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The Top 5 Longreads of the Week

The Edmund Pettus Bridge in Selma, Alabama, where civil rights marchers attempting to walk to the Alabama capitol in Montgomery for voters' rights clashed with police in 1965. (Brendan Smialowski/AFP/Getty Images)

This week, we’re sharing stories from Rahawa Haile; Hannah Dreier; Rukmini Callimachi; Mary Anne Mohanraj, Keah Brown, S. Bear Bergman, Matthew Salesses, and Kiese Laymon; and Molly Fitzpatrick.

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Digital Media and the Case of the Missing Archives

(Walter Zerla / Getty)

One of the poems that earned Robert Frost the Pulitzer Prize in 1924 is titled “Nothing Gold Can Stay,” and puts forward the claim that nothing, especially nothing beautiful, lasts forever. I thought of this recently when I was considering the impermanence of digital media. As Maria Bustillos wrote for the Columbia Journalism Review earlier this year, digital media came at first with “fantasies of whole libraries preserved on a pin.” Digital writers often revel in the notion that they have limitless space, unlike their print counterparts who squish their reporting to fit precious column inches. But increasingly we’re learning how ephemeral that space is.  Read more…

A Clarifying Dose of Reality (TV)

fox broadcasting

Valentina Valentini | Longreads | April 2018 | 9 minutes (2,320 words)

 

After 16 hours, 5 hot dogs, 2 nacho bowls, 3 sodas, and 20,000 people, I felt more like an idiot than an idol.

***

Walking down the steps to Qualcomm Stadium’s field level, I wondered how I’d gotten there. Four days prior I was tuned into my go-to San Diego radio show, “AJ’s Playhouse” on 99.3 FM, when they plugged upcoming American Idol auditions. I cursed aloud to no one, because two years earlier — as an even younger and more attention-hungry woman — I’d promised myself that if they ever came to the city I was living in I would audition.

Ten years later, as a supposedly mature 34-year-old, seeking 15 minutes of fame is very low on my list of priorities, far below items like “find a great yoga studio” and “figure out which hair dye covers grays best.”

But back in 2008, there I was on that Saturday morning. I arrived at 9 on the dot to stand in line, eager. It took two hours — just to register.

***

I met sleek Barry and cherubic Rory while waiting in that godforsaken first line. (If only I had known what was to come.) They were a couple from Hillcrest, the epicenter of San Diego’s LGBTQ scene, hopping with gay bars and the city’s annual Pride Parade. Barry was auditioning, and Rory was there for support. I’d come alone, so my two new besties were a welcome addition to a morning crowded with narcissists. (Not including us, of course.)

Lacking for distractions in line — these were the days before cell-phones-as-mobile-entertainment-centers — we formulated theories about how it was all going to go down. Would we meet Paula and Randy? Would Simon deign to set foot in a stadium if he weren’t the halftime entertainment? Would it be filmed? Who were the crazies going to be? You know, the ones whose auditions are so ridiculous that they get aired for that reason alone.

We were excited — in retrospect, naïve is more like it — and never imagined the cattle call that was to unfold over the next 24 hours. The mastery of producing a show like this is to never let them see the wizard. But we were the wizards — all 20,000 of us, hundreds of thousands if you add up the people for all the other cities — and in my case, the wizard was a beaten-down twentysomething, mascara mixing with sweat, hopes of stardom ripped out of her sticky-with-junk-food hands.

Two years earlier — as an even younger and more attention-hungry woman — I’d promised myself that if American Idol ever came to the city I was living in I would audition.

After (finally) successfully registering, we decided to meet at Barry’s house at 3:30 a.m. — yes, a.m. — the next day to head to the stadium. I was glad to have joined up as Three Amigos and thankful that Barry and Rory were so welcoming to a near stranger. The rules explicitly said no camping, so we were confident there wouldn’t be too big of a crowd by 4 in the morning.

There were 5,000 people.

Someone with a loud bullhorn told us we’d be shuffled in by 8 a.m. They didn’t use the term shuffle, but I assure you, we were shuffled. And it wasn’t until 9 that the line — a disorganized mass, 20 bodies wide, each only centimeters from the next — began to trundle forward. Some cheered as the prospect of getting into the stadium became a possibility. The sound of those whoops coincided with the moment when excitement began to bleed out and embarrassment began to creep in.

Forty-five minutes and 50 feet later, we were at the front of the line. They were letting groups of about 100 through the side gate to the outer ring of the stadium, making us duck under a rope. Oh the horror of it. It felt like the start of the Boston Marathon, except these competitors were caked in makeup, some balanced on heels, some carrying pillows and curling irons and banjos; some with big hair and some with greasy faces. One person had even brought their own music stand. And as the cameras closed in on the overtly gregarious ones — answering our question from earlier as to whether or not this would be filmed — I wanted to be peppy like them and give a gorgeous smile for the camera. But the sinking feeling that I was a cow being prodded along just made me want to give the finger instead.

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Unruly Bodies

Longreads Pick

At Medium, Hunger: A Memoir of My Body author Roxane Gay created this excellent pop-up magazine, to be delivered in installments over four Tuesdays in April — “a month-long magazine exploring our ever-changing relationship with our bodies,” she writes. “I knew exactly what I wanted to do — to create a space for writers I respect and admire to contribute to the ongoing conversation about unruly bodies and what it means to be human.” She tapped 24 writers to contribute. This first edition features an introduction by Gay, and essays by Randa Jarrar, Kiese Laymon, Matthew Salesses, Keah Brown, S. Bear Bergman, and Mary Anne Mohanraj. To come in the next three editions: Carmen Maria Machado, chelsea g. summers, Kaveh Akbar, Terese Mailhot, Casey Hannan, Samantha Irby, Tracy Lynne Oliver, Kelly Davio, Brian Oliu, Mike Copperman, Danielle Evans, Jennine Capó Crucet, Megan Carpentier, Kima Jones, the writer known as Your Fat Friend, Gabrielle Bellot, Mensah Demary, and larissa pham.  

Source: Medium
Published: Apr 3, 2018
Length: 76 minutes (19,039 words)

Where Have You Hidden the Cholera?

getty images

Rowan Moore Gerety | Excerpt adapted from Go Tell the Crocodiles: Chasing Prosperity in Mozambique | The New Press | February 2018| 19 minutes (5,070 words)

 

Stones and brickbats were thrown at the premises, several windows were broken, even in the room where the woman, now in a dying state, was lying, and the medical gentleman who was attending her was obliged to seek safety in flight. Several individuals were pursued and attacked by the mob and some hurt. The park constables were apparently panic struck, and incapable of acting.

— Liverpool Chronicle, June 2, 1832

Rioting and social unrest in response to cholera was not entirely confined to Britain. Civil disturbances arose in Russia in 1830, and were followed elsewhere in mainland Europe in 1831. In Hungary, castles were attacked and nobles murdered by mobs who believed the upper classes were responsible for cholera deaths.

— Gill, Burrell, and Brown, “Fear and Frustration”

It was a story of bicycles.

— Domingos Napueto

In October 2010, a government laboratory in Port-au-Prince confirmed Haiti’s first cholera case in nearly a century. The Ministry of Health quickly flooded the airwaves with spots urging residents to wash their hands and treat their water. International observers who were surprised that cholera would resurface after such a long absence reacted skeptically at first, but the disease’s path of devastation quickly proved them wrong. The outbreak tore through the central plateau and up and down the coast of the Gulf of Gonâve, the bay that forms the hollow middle of Haiti’s horseshoe-shaped map. Four thousand five hundred people died, and nearly three hundred thousand fell ill.

Cholera was a second, shattering blow to a country already crippled by an earthquake that had struck earlier that year, destroying much of the capital and leaving more than a hundred thousand people dead. Where had the disease come from? Had the jostling of tectonic plates during the earthquake unleashed cholera-carrying waters in the Gulf of Mexico? Had benign strains of the cholera bacterium already present in Haiti somehow morphed and become virulent? Suspicions quickly fell on a contingent of Nepalese soldiers with the United Nations Stabilization Mission in Haiti, MINUSTAH, whose camp was in Mirebalais, near the outbreak’s start, and where sewage was said to have leaked into a tributary of the Artibonite River. Cholera outbreaks occur in South Asia every single year, and it was presumed that UN soldiers had unwittingly carried the pathogen with them to Haiti.
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Sharp Women Writers: An Interview With Michelle Dean

Photo illustration by Katie Kosma

Natalie Daher | Longreads | April 2018 | 15 minutes (4,014 words)

The subjects of cultural critic Michelle Dean’s new book Sharp: The Women Who Made an Art of Having an Opinion — including Dorothy Parker, Janet Malcolm, Joan Didion and Nora Ephron — have appeared in Dean’s writing and interviews again and again over the years. It’s not difficult to see how Dean would develop a fascination with opinionated women — she is one herself. Lawyer-turned-crime reporter, literary critic, and Gawker alumnus, Michelle Dean’s has had her own “sharp” opinions on topics ranging from fashion to politics, from #MeToo to the Amityville Horror.

The book is more than just a series of biographical sketches. Dean is fascinated by the connections between these literary women — their real-life relationships, their debates, and the ways they were pitted against each other in a male-dominated field.

We spoke by phone between New York and Los Angeles and discussed writing about famous writers, the media, editors, and feminism.
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Queens of Infamy: Eleanor of Aquitaine

Illustration by Louise Pomeroy

Anne Thériault | Longreads | April 2018 | 16 minutes (4,246 words)

From the notorious to the half-forgotten, Queens of Infamy, a Longreads series by Anne Thériault, focuses on badass world-historical women of centuries past.

* * *

Looking for a Queens of Infamy t-shirt or tote bag? Choose yours here.

I’ve been fascinated by Eleanor of Aquitaine for as long as I can remember.

That sounds like it might be hyperbole or bragging, but it’s genuinely not. For most of that time I didn’t even know her name. To me, she was the royal mother in Disney’s Robin Hood, a woman whose maternal love — or lack thereof — shapes the entire story. Her eternal disappointment in her (admittedly very disappointing) youngest son, Prince John, is cited both by his allies and his enemies; John himself obsesses over her approval, at one point sucking his thumb in the middle of a muddy high street and wailing for mommy. Somehow, Eleanor manages to be a scene-stealer without ever being in a single scene. As a three-year-old, I was hooked.

Eleanor was a scene-stealer in real life, too, and more than deserving of her own Disney franchise. She was married to both the King of France and the King of England. (Though, sadly, not at the same time.) She was an early prison abolitionist. She raised a rebellion with her sons against their father. She heavily influenced ideas of courtly love and chivalry, concepts that during the Victorian age would become synonymous with the word “medieval.” No one was getting shit done like Eleanor.

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My Own ‘Bad Story’: I Thought Journalism Would Make a Hero of Me

Getty / Photo illustration by Katie Kosma

Steve Almond | Bad Stories | Red Hen Press | April 2018 | 9 minutes (2,223 words)

Since November 8th, 2016, like so many other Americans, I’ve lived in a state of utter shock and disbelief over the results of the presidential election and everything that’s followed. Author Steve Almond found himself equally bewildered, but after wallowing in dread for a few weeks, he decided to try to make sense of what happened through the lens he’s most familiar with as a journalist, author, and co-host of the New York Times ‘Dear Sugars’ podcast: story.  The result is his new book, Bad Stories: What the Hell Just Happened to Our Country, in which he contends that the election of a racist, misogynist, bullying con artist like Donald Trump wasn’t just possible; it was inevitable. He says it’s the result, in part, of our buying into a litany of “bad stories” — about our country and its history, and ourselves. In 17 essays, the book covers vast swaths of American history, from the birth of the nation, to Watergate to now. Here I’ve picked an excerpt of the book in which Steve focuses on his own “bad story,” and those put forth by the Fourth Estate, having to do with his years as a young journalist. I also spoke with Steve for an edition of the Longreads Podcast. – Sari Botton, Essays Editor

Listen to the Longreads Podcast Interview with Steve Almond here:

***

I spent the first half of my adult life almost comically devoted to the belief that journalism would preserve American democracy. I still believe in the sacred duties of a free press. But if I’m honest about my own experiences in the field, the lessons that emerge most vividly are these:

1. Reporters are no more virtuous than anyone else, and often less so

2. Journalism hardly ever tells the most important stories

3. Even when it does, not much happens

***

Consider this story: the summer before my last year in college, I took an internship at the Meriden Record-Journal, a tiny paper in central Connecticut. I was asked, toward the end of my tenure, to undertake what sounded like an ambitious project: documenting 24 hours in the life of the city. I was teamed with a veteran reporter named Richard Hanley, an energetic psychopath who sustained himself on a diet of steamed cheeseburgers and Kent cigarettes and who, wisely, consigned me to the graveyard shift.

Had I been serious about this assignment, I would have consulted with police, city officials, maybe a historian to map out an itinerary. I would have hung out with workers on an overnight factory shift, tagged along with a cop, visited an emergency room or a jail or a radio station or a homeless shelter. Instead, I spent most of the night camped in diners and donut shops, cadging quotes from bleary waitresses, then roaming the empty downtown waiting, I suppose, for the essence of Meriden, Connecticut to descend from the dark summer sky and reveal itself, like an arch angel. I eventually retired to the bucket seats of my Mercury Bobcat.

This piece stays with me, I think, because it begins to capture the audacious fallacy at the heart of modern journalism, the idea that a subjective (and frankly haphazard) account of one night in Meriden, compiled by a lazy 20-year-old who has never even lived in the city, can be touted as a definitive version of the place.

Or maybe the lesson is this: my bosses actually liked the story I handed in. The executive editor later called me into his office. He was a towering silver-haired reptile, reviled by that entire small, ill-tempered newsroom. But he looked upon me fondly, probably because I was obsequious and poorly dressed. He floated the idea that I drop out of school and come to work full-time for him. When I demurred — and this part of the story I’ve never quite figured out — he slipped me an envelope with $350 cash inside. “Go buy something for your girlfriend,” he murmured mystically. “Go get her some cocaine.”
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The Writers’ Roundtable: Fiction vs. Nonfiction

Illustration by Kjell Reigstad and Katie Kosma

Eva Holland | Longreads | April 2018 | 23 minutes (5,900 words)

A lifetime ago, it seems, I used to write fiction. I wrote little stories on scraps of paper as a young kid; throughout grade school, I filled my unused notebooks with attempts at novels; I wrote a few short stories in high school and college. But since I started freelancing full-time a decade ago, I haven’t written a single line of fiction.

For a few years now, I’ve been intrigued by the writers who manage to produce both fiction and nonfiction work — the ones who excel on both sides of the divide. How do they do it? Why? Do they prefer one to the other? Does one feed the other? I had so many questions, I finally decided to convene another writers’ roundtable (last time around, we talked freelancing) and I asked a few writers I admire to weigh in.

Benjamin Percy is a Minnesota-based writer of novels (most recently, The Dark Net), comics, and the nonfiction book Thrill Me: Essays On Fiction. His nonfiction stories have also appeared in the likes of GQ, Esquire, Outside, and Men’s Journal. Taffy Brodesser-Akner is a staff writer at the New York Times, a contributor to GQ and many other fine magazines, and the author of a forthcoming novel. Mary H.K. Choi has written for Wired, GQ, The Atlantic, and more. Her first novel, Emergency Contact, recently debuted on March 27. Adam Sternbergh is an editor at New York magazine and the author of the novels The Blinds, Shovel Ready, and Near Enemy.

ORIGIN STORIES

Eva Holland: When I was younger, I admit I barely even understood that nonfiction writing existed, outside of daily hard news reporting. My understanding of “writing” was entirely “fiction writing,” and I only fell in love with magazines and narrative nonfiction much later. So, my first question is: What came first for you as a writer — fiction, or non?

Benjamin Percy: Growing up, my only doses of nonfiction came from The Oregonian, Time, Newsweek, Fangoria, National Geographic, and Archaeology Magazine. Most of my reading was devoted to novels — mass-market paperbacks with embossed titles and dragons on the cover — and that’s what I hoped to become when I stepped into my first creative writing workshop: a genre novelist. The first time I wrote something that resembled “creative nonfiction,” I was in my mid-20s and only attempted it because a magazine approached me about an assignment.

Taffy Brodesser-Akner: I was absolutely, definitely, without a doubt going to be a fiction writer or a screenwriter. And then I wasn’t! When I left NYU with a BFA in screenwriting, I realized I had zero version of a plan. I didn’t know what to do, so I got a job that was advertised in the New York Times classifieds (a fiction writer might call this foreshadowing). It was to work at a Soap Opera Magazine. I was still writing screenplays, but they weren’t good—they were cynical, in the way that ’90s screenplays were cynical. And I was taught how to write those things so that they would sell, not so they would be meaningful. So I worked at the soap opera stuff, and I wrote profiles of the actors. I was going to get back into fiction…one day. But it was always hovering in the background. It seemed very fancy to me, to write a novel. And very big and out of reach. I became a freelance writer after a time, and realized I couldn’t devote the amount of time to a novel that a novel would need because I couldn’t bet so many working hours on something that wasn’t a sure thing. Read more…

The Religion No One Talks About: My Search For Answers in an Old Caribbean Faith

Illustration by Missy Chimovitz

Sarah Betancourt | Longreads | March 2018 | 23 minutes (5,704 words)

 

There are things in life a Puerto Rican doesn’t talk about. One is the mesa blanca, or white table, in the laundry room, with statues of St. Michael, St. Lazarus, and others whose names you might not know. For years, I assumed leaving coffee in front of those other statues, trading out stale bread with new, and listening to nine days of prayers (la novena) after a death was just normal American life. Catholicism was for Sundays; Espiritismo was the rest of the time. By the time I was 9, I realized there was a reason my parents locked the laundry room door when white people came to our house.

***

The last thing I packed when I left Manhattan for Florida on September 12, 2015, was an old plastic rosary, worn and smelling of incense embedded in the yellowing nylon between each of the 60 beads. Seven hours later, I changed into a pink t-shirt in a dingy airport stall. My abuela loved pink. Twenty minutes after that, I was standing in front of a hospice, hating how bright the sunlight was, wishing away the flowers.

I didn’t recognize her on the bed until I saw the familiar grey blue of her eyes. I was hoping that in her mind, she was on a beach somewhere, maybe dipping her feet into the sands by her hometown in Puerto Rico, not here, in this bed, in this 50-pound body. My godfather puffed up his chest and said, “She’s been traveling this week. Seeing people.”

She should have been dead days earlier. Everyone said, “She waited for you. She needs to speak with you.” Her last words (“estoy cansada,” “I’m tired”) were spoken a week before. Alone in the room, I pulled over a chair, and touched her arms. She lay completely still, her drifting right eye trying to focus. I dipped a Q-tip in water to wet her hard tongue, brushed her hair as it fell like snowflakes on my hands, pulled out my Chapstick to give her lips relief. No reaction.

Catholicism was for Sundays; Espiritismo was the rest of the time.

I had forgotten that her solace couldn’t be found in the physical. Santa Betancourt had been a spiritual woman for every single one of her 94 years. As a trained healer in the faith of Espiritismo, she had people asking her to fix them, to solve their problems. Every time I saw her, I would greet her with un beso (a kiss) and “la bendicion,” not knowing for many years that it was more than a phrase of recognition, but a request for her blessing. I had never seen her ask anyone but God to heal her own pains. She hated going to the doctor.

I pulled out the tiny blue book she had given me, hoping that the complex religious words would make some sense. I placed the rosary in her hand and asked her if she wanted me to pray. I mentioned it wouldn’t be great — I had been agnostic for 10 years, and didn’t know what to believe. Her eye stopped swimming, and her finger moved. I pulled up the rosary on my phone, lay my head next to hers, and began.

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