Search Results for: New York Magazine

Flying Solo

Illustration by Katie Kosma

Jen Doll | Longreads | July 2017 | 24 minutes (6,048 words)

 

The day after my boyfriend of nearly a year broke up with me because I wasn’t an evangelical Christian also happened to be the day before a trip we’d planned together: five days and four nights in beautiful, sunny, USA-tropical Miami. It was supposed to be a romantic escape from January New York, gray in the best of instances but ever drearier on account of the swirling political anxiety and despair that followed Donald Trump’s election and inauguration. It was like the weather was in on everything that had turned us all upside down, too; it rained like the skies were weeping. (They had good reason, what with climate change.) Since November, politics was all anyone was talking about, all anyone could talk about. We’d been looking at each other with dazed, pained expressions while attempting to gird ourselves for what was next, and the nexts kept coming, faster and more furious. Talking about politics was increasingly exhausting, even when you did it with people you agreed with. But with my boyfriend, talking about politics had become something else.

It turned out that he had been living something of a double life, unknown to me upon perusal of his Tinder profile and most of the numerous dates we’d been on since. From May to fall he appeared as your typical liberal “coastal elite,” or at least my conception of one, which is to say, he wore plaid shirts and hipster sneakers, he enjoyed drinking and good food and Brooklyn bars and indie bands; he was sophisticated and smart and funny and sweet and quirky. He worked in the arts. He was, like me, writing a book. I never once saw him read a Bible.

Except. As we grew closer, this valuable information began to flow out, in fits and starts. He’d grown up evangelical, and even though I believed he’d moved on from what I considered a repressive childhood — after all, he was dating me, a person whose secularity very nearly dripped from her Twitter page; he was enough of a progressive to wrestle with the views of his Trump-voting parents and even criticize them (though not to their faces) — what appeared to be vestiges of those beliefs would pop up now and again in our conversations, emotional bombs that led to explosions.

After I participated in the Women’s March in New York City, he confessed he’d once been in a march, too. But, um, a pro-life one. “Ages ago, though, and it was pretty lame,” he said.

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To Win in Georgia, Ignore the Data and Follow the Signs

(Photo by Joe Raedle/Getty Images)

A few days ago, a colleague encouraged me to check out the donation page of Jon Ossoff, the 30-year-old Democratic candidate for Georgia’s 6th district. The graphics were simple and clear, the Apple Pay checkout appeared to be smooth, the increments of pay accessible to all. It was a slick operation. “But whatever you do, DON’T sign up for the emails,” he warned. “I get, like twelve a day.” Read more…

‘The Lily’ Would Like to Provide a Digital Media Repackaging of One’s Own

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In “A Room of One’s Own,” Virginia Woolf writes:

Women have served all these centuries as looking glasses possessing the magic and delicious power of reflecting the figure of man at twice its natural size.

The Washington Post announced Monday they are launching a new “for women by women” website called The Lily, named for the first newspaper “devoted to the interests of women.”

It’s no secret that journalism has long been, and continues to be, far more closed off to women than to men. A now-retired female investigative journalist once told me that when she was working at the New York Times in the 1970s and 80s, if she collaborated with a man on a story, the story could only be double-bylined if it ran on the front page. Otherwise, her name would be dropped, as editors felt a man needed the byline more than she did.

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In Bed-Stuy, the Ghost of Robert Moses is Alive and Well

Image by Mike Goren (CC BY 2.0)

It’s tricky to write about gentrification. Beyond the genre’s clichés (can you avoid the well-meaning, clueless pour-over barista?), there’s often a tension lurking between the stories of real people (whether the displaced or the invaders) and the broader, structural conditions that produce their respective urban migration in the first place. At n+1, an excerpt from Brandon Harris’ new book on Bedford-Stuyvesant draws a nuanced picture of one of the current epicenters of gentrification in the U.S. He shows how complex this phenomenon is on the ground (with various configurations of race, class, and personal history coming into play), and how inextricable it is from processes that started decades ago, including the discriminatory urban-planning policies put into place by 20th-century “Master Builder” Robert Moses.

In late August, Highline Residential, a realty company that was spending significant amounts of money developing Bedford-Stuyvesant properties, released a promotional video called This Is Bed-Stuy, in which smiling blond twentysomethings give a “neighborhood tour.” Many longtime residents found the video—in which the pair of pale hosts sip expensive coffee and brunch cocktails at recently opened establishments while offering testimony to the neighborhood’s amenities and vibrancy—deeply offensive, seeing no mention of the institutions with which they associated Bed-Stuy. Highline Residential didn’t give a shit about them, the general sentiment went, other than wondering when they’d get the fuck out. Suddenly New York magazine and the Daily News were falling over themselves profiling entire blocks of Bedford Stuyvesant real estate, interviewing generations of owners and tenants, publishing op-eds by black journalism professors who had long lived in the district, and interviewing women who had been pushed out to East New York, or all the way to the Rockaways. [Robert] Moses, and the forces of history that animated his mindset, would drive the dispossessed right out of this city if the market allowed.

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An Ode to Black Families: A Reading List

Photo by Johnny Silvercloud (CC BY-SA 2.0)

Moonlight tells the story of Chiron, a beautiful black boy coming of age in a dreadfully under-resourced section of Miami. As with any great work of art, it’s the tiniest details that reveal the most­­­ — the inflection of a phrase, the subtlety of a glance, the seconds of silence. Adapted from Tarell Alvin McCraney’s play In Moonlight Black Boys Look Blue, with cinematography so lush, the balmy humidity of south Florida oozes off the screen, Moonlight is filled with moments like this. It happens when young Chiron avoids eye contact with a drug dealer during their first encounter, and again when Chiron welcomes an unexpected friendship on the soccer field with clear hesitation. You can see it every time Chiron flinches at his mother, and in the need that remains in the shadows of his eyes when he does. It happens when his mother makes Chiron read books instead of watching TV. “Find something for you to read,” she says.

The first time I saw Moonlight, these small revelations of humanity disarmed me. I felt exposed, and had to turn away from the screen. How did the filmmakers know, I wondered, that growing up black could be so contoured with dark peril, so layered with pure, sweet joy? That yes, absolutely, a drug dealer could be a respite, a much needed stand-in for a father?  I realized its novelty is due in large part to the sheer, sad fact that it is rare to see black characters coming of age on screen. Two thirds of the movie is dedicated to Chiron’s childhood and adolescence; we see his intelligence and sensitivity unfurl, retreat, and finally unfurl again.

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The Best Longreads From Trump’s First 100 Days

Illustration by Kjell Reigstad

Michelle Legro | Longreads | April 2017 | 7 minutes (1,773 words)

 

Day 100 is a Saturday, which is good because Donald Trump should probably get some rest. Saturdays are usually fairly easy for the president—he took the first one off right after his own inauguration—a day he can kick back and enjoy some quality time with a piece of chocolate cake at Mar-a-Lago.

The Trump Administration introduced the American people to a new kind of time, one that moves with a glacial tick of the clock, but with the drama of a high school lunch period. To look back on the early days—yes, that was three months ago—is to find reporters breathlessly navigating the events of a single day in a flurry of tweets, with little time for a proper write-up before the next dramatic turn of events. We found ourselves asking what the fuck just happened today? as it became harder and harder to remember what happened an hour ago, let alone a day. However, it quickly became clear that journalists were digging in for the long fight. And while the best reporting has often been short, spry, and effective in these first crucial days, these were some of the longreads that stood out.

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The Top 5 Longreads of the Week

Rachel Dolezal (Colin Mulvany/The Spokesman-Review via AP, File)

This week, we’re sharing stories by Ijeoma Oluo, Michael Hall, Erika Hayasaki, Jerry Saltz, and Caren Chesler.

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Before Becoming an Art Critic, Jerry Saltz Wanted to Draw 10,000 Dante-Inspired Altarpieces

(AP Photo/Evan Agostini)

In a revealing memoir piece at New York Magazine, Jerry Saltz — the magazine’s art critic — retraces his early years as an artist in 1970s Chicago (spolier alert: it didn’t work out). It’s a gripping read not just for artists and art lovers, but for anyone who’s ever grappled with the tricky interplay of productivity, mediocrity, and coming to terms with one’s own limitations. Despite his failure to build a career as an artist, I loved how absurdly (admirably?) ambitious his plans were for his magnum opus: composing 100 illustrated altarpieces for each of Dante’s Divine Comedy cantos, for a total of 10,000:

I began my “Inferno” project just before dawn on the Thursday before Easter 1975, because Maundy Thursday is when Dante’s story begins in the poem — lost in “the dark wood of error,” having strayed from the “true way.” I planned to finish on Easter, the same day Dante finished his own journey, in 1300. I would finish in 2000, by which time I would have made 100 opening-and-closing altarpieces for each of the 100 cantos of The Divine Comedy. The 10,000 finished altarpieces were supposed to represent an idea of the infinite and a way to set myself free. Why Dante? Especially as I barely read at all and didn’t believe in God? I think because The Divine Comedy, which is a gigantic organized allegorical system where every evil deed is punished in accord with the law of equal retribution and divine love, supplied me with the formulated structure I craved. The highly established internal architectonics, the almost primitive definitiveness, what Beckett called the “neatness of identification,” were psychological shelter and weapons of revenge for me. A way to right my own world, to grasp an order like that in the Bible: “all things by measure and number and weight.” Most of all, it was a vision of justice — the good being rewarded and the bad getting their punishments.

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The Top 5 Longreads of the Week

(AP Photo/Jake Simkin)

This week, we’re sharing stories by Reeves Wiedeman, Monica Mark, Taffy Brodesser-Akner, Daniel Duane, and Danny Chau.

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Are Regular Russians Ready to Take On Vladimir Putin?

Protesters wave a national flag as they crowd in downtown Moscow on March 26, 2017. (AP Photo/Ivan Sekretarev)

The Russian presidential election is a year away, but protests have already begun. Last week, images of Russians being carried and even dragged from Moscow’s Red Square spread throughout the Western media. Then came the crackdown—blocked access to web pages and social media showing the photos, and a criminal case against the protesters. Earlier this week, the square was nearly empty despite another planned action.

The protests demanded the resignation of Prime Minister Dmitri Medvedev and objected to widespread corruption, but they also served as a rare moment of rebellion in a country that rarely dares defy its leader, President Vladimir Putin.

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