The work fulfilled him, but it was dangerous. Soldiers often stopped his car, demanding to see travel authorization and receive bribes. He would make a few phone calls, and he could keep driving. But Wafa worried about a time when his answers didn’t satisfy them, when his bribe was insufficient, when he didn’t come home.

“It’s living without a government. It’s crazy I would say, because nobody is held accountable at all,” she says.

Moutaz didn’t have much choice. Humanitarian work, paid for by foreign NGOs, was basically the only viable income in Yemen in 2019. Government officials were paid sporadically; teachers had worked for years without pay; private businesses had suffered from ongoing power outages, infrastructure damage, and a shrinking economy.

He knew the risks. This is war, he figured; to survive, Yemenis have to support each other. Against those who threatened his safety, he bowed his head, then persisted. Mostly, he refused to be afraid — a form of defiance that Wafa tried to imitate, especially when her mother begged her to return to Oregon.

“It broke my heart to leave her in that situation that I saw with my own eyes,” says Kassim. Other than official wedding events, Kassim had refused to go out of the house for most of her visit, refused to acknowledge the changed city. She flew home, hopeful that she would reunite with Wafa at the end of the allotted six months.

Wafa wasn’t sure. She felt like she was living in an alternate reality: “We don’t have gas. So what? We walk. We don’t have electricity, so what? We have candles.” 

As the day of her U.S. flight approached, Moutaz refused to say whether he thought she should go. He wanted the decision to be hers. Once, when she woke in the middle of the night, he was sitting up in bed, tearing up. He would miss her, he said, but he felt relief knowing she would be somewhere safe. “So I’ll just trust you,” he told her.

She considered staying. Like so many emigrants, her heart was torn between her old home and her future in the U.S. In the end, she left Moutaz and was allowed back into the United States.

* * *

Love can blind us to reality, binding us only to our beloved — a person, a nation, a memory. We might refuse to see danger, or turn away from transformation, because to acknowledge the horrors of the world would be to betray a beloved relationship. We want to ignore everything except that sweetness.

No matter where we live, we take refuge in those we love. They shelter us, protect us, comfort us. When those people live far away, the best we can do is pretend. We wrap their late-night texts and dropped phone calls around us like a blanket, and rapt in a combination of memory and expectation, we close our eyes.

But love can also clarify. For many families separated by national borders, there are hopes of happy endings, but no illusions. Brokenheartedness can become a kind of resting state, which isn’t to say it hurts less — simply that it becomes a kind of ever-present harm. And as anyone who has ever hurt before knows, pain wakes us up. It focuses us, fixes us to the present moment. For some, the pain becomes a kind of a beloved, a stand-in for the real thing. For others, like Wafa, it becomes an itch you can’t stop scratching.

* * *

Wafa struggled to readjust to the U.S. A six-month newlywed, she felt more like a widow. Reckless, angry, she started graduate school and also a full-time job. She was trying, she thinks, to numb herself with endless work.

It wasn’t just missing Moutaz. Going home also meant resuming a role as an immigrant, rather than a citizen. It meant accepting a status shift that she hadn’t realized she resented so much.

“Back in my country, I live in a villa. I have a driver. I have people that do shit for me. Yet when we move here, people don’t know that. We start from zero,” she says. “It hurts … I’m this established person back home, yet here I’m irrelevant.”

That pain had started early. During her own emigration process in 2015, she had flown to Algeria for an interview at the U.S. Embassy. As the passengers disembarked, an officer in the airport asked who was a Yemeni citizen. Without further questions, he told them to get back on the plane and fly home.

“Just having the idea that an officer has the power to kind of humiliate me, target me, and say, ‘just go back to your country,’ I can’t go through that again,” she says. “If I ever have a child, I never want them to get the feeling that [they] are nothing.” 

Wafa wanted to give Moutaz the safety and freedom of the United States, but she increasingly wondered if the process was worth it. Back in Yemen, she faced physical risks unimaginable in Oregon — but she also had a sense of worth and belonging. She wondered if the two of them could make a life in Sana’a. Could survive, with just each other.


 

* * *

She had four brand-new iPhones in her bag, including two for the man with the ghost ticket. She dialed him when she landed in Cairo, but he didn’t respond. Airport security took her passport, and she had no ticket forward. 

It was July 2020. COVID-19 had transformed the world, including immigration routes. Countries tightened their borders, citing health and safety concerns. One of two routes to Yemen, through Amman, Jordan, closed down. Traveling through Egypt remained the only way back.

Wafa had a ticket to Cairo, and no farther. And now she was stuck in the Cairo airport with no passport.

After eight months of separation, she was trying to get back to Moutaz. She had quit graduate school, thrown herself into work at a bank, and saved her money. She applied for U.S. citizenship. Trump was still president, the travel ban was still in place, COVID had changed the rules, but she had to see her husband again.

If you could die from an airstrike, there was no time for distress about a virus. It raged, invisible, behind the more immediate dangers of war.

Following a nebulous web of diasporic Yemeni connections, she contacted a man named Khalid in Egypt. He strung her along for a week, promising a ticket in exchange for large amounts of money. Reckless and desperate, she agreed: “This is my last paycheck. I’ll just spend it all and go to zero balance.” She sent him $750 to buy her a Cairo-Aden ticket.

The limited flights from Cairo to Aden were coveted by Yemeni migrants living in Egypt. Over 500,000 Yemenis live in Egypt, according to the Yemeni Embassy in Cairo, more than a 700% increase from before the war. They often come to Egypt or Jordan on two-month visas for medical necessity and remain, applying for refugee status. Many see Egypt as a temporary refuge. They are often stranded in legal limbo, hoping for resettlement, but not recognized as refugees by the United Nations for geopolitical reasons, says Solenn Al Majali. As such, they have little access to resources like jobs, schools, or humanitarian assistance.

Wafa’s class and nationality privilege did not endear her to those she contacted: “I am a lady living in the U.S. trying to go to Yemen, when they [Yemeni refugees] are freaked out.” The people she spoke with had more pressing issues than leisure travel. They were worried about paying rent, buying food, and finding employment. Wafa understood their bitterness.

A few days later, Khalid created a ghost ticket: It looked like a real flight but did not guarantee her a seat on the plane. She would have to trust that someone would cancel so she could fly standby. In exchange for the ghost ticket, he asked her to bring two iPhones to his relatives in Sana’a.

If her first time going back to Yemen had been inadvisable, this time was worse. COVID-19 had killed several members of Wafa’s Yemeni family, including three relatives in a month. People had worn masks for perhaps the first month of the pandemic; after that, a mindset of numbness took over. If you could die from an airstrike, there was no time for distress about a virus. It raged, invisible, behind the more immediate dangers of war.

Wafa flew to Cairo in July, having spent the last of her money, clutching the ghost ticket like a talisman. After a few terrifying hours, airport security returned her passport, and Khalid texted her a link — for a real ticket to Aden.

* * *

Wafa had been in Sana’a for four months when it came time for Mawlid, the birthday of the Prophet. A traditional Islamic holiday, the 2020 Mawlid celebrations took a different turn. The city was bright with lights (Where did this money come from? Wafa wondered). The Houthis paraded tanks through the streets, and soldiers stood on every corner.

“I felt like they came out of a grave. They had guns and they had paint of green all over them,” she says. The soldiers frightened Wafa; to her, it wasn’t a celebration, but a show of military force. She was beginning to see how deeply the war had infiltrated everyday Yemeni life. Last summer’s newlywed blinders were finally off.

Airstrikes hit a building nearby, and the couple slept through it.

There were other signs of change, too. In 2019, Moutaz and Wafa had gone out to coffee shops and enjoyed their favorite snacks in the markets. Now, even married women and men could not associate on the street. Nonprofit work had become more difficult, as the Houthis refused NGO authorizations; Moutaz found himself unemployed for long periods. Due to a Saudi embargo, there was no fuel except at exorbitant black market rates, so they couldn’t drive anywhere. They stayed in their apartment and watched TV.

After the wedding, they had considered staying together in Yemen. A year later, that life seemed impossible. Wafa told Moutaz, “I can’t have a family here where education is corrupted. They teach kids what they want them to know, and it’s all about sacrifice, sacrificing themselves, and it’s just toxic. People don’t have dreams.”

Moutaz knew his wife would not survive long in Yemen. She had always been too big, too bold, too unwilling to follow the rules. Even if she ducked political trouble, her spirit would wither from the restrictions on daily life. He saw it happening already, in the shrinking of their ambitions: Find food. Find a good movie to watch, and an internet connection to watch it.

She told him, “I wanted to go into politics. I wanted to go into law school. I had dreams. But I don’t have dreams here because there’s not even space for dreams.”

* * *

As of winter 2021, Wafa is back in Oregon. Rain falls softly and constantly on the pavement outside. Home is no longer where Moutaz is, as she once thought. Home is the state of waiting, of not acting on her worst impulses to scream in frustration and cause a huge fuss and fly back to him.

The easy route would be to give up on the U.S. Move to Egypt together, or Jordan. Make a new life. The harder, lengthier, more painful route is continued separation. Despite her desire to be with Moutaz, she has chosen not to give up, because his future is more important than her own immediate happiness.

“I want him to have an opportunity to get out and see the world, or just have the power to choose,” she says. 

She wants to give one thing to him and their future children: a U.S. passport. She never wants them to be humiliated, or trapped, or in danger because of their papers. She wants to give them the space to dream.

For them, love has become a kind of defiance of boundaries, borders, and rules. Separated for years, they search for ways back to each other.

He, too, wants more. He doesn’t want to apply every three months for a new NGO job and then face another bout of unemployment. He doesn’t want to take another application test on his Excel skills, or endure invasive background checks, or bribe armed militants on his way to get villagers clean water. He wants to work in engineering, but more importantly, he wants to be his own boss, set his own hours, have power over his future. He wants to see Wafa smile.

“Your smile is the best thing [to] happen in the universe,” he wrote her in a message. 

Does love always resolve? Perhaps a cross-border relationship is less about cathartic reunion than the slow, patient intention to help someone else find joy. Like Wafa, Moutaz says migration is about the fight for his partner’s dreams. National policies may require a shift in how we imagine our futures, but they cannot negate the audacity of wanting a loved one to be safe and happy.

Perhaps love means deferment. Or the refusal to defer. Or the unshakable belief that someday, you’ll walk together to get coffee, as if it were the simplest thing in the world.

* * *

Caitlin Dwyer is a writer from Oregon. Her writing has appeared in Longreads, Narratively, Creative Nonfiction, The Los Angeles Review of Books, The Rumpus, Quartz, and Oregon Humanities, among others. She holds an MA in journalism from the University of Hong Kong and an MFA from the Rainier Writing Workshop. She also hosts the podcast Many Roads to Here and teaches at Portland Community College.

Editor: Cheri Lucas Rowlands
Fact-checker: Nora Belblidia

Judge a Book Not By its Gender

Illustration by Carolyn Wells

Lisa Whittington-Hill | Longreads | May, 2021 | 29 minutes (7,916 words)

I blame Drew Barrymore for two things: the amount of money I have spent on celebrity memoirs and an unfortunate attempt to dye my hair platinum blonde in 1993, inspired by Drew’s locks in a Seventeen magazine Guess Jeans ad.

Little Girl Lost, Barrymore’s 1990 account of growing up as a child star in Hollywood, was my first celebrity autobiography. It ignited my love of celebrity memoirs, especially those by women. My dog-eared copy has survived numerous book purges and cross-country moves. I am not alone in my appreciation for it. The coming-of-age tale was a New York Times bestseller and although the book is now out of print, it has achieved cult-like status. It was even the subject of a 2018 New York Times Magazine Letter of Recommendation.

Barrymore was just 11 months old when she got her start in a television commercial for Puppy Chow. At 7 she starred as Gertie in Steven Spielberg’s blockbuster 1982 film E.T. and that same year became the youngest person ever to host Saturday Night Live. Barrymore’s drug and alcohol use began shortly after E.T. phoned home. The first time she got drunk she was 9. Barrymore started smoking weed at 10 and by 12 had moved on to cocaine. The actress entered rehab at 13; during her second stint in rehab she completed Little Girl Lost, which was published when she was just 16.

Barrymore’s drug and alcohol use began shortly after E.T. phoned home.

Gossip and juicy stories about nightclubbing with Jack Nicholson definitely make for a good read, but what initially drew me to the book was that Barrymore wrote it to counter stories about herself in the National Enquirer. “[I]magining the godawful headlines — ‘Drew Barrymore Cocaine Addict at Twelve Years Old’ or ‘Barrymore Burns Out in Teens’ — and the impression people would get of me was all my worst possible fears come true. I would’ve been the last person on Earth to deny my problems, but I wanted to have the option of confessing them,” Barrymore writes in Little Girl Lost. She wanted to come clean on her own terms. Barrymore’s desire to control her own life story compelled me to read the book and has made me return to it over the years.

Barrymore wanted to redirect her life’s narrative and that’s a popular reason why celebrities embrace the genre, but it is not the only reason. Some stars write their book to revive a stalled career and return to the limelight. For others, memoirs extend their 15 minutes of fame. This is a popular motivation for reality show stars. (Will you accept this rose and this six-figure book deal?) Memoirs also settle old scores. In André Leon Talley’s The Chiffon Trenches: A Memoir, the fashion journalist and former Vogue creative director works through his issues with Vogue editor Anna Wintour. Memoirs can also promote the brand a star has built around their celebrity. Reese Witherspoon’s Whiskey in a Teacup, which markets the star’s Southern Lifestyle to y’all, or any book from one of Queer Eye’s Fab Five are great examples.

For readers, celebrity memoir appeal lies in the juicy gossip and name dropping, and the chance to peek inside and live, if only for 500 pages, the glamorous lifestyles of the rich and famous. Social media, reality television, celebrity gossip blogs, and the popularity of TMZ-style tabloid journalism have created an insatiable desire to know more about our favorite celebrities. Celebrity memoirs help fulfill this desire. Sometimes, unfortunately, we learn a little too much about our favorite stars. After reading Carrie Fisher’s The Princess Diarist, her third memoir, I am unable to watch Star Wars without thinking about all the coke Fisher said was consumed on set. I imagine the film’s stars hollowing out lightsabers to use like giant straws to blow rails with. (That’s not how the force works!)

While it’s easy to dismiss celebrity memoirs as guilty pleasure reads or unworthy of serious literary consideration, you cannot deny the genre’s popularity. One of the bestselling celebrity memoirs of all time, former first lady Michelle Obama’s 2018 release, Becoming, is still on the The New York Times bestsellers list and has sold more than 10 million copies. Recent months have seen new books from everyone from singer Mariah Carey to actor Matthew McConaughey to soccer star Megan Rapinoe. Celebrity memoirs are big business and we have Rolling Stones co-founder and guitarist Keith Richards to thank for that. His bestselling memoir Life was published in October 2010 and more celebrity autobiographies were published in the four years that followed than had been in the previous 15.

Life, for which Richards received a $7 million dollar advance, sold over one million copies in its first year. Following the success of Life, memoirs by male musicians from Duff McKagan to Steven Tyler were all bestsellers and it is not just men penning the hits. Remember when we all got together and decided women were funny after Bossypants came out? Tina Fey’s 2011 bestselling memoir preceded an onslaught of popular memoirs by funny ladies, including Mindy Kaling’s Is Everyone Hanging Out Without Me? (And Other Concerns) and Amy Poehler’s Yes Please.

***

Since first reading Little Girl Lost at 20, I have devoured memoirs by female celebrities from punk singer Alice Bag’s Violence Girl: East L.A. Rage to Hollywood Stage, A Chicana Punk Story to Jersey Shore star Snooki’s Confessions of a Guidette. I’m interested in how women write their stories, what they leave out, what they focus on, and how much of what they reveal is a reaction to the image of them we have from watching their movies or listening to their music or seeing them stumbling out of nightclubs in Us Weekly.

“How do we edit our life into a decent story? That’s the rub with an autobiography or memoir. What to reveal, what to keep hidden, what to embellish, what to downplay, and what to ignore? How much of the inner and how much of the outer?” says punk icon and Blondie lead singer Debbie Harry in her 2019 memoir, Face It, of a process that is scrutinized and critiqued much more if, like Harry, you’re a woman.

I’m interested in how women write their stories, what they leave out, what they focus on, and how much of what they reveal is a reaction to the image of them we have from watching their movies or listening to their music or seeing them stumbling out of nightclubs in “Us Weekly.”

And while there is no shortage of male celebrities spilling their guts all over my poorly constructed Ikea bookshelf, the fact that they share shelf space with celebrity memoirs written by women is about all they have in common. When it comes to celebrity memoirs there’s a distinct gender bias in everything from how the books are marketed to the type of topics female celebrities are expected to write about and the amount of themselves they are expected to expose to sell books.

The gender divide bias becomes even more problematic, and downright depressing, when you read the reviews and see how critics and the press receive female celebrity memoirs. Rather than celebrate women and their amazing stories, reviewers revert to stereotypes and tired clichés and, in the process, miss the actual story. Women can spend chapters talking about their accomplishments, their awards, and their accolades and reviewers will still only focus on the sex, the scandal, and the bombshell reveals that are expected from female-penned celebrity memoirs if they want to actually sell books. From memoir titles to book blurbs, when it comes to celebrity memoirs by women, sadly, we haven’t come a long way baby.

 

***

Debbie Harry’s Face It was one of the most anticipated celebrity memoirs of the recent past. In the book, Harry chronicles everything from her adoption at only 3 months old, to her days in the hippie band Wind in the Willows and all-girl group the Stillettos, to forming both Blondie the band and Blondie the persona. For Harry, Blondie was very much a character she played, one inspired by the “Hey, Blondie!” catcalls she received from construction workers after bleaching her hair, as well as the 1930s Blondie comic strip character who was a “dumb blonde who turns out to be smarter than the rest of them.” Marilyn Monroe was also an inspiration; Harry describes Monroe as “the proverbial dumb blonde with the little-girl voice and big-girl body,” who despite her appearance has “a lot of smarts behind the act.”

Face It also covers Harry’s acting in films like Videodrome and Hairspray, her time training as a professional wrestler for a role in the Broadway play Teaneck Tanzi: The Venus Flytrap, as well as her activism and philanthropy work. (Fun fact: She was almost Pris in Blade Runner, but her record company made her turn it down.) There is certainly no shortage of great material for reviewers to discuss. Unfortunately, they responded with the same tired sexist tropes that greet memoirs written by women.

“In her memoir, Debbie Harry proves she’s more than just a pretty blonde in tight pants,” read the headline on The Washington Post’s review of Face It. The headline was later changed to, “In her memoir, Debbie Harry gives an unvarnished look at her life in the punk scene” after social media responded less than kindly to the sexist headline choice. The Washington Post admitted they botched the headline and appreciated the feedback, but the headline was not the review’s only problem.

The review opens with: “Even if Debbie Harry, of the band Blondie, isn’t to your taste—her voice too smooth, her sexiness too blatant, her music too smooth—you can’t dismiss certain truths about her.” While this sentence is a great example of disdain, it is not a great review opening. I read Bruce Springsteen’s 2016 memoir Born to Run at the same time as Harry’s and tried to imagine the Post opening a review of Springsteen’s book in the same way. To be fair I do find his sexiness far, far too blatant.

So how does the Post open Springsteen’s memoir review? “Why, one might ask, would Bruce Springsteen need to write an autobiography? Haven’t we been listening to it for the past half century? Hasn’t he been telling us his story all along?” says Joe Heim in the review’s first paragraph. Springsteen, a talented songwriter, has already shared so much through his music, what more could he be required to give us? It is okay if you want to sit this one out Bruce, I have heard Atlantic City, and do not require any further emoting from you at this time.

The Post’s review of Face It just goes from bad to worse, with criticism that Harry “sometimes comes across as self-interested” to a focus on the more sensationalist aspects of her story like sex and drugs. (This is an autobiography, right? I didn’t see them complaining about the 79 chapters in Springsteen’s book.) “She had a hookup with an Andy Warhol protégé in a phone booth in Max’s Kansas City and began what she blithely calls ‘chipping and dipping’ in heroin,” reads the review. The Post points out that “Harry is quite explicit in her descriptions of her drug use and sex life,” which they seem to interpret as permission to exploit the more sensationalistic aspects of her life and use them as a focal point in their review.

The review also offers a great example of how media likes to promote and celebrate the idea of women as trailblazers, praising Harry for being candid about the realities of being a female musician (an “unvarnished look”), while also painfully reinforcing the realities of being a female musician by using a sexist, stereotypical headline that focuses only on Harry’s appearance and sex appeal.

Control is a central theme of Harry’s book, whether it be of her image, her band, or her art. Early in the book Harry recounts a record company promoting Blondie’s first album using posters with an image of her in a see-through blouse, despite early reassurances that the posters would only feature headshots and would include all band members. She was not happy with the marketing decision, saying, “Sex sells, that’s what they say, and I’m not stupid, I know that. But on my terms, not some executive’s.” And while doing things on her own terms is a source of pride for Harry, reviewers have a serious problem with it.

For Harry control empowers, for memoir reviewers it threatens. “You can’t control other people’s fantasies or the illusion they’re buying or selling,” says Harry early in Face It when talking about people having posters of her on their bedroom walls. While Harry resigns herself to her lack of control, reviews of her work never want to relinquish theirs. Harry’s insistence on doing things on her own terms is panned by reviewers who call her guarded and closed off.

Reviewers want to read a book by a female celebrity and have her completely figured out by the last page. “[W]hat’s a memoir for, if not to pull back the curtain and check out the lady who is pushing the buttons?” asks Harry in Face It. But when the curtain doesn’t pull back as much as reviewers want, they become resentful, sullen, and offended, reacting with “how dare you?” to any resistance on the part of the woman to give them everything they want, every piece of her. The Atlantic’s review reads almost like it’s giving Harry permission to tell her story on her own terms, saying “holding back is an understandable maneuver for someone who’s been stared at so much.”

One way or another, the reviewers keep the sexist treatment coming when discussing Face It. The Guardian was also annoyed that Harry did not give enough of herself in the book. “It’s a shame that Harry passes up the chance to dig deeper into her experiences of objectification and the nature of fame, but more disappointing is that we learn so little about her interior life, and how she really thinks and feels.” I guess talking about being raped at knifepoint by a stranger is not enough for the reviewer. What’s with the heart of glass Debbie? Give us more of your pain! And on page five, not 105!

I guess talking about being raped at knifepoint by a stranger is not enough for the reviewer. What’s with the heart of glass Debbie? Give us more of your pain! And on page five, not 105!

The headline of Rolling Stone’s piece on Face It highlights how Harry’s book “looks back on what she learned from Andy Warhol and David Bowie.” The media loves to position women in relation to the men in their lives as if the only way we can understand work by women is in the context of the men who orbit them. Despite writing 368 pages about herself, according to Rolling Stone, the only interesting thing about Harry is the famous male company she kept.

The New York Times continues the tired pop culture gender bias with a review that manages to make it all the way to the fourth paragraph before it mentions her age. It also talks about the number of memoirs by female rockers being released at the same time as Harry’s book. (“[T]here’s a bit of a pileup of female rockers getting reflective this season.”) I smell a trend. Ladies, they be writing! The review mentions the fact that Harry’s “face is unlined” and talks about her “crisp red collared blouse with white polka dots and red leggings.” I think Bruce was wearing the exact same thing when they wrote their piece about him and Born to Run. How embarrassing.

Two weeks after Face It came out another musical icon released a memoir. Me by Elton John covers the singer’s childhood in the London suburb of Pinner, his early musical days in Los Angeles, his songwriting partnership with Bernie Taupin, successful solo career, and marriage and family with husband David Furnish. Keen celebrity memoir readers might also be quick to point out that the title of John’s memoir is the same as that of actress Katharine Hepburn’s. Is there anything men will not just unapologetically lay claim to?

The review mentions the fact that Harry’s “face is unlined” and talks about her “crisp red collared blouse with white polka dots and red leggings.” I think Bruce was wearing the exact same thing when they wrote their piece about him and “Born to Run.” How embarrassing.

While Rolling Stone’s book review name-checked Harry’s famous male friends in the headline, not surprisingly, John’s does not. “Elton John’s Me Is A Uniquely Revealing Pop Star Autobiography. The long-awaited book covers his hard childhood, struggles with addiction and road to recovery.” It ends with “Elton has never been one to hold back difficult truths, and Me — while a little skimpy on revelations about his brilliant, ground breaking music — is essential reading for anyone who wants to know the difficult road that he walked while creating it.”

Entertainment Weekly’s description of Me is also glowing: “While Me is as colorful as you’d expect from an artist famous for his outlandish stage costumes and outsize temper tantrums, it is also so much more than simply a dishy sex, drugs and, rock ‘n roll tell-all.” The Entertainment Weekly review shows that when it comes to male celebrity memoirs there may be sex and drugs, but no review should reduce their work to just these scandalous and juicy elements.

Can you feel the love tonight? Not yet? Never fear, here comes The Guardian to continue the praise. Their review opens with, “Choosing one’s favourite Elton John story – like choosing one’s favourite Elton song – can feel like limiting oneself to a mere single grape from the horn of plenty.” Reading reviews of the book you have to wonder if John is still standing because he is unable to sit down from all the ass kissing. The Daily Mail calls it “the rock memoir of the decade” while for The Washington Post it is an “unsparing, extravagantly funny new memoir” and “bracingly honest.” It’s hard to find criticism and scrutiny in the reviews of John’s work because there is not much negativity. John’s book is not better than Harry’s; in fact, I think Harry’s is much stronger. She’s more self-aware and can deconstruct the misconceptions and preconceptions that fans, the media, and other musicians have of her.

Can you feel the love tonight? Not yet? Never fear, here comes “The Guardian” to continue the praise.

“You think you’re being difficult, my little sausage? Have I ever told you about the time I drank eight vodka martinis, took all my clothes off in front of a film crew, and then broke my manager’s nose?” he writes of being a father reacting to his son’s temper tantrums. There are plenty of stories about famous friends like Stevie Wonder, Yoko Ono, John Lennon, Andy Warhol, and Neil Young. The anecdotes leave readers feeling like they never get to peek behind the shiny veneer of the celebrity that is Elton John. At times it’s all surface and that’s fine, but reviewers do not criticize him for it in the same way they would if he were a woman.

John’s book reviews do talk of his well-documented addiction to cocaine (“If you fancy living in a despondent world of unending, delusional bullshit, I really can’t recommend cocaine highly enough,” he writes), but they are quick to follow it up with redemption stories, which is a standard formula in memoirs written both by and about men.

“Now that he’s sober, there’s the more conservatively dressed, happily married elder statesman of British pop, a proper establishment figure,” writes The Guardian. Not only do they give him a redemption arc and treat his addiction very much like a phase, but they also give his addiction issues a free pass, writing “while his extraordinary talent justified his personal excesses, it is his self-awareness that has counterbalanced the narcissism and made him such a likable figure.”

***

Redemption comes up often in male celebrity memoir coverage, but examine the media’s reaction to another celebrity memoir and it becomes painfully clear that this narrative is strictly for the boys.

Actress, producer, and director Demi Moore’s memoir Inside Out was released a few weeks before John’s. Moore and her book were soon all over the media and it was not for her redemption story. Like John, Moore struggled with addiction, but unlike John the media never lets her forget it, along with other parts of her story.

“Demi Moore drops shocking revelations about Ashton Kutcher, sexual assault and sobriety,” reads the headline of an L.A. Times piece about the memoir. The story proceeds to break down Moore’s childhood pain, her miscarriage, Ashton Kutcher cheating on her, and her struggles with alcohol and drugs.

Unlike In Touch Weekly, they skipped the “Ashton and Bruce Are in Good Places Too” sidebar because like with Debbie Harry, we cannot talk about Moore without mentioning the famous men in her life. More than one review talks about how Willis and Kutcher must feel about Demi airing their dirty laundry. Was Bruce mad? What does Ashton really think? Dude, where’s my sound bite?

Entertainment Weekly’s piece ran with the headline, “Celebrities react to Demi Moore’s revealing memoir Inside Out. From Jon Cryer’s affectionate follow-up to Ashton Kutcher’s cryptic non-response.” They forgot to add “male” in front of “celebrities” though as all the celebrities quoted in the piece were men. Also, if one more reviewer mentions how great Moore looks for her age, I will make them watch that awful scene in St. Elmo’s Fire where Rob Lowe’s character passionately details the origin story of St. Elmo’s Fire while performing pyrotechnics with a can of aerosol hairspray and a lighter on repeat until they beg me for mercy.

Also, if one more reviewer mentions how great Moore looks for her age, I will make them watch that awful scene in “St. Elmo’s Fire” where Rob Lowe’s character passionately details the origin story of St. Elmo’s Fire while performing pyrotechnics with a can of aerosol hairspray and a lighter on repeat until they beg me for mercy.

Most of Moore’s memoir coverage focused on the tabloid aspects of it. Read the headlines to see if you can spot a trend and how many you can read before you want to just set shit on fire (you can borrow Rob’s aerosol can).

“7 Biggest Bombshells From Demi Moore’s Explosive Memoir” (accessonline.com)

“Demi Moore: 8 Biggest Bombshells From Her Memoir Inside Out” (popculture.com, also, take that accessonline.com)

“Demi Moore’s raw Inside Out reveals rape, why marriage to Ashton Kutcher crumbled” (USA Today)

“Demi Moore Gets Real About Her Painful Childhood, Drugs, Ashton Kutcher and Other Exes in New Book ‘Inside Out‘” (Stay classy, Us Weekly)

“Why Demi Moore Fulfilled Ashton Kutcher’s Threesome Fantasies” (E! Online)

The unfortunate thing about these headlines, which would be vastly different if they were referencing a man’s memoir, is that, like Harry, they reduce Moore’s story to only its most scandalous and juicy elements. Moore got her acting start in 1981 as Jackie Templeton on General Hospital (Luke and Laura forever!), the number one show on daytime television at the time. She followed that up with roles in films like the Brat Pack bonanzas St. Elmo’s Fire and About Last Night.

Then she got what many, including Moore, consider to be a turning point in her career. “This could be either an absolute disaster, or it could be amazing,” she writes of reading the script for Ghost, which ended up being a big hit in 1990, grossing over $500 million. It was nominated for five Oscars and four Golden Globes, including a Golden Globes best actress nomination for Moore.

Moore followed the success of Ghost with A Few Good Men, Indecent Proposal, and Striptease, a film for which she was offered over $12 million, an amount no other woman in Hollywood had ever received. Moore became the highest paid actress in Hollywood. “But instead of people seeing my big payday as a step in the right direction for women or calling me an inspiration, they came up with something else to call me: Gimmie Moore.” It is worth noting that at the time her husband Bruce Willis had just been paid $20 million for the third Die Hard movie. (Yippee ki yay indeed!)

“She became a movie star in this time where women didn’t naturally fit into the system,” said Gwyneth Paltrow, a friend of Moore’s, in the The New York Times piece on Inside Out. “She was really the first person who fought for pay equality and got it, and really suffered a backlash from it. We all certainly benefited from her,” says Paltrow.

And while it pains me greatly to side with someone who talks a lot about vagina steaming, Paltrow’s right. Moore is an inspiration and fighting for equal pay in Hollywood should be one of the things the media focuses on when they talk about Inside Out, but, sadly, it is not. It is unfortunate that when Moore is discussed it is in the context of Ashton Kutcher and threesomes, at the expense of the many other empowering and interesting parts of her life.

And while it pains me greatly to side with someone who talks a lot about vagina steaming, Paltrow’s right. Moore is an inspiration and fighting for equal pay in Hollywood should be one of the things the media focuses on when they talk about “Inside Out,” but, sadly, it is not.

Remember her iconic Vanity Fair cover? Shot in 1991 by Annie Leibovitz when Moore was seven months pregnant with her second daughter Scout, it’s considered one of the most influential magazine covers of all time. Legendary Esquire art director George Lois describes it as, “A brave image on the cover of a great magazine — a stunning work of art that conveyed a potent message that challenged a repressed society.” Let’s talk about that!

Or her intense training for her role in G.I. Jane, a 1997 film Moore both starred in and produced. “I was emotionally invested in the story, the message and the provocative questions it raised,” she says of the film. The film was panned by critics and Moore talks at length in Inside Out about her disappointment at the reception to a project that meant so much to her.

The parts of the book where Moore talks about Hollywood’s double standard, whether it be the pay gap or reactions to the age difference between her and Kutcher, are some of the best parts of the book. Unfortunately, they are the parts covered least.

The last line of Inside Out is, “we all suffer, and we all triumph, and we all get to choose how we hold both.” It is a great line for a memoir to end on, but in Moore’s case, while she may get to choose how she holds both, the media will only ever focus on the suffer part.

There is the emphasis on opening up, on fighting, on bravery, on revealing — “Demi Moore Lets Her Guard Down,” reads The New York Times headline. This is the way memoirs by women are positioned and even if it isn’t explicitly spelled out, it has become the expectation so much so that when female celebrities don’t expose themselves completely they are resented for it. The reception to Harry’ book Face It offers proof.

***

Jessica Simpson released her memoir Open Book in February 2020. It reached number one on The New York Times bestseller list, but like Moore’s, Simpson’s book soon became tabloid fodder. “Jessica’s Shocking Confessions,” reads the headline on Star’s piece on the book, which focuses on Simpson’s struggles with drug and alcohol abuse and her famous exes from Nick Lachey to John Mayer. Like Moore, Simpson is now sober.

Simpson was signed to Columbia Records in 1997 at 17 as the label’s answer to Britney Spears and Christina Aguilera and went on to release six bestselling records. She also starred in the MTV reality show Newlyweds: Nick and Jessica, which featured Simpson and then husband and 98 Degrees singer Nick Lachey, who at the time was the more successful of the two. If you don’t remember Lachey from MTV you might know him from his recent gig hosting Netflix’s Love is Blind where he greets contestants with “Obviously, I’m Nick Lachey,” which seems to overestimate his place in both pop culture’s canon and our general consciousness.

Newlyweds, a ratings success, aired for two years and while it made the couple a household name, it was Simpson who stole the show with her ditzy, dumb blonde antics. Her confusion over whether Chicken of the Sea was chicken or tuna earned her a place in both reality television and pop culture history. The most interesting parts of Open Book are when Simpson talks about her reality television persona and the identity crisis it led to. “How was I supposed to live a real healthy life filtered through the lens of a reality show? If my personal life was my work, and my work required me to play a certain role, who even was I anymore?” she writes.

Open Book is Simpson’s attempt to distance herself from her Newlyweds role and change perceptions of her, a common reason people write memoirs. Some get it —“You Remember Jessica Simpson, Right? Wrong,” reads the headline on The New York Times piece about her memoir — but, unfortunately, most of the reviewers discussing her book don’t. Simpson has moved beyond her Newlyweds character. She’s built a billion-dollar fashion and licensing business and is a mom to three kids, but the media seem uncomfortable embracing Simpson in her new roles, preferring to keep her forever stuck in 2003, in her UGG boots and pink Juicy Couture tracksuit, confused about tuna.

Simpson has moved beyond her “Newlyweds” character. She’s built a billion-dollar fashion and licensing business and is a mom to three kids, but the media seem uncomfortable embracing Simpson in her new roles, preferring to keep her forever stuck in 2003, in her UGG Boots and pink Juicy Couture tracksuit, confused about tuna.

Simpson talks about the effect this identity crisis had on her and her struggles with her weight and body image, as well as her sexual abuse at age 6, and her addiction to alcohol and pills. She started to increasingly rely on alcohol during her relationship with Mayer in 2006, insecure that she wasn’t smart enough to date Mayer. My heart breaks when I think of Simpson wasting time worried about being the intellectual equal of the man who gave us the musical depth that is “Your Body is a Wonderland” and later referred to sex with Simpson as “sexual napalm.”

It is also troubling that after talking about how Mayer brought out her insecurities, the media thinks it is a good idea to focus on Mayer’s reaction to Open Book. I know you thought you were never good enough for this guy and that he was always judging you, so let’s get him to judge you some more by asking what he thought of your book!

***

Simpson’s attempts to challenge the dumb blonde perception of her are not the only example of a female celebrity going off script or off brand in their memoir and failing to give the media, and readers, what they want or expect. Singer and songwriter Liz Phair’s Horror Stories says “a memoir” on the front cover, but the book is more a collection of essays and stories by Phair than a straightforward linear memoir. Reviewers did not respond well to Phair’s artistic license with the storytelling form.

“It’s hard to tell the truth about ourselves. It opens us up to being judged and rejected,” Phair writes in Horror Stories and that may be one reason she chose to tell her story the way she did. Through stories about blizzards, blackouts (from lack of electricity, not drinking), marital infidelity, giving birth to her son, and getting dressed up to go to Trader Joe’s, Phair reveals a lot about herself and about identity, insecurity, fame, and regret. “In the stories that make up this book, I am trusting you with my deepest self,” she writes in the book’s prologue. Her deepest self just might be a bit harder to find for those fuck and run readers who are too busy complaining about the book’s nontraditional memoir style to actually read it.

Horror Stories does not talk a lot about her music, including Phair’s critically acclaimed, influential 1993 album Exile in Guyville. A song-by-song reply to the 1972 Rolling Stones album Exile on Main St., it was the number one album in year-end lists from Spin and The Village Voice and was rated the fifth best album of the 1990s by Pitchfork. “At the time, it was a landmark of foul-mouthed, comprised intimacy, a tortured confessional, a workout in female braggadocio, and a wellspring of penetrating self-analysis and audacity,” reads The New Yorker’s piece on the 20th anniversary of Exile in Guyville’s release.

“Frankness is Liz Phair’s brand. Her 1993 breakthrough album, the brilliant and profane Exile in Guyville, chronicled her post-college experiences in Chicago’s male-dominated music scene. Phair’s new memoir Horror Stories makes little mention of the album or her artistic life,” reads The Washington Post’s review. Remember how the Post thought that Bruce Springsteen did not need to write Born to Run because he had already revealed so much in his songs already? Why doesn’t Phair get the same consideration?

“Though there are anecdotes about flopping on live television and scrapping a record after learning of a collaborator’s abuse, the absence of concrete stories about Exile in Guyville is palpable,” writes Pitchfork. Just give us the hits, Liz! “Her relationship to music seems to have been the longest and maybe the most demanding love of her life, the one for which she has been willing to get lost, to fail, and to try again over and over for decades. Call me a selfish fan, but I have to say that is one story in all its horror and passion I would love to hear,” reads the review in The New York Times.

Reviewers spend so much time focused on what’s missing from Horror Stories that they miss what’s there. Well, maybe not all of what’s there. In chapter 14 of Horror Stories, called “Hashtag,” Phair writes about waking up one morning to headlines about the rock star who was supposed to produce her next album. Multiple women had come forward to accuse him of sexual harassment and emotional abuse. The FBI was also investigating him for exchanging sexually explicit communications with an underage fan.

Phair never specifically names Ryan Adams, but, in February 2019, seven months before Horror Stories was released, The New York Times broke the story about multiple women, including his ex-wife Mandy Moore, coming forward to accuse Adams of manipulative behavior, sexual misconduct, emotional and verbal abuse, and harassment.

In the chapter, Phair talks about her own experiences with sexual assault, sexual harassment, stalkers, and the sexism she experienced in the music industry. She writes about being instructed by a record label president to let radio programmers “feel her up a little” because it would help boost her career or about being told that she would never work again if she didn’t go along with sexy photo shoots. But her personal stories are not what the press focused on when she was promoting Horror Stories.

Phair was frequently asked about Adams and her experience working with him. “I don’t want every headline about this book that is so important to me to be about Ryan Adams,” she tells Entertainment Weekly. She becomes understandably annoyed with a male reporter from New York Magazine who asks her several questions about Adams, including one about his process as a producer. (I know when I hear about a man accused of sexual misconduct the first thing I wonder about is his artistic process.) “Out of everything in the book, why is the Ryan Adams thing such an interesting topic?” Phair asks him. “You’re not the only one singling out Ryan Adams as a hot talking point, and it’s sad. It does need to be talked about, but so do the larger issues.”

It’s unfortunate that Phair shares intimate details about herself, and her own experiences with sexual harassment and assault, and the media takeaway from that is that they don’t like the format of her book and would rather talk about the famous man in her life. Congrats on your book Liz, did Ryan ever send you inappropriate texts?

***

While Phair is criticized for not talking about what is expected of her in her memoir, men who follow the same course do not hear “how dare you?” The reaction to Acid for the Children, the 2019 memoir by Red Hot Chili Peppers bassist Flea (aka Michael Balzary), proves that.

Acid for the Children details Flea’s childhood growing up in Australia, his relationship with his older sister Karyn, his family’s move to the U.S. when he was 4, his first crush, how Kurt Vonnegut Jr. changed his life, and his love of basketball and the Sony Walkman. He talks about meeting Red Hot Chili Peppers lead singer Anthony Kiedis in 1976 at Fairfax High School, about learning to play bass, about his first band Anthym, about shooting coke and taking speed, his time in the California punk band FEAR, and about acting in the 1983 movie Suburbia. There are also lists of the concerts that changed his life, books that blew his mind, and movies that grew him. Lots of great material, right? You know what’s missing? Anything about the Red Hot Chili Peppers, the bestselling, Grammy-winning, Rock-and-Roll-Hall-of-Fame-inducted band he founded, plays bass in, and is most strongly associated with.

Flea’s book ends just as Tony Flow and the Miraculously Majestic Masters of Mayhem, what would later become the Red Hot Chili Peppers, play their first show at the Grandia Room in Los Angeles to 27 people in February 1983. This performance comes up on page 375 of the 385-page book. There’s no mention of the Red Hot Chili Peppers, his movie roles beyond Suburbia (My Own Private Idaho being one of his most famous), his role as a father of two girls, how he founded the Silverlake Conservatory of Music, or his work with other musicians from Thom Yorke’s Atoms for Peace to Alanis Morissette. (Flea played bass on “You Oughta Know,” her hit single from 1995’s Jagged Little Pill.)

The book is about Flea’s journey to the band, rather than with it. Surely, reviewers were as outraged by this omission, as they were when Phair failed to talk about Exile in Guyville in Horror Stories. It will not surprise you to know they were not bothered at all. Rather than focus on what was missing from Acid for the Children, the coverage focuses on what’s there and praise for it. Reviews focus on Flea’s gift and skill as a writer and fail to mention that if you want to dream of Californication, you will have to do that somewhere else. Reviewers can see, and appreciate, Flea as something other than just the bassist for the Red Hot Chili Peppers. There is a very distinct set of rules female celebrities writing their memoirs must follow. The more tell all, the more trauma and the more tabloid, the better. They are not free to write about what they want. They must bare it all, page after page. Men like Flea have the freedom to operate by a very different set of rules. He can leave his scar tissue out and reviewers have no problem with it. Book coverage focuses on Flea the writer, rather than Flea the bassist. This same courtesy, and basic level of respect, is never extended to women telling their stories. Female celebrities like Debbie and Demi are never just human beings writing about their lives. Reviewers are unable to abandon their preconceived notions, their ideas of who these women are, their celebrity personas and just see them as people who should be allowed to tell their stories their way.

“[H]e’s actually a lovely writer, with a particular gift for the free-floating and reverberant. He writes in Beat Generation bursts and epiphanies, lifting toward the kind of virtuosic vulnerability and self-exposure associated with the great jazz players,” reads the review in The Atlantic.

In an interview with Entertainment Weekly Flea said that his goal with Acid for the Children was that “it could be a book that could live beyond being a celebrity book or a rock star book and just stand on its own as a piece of literature.” I can only imagine the outrage if Debbie Harry wrote Face It and the book ended with, “And then I started this band Blondie. See you later!” Or if Demi Moore ended Inside Out with, “Then I got the part in this movie St. Elmo’s Fire. The end.” Or if Courtney Love wrote her memoir (please do this, Courtney) and the last page read, “And then I met this guy Kurt, but I have to go be the girl with the most cake now. Peace out.” The fact that Love and her accomplishments are forever tied to her husband is a whole other gender bias problem all together.

The book is about Flea’s journey to the band, rather than with it. Surely, reviewers were as outraged by this omission, as they were when Phair failed to talk about “Exile in Guyville” in “Horror Stories.” It will not surprise you to know they were not bothered at all.

Of course, Flea is not the first Red Hot Chili Pepper to give it away in a celebrity memoir. In 2004, lead singer Anthony Kiedis wrote Scar Tissue, a New York Times bestseller about his life, the Red Hot Chili Peppers, and his time in and out of rehab, as well as in and out of various women. If you have ever thought, “I bet Anthony Kiedis does well with the ladies but would really like to get a better sense of his success rate,” then this is the book for you. In his memoir Kiedis gets away with writing about debauchery, depravity, and drug abuse in a way that reads like a Behind the Music episode on steroids. (See any book by a current or past member of Mötley Crüe or Guns N’ Roses for a further look at this style.) A woman would never get away with writing about drugs like Kiedis does.

When women write about their addiction there’s an apologetic, self-aware tone male memoirs don’t have: “I know I am a drug addict, and I keep messing up, but I’m really sorry, and please stick with me cause I am gonna sort this out.” (See How To Murder Your Life by fashion and beauty journalist Cat Marnell and More, Now, Again: A Memoir of Addiction from Prozac Nation author Elizabeth Wurtzel, who passed away in 2020, for great examples of this.) Also, I would like to point out the blurbs on the backs of Scar Tissue by Kiedis and How To Murder Your Life by Marnell in case you still doubt there’s a gender bias when it comes to how celebrity memoirs are received.

“Hot Bukowski” —Rolling Stone on Marnell

“A frank, unsparing, meticulous account of a life lived entirely on impulse, for pleasure, and for kicks” —Time on Kiedis

Oh, and, if you’re reading this and in charge of greenlighting Red Hot Chili Pepper memoirs can you please get John Frusciante working on his? Frusciante is known for talking at length about both his connection to spirits (he might already have a ghostwriter!) and different dimensions and worlds. If there’s a book by a band member to be written this is the one.

It is also impossible to talk about Flea’s book without mentioning the title, which comes from the song by a band called Too Free Stooges. A man can get away with calling his memoir Acid for the Children, while a woman certainly cannot. I would like to see Demi Moore title her memoir Whippets for the Wee Ones and see how far she gets. If I look at memoir titles by women on my bookshelves there is Hunger Makes Me a Modern Girl, by Sleater-Kinney’s Carrie Brownstein, The Girl in the Back by 1970s drummer Laura Davis-Chanin, Girl in a Band by Sonic Youth’s Kim Gordon, and Not That Kind of Girl by actress and Girls creator Lena Dunham.

A man can get away with calling his memoir “Acid for the Children,” while a woman certainly cannot. I would like to see Demi Moore title her memoir “Whippets for the Wee Ones” and see how far she gets.

All the titles mention “girl” as if there is a need to announce that early on and get it out of the way, before the book has even been opened. Let us compare these with titles of the celebrity memoirs by dudes that I own. There’s Life by Keith Richards, Slash by Slash, The Heroin Diaries by Nikki Sixx, and In the Pleasure Groove by John Taylor. I do not know what the pleasure groove is, but I do hope it is also the name of the kick-ass yacht in Duran Duran’s “Rio” video.

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Acid for the Children is not the only recent celebrity memoir by a man to resist the traditional memoir style and not receive criticism for it, although in the case of singer and songwriter Prince’s The Beautiful Ones, named for the song from Purple Rain, it’s understandable why it lacks the typical style of a life story given that its subject died just one month after the book’s publication was announced.

“He wanted to write the biggest music book in the world, one that would serve as a how-to-guide for creatives, a primer on African American entrepreneurship and a ‘handbook for the brilliant community,’” he told Dan Piepenbring, an editor at The Paris Review, who was writing the book with Prince. Notoriously private, to the point that reporters were not allowed to record their interviews, many were surprised Prince would want to write his life story at all. He wanted his book contract to state he could pull it from shelves if he felt the work no longer reflected him, which just seems like a very Prince thing to do.

Prince had completed just 30 handwritten pages before he died of an accidental fentanyl overdose on April 21, 2016. The pages detailed his childhood and his early days as a musician. Piepenbring returned to Prince’s Paisley Park compound months after the singer’s death to find additional material that could be used in the book. This material includes personal photos, drawings, song lyrics, and a handwritten synopsis of Purple Rain, Prince’s 1984 film that marked his acting debut. The addition of personal artifacts to round out the story means The Beautiful Ones is more scrapbook than memoir. “The Beautiful Ones does not offer a clear-eyed view of who Prince really was — he would have hated that, but it illuminates more than it conceals,” reads The Washington Post’s piece on the memoir.

Reading reviews of The Beautiful Ones, I wondered if the book would have even been finished and released if Prince were a woman or would it have been indefinitely shelved because of the death of its star. Maybe it would have focused on the singer’s drug use, final days, death, and the reaction to his death. The media has a way of making a female celebrity’s story about her death, not her life, which was noticeably lacking when the media talked about Prince and The Beautiful Ones.“It’s up to us to take what’s there and make something out of it for ourselves, creating, just as Prince wanted,” said NPR in their piece on the memoir. Prince’s life ended with respect and a beautiful tribute in book form, and glowing reviews for it. This respect is definitely missing when we pay tribute to female celebrities who have died. Their deaths provide another opportunity for the media to pick them apart and let their scandals overshadow their contributions. Following Prince’s death there were no pieces like the gossip-heavy Vanity Fair piece from 2012 on the late singer and actress Whitney Houston, “The Devils in the Diva,” which “investigates Houston’s final days: the prayers and the parties, the Hollywood con artist on the scene, and the message she left behind.” Or the, at times, less-than-respectful movies made about female celebrities after their deaths that focus more on their personal lives and troubles than they do on their art. Even in death, women like Houston and Amy Winehouse are still expected to bare all even though they are no longer with us.

This year will give us new memoirs from actresses Sharon Stone, Priyanka Chopra Jonas, and Julianna Margulies, as well as singers Brandi Carlile and Billie Eilish. We are also getting a Stanley Tucci memoir and I think we can all agree he is the sexiest bald man (sorry, Prince William). Women are not just turning to books to tell their truths, with recent documentaries from the likes of Paris Hilton and Demi Lovato giving female celebrities the opportunity to tell their truths, clear up misconceptions, and control the narratives around their lives. We can only hope the way these stories are received starts to change, and that women can be free to tell their stories the way they want to (embrace your inner Flea, ladies!) without fear of negative reviews, sexist reviews, or questions about Ryan Adams’ artistic process. And please, no one ask John Mayer for his opinion.

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Lisa Whittington-Hill is the publisher of This Magazine. Her writing about arts, pop culture, feminism, mental health, and why we should all be nicer to Lindsay Lohan has appeared in a variety of magazines.

Editor: Krista Stevens
Fact-checker: Julie Schwietert Collazo
Copy editor: Cheri Lucas Rowlands

“People are dying waiting”

TORRENCE, CA - DECEMBER 29: Hospital doctors and nurses treat Covid-19 patients in a makeshift ICU wing on the West Oeste at Harbor UCLA Medical Center on Tuesday, Dec. 29, 2020 in Torrence, CA. The hospital has no open beds for incoming patients and have worked tirelessly to create additional beds for the influx of Covid-19 patients. (Dania Maxwell / Los Angeles Times via Getty Images)

At ProPublica, reporters David Armstrong and Marshall Allen tell the story of 53-year-old Miguel Fernandez, a Latino man from California who contracted the virus last fall. The center of a tight-knit, multigenerational family, Miguel fought for his life in hospital as his loved ones pushed to get him life-saving extracorporeal membrane oxygenation treatment — a specialized therapy that doctors are now in the horrific position of having to reserve for younger patients with the best chance of surviving, as critically ill COVID-19 patients overwhelm a healthcare system stretched far beyond usual limits.

But starting in early November, the daily number of COVID-19 hospitalizations surged in Los Angeles County, rising eightfold between then and the wave’s crest, which arrived just after New Year’s Day. Within weeks, overflowing hospitals faced exactly the types of care-rationing decisions experts had feared. Hospitals set up tents to increase capacity, and ambulances circled for hours as they waited for beds to open. By early January, Los Angeles County emergency medical personnel were directed to conserve supplemental oxygen by only administering it to the neediest patients, and to stop transporting to hospitals cardiac arrest patients who couldn’t be revived in the field. State officials dispatched refrigerated trucks and thousands of body bags to the region.

Miguel didn’t want to go to the hospital. He knew people like him were dying. Latino Angelenos have suffered the highest COVID-19 death rate in Los Angeles County — almost twice the rate of Blacks and about three times the rate for whites.

The separation was especially difficult for Alejandrina, who had been married to Miguel since 1991. Miguel liked to tease her when she watched her Mexican telenovelas: Why do you watch those shows when you have me? On Mother’s Day earlier in the year, Miguel had surprised her by buying a pair of rings, getting down on one knee and proposing again. The couple made plans to renew their vows on their 30th wedding anniversary this summer. When he became sick with COVID-19, Miguel assured Alejandrina he would get better so they could get married again. She promised she would wait for him.

Read the story

The Top 5 Longreads of the Week

LOS ANGELES, CA - DECEMBER 17: During the coronavirus pandeimic a covid positive patient lays prone on his stomack to help his oxigene levels inside the ICU at Martin Luther King, Jr. Community Hospital on Thursday, Dec. 17, 020 in Los Angeles, CA. ICU availability in Southern California at 0% amid deluge of COVID-19 patients. (Francine Orr / Los Angeles Times via Getty Images)

This week, we’re sharing stories from David Armstrong and Marshall Allen, Jesselyn Cook, Jason Sheehan, Tom Lamont, and Heather Stokes.

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1. Dying on the Waitlist

David Armstrong, Marshall Allen | ProPublica | February 18, 2021 | 22 minutes (5,663 words)

“In Los Angeles County and around the country, doctors have had to decide who gets a lifesaving COVID-19 treatment and who doesn’t.”

2. ‘I Miss My Mom’: Children Of QAnon Believers Are Desperately Trying To Deradicalize Their Own Parents

Jesselyn Cook | HuffPost | January 11, 2021 | 24 minutes (6,000 words)

“What it’s like to lose the person who raised you to a far-right cult.”

3. Remnants on a South Philly Stoop

Jason Sheehan | Philadelphia Magazine | October 1, 2020 | 22 minutes (5,600 words)

Chef Omar Tate caught the attention of the food world with a pop-up celebrating the Black American food experience. He was right on the verge of blowing up. But instead, everything else did.

4. The Student and the Algorithm: How the Exam Results Fiasco Threatened One Pupil’s Future

Tom Lamont | The Guardian | Febuary 18, 2021 | 27 minutes (6,759 words)

“Bright students in historically low-achieving schools were tumbling, sometimes in great, cliff-edge drops of two or three grades, because of institutional records they had nothing to do with.”

5. Voices on Addiction: A Thief in the Night

Heather Stokes | The Rumpus | February 16, 2021 | 9 minutes (2,303 words)

Heather Stokes recounts what addiction has taken from her and her mother. To feed crack addictions, her bother and uncle stole not just possessions from the family house, they robbed the women of personal safety and any chance at stability.

Shelved: Yoko Ono

(Photo by Gijsbert Hanekroot/Redferns — Getty Images)

Tom Maxwell | Longreads | January 2021 | 9 minutes (2,485 words)

Much is known about John Lennon’s self-described “Lost Weekend” — an 18-month separation from his wife Yoko Ono from the summer of 1973 to early 1975 — in which the former Beatle made records, produced records, drank, and took drugs to excess, and got kicked out of The Troubadour and various Los Angeles studios. Much less is known about how Ono spent her time back in New York.

In 1974, Ono recorded A Story at The Record Plant in New York. More than just another solo album, A Story was to be Ono’s first musical effort independent of her husband. Lennon produced or otherwise participated in all four of her previous recordings. Because of this, and the circumstances surrounding its creation, A Story is a statement of independence, a kind of personal manifesto. As a direct result of the couple’s reconciliation the following year, A Story was shelved at Ono’s direction. Most of its songs would resurface in later releases, sometimes in an entirely different emotional, as well as musical, context.

Read more…

‘Almost Home’: On Place, Legacy, Growing Up in Atlanta, and Symbols of White Supremacy

The largest confederate memorial in America is carved out of rock in Stone Mountain, Georgia. The site is linked to many Klu Klux Klan gatherings and the state of Georgia's resistance to the Civil Rights movement in the '50s and '60s. (Photo by Andrew Lichtenstein/Corbis via Getty Images)

In “Almost Home,” an essay at the Los Angeles Review of Books, Pete Candler reflects on growing up in Atlanta, and the symbols of white supremacy in his hometown.

It certainly never occurred to me then that the Ku Klux Klan — during its second wind from 1915 to the mid-1920s — was reborn not in the hinterlands of Atlanta but at its posh and manicured heart: not in Stone Mountain but in Buckhead. My neighborhood.

Even if I had become aware at a younger age of Stone Mountain’s entanglements with the Klan, it would still have been easy to think of white supremacy at a comfortable distance. Stone Mountain was way the hell out there, in another county, not yet absorbed into the amnesic Atlanta that was swallowing us all.

The piece nicely complements Candler’s March 2019 essay, “A Deeper South,” in which he revisits monuments in the South with a new perspective and uncovers truths about his ancestry. Like this previous essay, “Almost Home” is moving and meditative, and Candler writes beautifully on place, memory, and legacy.

I listened to King’s “I Have a Dream” speech on cassette tapes countless times in my adolescence, and felt myself moved by the idealism of King’s vision — but moved in an abstract way, perhaps, since I never made the connection then between the lofty Christian nobility of King’s soul-jarring calls for justice and the material realities of where I lived. Unaware then of the resonances of Stone Mountain as a holy site for white supremacists and Lost Causers, I didn’t think to notice the deliberate power of King’s decision to mention it on the steps of the Lincoln Memorial at the March on Washington in 1963, didn’t consider how the power of that moment connected to a specific place I was probably then blithely enjoying seeing lit up with laser beams. But being moved by King’s speeches and sermons is no great achievement; anyone can do it. King’s greatest moments in the pulpit or on the dais had the power to effect in me a movement of the heart, maybe, but not yet a personal turning of memory. That would come later.

Black Atlantans probably are far more likely to know this history than I am. White privilege means there are stories you do not have to be burdened by, neighborhoods of the imagination you think you can casually avoid without damage to your soul. My life as a white person could have turned out differently if I had learned to inhabit a different narrative geography, to be shaped by the practice of alienating mental spaces. But I didn’t have to.

Later in the piece, Candler describes a trip he takes with one of his sons from Asheville, where he now lives, to Atlanta; he introduces Charlie to some of the places he loves, in the hope that he will love them, and — perhaps — sow a connection to them, too.

It is worth asking why any of this stuff matters, if at all. Maybe I am interested in family history; maybe I am seeking some place to anchor my own memories, some small plot of earth to which to bind my own wayfaring self. It could be that I am simply trying to manufacture a history I do not really possess, a surrogate past that I might lean on, that might hold steady for just a while longer. The house I grew up in is all gone now, and I have little to return to in the way of a site that still holds a memory of self should I forget. Maybe that’s what I am looking for on Ponce. I don’t know.

There is something nonsensical in all this, in my desire to give my children a sense of connection to a place where they have never lived, to cultivate in them an attachment to a space inhabited by their forebears they would never have heard about were it not for a random set of coincidences in my own life. It risks being an artificial, enforced attachment and not a real, organic one. But at bottom I just want them to be less naïve than I was, less ignorant than I am. To have a history we can grow up with together. To give them some sign that boundless curiosity will always be met with an ever-greater mystery, that as much as you think you know there is always an infinitely greater knowledge that you do not possess. That as long as you search the grounds of the world for some hint of yourself, you will never fully find it. That you will ever remain a mystery to yourself. That every seeking and finding only prompts more seeking; and that you may often find what you did not seek, and that may be the thing you needed the most.

Read the essay

Longreads Best of 2020: Essays

All Best of Longreads illustrations by Kjell Reigstad.

All through December, we’re featuring Longreads’ Best of 2020. This year, our editors picked and featured hundreds of beautifully written and poignant essays published on the web. Because of the wide range of writing across many topics and themes, it was a challenge to sift through them all over the past several weeks to compile a definitive Best of Essays list. As I shortlisted stories, I realized there could be many different versions of this list, but, in the end, these eight reads really spoke to me.

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Mississippi: A Poem, in Days (Kiese Makeba Laymon, Vanity Fair)

Kiese Makeba Laymon was on a book tour when the pandemic hit in the U.S. In this stunner of a piece that unfolds over 14 days, the author writes on fear, racism, death, and home amid a moment of awakening. We follow along on the journey, from event to event in Ohio and West Virginia, with Laymon’s observations and thoughts interspersed with daily COVID-19 death counts and the latest words or orders from Donald Trump and Mississippi Governor Tate Reeves. It’s a powerful meditation, one that will stop you in your tracks.

We are awakened, I want to believe.

75 miles from the armed confederate statue in Oxford, Emmett Till’s childish body was destroyed. 70 miles from that armed confederate statue, Fannie Lou Hamer was nearly beaten to death. 160 miles from that armed confederate statue, Medgar Evers was murdered as he enters his home. 80 miles from that armed confederate statue, Martin Luther King was murdered in Memphis.

It took way too much Black death to get here.

I am wandering around the spiritual consequences of materially progressing at the expense of Black death. I want to be courageous. I wonder, though, when courage becomes contagious—when courage is credentialized, subsidized, and incentivized—if it is still courage at all.

Today, as I prepare to push send, and I lather my hands in sanitizer, it feels a bit too much like cowardice.

Maybe I’ll wait to send tomorrow. Maybe I won’t send at all.

The Lafayette County Board of Supervisors, a group of white men, unanimously vote to keep the armed confederate monument in the middle of Oxford, the town where I live, teach, and write.

Humiliation, agony, and death, are what I feel.

It could all be so much worse, is what the worst of white folks want us to recite.

Read more…

Longreads Best of 2020: Profiles

All Best of Longreads illustrations by Kjell Reigstad.

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Visible Men: Black Fathers Talk About Losing Sons to Police Brutality (Mosi Secret, GQ)

At GQ, Mosi Secret offers a moving portrait of Joe Louis Cole, Larry Barbine, Rev. Joey Crutcher, Selwyn Jones, Jacob Blake III, and Michael Brown Sr., who are the fathers and father figures of Michael Brown, Terence Crutcher, Daniel Prude, Rayshard Brooks, George Floyd, and Jacob Blake — all Black men who were killed by police brutality.

Their lives were transformed by the worst kind of news, a blow that left everything that followed so suddenly and painfully different. Not only have they suffered the abrupt and traumatic loss of their loved ones, but often just hours after being stunned by tragedy, they grieve before news cameras. They are transformed from ordinary people into symbols of this country’s injustice, symbols onto which so much meaning other than their own is projected. How easily could that parent have been me, grieving my child, the thinking goes. And yet these fathers endure such moments in uneasy juxtaposition with the mythical assumption that they don’t even exist.

These fathers and father figures, in just being present, fight against a myth of the absent Black father, one that began in 1965, when “Daniel Patrick Moynihan, then an assistant secretary of labor, delivered a report to the Johnson White House, The Negro Family: The Case for National Action, arguing that the plight of Black American communities was in decline due to a simple factor: the crumbling of the family unit and, in particular, children being raised in fatherless homes.” What Moynihan’s report failed to convey was the way in which social structures meant to assist actually penalized the nuclear Black family.

Just weeks after the study’s release, riots broke out across the Watts neighborhood in Los Angeles and critics latched onto the report to blame the ensuing violence on what Moynihan called “the deterioration of the Negro family.” The number of fatherless families, Black and otherwise, would rapidly grow in the following decades—a trend partly driven by the nation’s primary welfare program, in which for a period some states considered families ineligible for benefits if an adult male was a member of the household. The legacy of that policy and Moynihan’s report continues, and the notion of troubled, fatherless Black men has resurfaced after each national reckoning with racial injustice, including in the aftermath of George Floyd’s killing.

N.K. Jemisin’s Dream Worlds (Raffi Khatchadourian, The New Yorker)

“John Scalzi, the former president of the Science Fiction & Fantasy Writers of America, heralded Jemisin as ‘arguably the most important speculative writer of her generation.’” (Edit, mine.) Jemisin’s fiction is imaginative, original, and immersive and I’ll just say it: I’m an unabashed fangirl.

In this portrait by Raffi Khatchadourian at The New Yorker, we learn about the personal dreamscapes that inspire Jemisin’s fiction and the critical influence that Noah, her artist father, had on her development as a writer. We get a glimpse into the systemic racism Jemisin has experienced in her career and into some fantastic writing that offers hope amid the chaos of a failed civilization.

Accepting her third Hugo, Jemisin stood at the lectern, with the rocket-shaped award beside her, and declared, “This is the year in which I get to smile at all of those naysayers, every single mediocre, insecure wannabe who fixes their mouth to suggest that I do not belong on this stage, that people like me could not possibly have earned such an honor, and that when they win it’s ‘meritocracy,’ but when we win it’s ‘identity politics.’ ” Holding up the award, she added, “I get to smile at those people, and lift a massive, shining rocket-shaped finger in their direction.”

“How Long ’til Black Future Month?” includes one of her earliest published stories, “Cloud Dragon Skies” (2005), in which an ecological disaster has caused most of humanity to abandon Earth for a ring-shaped space colony, built from crushed asteroids, beyond Mars. “Old foolishness lay at the root of it,” notes the narrator, a young woman named Nahautu, one of the few who stay. The planet has rebounded, except for the atmosphere. The toxic chemicals it has absorbed combine to form a new kind of life:

One morning we awoke and the sky was a pale, blushing rose. We began to see intention in the slow, ceaseless movements of the clouds. Instead of floating, they swam spirals in the sky. They gathered in knots, trailing wisps like feet and tails. We felt them watching us.

Ozark Life (Terra Fondriest, The Bitter Southerner)

Terra Fondriest’s ode to Ozark life in text and visuals at The Bitter Southerner is firmly set in the before times, when you could safely hold a wedding without masks, and when you could mix with more than members of your household without fear. What I loved most about his piece is how it exalts in simple joys — the best kind. This piece cleanses your mental palate not only with words and images, but with its grace.

Motor down just one dirt road, and you’ll begin to collect moments that are unique to this part of the South we call the Ozark Hills. Up and down hills and across creeks, maybe stopping in the middle to listen to the water flow and then heading back up, you’ll pass vistas of seemingly endless peaks dotted with cattle pastures. You’ll see wild turkeys dash across the road in front of you on their way to the acorns and hickory nuts in the forest on the other side. If your windows are open, you might hear waterfalls cascading down the drainage ways after a hard rain, or the interior might fill with dust and the smell of oak leaves burning during a dry spell. You might meet a truck coming at you on the narrow road and see how it pulls off near the edge of the woods to let you pass.

And if it so happens you decide to put roots down and call these hills home, you might start to develop relationships with certain parts of the creek or different bends in the road. You might start to become familiar with the people nestled in the hills who have been here for generations and those who arrived recently, just like you. You will slowly become part of the cadence of everyday Ozark life.

While Fondriest is new to the area, she understands that the only way to find her place is to get to know her neighbors and to earn their trust.

I am still the same introverted girl who grew up in the suburbs. Getting to know new people makes me more nervous photographing for this project. It’s a challenge that is daunting on most days, but the camaraderie built by pushing through that with my subjects yields the intimacy I strive for in my storytelling. Some of the folks I photograph are friends and neighbors, but others are people I meet through circumstance, whose everyday story I find interesting and a good piece for my Ozark Life story quilt. But I approach them. I might talk to them right away about my project, or I might let it simmer a bit and get to know them over days, months, even years before I bring up my project and my request to photograph them. Building a relationship is important, because it makes the pictures secondary.

Death and the All-American Boy (Kitty Kelley, The Washingtonian)

In 1974, Joe Biden had just lost his first wife Neilia and his daughter in a car crash and as the youngest person in the Senate at age 31, it is the sum of these things that make him “good copy.”

Joseph Robinette Biden, the 31-year-old Democrat from Delaware, is the youngest man in the Senate, which makes him a celebrity of sorts. But there’s something else that makes him good copy: Shortly after his election in November 1972 his wife Neilia and infant daughter were killed in a car accident. Suddenly this handsome, young man struck down in his moment of glory was prey to scores of hungry reporters clamoring to write soul-searching stories.

What intrigued me about this piece at The Washingtonian is the pure swagger Biden displays for reporter Kitty Kelly. Oh 1974, you were a different time, indeed.

In his office in the New Senate Office Building surrounded by more than 35 pictures of his late wife, Biden launched into a three-hour reminiscence. It wasn’t maudlin—he seemed to enjoy remembering aloud. He was the handsome football hero. She was the beautiful homecoming queen. Their marriage was perfect. Their children were beautiful. And they almost lived happily ever after. “Neilia was my very best friend, my greatest ally, my sensuous lover. The longer we lived together the more we enjoyed everything from sex to sports. Most guys don’t really know what I lost because they never knew what I had. Our marriage was sensational. It was exceptional, and now that I look around at my friends and my colleagues, I know more than ever how phenomenal it really was. When you lose something like that, you lose a part of yourself that you never get back again.

“My wife was the brains behind my campaign. I would never have made it here without her. It’s hard to imagine ever going through another campaign without her. She was the most intelligent human being I have ever known. She was absolutely brilliant. I’m smart but Neilia was ten times smarter. And she had the best political sense of anybody in the world. She always knew the right thing to do.

“Let me show you my favorite picture of her,” he says, holding up a snapshot of Neilia in a bikini. “She had the best body of any woman I ever saw. She looks better than a Playboy bunny, doesn’t she?

“My beautiful millionaire wife was a conservative Republican before she met me. But she changed her registration. At first she didn’t want me to run for the Senate—we had such a beautiful thing going, and we knew all those stories about what politics can do to a marriage. She didn’t want that to happen. At first she stayed at home with the kids while I campaigned but that didn’t work out because I’d come back too tired to talk to her. I might satisfy her in bed but I didn’t have much time for anything else. That’s when she started campaigning with me and that’s when I started winning. You know, the people of Delaware really elected her,” he says, “but they got me.”

Some detractors accuse him of shrouding himself in widower’s weeds, of dredging up his late wife in every speech. But Biden prides himself on being candid and honest—”That’s the only way I could be with the wife I had.” He understands the accusations: “I’m not the kind of guy everyone likes. My personality either grabs you or it doesn’t. My sister says I almost lost the campaign because ofmy personality, and my brother-in-law says you either love me or you hate me. I’m not an in-between type.

Feeling Bullish: On My Great-Uncle, Gay Matador and Friend of Hemingway (Rebekah Frumkin, Granta)

Speaking of intriguing men in very different times, at Granta we have Rebekah Frumkin’s portrait of her uncle Sidney Franklin. Discontent with the prospect of a potentially hum-drum existence as a teacher or an accountant, Franklin, armed only with persistence, self-confidence, and a desire for fame, ditched his Brooklyn-based identity in 1922 to fashion himself into a matador on a dare. What’s more, he became very good at it.

On 26 April 1976, after suffering a stroke that robbed him of the ability to walk and speak, the matador Sidney Franklin died in a nursing home in Manhattan, roughly thirteen miles from his native Brooklyn. Fifteen years earlier, on 2 July 1961, Ernest Hemingway donned his ‘emperor’s robe’ and shot himself in the head with a double-barreled shotgun. As young men, the two had split bottles of brandy in Spain, had traveled through the countryside together (a remarked-upon odd couple, one clean and effete and the other greasy and unshaven), had watched bombs explode in Madrid during the Spanish Civil War. The New Yorker journalist Lillian Ross had said theirs was a friendship between a great man and a lesser one. I am the grand-niece of the lesser one.

After six years of touring successfully in Mexico, Sidney fought his way to the central stage of the bullfighting world: the Plaza de Toros de la Real Maestranza in Seville. On 9 June 1929, Sidney would acquit himself expertly in the ring, earning praise from Spanish aficionados and major newspapers. Again, adoring fans would flood from their stadium seats to lift Sidney up on their shoulders. Again, they would tear his traje apart, but these would be Spanish hands tearing, the hands of people who considered their arenas too good for Mexican toreros. Sidney would be carried back to his pension and strangers would crowd him – they would even join him in the shower. ‘I enjoyed and savored what I had done with an intensity almost sexually sensual,’ Sidney wrote, and later: ‘All the sexes seem to throw themselves at you.’ The Brooklyn Eagle, which had been covering Sidney’s story in lavish terms since his debut in Mexico, would publish headlines such as ‘Brooklyn Bullfighter Wins Great Ovation in Brilliant Spanish Debut’ and ‘Ten Thousand in Seville Arena Cheer Him as He Dispatches Bovine Foe with Single Stroke.’

Sidney was more than a novelty, a weird American who’d decided to try his hand at a foreign sport: he was a bullfighter in his own right, el único matador, and to his extreme satisfaction more than a little Spanish. He fashioned himself as a sort of cultural ambassador to Spain, singularly capable of introducing bullfighting to his American countrymen. ‘I shall not return to my hometown, Brooklyn, until I have gained fame throughout Spain,’ he told the Eagle. ‘I am sure that as soon as Americans are able to understand the beauty of this art, they will take to it, the same as they have taken to other sports.’ He joined an elite group of Spanish bullfighters whose company he continued to keep for decades.

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Read all the categories in our Best of 2020 year-end collection.

Longreads Best of 2020: Business Writing

All Best of Longreads illustrations by Kjell Reigstad.

Through December, we’re featuring Longreads’ Best of 2020. After revisiting hundreds of business stories picked by the team this year, we’ve narrowed down our favorites. Enjoy these nine reads, including coverage of the wildest startup collapses and in-depth explorations of pandemic insurance, TikTok content houses, 5G, and the state of the fossil fuel industry.

If you like these, you can sign up to receive our weekly email every Friday.

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Unlucky Charms: The Rise and Fall of Billion-Dollar Jewelry Empire Alex and Ani (Aaron Gell, Marker)

Carolyn Rafaelian spent 15 years building a jewelry empire, making her company, famous for its $30 expandable wire bracelets, one of the fastest-growing fashion brands ever. But what led to Alex and Ani’s fall? Aaron Gell’s piece has it all: an odd alliance between a spiritual “earth mother” founder and an Army major-turned-CEO, business decisions influenced by astrology and New Age practices, a $1.1 billion gender discrimination lawsuit against Bank of America, and even a spinoff into a “university”that was meant to share the company’s life lessons with the world.

Buzzwords aside, the curriculum mostly aimed to impart an essential truth behind Alex and Ani’s appeal: Its products were not just glittery trinkets but spiritual armor designed to protect, inspire, and ennoble the bearer as she made her way through the world. Retail employees at the company’s “bangle bars” were known internally as “bar tenders” for their patience and empathy. They’d draw out customers’ personal stories — what AAU president Dennis Rebelo called “story birthing” — prescribing just the right stones and talismans (the Eye of Horus for protection, light, and reason; the dragonfly for grace, change, and power) for each unique journey.

Read more…

A Box of Meat and $100 For Your Life

A sign for The Smithfield Foods pork processing plant in South Dakota, one of the countrys largest known Coronavirus clusters, is seen on April 20, 2020 in Sioux Falls, South Dakota. - Smithfield Foods pork plant in South Dakota is closed indefinitely in the wake of its coronavirus outbreak. (Photo by Kerem Yucel / AFP) (Photo by KEREM YUCEL/AFP via Getty Images)

As Nick Roberts and Rosa Amanda Tuirán report at The Counter, the meat packing industry — given basically unlimited liability protection from President Trump under pandemic health guidelines they wrote themselves — not only failed to protect workers from contracting COVID-19, they actually ramped up production to take advantage of the opportunity to increase sales and profits.

One plant, One World Beef, offered incentives to employees to work six days a week without missing a day for paltry bonuses of up to $100 and a box of meat.

In April, as the first wave of Covid-19 infections began to spread across the U.S., the nation’s largest hotspot wasn’t in New York City. It wasn’t in Los Angeles, Chicago, Seattle, or any major urban center. It was in Sioux Falls, South Dakota, a small city of about 190,000.

Specifically, it was in the Smithfield Foods pork plant on the north side of town, nestled into a bend in the Big Sioux River. By April 16, 644 cases had been traced back to the plant—44 percent of all the cases in South Dakota at the time—pushing Sioux Falls to the top of the New York Times’ list of single-source hotspots. The initial outbreak only grew as the weeks and months went on. As of September, Smithfield’s Sioux Falls plant had reported nearly 1,300 coronavirus cases among its employees, about one-third of the plant’s total workforce. Four of those workers died.

For a brief period, the crisis at the Sioux Falls plant was front-page news—a stark indication of the growing problem in U.S. slaughterhouses. But the nation’s attention had largely moved on by September 10, when the federal Occupational Safety and Health Administration (OSHA) finally cited Smithfield for failing to protect its workers at Sioux Falls. The announcement of this corrective action was, in a sense, historic: Smithfield was the first meatpacker to be fined by OSHA for a coronavirus-related violation. Yet the fine itself—a mere $13,494—told a different story. The amount translated to less than $10.50 for every worker who contracted Covid-19 from the Sioux Falls plant.

Under the previous owners, Brawley Beef (National Beef), the plant had the capacity to slaughter between 1,600 to 2,300 cattle on a daily basis. When One World Beef took over in 2015, CEO Eric Brandt said the company’s focus was on the quality of the meat over quantity, and would run a more streamlined operation—building gradually to a 700- to –1,200-cow daily capacity over the course of several years.

One OWB worker said that on a regular five-day week before Covid-19, employees would slaughter between 800 to 1,200 cows a day. But in spite of the ongoing pandemic, production at One World Beef Packers increased in the spring. In March, April, May and June, on average 1,500 cows were slaughtered every day, six days a week according to an employee who works in fabrication, the last stage of production at the plant.

In other words, the company cranked up its output during a time when it was likely to be financially advantageous to do so. U.S. cattle slaughter rates dropped precipitously during that four-month span; at its lowest point in late April, beef processing was at 60 percent of its previous year’s capacity. At the same time, and likely as a result of plant closures, wholesale beef prices jumped markedly during the period between April and June. For packing plants that managed to stay open, processing as many cattle as possible could be highly lucrative—even if it posed serious risks to worker health.

As fears around the pandemic grew, more and more workers began staying home from work, leaving One World Beef understaffed. In an attempt to maintain the brisk rate of production, the company offered weekly bonuses throughout April. Workers who came to work Monday through Saturday without missing a day were given a bonus of $50, later raised to $100, which was accompanied by a box of meat valued at $200 to $300.

Workers were told if they were scared to enter the facility, they could refrain from coming to work, but multiple employees told us they were warned by supervisors they might be transferred to another area of the plant, be demoted, or replaced altogether if they chose not to come.

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