Search Results for: Nature

Wrestling With My Father

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Brian Gresko | Longreads | June 2018 | 14 minutes (3,488 words)

 

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When I was a child, it seemed my dad only touched to hurt. Hugs were scarce, and cuddles not an option for “big boys.”

My family ate dinner early, and when I was about 8 and my brother 4, we would beg Dad to wrestle after we cleared our plates. Most evenings he said no, choosing instead to do push-ups and sit-ups or, more often than not, watch the news. But occasionally, according to some calendar our childish minds couldn’t fathom, he agreed, and we’d take up position in the living room.

In our corner at the foot of the steps, my brother and I would huddle, ready to rush him. This was our only move. Swarm, then clasp our tiny bodies to his great one, hoping to drag him to the ground with our weight. A kind of violent embrace.

My dad, on his knees in sweats, gigantic mitts at his side, had a variety of assaults, which he would announce with monstrous growls.

The Scissors! Lying on his side with me between his thighs, he squeezed downward, crushing me in the middle. I was sure my insides were going to come out of my mouth or into my pants. My mom, dishes done, passing us on her way up the stairs, would chastise him. “You’re going to give them hernias!”

The Claw! With fingers splayed, he grabbed my chest, digging into the flesh as if he could rip out the heart, still beating. “No, Dad, no!” I screamed while my brother, tenacious as fuck, pummeled him from behind till Dad swatted him onto his ass. Then the claw would rain upon him, and I’d be at Dad’s back, trying futilely to rescue my wailing brother. Later, the bruises formed constellations around our nipples.

The Steamroller! Instead of pinning us, Dad would roll his whole body across ours, back and forth, again and again, the only time I recall touching parts of him like his thighs or his back or his hair. The force of his mass would mash us against the carpet, giving us rug burn, knocking the wind from our lungs.

Forget screaming“uncle”: with us trapped under his knees, Dad commanded we beg our mother for help. As the pressure built, we’d holler at the top of our lungs for her, the game no longer so fun. Sometimes she came to the top of the stairs, crying. “You’re hurting them!”

“Oh, lighten up,” he’d say. “We’re roughhousing.”
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‘I Love What Human Voices Do Together’: An Interview with Neko Case

AP Photo/Tony Avelar, Getty, Photo illustration by Katie Kosma

Will Hermes | Longreads | June 2018 | 16 minutes (3,994 words)

 

Neko Case’s powerhouse voice often seems like it might level buildings. But during a 20-plus-year career, she’s put it to more constructive use, both as singular solo act and poster child for collective creativity. She formed the ultra-meta power-pop band The New Pornographers with kindred singer-songwriters Carl Newman and Dan Bejar in 1997, the same year she released her own debut LP, The Virginian, an eclectic, country-rock-leaning set of originals and deep-catalog covers: Everly Brothers, Loretta Lynn, hard-rock-era Queen. Since then she’s worked alternately with the Pornographers and under her own name, with occasional side projects like The Corn Sisters (with Carolyn Mark) and Case/Lang/Viers (a low-key supergroup with k.d. lang and Laura Viers).

Hell-On, Case’s new solo album, is as gorgeous, imaginative, and potent as any she’s made, and for a lyricist given to imagistic fables and emotional meditations, it responds to the cultural-environmental moment vividly. Songs address nature’s ruthlessness (it’s worth noting Case’s Vermont home was destroyed in a fire when she was out of the country recording songs), along with the vagaries and tyrannies of gender, the endless negotiations of love, and even the attributes of the Almighty. “God is not a contract or a guy,” she sings on the title track, a faintly hallucinatory waltz that tilts into an empowered come-on (“I am not a mess/I’m a wilderness, yes/The undiscovered continent/For you to undress/But you’ll not be my master/You’re barely my guest,” she instructs). Another standout, “Halls of Sarah,” casts a #metoo side-eye at the trope of woman-as-muse (“Our poets do an odious business loving womankind/As lions love Christians”). At the same time, “Sleep All Summer,” a song by ex-bandmate Eric Bachmann, is a heartbreaker about faded love that feels like a forgotten classic.

The recording sessions enlisted a busload of other fellow travelers: Viers and lang, punk/pop/queer/ feminist/fashion icon Beth Ditto, veteran grunge crooner Mark Lanegan, Swedish indie-pop scientist Bjorn Yttling, various Pornographers and other long-time associates, a squadron of whom are on the road with her this year. At a tour stop in Brooklyn in May, bandmates Rachel Flotard and Shelly Short formed a powerhouse frontline with Case at the club Littlefield, delivering new songs like a trio of wisecracking Valkyries.

I spoke to Case on the phone some days later, as she was idling in San Diego before another show. She spoke about the album, the fire that recently destroyed her house, and the 2016 WOMANPRODUCER conference, which she described as “the highlight of my professional career.” This interview has been edited for length and clarity.

(You can listen to an audio version of this interview on the Longreads Podcast here:

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Could South Africa’s Drought Help Deconstruct the Divisions of Apartheid?

Photo by Melanie Stetson Freeman/The Christian Science Monitor

Lately, we read a lot about the wealthy one percent building bunkers and buying land to insulate themselves from future natural disasters. But natural disasters can also level people in different socio-economic classes, because when you’re clawing your way out of rubble after an earthquake or scavenging for food, it doesn’t matter if your Bill Gates or Bill from around the way.

For the Huffpost’s Highline, Eve Fairbanks takes us to drought-stricken Cape Town, South Africa, where the white elite and residents of poor townships have taken austerity measures: washing dishes in recycled water; letting bodies go unshowered; even leaving turds in the bowl to reduce the number of flushes. Fairbanks talks with government officials, visits a spring and stays in a friend’s water-wise apartment to make sense of the drought’s effects. One surprising effect: By undermining the ability to have a pool, a long shower, a vast decorative yard, and deconstructing what Fairbanks calls the “infrastructure of privilege,” the drought has forged alliances between many white and black Cape Town residents. What remains to be seen is whether this expanded Cape Town community will last once the drought ends.

After the coming of democracy, though, both rich and middle-class South Africans did build fortresses: high, spike-topped walls went up around houses. Many of these houses don’t even have a bell, discouraging unknown visitors. Instead, they display ominous plaques depicting a skull or the name of the security company the owners have paid to answer their panic buttons with teams wielding guns.

Spend even a little time with the wealthy or white, though, and you’ll understand how aware they are that such fortresses can’t—or even shouldn’t—hold. One friend of mine near Johannesburg mused to me recently that both he and his wife know “deep down” that white people in South Africa “got away with” hundreds of years of injustice. His wife almost never admits this, or reveals any ambivalence about their four-bedroom house and self-isolating lifestyle, for fear of making herself “a target for retribution”: In other words, that ceasing to defend the goodness and justice of the white lifestyle might legitimize crime against whites or the expropriation of their land. Privately, my friend suspects “the opposite”—that keeping mum and apart is what inflames black anger. His wife’s view generally wins out, as it seems the more prudent. But what if there were a nature-made excuse to tear down those walls and try out a different kind of life? Would it really be so bad?

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A Crocodile In Paris: The Queer Classics of Qiu Miaojin

Getty / Photo illustration by Katie Kosma

Ankita Chakraborty | Longreads | June 2018 | 14 minutes (3,488 words)

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D. H. Lawrence once used chickens to describe the two types of women. “A really up-to-date woman is a cocksure woman,” he wrote. “She is the modern type.” The other type is the hensure woman, “the old-fashioned demure woman who was sure as a hen is sure, that is, without knowing about it.’’ He made other references to animals and birds in his work. He often used animal lives to describe sex and male desire. “The desire rose again, his penis began to stir like a live bird,” he wrote of a man in Lady Chatterley’s Lover. Lawrence seemed to have thrived on the animal spirit. Three of his novels are called The Fox, Kangaroo and The White Peacock. The more the woods and the old mining towns of his childhood seemed to give way to industrial landscapes, the more easily animals seemed to have crept into his work. Often animals from these woods were imagined as insensible beasts. The chapter called “Rabbit” in Women in Love comes to mind, where a pet sustains society’s adulation until the moment it turns against its owners.

The beast in Qiu Miaojin’s modernist novels is the consciousness in women that is aware of a deviant lust for women’s bodies. Their sexuality is their bestiality. They are not necessarily hiding behind their animal pseudonyms; but like any animal on the fringes of human settlement, they are loath to be seen. The narrator of Qiu’s cult classic Notes of a Crocodile declares very early in the novel, “I’m a woman who loves women.” Yet a few pages later, she thinks she should carry her shoes and tiptoe down the streets of Taipei so that no one will notice her. In the industrial Taiwanese society where these women live, the self-discovery of their own sexuality is considered to be a social condition and an epidemic. It made for cheap television and for trash talk. In Taiwan in 1987, everybody seemed very interested in knowing who among them was a “crocodile.” Read more…

Storytelling the Flood: Elizabeth Rush on Empathy and Climate Change

Allard Schager / Getty, Photo illustration by Katie Kosma

Bradley Babendir | Longreads | June 2018 | 16 minutes (4,357 words)

In Rising: Dispatches from the New American Shore (Milkweed Editions), Elizabeth Rush visits people and communities made immediately vulnerable by the rising sea levels that are brought on by climate change. She interviews people who have lost their homes, their loved ones, and the world they once knew to flooding and other disasters. Some just want to be able to afford to leave, while others are willing to withstand everything to stay.

Rush pushes through the rhetoric around climate change to look closely at the consequences. Not the ones that will happen at some point down the road, but the ones that are happening now. She travels from Louisiana to Florida to California and elsewhere to see and try her best to understand what it is like to lose the ground beneath your feet.

We talked by phone about what led her to this book, what carried her through this book, and what comes next for her and her subjects. Read more…

When ‘The Real World’ Gave Up on Reality

MTV / Photo illustration by Katie Kosma

Rebecca Schuman | Longreads | June 2018 | 9 minutes (2,208 words)

 

The ’90s Are Old is a Longreads series by Rebecca Schuman, wherein she unpacks the cultural legacy of a decade that refuses to age gracefully.

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The most appropriate single epithet for MTV’s unscripted housemate drama The Real World is pioneering. Granted, given what the show and the oeuvre it birthed have since become — an indistinguishable procession of aggressively vapid ab models who take turns getting alcohol poisoning in a hot tub, no matter the show’s setting or purpose — the positive connotations of that word make it painful to use.

But alas, pioneering is accurate. Before producers Mary-Ellis Bunim and Jonathan Murray had the idea in 1992 to choose seven strangers at random, deposit them in a New York City loft, have their lives “taped” at a totally grungified 42-degree angle, and find out what happens, the very thought of someone going on television for no other reason than to live in an apartment with a bunch of randos was extremely novel.

What we so easily forget now, in an age where the country’s only housewives are Housewives, is that The Real World‘s early seasons were beloved by young adults precisely because they showed the largely-unremarkable exploits of largely-unremarkable (if mildly telegenic) young people. By “early seasons” I mean 1992-1996 — the 1997 season, shot in Boston, would mark the show’s transition from unscripted soap opera to unapologetic grotesque, a.k.a. what we now consider the reality-television standard. This transformation is one of the most notable — possibly most ignominious? — legacies of the ’90s, perhaps even more so than the mushroom cuts, black chokers, and off-kilter camera work.

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Small-Town New Hampshire’s Battle with Bears and Liberty

AP Photo/Mark Thiessen

The more removed our daily lives get from nature, the less we understand about the wild creatures who live around us. Fear grows in darkness outside our kitchen windows, extending the ancient archetype of the Big Bad Wolf to other species. In Grafton, New Hampshire, black bears have started killing domestic animals, invading personal space, even smacking one woman, creating a psychic and territorial battle between residents and the otherwise shy Ursus americanus.

For The Atavist, Matthew Hongoltz-Hetling traces the origins of this tiny town’s highly independent nature and its tense relationship with wildlife. He looks at competing theories of ursine behavior, and misperceptions about black bears versus the biological reality. What he found wasn’t a simple bear problem, but “a parable of liberty, disinformation, and fear. A parable, really, of America.” Exhibit A: the so-called cat massacre.

Andrew Timmins told me that he’d never received a bear complaint involving a cat, from Grafton or anywhere else. Plus, the idea that wild bears could acquire a taste for felines seemed dubious to him. When a Grafton resident told me about a bear that drained his biodiesel supply—a five-gallon container of two-year-old French-fry grease—I was reminded that bears will devour even the most loathsome fare, so long as it adds to their winter stores of fat. They’re after calories, not cuisine. Despite local perception, the cats of Bungtown probably weren’t the bears’ preferred target; they were just there.

Perception, though, matters a great deal when people craft stories about how they overcome obstacles and cope with conflict. Once the seed of the purported bear hazard was planted, stories nourished it. Often the light of reality was refracted such that it transformed an animal into a totemic version of itself: bandit or strongman, noble savage or mythic monster, bumbling idiot or cunning predator.

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Farming A Warming Planet: An Interview Nathanael Johnson

AP Photo/The Fresno Bee, Craig Kohlruss

California avocados are, for the moment, one of America’s most popular foods. Yet some experts predict that climate change could cut California’s avocado production in half by 2050. New weather patterns will also affect the state’s other tree crops, including citrus, almonds, walnuts, and pistachios. But even if rising sea levels flood many coastal cities, many Golden State farmers still plan on growing food for a living.

At Grist, food writer Nathaneal Johnson shows how California farmers are planning ahead for climate change while balancing their immediate economic concerns. Farming is a matter of long-term planning: Just because there was a drought for a nearly six years doesn’t mean farmers can remove their thirsty nut trees and plant strawberries. Fortunately, scientists are studying crop varieties to find ones that could perform well under new weather patterns. California farmers are currently experimenting with cover crops to hold water and improve soil, and testing ways to recharge aquifers before the new state law bans excessive groundwater pumping. Will this all be enough to save them, and the food we rely on? Read more…

‘I Was a Storm of Confetti’: Michael Pollan On Why It’s a Good Idea To Lose Your Self

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Hope Reese | Longreads | May 2018 | 17 minutes (4,468 words)

On April 19, 1943, the Swiss chemist Albert Hoffmann ingested a quarter milligram of LSD to confirm that it had caused the oddly fantastical journey he had experienced the day before. To his surprise and delight, he was not mistaken –– the drug opened up a new window of consciousness. The discovery caught the attention of other researchers, and by the 1950s, psychedelic testing was in full bloom, yielding promising results for people suffering from neurosis, schizophrenia, and psychopathy.

But as counter-cultural experimentation progressed and the drugs were taken out of the lab and into the wild –– think of Tim Leary, dubbed “the most dangerous man in America” by Nixon, and his controversial LSD experiments –– there was a backlash. According to the writer Michael Pollan, society “turned on a dime” against psychedelics. “You’d have to go back to the Inquisition and Galileo for a time when scientific inquiry was stigmatized quite the way this was,” he tells me. “And it’s a measure of how powerful that backlash was and how threatened powerful interests felt about what psychedelics were doing to society.” Read more…

‘Choose Marriage or Education’

(Juan Pelegrín / Getty)

Madhur Anand | Brick | Fall 2017 | 18 minutes (3,526 words)

May his head burn! Your words are rocks thrown at my forehead! I will peel her skin off! Threats and insults like these do not sound that bad in their native Punjabi. Even when they are directed at loved ones. Even when they come from your own mother. The pronouns are catalysts for combustion, a quick, irreversible reaction, with only ashes for proof. However, an English word like partition can sit in an Indian’s mouth for hours, or even for a lifetime, in motion toward something shapeless, and then melted, gone. Sometimes partition represents a noun (a broken door), sometimes it is a verb (to divide into parts), but it is never clear who is at fault. An Urdu poet once called partition a birthday party for anonymous and a funeral for unanimity. A mathematician saw it in his mind as a fractal, a Koch snowflake, a continuous curve without tangents. A political scientist speaks only of before-and-after maps, the thick red Radcliffe Line. Nobody ever truly understands one another. Translation is never simple.

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Mother makes chapattis. They are perfectly round, a circumference entirely calculable by first measuring a tangent, thanks to the discovery of constants. The first one she makes is reserved for the Brahmin, who will come later in the day to pick it up. The last one she makes is for a crow or a dog, whoever comes first. The rest are for us, but there must always be one left over at the end of the day, reserved for nobody, for nothing. That is how Mother would define abundance if she knew the word in English. How she achieves it, on the other hand, is a mystery. I am already bathed, dressed in my salwar kameez, and outside, content to throw five nameless stones onto the cement floor. I grasp them in my fist in groups of one, two, three, and then four while tossing another straight up. That one will fall either where I want it to or where it will. I hope for intersection but do not worry too much about the outcome. The five of us are here now. Mother, father, sister, brother, and me. There will come a time when I will be the only one left of us. Still up in the air. Read more…