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Publishing the Best of the Desert: An Interview With Ken Layne

AP Photo/Chris Carlson, File

Ken Layne is the writer, editor, and publisher of the Desert Oracle, a bright-yellow “field guide to the desert that covers the “strange tales, singing sand dunes, sagebrush trails, artists and aliens, authors and oddballs, ghost towns and modern legends, musicians and mystics, scorpions and saguaros” of the Joshua Tree region in California. We spoke with him after the publication of a recent profile in Pacific Standard, in which he explained how he designs and delivers each issue himself to desert outposts with as little as 30 people. 

Aaron Gilbreath: You grew up in the desert. Where exactly did you grow up in Phoenix?

Ken Layne: I was born and mostly raised in New Orleans, far from any desert, but I lived in Phoenix during the formative middle-school years. First on the poor side around Buckeye and Seventh Avenue ─ old Phoenix, a shack behind my uncle’s house. Vacant lots, railroad yards. We had motorcycles and Chihuahuas. My classmates were mostly Latino and Native American. I made one friend, this very poetic character, and he lectured me all the time on Aztlán, the Chicano cause. It was all new to me. He kept the tougher kids off my back, which was nice. My grandpa had been a coal miner, along with his father, and they all moved out to the south side of Phoenix on the Black Lung train. At least that was the story I heard now and then.

The other place was a nice little stucco house with a swimming pool,  a suburban elementary school a few blocks away. Most everybody was a white kid from Illinois or Michigan. My dad and his twin brother started an air-conditioning service business, so eventually, we could afford our own house. There was this big urban cowboy sort of honky-tonk nearby, huge place on a nearby big intersection on the northwest edge of town. My parents used to go there now and then. Just north of Greenway Road was wild desert, dirt roads through foothills, crazy saguaros with owl nests hanging out.

AG: I grew up in Phoenix, too. The city itself felt like any other, but one unique thing was how you could drive in any direction and be in the middle of undeveloped Sonoran Desert in thirty minutes. When did Arizona desert start to work its magic on you as a kid?

KL: I never much saw the natural world before we moved to Arizona. I never saw mountains all around, or mountains at all. But it was purgatory for my dad, something he had to endure again to finally earn enough money to move to San Diego. That’s the usual dream of kids who grew up in Phoenix of the 1940s and ’50s, especially the poor ones: Take the highway out to the beach and never come back. There are three generations of Laynes buried in Phoenix.

I liked it up in the foothills, in that mostly wild desert that began just across Greenway. I got to go to a science camp at this since-submerged place up at Lake Pleasant. We held gopher snakes and tarantulas, walked out under the stars, listening for owls and coyotes. It was fantastic.

AG: After your family moved to California, you started exploring the desert on your own. What did you do on those trips? Why were these experiences formative?

KL: Had a group of friends, oddballs mostly, from different parts of town. Four of us went out to Death Valley one freezing winter, Christmas break from high school. Everybody had part-time jobs so we had this narrow window, maybe 48 hours. We drove up in the middle of the night — after one of the guys finished work at a pizza parlor — in this other guy’s grey-primer VW bug with holes in the floor and springs coming out of the seats. A very cold night. Didn’t do much more than drive around, watch the sun come up over the wild desert, hiked a little, explored old buildings. I took a bunch of black-and-white pictures. Drove back in the middle of the night, listening to weird AM radio stations. It was romantic. Still is. That is my favorite thing in the world, just driving a desert two-lane at night, could be West Texas or the Four Corners, but especially Nevada and East California. A weekday night, alone with the radio, a motel and more driving ahead. A vague destination or purpose, with time to take sketchy dirt roads, to walk around outside, stop in used bookshops and little roadside taverns with E Clampus Vitus neon signs.

AG: Those desert drives are deeply romantic. They’re a good place to make a life. It’s interesting because many residents of big desert cities loath the desert. They like the sun, the pools, the mild winters. Are you trying to reach those people with Desert Oracle and convert them to the landscape’s wonders? Or are you trying to reach the converted?

That is my favorite thing in the world, just driving a desert two-lane at night, could be West Texas or the Four Corners, but especially Nevada and East California.

KL: The only propaganda angle is desert conservation, encouraging people to love these places for their wildness, for their desolation and spooky beauty. I try to make something that looks good in a desert home, that you’ll leave out when you’ve got people coming over. And maybe you learn about the animals, learn about the plants and the seasons, the folklore and history, both recent and ancient. And maybe you already have a backyard full of native plants and ground squirrels and roadrunners, and you want to encourage more of that, defend the wild desert where that’s still the norm.

People who love a place will fight for it, whether or not they live around there full-time, whether they’re in Palm Desert or Scottsdale, surrounded by strip malls and golf courses. You can still see the mountains! The best of the desert isn’t where most people live, anyway, all crowded together. The best of the desert is walking alone on a sandy trail, or being lost in a wilderness area and figuring out how to get back, or sitting alone in the rocks while creatures go about their business, or driving some mysterious road in the middle of the night, watching for cattle on the road and military drones and UFOs.

AG: The desert West is many things: its poisonous critters, prickly plants, spaciousness and deadly heat. It carries the burden of a distinctive mythology and politically charged climate. But it also evokes a feeling, a kind of mystic awe and reverie. Desert Oracle somehow manages to capture that elusive experience in its pages. Can you talk about trying to bottle that desert feeling?

KL: I like having minimal information when I’m exploring: rumors, oddly-worded signs, a sense of menace around a truck stop or a rest area, weird motels, out-of-date interpretive displays, Civilian Conservation Corps’ bunkhouses and trail stairways, the cheery and somewhat suspicious oddballs you meet in a campground outside Trona or Tonopah. With the Oracle, I try to keep it sparse. Easy on the eyes. I don’t want to give anybody eye strain. In telling stories of UFOs and Yucca Man and past civilizations and failed real-estate schemes, I want to dryly transcribe the weird stuff. I don’t want to oversell it. Like somebody calling you in the middle of the night and reading the police reports out of the paper in Barstow or Pahrump, like a radio announcer in a long war. I trust that the people who enjoy the Oracle are the people who read this kind of thing at night and get a sense of dread and romance that makes them feel alive to all kinds of possibilities. Alive and alert.

Like any old southwestern newspaper or quarterly, Desert Oracle is presented without fanfare. I don’t explain things too much. You can look up the rest if you get obsessed. And you will probably get obsessed with some of this material, and then you’re diving down internet rabbit holes and raiding used bookstores in the High Desert, seeking evidence. I despise those “Explainer” things that are so popular in the online media. “Here’s a complex subject that could provide years of intellectual pleasure should you pursue it, but we’re going to post some glib, error-ridden thing that nobody even bothered to proofread, and then you’ll be all set!”

AG: Preserve the mystery while sharing bits of it. Desert writer Edward Abbey was a big influence on you. How’d you first discover him? What did his writing and life teach you?

KL: After that first Death Valley trip, I was raiding the high-school library for regional books, anything about the wild desert. Desert Solitaire was there, with all the nature books. And like everybody who falls in love with the desert and that book at the same time, the deal was done. Abbey wrote beautifully, of course, but he also had that swaggering thing that appealed to me at that age. The brave poetic writer, etcetera, a lifetime of screw-ups, moments of beauty and transcendence.

You’ll find when you start hiking and learning about the wildflowers and the animals, some scold will often appear and start lecturing you, telling you all the things you’ve got wrong, everything you don’t yet know — the people who suck the joy right out of a place in their constant campaign to be validated as some sort of self-appointed expert. Abbey never did that, and that’s one reason why it’s so easy for people to fall for him. He’d often explain that he wasn’t a naturalist, wasn’t a biologist or geologist. He was a philosopher. In one of his books, Abbey claims his favorite desert birds are the turkey vulture and the “rosy-bottomed skinny dipper.” It’s very welcoming. A good teacher makes it enjoyable, makes it a pleasure to accumulate those little bits of knowledge we have about the desert, about the natural world in general.

AG: Abbey influenced me, too. I spent my undergrad years bushwhacking southern Arizona’s deserts and mountains alone. When I found Abbey’s books, I realized I wasn’t some crazy loner, just an enchanted youth fascinated by this place’s magic, and that I could try to write about it, too. He was my first role model desert rat. Do you identify as a “desert rat”?

KL: I like any dramatic, moody landscape. But I guess I’m most at home in the American desert, and mostly the parts of the Great Basin and Mojave with a minimum of other people. Harry Oliver mastered the “desert rat” thing with his Desert Rat Scrap Book that he self-published for 20 years starting in 1946. (Oliver was a self-taught architect and set designer who worked with director Cecil B. DeMille and built the Tam O’Shanter and Brown Derby in Los Angeles, before retiring to Thousand Palms to become a full-time desert rat.)

That’s a particular thing, that sort of cornball comedy, relocating the ornery hillbilly or farmer to another environment that is baffling to the city people. It’s a very American archetype, and I guess I picked up a little of that for the radio show, for my campfire stories. For myself, I seem to be moving toward something more like the early desert hermits of early Christian Egypt. Probably a one-room stone cabin that’s a daylong walk from the nearest person. I don’t want to farm or collect junker cars or have domestic animals or shipping containers everywhere, and I don’t want to see any human works: no power lines, no satellite dishes, no other houses, no visible homes. Come into the little town every week or three for a dinner out and a martini, check the PO box, then “See you next month.” Boy, that would be nice.

The people who enjoy the Desert Oracle are the people who read this kind of thing at night and get a sense of dread and romance that makes them feel alive to all kinds of possibilities.

AG: In his posthumous Abbey biography, The Red Caddy, desert rat Charles Bowden wrote: “Desert worship is a suspicious matter to desert rats. It is as if talking about what is out there will diminish what is out there. Also, as a group, we feel damn foolish admitting what we feel out there.” What do you make of that?

KL: Well I don’t feel foolish about it. And I don’t mind talking about it, now and then. But when you’re visiting with other desert people, you don’t need to convince each other of anything. It’s usually the new convert who needs to wax poetic and all that, and that’s a normal part of infatuation.

It’s a good feeling, building this link to a place, a bioregion, the part of the Earth where you’re going to settle in. People can go overboard at this stage but that is all right. Enthusiasm is necessary and generally in short supply. Most of us who choose to live in low-population desert places are looking for a minimum of human interaction anyway. A little goes a long way.

AG: In the recent Pacific Standard article about Desert Oracle, you describe how a black triangular object hovered beside your car before shooting off through the clouds ─ a UFO. What about that experience influenced your magazine’s vision or aesthetic?

KL: It is entirely possible that my preference for black geometric icons and dingbats influenced how I saw that particular UFO — and by “UFO” I mean an unidentified thing you could loosely describe as “aircraft” but more as “pulsating 100-foot-wide manta ray hovering silently next to your car, before it vanished in a point of light over the distant clouds.” It’s also a very popular UFO shape, seen for hundreds of years: the black arrow or triangle. They are still seen, often on country roads or desert highways. It’s a really particular kind of experience, from the many eyewitness reports I’ve read over the years. Usually goes from a brilliant light on the horizon to this enormous thing hovering nearby to a light streaking away in the opposite direction, at the speed of a shooting star. Robert Bigelow, the Las Vegas billionaire who had the Pentagon’s UFO study contract that the New York Times recently revealed, ran a black-triangle study for many years. After my own sighting in late 2001, I contacted them and was interviewed by one of their people. They eventually put out a report that said people see these things fairly often, and whatever they are remains unknown.

Desert Oracle #4, the UFO cover from 2015, has a UFO typographic symbol as the only cover art. It’s an “Adamski disk,” something George Adamski saw (or faked) around Desert Center, near the southeastern corner of Joshua Tree National Park. Just this black symbol on yellow cover stock. I love everything about that. It’s my favorite cover so far, and it’s echoed by the radio show’s art, the podcast logo you see on your phone when you listen to the show. My signs at the office in Joshua Tree look like that, too. It puts you in the right frame of mind.

But it initially felt kind of cheap to make a cover out of what is basically a printer’s dingbat, a wingding. I had been commissioning artists to do illustrations for the covers before that one, and the first couple issues have good covers. But the really stark covers are my favorite.

Since the 1990s, I was designing websites that mimicked tabloid newspapers, black and white with some primary spot color. And whenever a “real designer” came in, everything got crowded, too much of everything. Too much color, too many elements. The ultimate nightmare is the modern Internet page, with fifty different things blinking and yelling at you, a sewage mix of every color, every bad style of graphic, crowded and miserable. So I do it all myself now. I just learn as I go.

I’ve always liked one-color printing. Cheap offset printing, no two pieces exactly alike, blocky type, colored stock. I love that kind of poster art, like Eastern European political posters, or Southern California punk-rock flyers. The desert component was the regional press, these small shops in the Southwest that printed up their own field guides, rockhound books, trail & wildlife guides. You could buy them at gemstone shops in the desert, or gift shops at the state park. They had single-color printing for the usual reason—it’s cheap—but generally with desert-colored cover stock, so you’d have the utilitarian and modern 1950s and ’60s typesetting and graphics in black on a yellow or orange or sand-colored cover. Keep it sparse. All of that goes into the design for Desert Oracle. I used to run the photo-typesetting machine at this little backcountry weekly, at night when the regular typesetter was gone and the editor had his column ready after going through a few coffee mugs full of Bushmill’s, and I loved the limited choices for headlines, captions, and body text. The sans serif choices were News Gothic and maybe the Avenir or Futura families, and you could do so much with variations of shape and font size. Then you had easy-to-read serif fonts for text columns, Times New Roman, Schoolbook and such things. Add a little black-and-white illustration from the “Old West Clip Art” books. That combination is nice to read, just nice to look at.

Anyway, I suspect the really dramatic close-up UFOs are at least partly filled in by the brain of the observer, the witness. There’s a whole episode of my radio show, #25, on this subject. Jacques Vallee and John Keel often wrote about it. And it’s entirely possible that my own convincing UFO encounter on a desert highway triggered the part of the brain that produces or processes spiritual experiences — Saul on the road to Damascus and all that, the children at Fatima, people who “see” a spaceship from Star Trek or elves from a fairy tale — and that our aesthetics and culture fill in the details, the “message” if you get a message in the process. Or maybe not. UFO theories aren’t terribly interesting to me, all these 20th-century science-fiction tropes. In the return of Twin Peaks last year, there’s something like a mass UFO sighting in a small-town New Mexico. A girl and a boy are walking at night and she picks up a Lincoln penny. And then this Abe Lincoln robot-hobo is terrorizing the town, staggering through traffic, etc. That made a lot of sense to me.

AG: “Crowded and miserable” — that describes both the modern Internet pages and certain popular urban desert trails I’ve hiked. Part of each Desert Oracle issue contains reprints of naturalists and explorers writings, alongside original pieces. How do you find older material?

KL: Mostly it’s chosen as intentional propaganda. Mary Hunter Austin was really the first Edward Abbey. She wrote The Land of Little Rain, about the California desert, and she was this bohemian character, a socialist, an artist, an important early feminist in the literary and theater scenes. And she wrote beautifully about the desert, in a way that reads very well today. People should read Mary Austin. And it’s public domain, so I can afford it. Same with John Wesley Powell, who most desert people know as this great explorer, the guy who recommended that the United States leave the desert Southwest alone, as it could not support huge populations with its scant water. But he also wrote with style and wit, and you feel like you’re there with him, around the campfire after a day of adventure. I feel a kinship with Powell. His family, like my paternal family, originates in the West Midlands and wound up around the Ohio River, and we both had many early Methodist preachers in our line. His life was a series of adventures, his morals were good and progressive for his time, and he looked at the Southwest with the right eyes. We should’ve listened to him more, but much of the federal desert land we have today is the result of the land-conservation philosophy he helped create, and the recommendations to the U.S. government after his great explorations of the Colorado River and the interior West in general. It was in the last years of his life that the General Land Office ─ what became the Bureau of Land Management in 1949 ─ finally transformed from a land-giveaway agency controlled by the railroad monopolies to a bit more of a conservation mission. He’d be heartbroken to see “Lake Powell,” which is a monument to everything he was against. And of course we’re all still fighting about public lands and water rights, and there are a handful of welfare ranchers and deadbeats like those Bundy people who are paid instigators of an anti-American effort to strip us of everything that’s in the public domain, everything that is part of the Commons. One day we’ll stuff all those nutbags in a rocket and drop ’em on an asteroid somewhere. “It’s all yers, Clive!”

Then there’s Zane Grey, who is always kind of dismissed as this cowboy-book hack. When I finally got around to reading his stuff, I found it interesting and sort of poetic. He was living in a desert cabin and crossing the Southwest on horseback at a time when it was really a commitment to be out on the desert. I like reading something and realizing what I assumed about it was wrong, that there’s real value to the stuff, and then I like to spread it around if I have the opportunity. The old pieces also give you a sense of time as part of the space of the desert. All these times layered over the desert: the U.S. Calvary camels crossing the Mojave, Charles Manson hiding out in the Panamints, Minerva Hoyt sleeping under the stars in a desert canyon, Shoshone and Paiute stories of great ships in the sky, red-eyed monsters in the night.

AG: You must have a large home library.

KL: It’s spread out between home and the Oracle office and a storage unit. I’ve got most of the desert-related books close at hand, but one day soon, I hope, it will all be assembled together, at my secret ranch house that is many happy hours away from busy little Joshua Tree.

AG: What is your ideal Desert Oracle piece? What elements do you gravitate to in material?

KL: It’s not completely clear. It is mood more than subject. I’ll start off with a bunch of ideas for each book and sort of see which ones I still like when it’s time to fill the text columns.

AG: Lots of people who love magazines think it’s nuts to try to start a magazine. Charles Bowden often worked eighty hours a week running his magazine from a cluttered Tucson office. In his words, “The magazine is an obsession and I am at my happiest when I am obsessed.” You’re a one-person operation: You have to fill it, design it, distribute it, sell and promote it. You go store-to-store. How much time does Desert Oracle take? What sacrifices does independent publishing require of you?

KL: It’s one of those times right now when I haven’t had a day off in three months. It’s not always like that. Summer is slower. I can bum around a little more. Each book takes a good 60 days to put together, I’ve slowly figured out — two months full-time. And then I do all these other jobs that are part of Desert Oracle: a weekly radio show that needs to be written and produced and edited, these live performances at museums, hotels and campfires, talking to the reporters, running the goddamned social media accounts, invoicing and delivery, shipping out orders, tax returns, bookkeeping, postal permits. Somewhere in there you try to write and edit and design and proofread this little magazine. It’s every day all the time, and it’s depressing to always be so far behind on everything, but it’s ultimately a satisfying thing to invent and halfway manage to pull off. I had a whole thing in mind: Not just a print book with this certain look, but a radio show, live events and the sparse office with books and maps and yellow file cabinets — this specific desert thing layered over the existing reality, to make the existing reality better, cleaner and more romantic.

But it’s not a sacrifice at all. A sacrifice is working for some media corporation where everybody’s always in fear for their jobs, for their lives. It would be nice to have more money,  to be able to afford to hire a couple of people who see the vision, who would enjoy contributing to the thing. One day. Or not. I’m aware that it’s a singular pursuit and might always be that way.

AG: People either imagine magazines being these lucrative enterprises with fancy editorial parties and celebrity photo shoots, like Vanity Fair, or they imagine them as money pits that devour all your savings before leading to nicotine addiction and divorce. What are the financial aspects of running an independent magazine?

You cannot run your own business and be a good parent to your intellectual property unless you understand how the business works, at least how it works for you.

KL: Desert Oracle has been barely profitable since the first issue. It doesn’t make much, I rarely pay myself, and I run a tight ship. But I’m deeply against going into debt for things. You have to play whatever angles you’ve got, whatever strengths you’ve got, and see if that works, try something else if one thing falls flat. Stick to the vision but always be ready to go with it, wherever it goes. Having a small-but-loyal readership, a cult following, etcetera, can work out if you run a tight ship. You have to do pretty much everything, and you have to get some satisfaction from it.

There’s this idea that artists — designers and writers and musicians, that whole crowd — are supposed to be dupes when it comes to money, when it comes to contracts. You cannot run your own business and be a good parent to your intellectual property unless you understand how the business works, at least how it works for you. As a one-person publication, you can rarely afford consultants or “professional services.” I will not skimp on attorneys but I do my own accounting, I do my taxes. I am my own subscriptions-and-circulation consultant, I figure out the postal permits and the databases and the wholesale and retail mix. I design the envelopes and postcards, the invoices and the business cards, my work uniform, all that. I clean the bathroom and change the printer ink, and take packages and issues to the post office, proofread the issues and process the photos. There is always something to do.

You’re going to have do most everything, so you might as well make it the way you want. You have to create the whole world you will operate within, from your physical office to your daily schedule.

AG: Every generation includes ambitious people with literary aspirations who have something to say, and they start magazines and independent presses. Many universities have graduate publishing programs. What insights can you share with these folks about running your own magazine?

KL: If you’re doing something small, something that’s mostly your labor and vision, then stick to what makes you satisfied. Don’t let people bully you into putting a lot of stuff in the book that doesn’t please you. Don’t feel obligated to run anything. Don’t give out excess free copies if you depend on selling those books. Treat your readers and your retailers well. Answer their emails, at least the nice ones. Listen to them, because your loyal readers can point you to a lot of potential material, and because they’re people with interests very close to your own. You will meet good people and new friends through such work. They will generally forgive your mistakes and tardiness if they believe your work is done in good faith.

If the publication begins to get some attention, and you can make a living from it, then you are part of a proud American tradition of the small-town publisher, the country newspaper, the regional quarterly: Poor Richard’s Almanack, Leaves of Grass, the Territorial Enterprise, the Los Angeles Free Press. It’s a great life, especially if you pick a cheap area to live.

AG: One of Abbey’s problems, particularly with Desert Solitaire, is that his books’ popularity drew more people into his beloved quiet spaces than he was comfortable with? As his friend Charles Bowden put it in The Red Caddy, Abbey “launched thousands of maniacs into the empty ground and pulverized one of his favorite backwards of the Colorado Plateau.” As a publisher, does that concern you?

KL: Of all the human uses of the desert, people visiting national parks and monuments to sight-see and hike and camp is the best. And you want to convert these people from “Oh this looks great on Instagram” to “I will donate time and money for the rest of my life to non-profits that defend and protect wild desert.” We’re fighting this mafia federal government right now, these Russian mobsters trying to upend our beloved new desert national monuments, trying to upend California’s Desert Renewable Energy Plan, which was put together over a decade of hard negotiation between the Bureau of Land Management, the state government, the environmental groups and the renewable energy companies, years of public meetings and reports and science. These attacks on the environment and our parklands are completely out of step with California, with the modern West, where people place tremendous value on these weird wild landscapes that are near enough to all the big cities for people to escape for a weekend. The California parks and monuments are a steam valve for the densely packed California cities. It’s important.

I’ll complain like any local crank about the tourist traffic and how you can’t eat out most of the time, because we have very few restaurants and they’ve got lines out the doors in tourist season, which is now a solid nine months a year. But these are people here to appreciate the desert landscape, the flora and fauna, the run-down cabins, the wind and the sand. That’s good. We need these people on our side. Too many of these people is a good problem to have.

I’ve spent half my life out here chasing illegal hunters, trash dumpers and off-road motorcyclists tearing up the desert. It’s a lot easier to run off some illegal campers from Oakland or wherever. I always tell them where they can legally camp or point it out on their map.

AG: Endurance and armor are important survival strategies for desert creatures: come out at night, hunker down by day, grow slowly and develop a thick skin. Where do you see the magazine in five years?

KL: Hopefully it’s still here — hopefully we’re all still here! — hopefully publishing on a tighter schedule, maybe with a couple of employees, an editorial person and a production or layout person, maybe another several thousand subscriptions, some income from the radio show, some other things in the works, and mostly I hope I can do more driving around and walking around the desert. I had planned on a “couple days a week” made-up job as publisher and editor of the Oracle and that part of the scheme has not yet worked out. But it’s all right. Better than the usual alternative: Go bust and go back to working for somebody.

The Top 5 Longreads of the Week

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Jeffrey Greenberg / UIG via Getty Images

This week, we’re sharing stories from Chelsea G. Summers, Linda Villarosa, Ben Smith, Chappell Ellison, and Louisa Thomas.

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Chasing the Man Who Caught the Storm: An Interview With Brantley Hargrove

AP

 

Jonny Auping | Longreads | April 2018| 15 minutes (4,096 words)

 

In his recently released book, The Man Who Caught the Storm, Brantley Hargrove tells the story of an unlikely legend named Tim Samaras, who lived his life grappling with and addicted to one of nature’s most dangerous marvels.

Samaras was a tornado chaser with a simple but absurdly treacherous goal: to get close enough to a twister to glean data from within its core. Hargrove, who spent months on the road chasing tornadoes for the reporting of the book, retraces and recreates Samaras’ most dramatic missions, culminating on May 31, 2014 in El Reno, Oklahoma, where he would face off with the largest tornado ever recorded. That same tornado would take Samaras’ life along with those of his son, Paul, and fellow chaser Carl Young.

“We now live in an era when the Mars Pathfinder rover has touched down on the Red Planet,” Hargrove writes. “The human genome has been mapped. But twisters still have the power to confound even the most advanced civilization the planet has ever known.”

Samaras legacy and life’s work represented a crucial foundation for how to better understand and predict historically unpredictable tornadoes.

But The Man the Who Caught the Storm is hardly a meteorological textbook. Rather Hargrove weaves a uniquely American tale of adventure — “nowhere else on the planet do tornadoes happen like they do in this country,” as he explained to me — diving into the circumstances and makeup that leads a man to chase what he should be running from.

Lacking even a college degree, Samaras was an outsider in the meteorological community, who not only developed one of the most sophisticated information-gathering probes the field had ever seen, but also had the courage (or perhaps unrelenting urge) to personally drop that probe in front of a twister.

Hargrove sat down with Longreads to discuss tornadoes, his own storm chasing, and the addicting thrill of being in the presence of something that can cause unfathomable chaos and destruction.
Read more…

Did Brian Easley Have to Die?

Calvin Easley holds a wallet-sized portrait of his brother, Brian. (Hector René Membreno-Canales)

Aaron Gell | Longreads | April 2018 | 37 minutes (9,230 words)

This feature is published in collaboration with Task & Purpose, whose team of veterans, military family members, and journalists tell the stories of the military and veterans communities.

The thing that everyone remembered about the man in the light gray sweatshirt was how composed he was, how polite and respectful. One morning this past summer, he quietly entered a Wells Fargo bank branch in the Atlanta suburbs in a desperate state. But he didn’t curse or even raise his voice. He just calmly relayed the litany of setbacks and obstacles that had led him to an extraordinarily reckless act.

Brian Easley, 33-years-old, standing 6 feet 2 inches with close-cropped hair and glasses, had woken up on the morning on July 7, 2017, in Room 252 of a $25-a-night hotel nearby, where he’d been living, scraping by on a small monthly disability check from the Department of Veterans Affairs.

A former lance corporal in the Marine Corps, he had served in Kuwait and Iraq as a supply clerk, separating with an honorable discharge in 2005. But his transition to civilian life had been fraught. Joining his mother in Jefferson, Georgia, he found himself suffering from backaches and mental illness. He met a cashier at the local Walmart, and soon they married had a daughter together, but he disappeared for long stretches as his symptoms worsened. After his mother died in 2011, he bounced around — alternating between relatives’ spare rooms, VA mental hospitals, and nonprofit housing facilities. During a few especially difficult periods, he slept in his car.

By the summer of 2017, Easley had lost even that option. His usual disability check from the VA had mysteriously failed to materialize, and the rent was due. If he couldn’t cover it, he’d be on the street, and the thought terrified him. In the first week of July,  Easley called the Veterans Crisis Line repeatedly to inquire about the status of his disability payment. When they hung up on him, he called back. On Monday, July 3, Easley made his way to the VA’s Regional Benefits Office in Atlanta. But after an argument with staffers there, he left in humiliation, his issue unresolved.

A few days later at around 9:30 a.m, the Marine veteran entered the Wells Fargo branch, a faux colonial building on Windy Hill Road, a six-lane commercial roadway, and claimed that the backpack slung over his shoulder contained C-4 explosive. He allowed several employees and customers to exit and informed the two remaining employees that they should lock the doors and stay put. Then he began making calls, dialing 911 to let the authorities know what was happening, and a local news station, WSB-TV, to explain his predicament. “They took everything,” he told the assignment editor who picked up the phone. “With my last little bit of money I got I’ve been able to hold up at a hotel, but I’m going to be out on the street and I’m going to have nothing. I’m not going to have any money for food or anything. I’m just going to be homeless, and I’m going to starve.”

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The Wells Fargo bank in Marietta, Georgia where Brian Easley took hostages during a three-hour standoff with police. (Hector René Membreno-Canales)

Easley spent nearly 38 minutes on the phone with the editor, relating his military history, his love for his young daughter, and his frustrations with the VA. At one point, he allowed her to speak with the hostages. One described her captor as “very respectful.”

Easley insisted he didn’t want to harm anyone. “I already told them if I detonate this bomb, I’ll let them go first,” he promised. “These ladies are very nice, and they’ve been very helpful and supportive.” He said he had no intention of robbing the bank, and though an employee had fled leaving piles of cash just sitting out at their workstation, he showed no interest in it. His focus was exclusively on his own money — that monthly disability payment from the VA.

“How much money are we talking about?” the editor asked.

“Not much,” Easley said. She pushed for a dollar figure.

“Eight hundred and ninety-two dollars,” he answered.

As Cobb County police deployed around the Wells Fargo, establishing an incident command center in the parking lot of the nearby Texaco gas station, two snipers, Officers Dennis Ponte and Brint Abernathy, took up positions at the edge of the bank’s rear parking lot. Chief Mike Register, who’d only recently taken over the department, arrived on the scene shortly thereafter. Easley, meanwhile, spent most of the morning on the phone.

In addition to WSB, he spoke to his wife, Jessica, and her cousin, Yolanda Usher. He fielded calls from random bank customers, politely informing them that there was an emergency underway and that they should call back later. He told his daughter, Jayla, then 8, that he loved her and to work hard in school. “Okay, Daddy,” she said. “I love you.” Through it all, he kept his cool, even indulging in some dark humor. He mused that he might be the “worst bank robber ever.” And when the WSB editor asked him for his Social Security number, he joked, “You’re not going to steal my money too, are you?”

As the three-hour ordeal unfolded, he remained unfailingly polite to his captives, allowing them to place calls to their loved ones and even maintain contact with police. “He just kept saying, ‘Ladies, I’m so sorry,’” one of the hostages told the Georgia Bureau of Investigation later. “And I was like, ‘I feel really bad. I understand. You’re in a hard spot.’ And he said, ‘Thank you. I appreciate that.’”

As reasonable and mild-mannered as he seemed, Easley did show some clear signs of mental illness. In his call with WSB, he explained that he was being followed and had been the victim of four kidnapping attempts, which he attributed to his halfbrother Calvin and a secret society. “I don’t know these people,” he said. “They seem to be able to track me wherever I go. They have my information.” During several difficult moments, he held his head in his hands and sobbed, muttering softly, “I just snapped.”

In an effort to understand the many factors that led to the Windy Hill Road incident, I spent seven months speaking to Easley’s family members and fellow Marines, officers of the Cobb County Police Department, Veterans Affairs officials, community activists, and experts in law enforcement, mental health, and military transition.

I found a story that was considerably more complex than it first appeared, involving the failure of the nation’s safety net; VA policies better designed to exploit former warriors than to assist them; a confused police response; and maybe an undercurrent of racial bias, one that the community liked to think it had outgrown long ago.

It was also the story of four former members of the U.S. armed forces, whose paths converged one morning in July on a busy suburban thoroughfare. Before the day was over, two would be recounting the incident to investigators, another would be facing the news media, trying to explain to the public just how it happened, and a fourth would lay dead on the floor of the bank, his head pierced by a single gunshot.

***

Born in 1983, Brian Easley was a mama’s boy as a child, his thumb rarely straying from his mouth. The youngest of eight kids, Easley lived with his siblings and parents, Barbara Easley and Bobby Lee Brown, in a ranch home in Williamstown, New Jersey. It was a tight fit — 10 of them in all, crammed into three bedrooms — but they made it work. Located south of Philly, it was a safe, quiet neighborhood with a small-town feel, notable mostly for the aroma of pizza sauce from the local cannery, which wafted across the local sports fields every afternoon.  Barbara was an indomitable woman, laboring tirelessly to make sure none of her children ever felt neglected despite their parents’ modest income. Brian was the baby, her very last, and she doted on him.

Easley had few friends growing up, but he was close with his brother James, the next oldest, joining him in PlayStation marathons that typically went on until there was no more game to play. Despite his height, he was soft-spoken and timid as a teenager. In school, he was painfully shy around girls, later confiding to his fellow Marines that he’d been a virgin when he signed up at 18.

Twelve weeks of basic training at Parris Island outwardly transformed him, precisely as the military intended. Watching him graduate in a ceremony at Camp Lejeune, his family members were dumbstruck. “I could not believe my eyes, how polished he was, how sharp, tall, strong,” said his brother Calvin, the oldest sibling. “I sat there in awe the whole entire time. He went in a little boy, and they turned him into a man.”

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Calvin Easley with a portrait of Brian from his service in the Marine Corps. (Hector René Membreno-Canales)

Assigned to the 2nd Marine Logistics Group, based at Camp Lejeune, the soft-spoken recruit fell into a circle of friends who each quickly took him under their wing. To them, Easley seemed less a warrior than a big goofy kid, more content to eat cereal and watch his favorite anime series than to hit the local bars or shoulder a rifle.

The group formed a tight bond, fortified during their deployment to Kuwait in 2003. Though Easley’s fellow Marines would roll their eyes at his devotion to Tolkien novels and compare him to Steve Urkel, the teasing was affectionate. His tranquil demeanor, generosity, and maddening compulsion to apologize for the smallest offense — and then apologize for doing so — earned him the nickname Easy. He mostly stayed out of the boisterous debates that often preoccupied his unit, only to pipe up seemingly out of nowhere with some deliberately inane assertion, like, “I hear Somalia has the world’s strongest navy,” and then hold a poker face as long as he could — which usually wasn’t long.

Deployed to Iraq in 2005, Easley was stationed at the Al-Taqaddum Air Base, known as TQ, where he served as a warehouse clerk with the 2nd Supply Battalion. Easley’s job was to fill requisition orders for Marine combat units operating throughout Al-Anbar province, where insurgents, including the nascent al-Qaeda in Iraq, were mounting a surprisingly fierce campaign to drive American forces from the Western Euphrates River Valley.

As the three-hour ordeal unfolded, Easley remained unfailingly polite to his captives, allowing them to place calls to their loved ones and even maintain contact with police

The work was arduous — up to 17 hours a day for months at a time without a break — contributing to the chronic back pain that would plague Easley when he eventually returned to civilian life. “The warehouse jobs are out in the rear, so I wasn’t on the front lines,” Easley told WSB. “I had one close call during a security detail, but that’s about it.” Nevertheless, according to James Dunlap, who served with him, mortar fire was a regular feature, often sending everyone scrambling for bunkers. “I’m thinking, ‘We’re in supply, we’re not going to see this type of action,’” he recalled. “But when they say ‘Every Marine is a rifleman,’ they mean it.”

Following his honorable discharge in 2005, Easley returned to his mother’s home in Jefferson. He met a woman, Jessica Tate, and they moved in together and eventually got married. Around Jessica, Brian seemed fine — strangely quiet maybe, but also devoted, sweet, and easygoing. To his family, though, it was clear that something was wrong. “We noticed a difference in him right away,” Calvin recalled. Diagnosed with PTSD, and suffering from schizophrenia and paranoia, Easley told relatives he was barred from reenlisting. He often set off on long walks by himself. On one occasion shortly after his discharge, he grew so upset at a sibling’s teasing that he flew into a rage that left the family shaken.

These symptoms are not uncommon. “After we got out, it got rough for everybody on the tour,” James Dunlap explained. “It’s easier to be in a war zone than live life out here. You’re not in the Marine Corps anymore, so what’s your purpose?”

***

In 2008, Jessica became pregnant. Both of Brian’s parents fell ill around the same time, and he found himself in New Jersey helping to help care for them, visiting Georgia only briefly for the birth of his daughter, Jayla, but vowing to come back soon.

“He never did come,” Jessica recalled. His phone rang and rang. Eventually, family members told her how he’d just stood up one day, announced he was going for a walk, and never returned. “I was like, ‘Oh my god, I just had his baby and he disappeared. Is he leading a double life?’” she said. Fearing for his safety, she spent many nights crying herself to sleep. “I’m tearing up now just thinking about it.”  

It turned out Easley had checked himself into a VA mental hospital. Upon his release, he stayed with a brother in New Jersey. Aside from one trip to Georgia to meet Jayla when she was about 3, he mostly kept his distance. He explained to Jessica that people were after him — he wouldn’t say who — and he didn’t want to put his family in danger.

Just a week or so before Barbara Easley died, in 2011, Brian ley once again “up and walked off,” Calvin said. Voicemails and texts went unreturned. The funeral came and went with no sign of Brian, and years went by without a word. After calling every VA hospital in the directory, Jessica tried to move on.

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Brian with his daughter, Jayla, possibly around 2014. (Hector René Membreno-Canales)

When he surfaced again around 2014, Easley moved in with Calvin in Georgia, taking his medication, keeping his VA appointments, and generally trying to get his life back on track.. He said he’d been in Orlando, enrolled in filmmaking classes. He made no mention to his brother about a brief spiritual detour, as a follower of the Black Israelites, a religious sect famous for preaching that African Americans are the true Jews. But perhaps it isn’t surprising that in his troubled state, Easley had gravitated toward a tight-knit community. “I think he wanted to belong to something larger than himself,” recalled Dunlap, who was in touch with Brian during this period. Eventually Easley “woke up,” Dunlap said, and was ejected from the group.

Easley didn’t spend much time in Georgia with Calvin and his wife, Anita—maybe a half year or so—before he was on the road again, moving to New Jersey to live with another brother. After several episodes, though, he returned to Marietta in early 2017, enrolling in computer classes at Lincoln College of Technology, a for-profit college located in a strip mall in Marietta. He had bought Jayla a phone and called regularly, helping her with homework and joining her in a prayer via Facetime nearly every night. Some of his money from the government went toward child support, and he wired more whenever Jayla needed it. Not long before Brian walked into the Wells Fargo, he had the idea to surprise Jayla with a dog. Jessica thinks the realization that he wouldn’t be able to follow through may be what set off the episode.

***

In the spring of 1971, 10-year-old Mike Register was walking through an affluent neighborhood of Macon, Georgia, when a pair of young men in a car waved him over with a proposition: How would he like to earn $5 helping out with some yard work? It was a tempting offer, but the situation seemed off. For one thing, Register was white, and the men in the car were black. Job offers like that just didn’t happen in Macon in those days. Register bolted toward the woods, but the men gave chase, abducted him, and later kept him captive in an abandoned house, demanding a $5,000 ransom from his family. His mother alerted the authorities and delivered the money as instructed.

All told, Register spent 20 hours as a prisoner, while the men debated whether to kill him. Eventually, they essentially let him go, threatening to slaughter his family if he said a word. The boy didn’t heed the warning. At some point, he’d managed to snag an ID belonging to the ringleader, 20-year-old John Plummer. After his release, Register presented the card to local police, resulting in Plummer’s arrest and eventual conviction. (The other two men were never identified.) At the trial, which drew charges of racial bias from the defense team, the all-white jury found Plummer guilty of kidnapping, then deliberated for just 10 minutes before suggesting a life sentence.

Surprisingly unguarded for a chief of police, now leading a department of more than 600 officers, Register is a voluble storyteller, recounting this traumatic chapter from a difficult childhood in an easygoing, buttery drawl without a hint of disquiet. Asked how the terrifying crime he experienced as a child may have affected his response to the Wells Fargo hostage-taking, he insisted it had no impact. “I certainly have empathy for anyone who is held against their will,” he said. “Certainly that’s a part of my life, and I’m very thankful that it turned out the way it did for me. But no matter what my life experience may have been, I certainly try to be objective with any situation.”

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Cobb County’s Chief of Police, Michael J. Register. (Hector René Membreno-Canales)

Register enlisted in the reserves in his early twenties, joining the 11th Special Forces Group and becoming what was then known as “SF baby,” jumping right into commando training without any prior military experience. He thrived in the reserves, taking time off from his work as a police officer with the Cobb County PD for intensive training and deployments to Germany, Haiti, and Belize, among other countries.

By 2002, when Brian Easley entered the Marine Corps, 40-year-old Register was in Afghanistan with the 20th Special Forces Group, serving on a mobile reconnaissance team. After retiring from active duty in 2005, the same year Easley left the service, Register worked for the Department of Defense, devising strategies to counter the insurgency’s devastating use of IEDs. In 2014, he returned to suburban Atlanta and eventually resumed his career in law enforcement, becoming chief of police for Clayton County, 20 miles south of Atlanta.

Register was recruited as chief of police for nearby Cobb, which includes the city of Marietta, just three weeks before Brian Easley walked into the Wells Fargo. Though both counties belong to the metropolitan Atlanta area, they pose distinct challenges for law enforcement. Whereas Clayton is economically depressed and predominantly black, Cobb County is a mostly white, affluent bedroom community that was represented in Congress by a former leader of the nativist John Birch Society for nearly a decade and was long known for its “legendary intolerance,” as The Atlanta Journal-Constitution put it.

Though an influx of recent transplants, mostly young professionals, has tilted Cobb’s politics left, the county retains its reputation as a stronghold of white conservatism. Despite the 2017 opening of a new stadium for the Atlanta Braves, Cobb had for years steadfastly refused to allow the construction of a rail link to Atlanta’s transit system, in part out of a longstanding desire to wall itself off from the so-called “black Mecca” across the Chattahoochee River. (Years ago, a county commissioner infamously declared he’d stock the river with piranha to block rapid transit.)

Although the violent crime rate is considerably higher in Clayton than in Cobb — with nearly eight times as many murders on a per capita basis in 2016 — Register’s new position is in some respects trickier to navigate, given Cobb’s fast-changing demographics and more fraught political atmosphere. As chief of police for Clayton County, Register was an advocate of transparency and community policing initiatives, and Cobb community activists viewed him as an ideal choice to take the helm of their department as it sought to transform itself from a hidebound reminder of the region’s troubled past into an exemplar of the bighearted cosmopolitan New South.

To judge by the stream of racially charged incidents that have made the news in the area in recent years, change was long overdue. In 2015, the county’s only black commissioner reported what appeared to be racial profiling by an undercover officer — a complaint that elicited a shrug from her fellow commissioners. A few months later, the same officer was involved in a disturbing encounter with a black driver that was captured on dashcam. (“Go to Fulton County,” he said. “I don’t care about your people”). Following a suspension, the officer resigned.

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The front desk of Cobb County Police Headquarters in Marietta, Georgia. (Hector René Membreno-Canales)

The community’s negative perception of the department was confirmed last year in an independent report on police operations drawn up at the county’s behest by the International Association of Chiefs of Police. Although the report did not find evidence of systematic bias, it identified “a concerning deficit of public trust in and among a portion of the population.” It also made 34 recommendations, many of which Register is now implementing. Among a host of other changes, he ordered that all members of his department receive additional training in crisis intervention, crime prevention, cultural diversity, and fairness in policing. The chief has also considered a proposal by the Cobb Coalition for Public Safety to ensure that mental health professionals be called upon on in crisis situations. Some departments mandate that specially trained teams be deployed whenever an incident involves a potential mental health emergency, but in Cobb County, such experts are only brought in at the request of the crisis negotiation team. In Easley’s case, no such request was ever made.

***

According to the Marshall Project, law enforcement is the third most common occupation for military veterans, after truck driving and management. In part, this is attributable to the preferential hiring encouraged by initiatives like the 2012 federal program Vets to Cops. A career in law enforcement has an additional appeal to veterans, offering, as few occupations do, the sense of fellowship, duty, and shared risk that they experienced in the military. “I think that everyone, no matter who you are, you want to belong to something,” Register said. “People that have served in the military understand that they are part of something that is great, admirable, honorable, and that is important.” A police force, he added, “is a natural transition”  — conferring membership in what Ken Vance, executive director of the Peace Officer Standards and Training Council of Georgia, termed a “blue brotherhood.”

A substantial percentage of CCPD officers are veterans — several of whom, like Chief Register, played key roles in the Wells Fargo incident. Sgt. Andre Bates, the lead negotiator, served in the Marine Corps, as did Officer Dennis Ponte, the sniper who took Easley’s life.

In his 2016 book, Tribe: On Homecoming and Belonging, Sebastian Junger advances a powerful case linking veterans’ struggles with PTSD largely to the difficulty of navigating the fraught transition from the tight-knit world of the armed forces to the more isolating and superficial existence of life on the homefront.

This certainly tracks with Brian Easley’s experience. Joining the Marine Corps at 18, the former wallflower quickly found the camaraderie, friendship and shared sense of purpose that had largely eluded him until that point. After his discharge, cut off from his social group, he found himself increasingly alienated and adrift — an experience that undoubtedly contributed to his mental illness. Soon, aside from his immediate family and Jessica, he was more or less on his own, so lonesome in those early years that in addition to his primary job at a Home Depot distribution center, he took a second gig at a Church’s Chicken, not for the money, he told Jessica, but “just to pass the time while you’re at work.”

A career in law enforcement has an additional appeal to veterans, offering, as few occupations do, the sense of fellowship, duty, and shared risk that they experienced in the military.

When I asked Register how he has dealt with his own traumatic experiences — the kidnapping as well as his later service in Afghanistan — he shrugged off the question, more comfortable speaking about the prevalence of PTSD in general. But as frightening as his childhood ordeal clearly was, his success in dealing with it is not surprising: After helping to foil his own abduction, he was hailed as a hero by the national news media. In recognition of his bravery and quick-wittedness, the local police department named the 11-year-old its honorary chief of detectives.

“Humans don’t mind hardship, in fact, they thrive on it; what they mind is not feeling necessary,” Junger wrote in Tribe. “Modern society has perfected the art of making people not feel necessary.” Register seems to have found his purpose and his community in law enforcement, as did Bates, Ponte, and the many other veteran members of the CCPD.

***

As Brian Easley told the editor at WSB, the two hostages, and the crisis negotiator — basically anyone who would listen — his monthly disability check from the Department of Veterans Affairs came to $892. The VA confirmed that his last payment, for that precise amount, was sent on June 1. So perhaps it’s no wonder that when July 1 came and went, and the expected funds were not in the account, Easley began to panic.

According to WSB investigative reporter Aaron Diamant, Easley called the VA’s Veterans Crisis Line eight or nine times that week, including twice on the morning of the incident, and he was “hung up on a few times.” (When contacted, a VA spokesperson declined to comment on Diamant’s reporting.) According to its mission statement, the VCL was established in 2007 to “provide 24/7, world class suicide prevention and crisis intervention services to veterans, service members, and their family members.” But as the demand for its services has surged, the program has been plagued with issues. A March 2017 report by the VA’s Office of Inspector General found a number of shortcomings with the VCL, including deficiencies in operations and quality assurance. In response, the VA issued a press release touting improvements; a few months after Brian Easley’s death, it announced plans to open a third call center to handle another spike in demand.

According to Lincoln Educational Services senior VP for student financial services Rajat Shah, Easley visited the school’s Marietta campus on June 30 to discuss the possibility that his money had been garnished due to a tuition issue. A counselor at the school called the VA directly, and Easley was given an appointment at the VA’s Regional Benefits Office on July 3. He “was extremely agitated and belligerent,” a VA spokesperson told me , and as a result was briefly placed him in handcuffs. “Once Easley calmed down,” the spokesperson said, “police removed the handcuffs and a VA benefits supervisor … explained to him that his compensation check was recouped due to a debt he had created by his failure to complete college courses.” Easley agreed to return on July 6 with the proper documentation to set up a payment plan “and left the regional office voluntarily.” He never returned.

Perhaps unwittingly, Easley had become caught in a financial squeeze involving what are known as overpayments — a common pitfall for recipients of Post 9-11 GI Bill tuition assistance. Government tuition payments are made in full directly to an academic institution, but if a veteran drops too many courses or fails to attend class, the VA will initiate a process to recover the money directly from the student. According to Shah, Easley last attended class in late November 2016. He would have had to miss just six days of his module to trigger a mandatory notice to the VA, though Shah said the school tries to contact a student before taking that step. Easley’s overpayment was $1,163, so after the $892 was deducted from his account, he owed a mere $271.

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Objects found in Brian Easley’s pockets after his standoff with the Cobb County police. (Hector René Membreno-Canales)

If, in fact, Easley did miss some classes, it would hardly be a surprise. He was suffering from a severe mental illness, something the Department of Veterans Affairs, which was responsible for his care, certainly knew. Although the VA claims it sent Easley five letters informing him of the overpayment, his erratic housing situation meant he probably never received them.

“This happens literally all the time,” said Carrie Wofford, president of Veterans Education Success, a nonprofit watchdog and advocacy group focused on veterans education. A 2015 report by the General Accounting Office estimated that a quarter of all veterans receiving tuition assistance are billed for overpayments, many without ever fully understanding how the system works. “Because VA is not effectively communicating its program policies to veterans,” the report said, “some veterans may be incurring debts that they could have otherwise avoided.”

Although Shah said Lincoln staffers tried to help Easley with the VA, the school has drawn criticism in the past for an apparent indifference to the welfare of its students. “The programs are costly, more than twice as much as at local community colleges,” the Senate Health, Education, Labor, and Pensions Committee the committee wrote in a 2012 report, “and Lincoln makes virtually no investment in student services despite enrolling the students most in need of these services.” The committee said student retention and loan repayment rates were among the worst it had seen, and the report concluded, “Although the majority of students leave the company’s schools with no degree or diploma, the company also receives increasing amounts of Federal taxpayer dollars and profit.”

***

Shortly after Easley spoke to the 911 operator that Friday morning in July, the Cobb County Police Department showed up in force. They closed Windy Hill Road to all civilian traffic. They made sure those sheltering inside the Popeye’s, the Waffle House, the Wendy’s, the Subway, and the Chick-fil-A all knew to keep clear of the windows in case a detonation shattered the glass. The fire department was dispatched to the scene, as was the bomb squad, SWAT team, crisis negotiators, and a K-9 unit. Officers of the Sheriff’s Department handled traffic duties. Representatives from the Marietta PD, the ATF, the FBI, and its state equivalent, the GBI, turned up as well.

Register arrived within the hour, taking up a position at the makeshift command post. Solidly built, with a tree-trunk physique and wispy brown hair fading to gray, Register was viewed by community leaders as a reformer. The incident at Windy Hill Road would be his first test.

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Michael Register was recruited as chief of police for Cobb County just three weeks before Brian Easley walked into the Wells Fargo. (Hector René Membreno-Canales)

Meanwhile, inside the bank, Easley was getting a crash course in how TV news gets made. WSB-TV boasts one of the top local news organizations in the country: In the June ratings period, the station had attracted nearly two-thirds of TV news viewers in the metropolitan Atlanta area. Now, the staff had landed an incredible scoop simply by picking up the phone, and they knew it. On an audio recording of the call turned over to the GBI, one can hear the assignment editor’s colleagues scrambling to press their advantage. As she works to nail down what to Easley must have sounded like trivial details (“You said you had lived in Marietta previously, when did you live in Marietta?”), it seemed to dawn on him that her interest lay less in solving his problem than in working the story. “Okay, ma’am, I’m sorry,” he finally said, “but I’m about to wrap this up.”

As the call ended, two of the editor’s colleagues could be heard discussing how to proceed. “What can I report?” one asks. The exuberant reply: “Everything!”

Sometime after 11 a.m., Sgt. Andre Bates, the incident’s lead crisis negotiator, settled into a black Ford Taurus at the Texaco. He took a deep breath and dialed the number given to him by the 911 operator. Bates — who, like Easley, is black — established a rapport with the hostage taker almost instantly based on their shared military background. “I’m going through it with Veterans Affairs myself, so I know it can be difficult when they drag their feet,” he said.

Their status as former Marines further cemented the bond. “Semper Fi, sir. I’m a West Coaster, MCRD San Diego,” Bates said. “What can we do to resolve this, sir, and help you out? From one Marine to the other?” Although only Sgt. Bates’s side of the conversation is audible on the recording, his skills as a negotiator are evident. He gets Easley talking about his back injury and mentions his own knee and ankle issues. He assures Easley nobody is going to get hurt: “That’s my responsibility — to make sure you stay alive.” He compares the police force to the Marine Corps and engages Easley as a fellow enlisted man. “I have three of my chiefs that are personally here … guys walking around with stars just like it is in the Marine Corps . . . they’re not happy,” he said. “Just asking from one Marine to the next — to show that you and I are communicating and we’re on the same program — could you release one of those ladies, please?” And he appeals to Easley’s personal dignity, reminding him, “Your honor is worth more than the $892 the VA owes you, sir.”

Around noon, Easley agreed to a deal: A pack of Newports in exchange for one of the hostages. He seemed to mean it. As soon as he got off the call, Easley turned to his two captives and invited them to decide which one would leave. They told him they couldn’t choose. “Well, you’re just the teller,” he told one, “so I’ll let you go, and I’ll keep the branch manager here so they won’t blow my head off.”

The deal marked a significant breakthrough. They were working together now. A resolution seemed well in hand. In a brief interview, Sgt. Bates expressed absolute confidence that Easley would have honored his side of the bargain. “We were brothers who had bonded with each other,” he said. “I felt that me and him had connected as men, as Marines, and as family men.”

Bates hustled over to brief his superiors in the mobile command center, a large RV parked nearby. Among them were Register and the incident commander, Maj. Jeff Adcock. Reporting to him were Lt. Joel Preston, another Marine veteran, who commanded the tactical team, and Lt. Jorge Mestre, the crisis team commander.

It was a formidable group, with decades of experience. Mestre was a key figure in a 1999 incident in which he was wounded after trying to reason with a local man who was reportedly suffering from paranoid delusions. After opening fire on the officer, the man barricaded himself inside the house with his aging mother, and later killed two members of the Cobb County SWAT team after they stormed the family home. The tragedy is viewed as a critical lesson among tactical-policing experts, who blamed the incident on poor intelligence and inadequate staffing, revising standard procedures accordingly. For some members of the Cobb County PD, the killing may have carried an additional lesson: In a barricaded subject situation, avoid unnecessary risks.

The negotiator tried to appeal to Easley’s personal dignity. ‘Your honor is worth more than the $892 the VA owes you, sir.’

As Adcock and the other commanders quickly began hammering out a plan to deliver the cigarettes without endangering their officers, they had good reason for optimism. According to Chris Grollnek, a former SWAT officer who now provides training in dealing with active-shooter situations, “Ninety-nine percent of the time, when a negotiator is making a deal for one thing for another, the incident ends peacefully.”

Around the same time, another opportunity to end the standoff safely presented itself. One of the hostages who’d been on the phone with the police throughout much of the morning reported to Officer Christopher Few, Bates’s colleague on the crisis negotiation team, that Easley had gone to the bathroom. He was in there for more than a minute, it seemed, long enough for both hostages to potentially run out the doors. Once Few understood what was happening, he began to walk the hostage through an escape plan. But seconds later, Easley returned. “He’s out,” she said quietly.

Meanwhile, along the wood line, the snipers lay on the ground, squinting through scopes at the action inside the bank. One of them, Officer Ponte, had also served in the Marine Corps, working as a helicopter crew chief before his discharge in 1992. On assessing the situation, he’d selected a Lapua .338, a $5,000 semiautomatic rifle billed as “The Long Arm of the Free World,” and loaded it with Sierra MatchKing .338 250 grain ammunition, a combination he felt certain would have the power to penetrate the two glass doors and still maintain its trajectory. Then he’d aimed his laser at the building and noted a range of approximately 66 yards. Every once in awhile, as he peered through the scope, he got a good visual of the man in the gray sweatshirt. He radioed Lt. Benjamin Cohen, the assistant SWAT commander, and advised him that he had a clean shot. Should he engage the threat, he asked. Word came back: “Not at this time.” The rest of the tactical team was not yet in position. Stand by.

Minutes passed. On the SWAT team’s radio frequency, Ponte heard indications that a hostage might be released, but from what he could see, he later told the GBI, “There was no effort or energy being put forth toward releasing somebody.” Then Ponte made a fateful decision.

Around 12:15 p.m. on July 7, a single shot rang out on Windy Hill Road, ending the three-hour ordeal in the Wells Fargo and adding Easley’s name to the list of 236 mentally ill people killed by police in 2017.

***

Not only were Sgt. Bates and the various commanders caught off guard by Ponte’s action, his own fellow SWAT team members were as well. In a well-planned operation, the tactical team would have reacted instantly to the gunshot. Instead, nine long seconds ticked by before an officer put the CCPD’s BearCat armored vehicle in drive and began barrelling toward the door of the bank, inadvertently endangering the hostages, who were just then preparing to dash out in the opposite direction. After the BearCat struck a column and backed up, its hood covered with broken bricks, the hostages escaped, and members of the SWAT team hustled them into the back of the vehicle, which quickly reversed away from the bank.

The standoff was over. But exactly what happened to Brian Easley — and who made the decision to kill him — would remain a mystery for months. Addressing the news media shortly after 1:30 p.m., Register incorrectly framed the incident as an extraction operation gone awry. “We had a SWAT team, tactical team, move up on the bank to help get the hostages out,” he said. “During the extraction process, contact was made with the suspect, and it appears the subject is deceased.” The explanation seemed to imply that Easley had been shot during some kind of confrontation with the entry team rather than by a sniper hidden in the woods. No mention was made to the public of Bates’s negotiations with Easley to release one of the women for a pack of smokes. Although the entire command team knew of the arrangement — as did the two hostages and other members of the CCPD — it is only being made public now as a result of an open records request.

Barricaded-subject incidents, especially those involving hostages, are among the most difficult circumstances police officers face. Typically, attempting to negotiate a peaceful resolution is the preferred approach, with a tactical assault reserved as a last resort. But the balance between crisis negotiators and SWAT elements is a delicate one. Negotiators are trained to strike up a rapport with a suspect, calm them down, appeal to their sense of reason. Tactical officers, increasingly outfitted with military-style gear, are primed to take swift, decisive action.

The Cobb County Police Department’s internal Policy Manual states that in a hostage situation like the one at the Wells Fargo, a tactical solution must only be initiated “should communication with the subject fail to resolve the incident,” and that “the ultimate decision [on how to respond] will be made by the On-Scene Commander.” In the case of Brian Easley, communication was making genuine progress, and the On-Scene Commander, Major Adcock, had decided to let the negotiations play out. According to Ponte’s own testimony, he made the ultimate decision himself, an apparent violation of both policies. He cited no particular action on Easley’s part — an erratic movement or aggressive gesture, for instance — that might have indicated an elevated risk. When I reached him for comment, Ponte declined to speak except to say that his side of the story would be told “at the appropriate time.”

The standoff was over. But exactly what happened to Brian Easley — and who made the decision to kill him — would remain a mystery for months.

Sgt. Bates, the crisis negotiator, refused to criticize the actions of a colleague and fellow Marine. But asked whether he’d been sincere when he’d promised Easley that nobody would hurt him if he cooperated, Bates told me, “I meant that from the bottom of my heart. I’m out there to do a job. I’m pretty good at what I do, and the things I’m telling him are coming from the heart, one human being to the next. My job is to protect everyone so we can all walk out of there and play out whatever happened in court. That is the win for me.”

All of the experts I contacted were careful to emphasize they lacked a complete picture of what happened, and they expressed reluctance to second-guess CCPD’s handling of a dangerous and chaotic situation. They agreed, however, that the decision to shift away from a negotiating posture and initiate a tactical operation is not typically made lightly or based on the judgment of an individual officer, and that the situation on Windy Hill Road might well have concluded peacefully had negotiations been given more time.

Easley “articulated he’s not going to do anything to harm the hostages, so that’s a great sign,” said Randall Rogan, a crisis negotiation expert and co-interim dean of communications at Wake Forest University. “If a suspect is emotionally calm at the beginning of a siege or incident, that is the most critical moment.” He added that Easley’s demands were extraordinarily modest. “He’s not asking for a helicopter and $2 million dollars and taking two hostages on a plane.”

“Easley was very calm, he indicated wasn’t looking to hurt anybody, and he demonstrated a willingness to cooperate,” noted Jack Cambria, a 33-year veteran of the New York City Police Department who spent more than a decade in tactical operations and, later, as commander of the NYPD’s crisis negotiation squad, responded to more than 4,000 incidents. “Tactical assault is reserved for the last option, when it becomes absolutely necessary.”

Following a grand jury hearing, Ponte was cleared of any wrongdoing in connection with Easley’s death. District Attorney Vic Reynolds told WSB that the officers “followed the law and did what they were supposed to do.” According to the policy manual, “ability, opportunity and jeopardy” must all be present for a shooting to be justified. As far as anyone knew, Easley had the ability to cause harm to the hostages with a backpack full of explosives. He had the opportunity to do so. And the hostages were plainly in jeopardy.

Cambria, who trains law enforcement agencies around the country in crisis and hostage negotiation, agreed that Ponte likely acted within the law. Nonetheless, he pointed out, “Just because an action might be lawful doesn’t mean it was necessary.”

The operation appears to have been flawed in several additional respects. Given Ponte’s testimony that the hostages were not in sight when he opened fire, he ran the risk that one might have been injured by debris or a wayward bullet. A poorly aimed round might have set off the explosives Easley claimed to have in the backpack, mere inches from where the shot made contact. And there was one more possibility to consider: “When there are people alive near the subject, you very rarely will take a shot to neutralize him in the event that God forbid, he has a dead-man’s switch,” Grollnek said, referring to a detonator wired to explode if a trigger is released. Such devices, which work like a hand grenade, are simple to engineer. Had Easley been using one, Ponte’s shot could well have caused the deaths of the hostages. Finally, the haphazard extraction of the two captives also indicated that the decision to act may have been taken too hastily.

As the hostages were whisked to safety, a robot entered the bank and retrieved Easley’s backpack, placing it in a “total containment vessel.” It was eventually deemed harmless, and inside investigators found a Bible, some papers, and a small machete, among other incidentals. (Easley had never taken out the knife or mentioned having it, and Calvin later suggested he may have been carrying it for protection.) On his body, they found a wallet, a broken cross pendant, and an electronic device one hostage had assumed was a switch to detonate a bomb. In fact, it was a tool for detecting hidden listening devices, perhaps a prudent purchase for a man suffering from the paranoid delusion that he might be kidnapped at any time.

Before long, patrons of the nearby establishments, who’d been on lockdown all day, were finally allowed to go about their business. After being interviewed by police and GBI agents, the two hostages went home to their worried families. The local news teams packed up their gear. Easley’s body taken to the Cobb County’s Medical Examiner in Marietta. Chief Register addressed the media and then headed back to headquarters. Traffic on Windy Hill Road resumed in both directions.

***

The killing of Brian Easley was just the first of several crises to engulf the Cobb County Police Department in the early months of Register’s tenure. In late August, WSB aired bodycam footage from November 2016 in which Officer James Caleb Elliot is seen firing multiple shots at the back of an unarmed teenager as he flees through a residential neighborhood, striking him in the leg. A grand jury declined to recommend charges against Elliot, and DA Reynolds noted that officers pursuing a fleeing suspect in a “violent, forcible felony” are allowed to use lethal force. The fact that the teenager was not actually involved in a carjacking was viewed as immaterial, since the officer merely had to believe he was.

The new chief, for his part, indicated that legalities aside, the shooting endangered the public, and he used the release of the video as an opportunity to initiate additional use-of-force training. He also noted that the department recently purchased a new simulator to better prepare officers to handle such situations. Elliot left the force three weeks after the shooting, and a lawyer for the victim announced plans to file a federal lawsuit.

Then on August 31, Channel 2 released another dashcam video, this one from the summer of 2016. In it Lt. Greg Abbott, who is white, is heard remarking to a white motorist, “Remember, we only kill black people.” Though many observers pointed out the officer’s sarcastic tone, the starkness of his statement at a time of heightened concern over police shootings of African Americans (the killing of Philando Castile outside St. Paul, Minnesota, had happened just four days before the traffic stop) seemed emblematic. The video went viral. National outlets picked up the story. Representatives for Al Sharpton’s National Action Network told Register a protest march was being organized. Register’s office was bombarded by media calls from as far away as the United Kingdom. This time, Register moved swiftly, announcing that the process to terminate Abbott had begun.

“It’s been one of those weeks in Cobb County,” Register told me with a sigh not long after. The decision, he said, had not been easy. But Register was unmoved by the argument that Abbott had been trying to gain the motorist’s compliance by creating a casual rapport, calling the statements “inexcusable and inappropriate” and “not indicative of the values and the facts that surround the Cobb County Police Department and this county in general.”

A vocal contingent within the CCPD expressed unhappiness that he hadn’t defended Abbott. “They took it as me not supporting them,” Register said. After a local talk radio jock went after him — taking care to inform listeners that the police chief’s wife is African American and even noting her place of work — white nationalists went on the offensive, sending Register hate mail in which they called him “a disgrace to the white race.”

Following the decision, Register scheduled a set of mandatory staff meetings in which he laid out his rationale for demanding Abbott’s ouster. The radio station apologized. Eventually, the controversy seemed to die down. Still, it was clear the job was weighing on him. “I’ve got to tell you,” he admitted, “sometimes I’m like, ‘Damn, maybe I should have stayed in Clayton County.’”  

***

The tendency of police departments to close ranks in an effort to shield their actions from public scrutiny is well established and perhaps unsurprising. The same “blue brotherhood” that bonds law enforcement officers can easily slip into a form of tribalism when a member of the team is under threat. The commitment to one another that keeps officers alive in dangerous situations also seems to discourage self-reflection when things go wrong. Initially, after I asked Register about the killing of Easley, he mounted a strong defense of Ponte. “He saw this thing unfolding and felt that this might be the only chance to immobilize the suspect and save the two women, and he took it,” Register said. “If we would have waited five more minutes, and he had detonated explosives and killed himself and the two hostages, then we may have been having a conversation — ‘Now, why did we wait so long?’”

Register also emphasized that Ponte — who was cleared by a grand jury following another fatal shooting in 2016 — had struggled in the aftermath of the Wells Fargo incident. “One reason why it’s been so hard on this young man who took the shot,” he said, “is that he is a veteran himself and a Marine. It’s very hard on him. It makes you want to cry.” (Although Register repeatedly spoke of his officer as a “young man,” records indicate that Ponte was born in 1966.)

A month later, when I pressed Register about the revelations contained in the GBI report, which he indicated he had not yet seen, he reconsidered his position. While reiterating that the shot was legal, he said, “I do call into question the timeliness of it.” He also said he’d be looking into the apparent breakdown in command and control, explaining that he would “dig deeper and ensure that if there were any issues that created the dysnchronization between the negotiating team and the tactical team that we address that and we fix that. Certainly, as the event was unfolding, I don’t know if the communication was transpiring as quickly as it possibly should have.”

If we waited five more minutes, and he had detonated explosives and killed himself and the two hostages, then we may have been having a conversation — ‘Now, why did we wait so long?’

The next morning, Register called back. He mentioned an additional change he’d implemented a few months before, a monthly training session with his incident commanders to do “tabletop exercises,” reviewing some of the scenarios they might face in the field. He added that he’d been up half the night digging into the reports on the Easley shooting, and he’d scheduled a weekly meeting with his leadership staff to talk about developing a procedure for identifying mistakes so they won’t be repeated. “We have to take some time to look at what the findings were and come back for after-action reviews,” he said. “That’s the only way we were going to be better.”

***

Whatever mistakes may or may not have been made on Windy Hill Road on July 7, there’s one issue about which everyone seems to agree: Brian Easley himself bears a good portion of the blame. Even when one takes into account his mental illness and the other formidable struggles he was facing, the fact remains that Easley alone made the choice to enter the bank, claimed he had a bomb, and hold two women against their will.

“I’m sorry for what happened,” Calvin Easley told me when I visited him and his wife, Anita, in their tidy home in the Atlanta suburbs. “I’m sorry he went in there and took hostages. I’m very sorry for that. He was not in his right mind. But they didn’t have to kill him. He just wanted to get his story out.”

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On a phone call from the Wells Fargo, Easley told his daughter Jayla that he loved her and to work hard in school. (Hector René Membreno-Canales)

That story is one that many veterans can relate to. The same military experience that helped make him a man left him anxious, troubled, and eventually unable to work. Perhaps for the first time in his life, he discovered a sense of brotherhood and meaning in the Marine Corps, one he was unable to replicate once he returned home.

But Easley did what he could. He cared for his daughter, calling her every day and sending gifts when finances allowed. He battled the VA for years to receive the benefits he’d earned through his service. He sought an education, hoping to start a career, support his family, and make a new life, only to find himself in a trap that has ensnared thousands of his fellow veterans.

Then, one morning in July, he woke up to find that the money he counted on to make it through simply wasn’t there. And just like the Marine Corps had taught him, he took initiative. He called the hotline. When they hung up, he called again and again. Finally, he walked into the benefits office to plead his case in person. But instead of recognizing a veteran in crisis and working out a plan, or perhaps directing him across the street to the hospital, writing a prescription, and getting him back on track, they sent him away in search of paperwork.

“The problem was bigger than the Cobb County Police Department and Mr. Easley,” Bates told me. “The problem is the system — how they treat retired veterans. You should get more than ‘I appreciate your service.’ The VA owes these guys more. They’re willing to put their life on the line for their country, and when they separate from military they deserve better.” In particular, he criticized the VA’s decision to handcuff Brian Easley rather than help him. “That’s where the whole thing went bad, I believe,” he said.

He was not in his right mind. But they didn’t have to kill him. He just wanted to get his story out.

“I’m just baffled about what is so hard to negotiate,” said John Delorme, a Marine who served with Easley. “This isn’t a terrorist. This is a guy who fought against terrorism. As a veteran it makes me feel smaller than a grain of sand, the way he was treated.”

“I just don’t want his little girl to grow up to think her dad was a bad person,” said Ian Emmett, another battle buddy. “He was a good person.”

Alecia Miller, who dated Easley for two years when he was in the military, agreed. “I hate for him to be painted as this crazy deranged person,” she said. “This is someone who the system failed, and because of that, a decision was made out of desperation, and someone has lost their life because of it.”

“You go over there and you fight a war for our country and everybody’s out to kill you,” Calvin Easley told me. “You don’t know nobody. You’re in a foreign land. But the real sharks? The real sharks are back at home. There’s no reintegration. You don’t get support from the country that you fought for.”

It was late. Anita stood behind him as he spoke, patting his back. “I’m livid,” he went on, fighting back tears. “He was a hero. He was not some psycho on the corner. He was not. He was a gentle giant until you pushed him. If you pushed him to the max, then you’d see a different person. But it took an awful lot. It took a lot.”

“I know this,” he said. “He was my brother.”

***

Aaron Gell is the features editor of Task & Purpose and an adjunct instructor at NYU’s Prison Education Program. He has contributed to numerous publications, including New York magazine, The New Yorker, and Vanity Fair,

This article was published in collaboration with the editorial team at Task & Purpose. 

***

Editor: Michelle Legro
Photographs: Hector René Membreno-Canales

Fact checker: Matthew Giles
Copy editor: Jacob Gross

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…

The Man in the Mirror

Van Eyck's Arnolfini Portrait

Alison Kinney | Longreads | March 2018 | 17 minutes (4,156 words)

 

1.

In the foreground of the early Netherlandish painting stands a couple, holding hands, amidst the comforts of their cherry-upholstered, brass chandelier-lit bedroom. The husband, Giovanni di Nicolao Arnolfini, raises one hand in greeting, but neither to his unnamed wife, who clasps one hand over her belly, nor to the lapdog at their feet: behind the couple, a small, wall-mounted convex mirror reflects two other men, facing the Arnolfinis in their room yet visible only in the glass. One of these men may be the artist himself, Jan van Eyck.

Like many other paintings where looking glasses, polished suits of armor, jugs, and carafes expand or shift the perspectives, The Arnolfini Portrait shows us how many people are really in the picture. Painted mirrors reflect their creators, or at least their easels, in Vermeer’s Music Lesson; in the Jabach family portrait, where Charles Le Brun paints his mirror image right into the group; and in Andrea Solario’s Head of St. John the Baptist, where the reflection of the artist’s own head gleams from the foot of the platter. Mirrors reveal the whole clientele and an acrobat’s feet in Manet’s A Bar at the Folies-Bergère; the two observers of a couple’s ring purchase in Petrus Christus’s Goldsmith in his Shop; and, regal in miniature, Philip IV and Mariana of Austria in Velázquez’s Las Meninas. Sometimes mirrors invite us to regard the artist’s reflection as our own; as John Ashbery wrote of Parmigianino’s Self-Portrait in a Convex Mirror,

What is novel is the extreme care in rendering
The velleities of the rounded reflecting surface
(It is the first mirror portrait),
So that you could be fooled for a moment
Before you realize the reflection
Isn’t yours.

The mirror’s revelations surprise everyone except the artist, who, in The Arnolfini Portrait, paints his signature over the mirror, like a graffito on the wall: “Johannes de eyck fuit hic 1434.” Jan was here.

Read more…

Hurricane Harvey Made Strange Bedfellows in Texas

(AP Photo/David J. Phillip)

Outside of Houston, Cambodian immigrants built a small community in the unincorporated town of Rosharon, growing water spinach, called trakuon, for the Cambodian community. Then Hurricane Harvey hit and flooded the town’s homes and its farms.

For the Texas Observer, Michael Hardy reports on a surprising, uneasy alliance in the rebuilding efforts: Volunteer assistance from white far-right groups wearing Confederate flag jackets and camouflage. These anti-government neo-Confederates arrived to help Rosharon before the local government or the Red Cross arrived, and they took over the rebuilding effort so firmly that they initially refused to let in FEMA. Who were these people, and did they really just want to help?

The groups are affiliated with the so-called Patriot movement, which emerged in the early ’90s from the ashes of Ruby Ridge and Waco’s Branch Davidian compound, and whose ranks expanded dramatically during the Obama administration. The Freedom Keepers are an Oregon-based group whose members appeared at the Unite the Right rally in Charlottesville, Virginia, last summer brandishing assault rifles and wearing body armor. (Marion, the Freedom Keepers and the New York Light Foot Militia are among the defendants currently being sued by Charlottesville and Georgetown Law’s Institute for Constitutional Advocacy and Protection to prevent them from returning. They’re also being sued by two women injured in the car attack that killed Heather Heyer.) The Confederate Riders, a Missouri-based group, travel the country protesting the removal of Confederate monuments. The two groups share information and coordinate protests mainly through their Facebook pages, which each have 10,000-plus followers.

Both groups harbor extreme anti-government views and believe the Constitution is under siege by a range of nefarious forces. On the Freedom Keepers’ weekly Facebook Live broadcast, “The American Radio Show,” Marion rails against Hillary Clinton, George Soros, Muslims and undocumented immigrants. He portrays the Patriot movement as America’s last line of defense. “This country will fall if we don’t get into the middle of it and change it from within,” he said on the show in December. “We have to become a disease. Some bacteria and some infections are beneficial. And we need to become an infection inside the body.”

Having infected Little Cambodia, the far-right groups were not eager to give it up. They didn’t see an impoverished community that had been shamefully underserved for decades and abandoned by the government in its time of greatest need; they saw a proudly self-reliant people who had built a libertarian paradise. “It’s been a really awakening experience to see what it means for people to live on their own, live their way, make their choices,” Marion said in a Facebook Live video from Rosharon. “It really is the American dream.”

Read the story

How ‘Cops’ Became the Most Polarizing Reality TV Show in America

"Cops" screenshot
Another night, another arrest, on "Cops." (Cops.com/Langley Productions)

Tim Stelloh | The Marshall Project & Longreads | January 2018 | 25 minutes (6,325 words)

This story was published in partnership with The Marshall Project.

***

Morgan Langley leans toward a large computer screen. He isn’t sure if the video clip is still there, posted to a random YouTube channel named after a ’90s punk-ska act, but after a few moments, he finds it. Out of a black screen flashes a white Ford Mustang with blacked-out windows and chrome rims. Langley, who is an executive producer of one of America’s longest-running reality shows, “Cops,” narrates. “This kid here is actually selling a thousand pills of ecstasy to an undercover cop,” he says excitedly.

On the screen, a skinny white kid with a straight-brim baseball cap and a collection of painful-looking face piercings has plunked down on the Mustang’s passenger seat. Next to him is a woman whose blurred face is framed by sandy blonde hair. They briefly discuss logistics, and a second guy with dark skin and wrap-around sunglasses hops in. He asks if she has the cash; she asks if he has the goods. He asks if she’s a cop; she laughs.

“Okay, we’re just gonna do it like this,” he says, grabbing a pistol from his waistband. “Just give me your money.” Seconds later, officers in green tactical gear swarm the car, and he’s nose-down on the pavement, handcuffed and delivering a tear-streaked explanation: “Sir, they gave me a gun and told me they were gonna kill me.” Read more…

Essay

Between the Wolf in the Tall Grass and the Wolf in the Tall Story

 

“It’s hard to escape the conclusion that the unconscious is laboring under a moral compulsion to educate us.”

—Cormac McCarthy, “The Kekulé Problem,” Nautilus, April 20, 2017

I. The Smartest Person in the Room

I often say that one of the great pleasures of teaching — writing, or any such thing I teach — is that in front of a room of students, a captive audience, I have a few hours almost every day to work out ideas I’m puzzling over with smart people who are ostensibly there for many of the same reasons I am: to puzzle over ideas. Students don’t always know that’s what we’re doing; they often think I have the answers — and with the simplest questions I often do: yes, you should feel free to write with the word “I” — see, I do.

But more often that not, I don’t have the answers, or, my thoughts on a matter are shifting, still in motion. Ten years ago, I might have tried to hide this fact from my students, if I even recognized it then at all; I might have made it seem like I knew definitely more than I did — or do — in the fear of losing my authority in the lecture hall. I might have avoided certain lines of inquiry — steered the conversation down safer paths — because I couldn’t be sure where we might end up, which may have been in a place where a student knew more than I did, or where I might have simply to say, I don’t know, without the wherewithal or the experience to trust this group of people I was with to figure out something new, together. Without the awareness that I don’t know is probably the most exciting place we can be both in the classroom and in a life of writing, too. So here goes.

‘I don’t know’ is probably the most exciting place we can be both in the classroom and in a life of writing, too.

Once, long ago, teaching an essay I had never taught before — but one I now feel like I know like the back of my hand, Michael Pollan’s 2002 “An Animal’s Place” — I reached a point in the conversation with students known as Awkward Silence. I looked up from the head of the seminar table. Blinks. The shuffling of papers. This was before the ubiquity of smartphones, so they weren’t ignoring me with those yet. I looked back down to the essay. My heart sank — then raced. My mouth went dry. Perhaps you know this feeling. Perhaps you can relate, empathize. Back to the essay, maybe I read aloud:

It can be argued that human pain differs from animal pain by an order of magnitude. This qualitative difference is largely the result of our possession of language and, by virtue of language, an ability to have thoughts about thoughts and to imagine alternatives to our current reality. The philosopher Daniel C. Dennett suggests that we would do well to draw a distinction between pain, which a great many animals experience, and suffering, which depends on a degree of self-consciousness only a few animals appear to command. Suffering in this view is not just lots of pain but pain intensified by human emotions like loss, sadness, worry, regret, self-pity, shame, humiliation and dread.

I looked back to my students. Still nothing — from me or them.

“Excuse me,” I said, just barely holding onto my vision — it was fading fast — and I fled the room. I was gone for about five minutes and returned with a Tropicana and a Kind Bar, blaming it all on my blood sugar — not shame, humiliation or dread, though I certainly felt all that. We went on. Class dismissed. The semester ended. I survived.

* * *

In fall, 2016, I taught a superb group of undergrads in a journalism class. One of the students, a woman in her first year of college, had written a piece that was being workshopped, and another, perhaps the most generous workshopper in the room — our best reader and our best writer, simply because he’d just read and written more — was looking for something else from the essay, for the author to go deeper into the story of the scam, to stop skating the surface of New York City’s store-front astrologers. These are things we often hear in writing workshops: go deeper, stop skating. After some keen insight, the workshopper said to his classmate, “Look, you’re the smartest person in the room, that’s clear. But — ”

Whatever followed the “but” I didn’t hear — he said something useful once again, and class proceeded. We workshopped another essay. The woman’s final piece was better than the original, based on the suggestions he and others made during class. She went deeper. That’s how it’s supposed to be. But did you catch what he said? “You’re the smartest person in the room, that’s clear.” Quite a compliment. And he didn’t mean only that she was smarter than the other students in the room; he meant she was the smartest person, period. Me included. I sat there. I did not panic. I did not flee. He was not wrong.

In any case, I use this introduction to get at something I’ve been considering — or, really reconsidering — sometimes with students, sometimes on my own, sometimes in my writing, about empathy and its place in our creative work. I’ve long believed empathy is essential to what we do when we write — that we engage our ability to feel with, or, as psychologist Paul Bloom puts it in his recent book Against Empathy: that you can come “to experience the world as you think someone else does.” Bloom’s not talking about writing, really, but his definition, and my own summary — the act of feeling with — as I say, has long shaped my own thinking about how I write, and probably how I have taught others how to write.

But here’s what happened. I often teach — and often make mention of in my writing — the novel Elizabeth Costello, by South African writer J.M. Coetzee. This is a thing I did in the spring, 2017. In two central chapters of the book — “The Lives of Animals,” Parts One and Two — the title character, an Australian novelist, lectures on animal suffering at a fictional Appleton College, in an American town called Waltham. She draws controversial comparisons about the citizens of Waltham, who sit by and do nothing while industrial farms carry out “an enterprise of degradation, cruelty and killing which rivals anything the Third Reich was capable of, indeed dwarfs it.” Written here in the limited third person, assuming the consciousness of Elizabeth Costello’s son, John, this section of the novel includes several long quotations from Costello’s lectures, including this, in which she justifies her own authority, as a novelist, to speak in philosophical terms about the lives of animals:

“Despite Thomas Nagel, who is probably a good man, despite Thomas Aquinas and René Descartes, with whom I have more difficulty in sympathizing, there is no limit to the extent to which we can think ourselves into the being of another. There are no bounds to the sympathetic imagination. If you want proof, consider the following. Some years ago I wrote a book called The House on Eccles Street. To write that book I had to think my way into the existence of Marion Bloom. Either I succeeded or I did not. If I did not, I cannot imagine why you invited me here today. In any event, the point is, Marion Bloom never existed. Marion Bloom was a figment of James Joyce’s imagination. If I can think my way into the existence of a being who has never existed, then I can think my way into the existence of a bat or a chimpanzee or an oyster, any being with whom I share the substrate of life.”

Reading this with my class, an argument that seems to bring together aesthetics and ethics, I repeated Costello’s claim: “There are no bounds to the sympathetic imagination.” But we began that day in March to investigate whether what Costello — and perhaps Coetzee — was talking about in terms of sympathy had anything to do with what we often describe now as empathy — what Paul Bloom characterizes in his book as “everything good, … a synonym for morality and kindness and compassion,” or what we find in so much facile writing instruction nowadays, which consolidates under headlines like:

“Why Empathy is the Key to Story”

“Writing as an Act of Empathy”

“On Writing with Empathy”

Or the absolute worst: “Writing with Empathy Will Effortlessly Improve Your Business.”

All this is a simple Google search away.

But does the creative act, the aesthetic act, really depend on such a thing? Is the boundless sympathetic imagination that Coetzee believes in — meaning, the boundlessness of the creative impulse and its potential — really the same as experiencing the world as you think someone else does? Is empathy what we need to write?

Faced with the questions, I answered my students as I’m inclined to do these days when it’s true: I don’t know, I said. But we set to work trying to figure it out.

II. A Little Boy in the Dark

Of course many people know lots more than I do. Many of the people close to me — the psychologists, therapists, mediators, yogis, and pastors, there’s at least one dentist — know lots more than I do about empathy. But the conversation we had in class that day led me to say certain things I was not sure I believed — about ethics and writing and the overlap — until I found myself saying them. Like Flannery O’Connor, who says this about writing — “I write because I don’t know what I think until I read what I say” — it may be that I’ve found teaching leads me to say new things that I think, or, with help, can come to believe in watching their effect on people and in myself.

Here’s what we came to understand, and what I came to say, about the relationship between empathy and the sympathetic imagination: first, they’re not the same thing. And second, what I’m calling sympathy is more useful, more effective — in life and in art — than empathy.

In June 2014, my wife underwent surgery for breast cancer. The night of the surgery, which was successful, she lay asleep, still drugged I think, at NYU Langone Medical Center, about twenty blocks from our home on New York City’s East Side. Her closest friend was staying with us, taking care of our son so that I could be at the hospital throughout the day and into the evening, and the house was dark when I returned. I’d head back to the hospital first thing in the morning. I was exhausted but not exactly tired when I got home — and I’m not sure I’ve ever told my wife this — I went to a Mexican place called ¡Vamos! across First Avenue from where we live, and read in the dimmest of candle light, under booming techno music, the final essay of Leslie Jamison’s The Empathy Exams, “Grand Unified Theory of Female Pain.” Reading this essay takes about two margaritas.

I think it’s true that the act of reading, in this case, involved a kind of private longing, in my worry, to know what my wife was going through and had gone through already. Though not always the smartest guy in the room — and this reading I did may be more proof of that than anything else — I’ve always been studious, and an essay that offered a grand unified theory of female pain seemed like a good bet for someone seeking understanding, a way to empathize.

But the moment was more complicated than that, because of the performance involved: imagine me there at the bar, hunched over, straining my eyes, alone in a crowded room on a Friday night, reading, and hoping, I suppose, to draw some attention my way. Not to be talked with, but to be seen in pain, perhaps, grieving something. Under the circumstances, sort of ugly. But I was also doing the other thing — right? — seeking understanding, trying to experience the world as someone else does. Not my wife, necessarily, but someone like her — a woman, at least, in pain. And there’s also the truth of the worry, the actual grief involved in a spouse’s illness, her surgery, in visiting hours and the helplessness of having to walk away through the revolving door toward home.

Performances are complicated, which is something we learn in particular about female pain by reading Jamison, who writes, “The wounded woman gets called a stereotype, and sometimes she is. But sometimes she’s just true. I think the possibility of fetishizing pain is no reason to stop representing it. Pain that gets performed is still pain. Pain turned trite is still pain. I think the charges of cliché and performance offer our closed hearts too many alibis, and I want our hearts to be open. I just wrote that. I want our hearts to be open. I mean it.”

There’s no doubt that Leslie Jamison values empathy, and little doubt that she’s empathic — that she spends some fair portion of her life attempting to experience the world as she thinks other people do. I’m sure she tries to feel with other people. You can see it behind her reporting about sufferers of Morgellons Disease or a family who believes their son has experienced a past life. She doesn’t typically believe in these things as the sufferers do — and she’s clear that she’s not agnostic about these things — but you can imagine her trying to feel what they feel. Often in her writing, she’ll describe that act. She’ll perform empathy on the page. Here she’s concluding her essay about the Leningers, whose teenage child, they believe, fought in World War II:

Did I leave Louisiana thinking James Leininger was a reincarnated fighter pilot? No. …

Did I leave feeling that the Leiningers were sincere in their beliefs about reincarnation? Absolutely. … Something more complicated was going on with the Leiningers — and something simpler. It seemed to me that they were just a family seeking meaning in their experience, as we all do. In this case, the human hunger for narrative — a hunger I experience constantly, and from which I make my living — had built an intricate and self-sustaining story, all of it anchored by the desire to care for a little boy in the dark.

Look right in there for the signs of empathy — “as we all do,” she says, “a hunger I experience constantly, and from which I make my living.”

But is it empathy that allows her to write about the Leningers, or to write her grand unified theory? Or her essay “The Empathy Exams,” which I’ve often used as an example of how to borrow forms as a way to arrive at deeper truths than one might be able to by approaching a subject, even oneself, straight on?

Or, is it empathy that allows me to write about my wife — about whom I believe I have felt, and often feel, empathy — when I mentioned her just above, or wrote this about her illness in 2016?

My wife’s health, even after she discovered the cancer, has always been basically good. Surgery required its own recovery time, the emptying of drains, pain medication, and lots of sleep. In the weeks following the surgery, as soon as it was safe to travel, we spent some time on a California beach we love, where she thought she might recover best. She took long, solitary walks and considered her next steps, even while we both knew that, because of me and our son, she’d been stripped of choices that veered too far from what the doctors had prescribed.

Is it empathy that allows Coetzee to write this from the point of view of his character John, Elizabeth’s son, as he drives her to the airport after what’s really been a disastrous few days lecturing on animals and being lectured in return?

“Yet I am not dreaming. I look into your eyes, into Norma’s, into the children’s, and I see only kindness, human kindness. Calm down, I tell myself, you are making a mountain out of molehill. This is life. Everyone else comes to terms with it, why can’t you? Why can’t you?

She turns on him a tearful face. What does she want, he thinks? Does she want me to answer her question for her?

They are not yet on the expressway. He pulls the car over, switches off the engine, takes his mother in his arms. He inhales the smell of cold cream, of old flesh. “There, there,” he whispers in her ear. “There, there. It will all be over soon.”

Is it empathy? I’m venturing to answer no in all these cases — that while Jamison and Coetzee and I are all arguably empathic in our lives, that we may often set ourselves to the task of empathizing with others, when we write, we’re engaged in another sort of activity, tapping into a different, more expansive, more complex, mysterious — and maybe even more ethical — mode of being. Again, Coetzee calls this the “sympathetic imagination.” And soon I’ll explore why I think he means something different with this phrase than empathy.

III. As Weightless as All Others

Vivian Gornick is a writer many writing students know well, especially her book The Situation and the Story: The Art of Personal Narrative. In a key passage from early in the book, in which she addresses not just personal narrative, but also poetry and fiction — which is why I’m quoting at such length — Gornick is mainly interested in what it takes to create a persona out of what’s often only of interest to ourselves.

To fashion a persona out of one’s own undisguised self is no easy thing. A novel or a poem provides invented characters or speaking voices that act as surrogates for the writer. Into those surrogates will be poured all that the writer cannot express directly — inappropriate longings, defensive embarrassments, anti-social desires — but must address to achieve felt reality. The persona in a nonfiction narrative is an unsurrogated one. Here the writer must identify openly with those very same defenses and embarrassments that the novelist or the poet is once removed from. It’s like lying down on the couch in public — and while a writer may be willing to do just that, it is a strategy that most often simply doesn’t work. Think of how many years on the couch it takes to speak about oneself, but without all the whining and complaining, the self-hatred and the self-justification that make the analysand a bore to all the world but the analyst. The unsurrogated narrator has the monumental task of transforming low-level self-interest into the kind of detached empathy required of a piece of writing that is to be of value to the disinterested reader.

“Detached empathy,” she writes — something, I’d say, like the performance of it we see in Jamison’s essays, and perhaps something like the performance I’m carrying out in this very writing while relating stories about panicking in the classroom and drinking margaritas while my wife lay alone and bandaged in the recovery ward. The persona who does all this performing, Gornick says, is vital: “It is the instrument of illumination.”

Now Gornick will use the word “empathy” elsewhere in The Situation and the Story while writing about work by D.H. Lawrence and V.S. Naipaul and the role of what she also calls “sympathy” in “imaginative writing” — in her case, sympathy for the subject one’s writing about. Lawrence fails in his essay “Do Women Change?” because, says Gornick, “There is not a single moment in the piece — not a paragraph or sentence — when the narrator sympathizes with his subject; that is, when he sees the modern woman as she might see herself, finds in himself that which would allow him to understand why she is as she is.” It’s also in this section that we find another oft-quoted moment from the book: “For the drama to deepen, we must see the loneliness of the monster and the cunning of the innocent.” And Gornick ultimately uses the two words — sympathy and empathy — somewhat interchangeably, or, she uses one to define the other: “What I mean by sympathy,” she says, “is simply that level of empathic understanding that endows the subject with dimension. The empathy that allows us, the readers, to see the ‘other’ as the other might see him or herself is the empathy that provides movement in the writing.”

And I do not disagree with her here — not really — though I like that for Gornick sympathy and imagination are set close by one another in her prose. I also like the notion that for Gornick there’s some aloofness — that detachment — to whatever empathy she’s describing as concomitant with the development of a persona, a character, or a speaking voice. Yet, the matter we were concerned with in my class that day while reading Coetzee — and still the one I’m concerned with now — is an effort to suss out the differences between the sympathetic imagination and empathy as an effort to feel with someone else.

And so back to that day with Coetzee. In her lectures on animal rights and her invocation of the death camps, Elizabeth Costello takes serious interest in what it is that makes us human, and what might disqualify us from a shared place in humanity. It’s happened before, she says, that people have been expelled:

“It is not because they waged an expansionist war, and lost it, that Germans of a particular generation are still regarded as standing a little outside humanity, as having to do something special before they can be readmitted to the human fold. They lost their humanity, in our eyes, because of a certain willed ignorance on their part. Under the circumstances of Hitler’s kind of war, ignorance may have been a useful survival mechanism, but that is an excuse which, with admirable moral rigour, we refuse to accept. In Germany, we say, a certain line was crossed which took people beyond the ordinary murderousness and cruelty of warfare into a state that we can only call sin. … Only those in the camps were innocent.”

She’ll go on to say in the lecture that those of us who ignore — who can’t know about, for our own sakes — the horrors of industrial agriculture are like those who ignored, for their own sakes, the death camps, to which she returns at the end of the lecture:

“The particular horror of the camps, the horror that convinces us that what went on there was a crime against humanity, is not that despite a humanity shared with their victims, the killers treated them like lice. That is too abstract. The horror is that the killers refused to think themselves into the place of their victims, as did everyone else. They said, ‘It is they in those cattle cars rattling past.’ They did not say, ‘How would it be if it were I in that cattle car?’ They did not say, ‘It is I who am in that cattle car.’ They said, ‘It must be the dead who are being burned today, making the air stink and falling in ash on my cabbages.’ They did not say, ‘How would it be if I were burning?’ They did not say, ‘I am burning, I am falling in ash.’

“In other words, they closed their hearts. The heart is the seat of a faculty, sympathy, that allows us to share at times the being of another. Sympathy has everything to do with the subject and little to do with the object.”

It’s here, and with Leslie Jamison in mind, that I began to explore with my students what the differences between empathy and sympathy might be. We tend to think about empathy as mirroring, both feeling and expressing one’s shared experience of pain in full awareness of all that we cannot know about the individual whose pain we’re feeling. “Empathy isn’t just remembering to say that must be really hard,” Jamison writes, “ — it’s figuring out how to bring difficulty into the light so it can be seen at all. Empathy isn’t just listening, it’s asking the questions whose answers need to be listened to. … Empathy requires knowing you know nothing. Empathy means acknowledging a horizon of context that extends perpetually beyond what you can see.”

The heart is the seat of a faculty, sympathy, that allows us to share at times the being of another. Sympathy has everything to do with the subject and little to do with the object.

Empathy sounds so eminently reasonable; it’s problem solving; and in its way — in the ways it can be tested say, part of an empathy exam — it means to reveal just how good the subject is at performing his emotions. “Empathy is a kind of care,” Jamison writes, “but it’s not the only kind of care, and it’s not always enough.”

For Sheila Heti, who has a chapter in her book How Should a Person Be? titled “What is Empathy?,” in its wake, the performed quality, and the mirroring involved in the emotion, are its greatest threats to the individual:

Forever after, though, it would be really hard to untangle how you imagined other people wanted you to behave from how you wanted to behave. How would you even know what you wanted, when at such a young age, desire had been mixed up with empathy and guilt?

How could I castrate my mind — neuter it! — and build up a resistance to know what was mine from what was everyone else’s, and finally be in the world in my own way? That endless capacity for empathy — which you have to really kill in order to act freely, to know your own desires!

Now I’m not sure I’d go that far in dissuading people from developing and deploying empathy, but it does reveal another limit, even as Heti suggests our “endless capacity” for feeling with others. (In this case, the empathy she’s describing is being extended, in her imagination, for an adult who has abused a child — more of that “loneliness of the monster” argument.) But when we consider Heti’s take on the matter — and bear in mind we’re reading her fiction — I actually think there’s really something to her rejection — her murder — of empathy and her embrace of what seems like selfishness.

Bear with me, but here’s a little more of what we realized together in our class while reading Coetzee. After puzzling over the difficult problem of whether those in the class who eat factory-raised meat might still be thought of as within the human fold, we took up Elizabeth Costello’s claim that sympathy — and so, the sympathetic imagination — has everything to do with the subject — one’s consciousness and unconsciousness, presumably — which, when we consider it in light of Heti or Jamison, sets it in stark contrast with empathy, which has the object as its focus. In this way, empathy creates a number of problems for both ethics and our writing life, I think. Consider, just for instance, one of Paul Bloom’s major criticisms of empathy in his book against it: “[Empathy] is a spotlight that has a narrow focus, one that shines most brightly on those we love and gets dim for those who are strange or different or frightening.”

If Bloom’s right, and here I think he is, what’s to say it wasn’t the spotlight of empathy — a bright focus on those they loved, that dimed for those who were strange, they who were in the cattle cars — that led to what Costello describes here?

“The people who lived in the countryside around Treblinka — Poles, for the most part — said that they did not know what was going on in the camp; said that, while in a general way they might have guessed what was going on, they did not know for sure; said that, while in a sense they might have known, in another sense they did not know, could not afford to know, for their own sake.”

For the sake of those they loved.

Bloom has studied this stuff. He calls empathy both parochial and racist, for the way it focuses on characteristics individuals share — they’re gentiles in Treblinka, say — which seems to rely on our ability to see ourselves in someone else. It’s very easy to see ourselves — to recognize our own pain — in our parents and children. Our wives. And there’s some personal relief to be found in relieving the pain of those we love with our empathy. This is selfish, and it’s also the personal reward of empathy — of which there are many: perhaps most notably, to bask in the glow of our own performed goodness.

But the selfishness Heti is talking about is different, I think, and something akin to the focus on the subject — the self — that moves Costello’s argument for sympathy forward. What Costello is interested in — and here, specifically to encourage people to extend their sympathies to animals — is to make the absolute most of the self and our creative abilities. To recognize them. To realize them. She rejects the limitations of empathy and its ever narrowing focus on the object; she rejects the centrality of reason and even emotion in our consideration of where our sympathies can and must lie; and by focusing on the subject — on what our consciousness and unconsciousness makes possible, which is boundless — identifies the only thing that matters, the only limit to our sympathies, when we consider what existences it is possible to imagine — that limit — “the substrate of life.”

And there’s some personal relief to be found in relieving the pain of those we love with our empathy. This is selfish, and it’s also the personal reward of empathy — of which there are many: perhaps most notably, to bask in the glow of our own performed goodness.

Now, Paul Bloom might say that working within this limitation, which is hardly a limitation at all, is an antidote to problems he sees with empathy. He mainly talks about concern and compassion as more diffuse and workable ethical modes. (“We do best,” though, he says, “when we rely on reason.”) And in her acts of sympathy, I like considering the ways Costello stretches an understanding of “the substrate of life”: Beyond imagining the existence of Molly Bloom, and bats and oysters and chimpanzees, Costello also imagines life beyond life — not the afterlife, but the life of the dead, her life as a corpse. And indeed, it’s her own coming death that animates many of her concerns throughout the novel, and her son John’s concerns, too — up to that last moment when, smelling cold cream and old flesh — what deathly things to notice — he says to her, “There, there. It will all be over soon.” But here is Coetzee, pushing the limit, imagining a woman who has never lived confronted with the knowledge that she will one day die.

“For instants at a time, … I know what it is to be a corpse. The knowledge repels me. It fills me with terror; I shy away from it, refuse to entertain it.

“All of us have such moments, particularly as we grow older. The knowledge we have is not abstract — ‘All human beings are mortal, I am a human being, therefore I am mortal’ — but embodied. For a moment we are that knowledge. We live the impossible: we live beyond our death, look back on it, yet look back only as a dead self can.”

Here, through a radical sort of imagining by the subject, is the absolute diminishment of the self. Sympathy for one’s own corpse, terrifying as it may be, creates a world beyond personal pain and the ability to feel with another person. In this case, sympathy is the end of empathy because it removes personal pain — the suffering self — from the equation altogether. This sort of imagining eliminates empathy in ways Bloom advocates for — echoing others like Elaine Scarry. Recognizing the difficulty of imagining other people — other real people, including those we’re close to, but more significantly, “those who are strange or different or frightening” — in an essay that, like Bloom’s work, is really about policy, Scarry describes what it might take to achieve equality between the self and the other. She proposes, as others have before her, not “trying to make one’s knowledge of others as weighty as one’s self-knowledge, but … making one ignorant about oneself, and therefore as weightless as all others.” This is the exact opposite sort of ignorance that plagued those in Treblinka who ignored the death camps.

Now, this is strange advice, perhaps, in light of all I’ve said of the necessary focus on ourselves — the subject — that sympathy requires. How can we take advantage of our boundless imagination while also striving to become ignorant of ourselves? Well, again, Scarry and Bloom are not really talking about the life of the writer. And yet, what if we look back to what Gornick advises about creating a persona? In that process, she warns of the “the monumental task of transforming low-level self-interest into the kind of detached empathy required of a piece of writing that is to be of value to the disinterested reader.” Isn’t “making one ignorant about oneself” just another way of saying that in our personal writing — or through our characters or speaking voices — we “transform low-level self-interest” into an aloofness about the self that makes possible the very self-implication or dramatic irony, or what have you, that turns life into art, our ideas into stories. Christians call this the way to salvation: dying to self.

IV. Between the Wolf in the Tall Grass and the Wolf in the Tall Story

I have a few other writers to bring up in this final section, mainly Vladimir Nabokov and Barry Lopez. One gives me the title of this talk. The other a final example of, and also an elaboration on, the boundlessness of the sympathetic imagination and the power of making oneself ignorant about oneself.

I began in the fall 2016 teaching Nabokov’s 1948 lecture “Good Writers and Good Readers,” which addresses in certain ways some of the themes I’ve been addressing so far. For instance, he talks about the relationship between the beauty of literature, its enchantments, and the moral education books can contain. He speaks too, about how reading should be done — certainly not in an effort to identify with a character in a book, but rather “with impersonal imagination and artistic delight.” (Identification, he says, is “the worst thing a reader can do. … This lowly variety is not the kind of imagination I would like readers to use.”) In what we’re all here learning and practicing to do — all of us — there’s a balance at play, he says, between the mind of the reader and the mind of the writer, the enchanter. Indeed, if you’re convinced by my claims about the relationship between detachment and the creation of art, and you either write this way already or will give it a try, Nabokov’s ideal reader will meet you halfway. “We ought to remain a little aloof,” he says, “and take pleasure in this aloofness while at the same time we keenly enjoy — passionately enjoy, enjoy with tears and shivers — the inner weave of a given masterpiece.”

But if that’s the reader’s side of things — that aloofness and detachment, not exactly absorption — where does literature come from? Nabokov offers us a version of its birth:

Literature was born not the day when a boy crying wolf, wolf came running out of the Neanderthal valley with a big gray wolf at his heels: literature was born on the day when a boy came crying wolf, wolf and there was no wolf behind him. That the poor little fellow because he lied too often was finally eaten up by a real beast is quite incidental. But here is what is important. Between the wolf in the tall grass and the wolf in the tall story there is a shimmering go-between. That go-between, that prism, is the art of literature.

We’ve all faced the wolf in the tall grass — or, maybe it was a bear, as we’ll soon see. Maybe it’s a panic attack; the wolf of being outsmarted by a first-year writing student; maybe it’s a spouse’s cancer; for me it’s very often the death of my father when I was a kid. Sometimes it’s our aging parents and our aging selves. I’ve recently been writing about the wolf that is my mysterious son. But, what Nabokov’s formulation suggests is that when we write literature, we must find our ways — like readers — into detachment and then remain a little bit aloof while we write, maybe a lot aloof if we’re writing a Humbert Humbert. Because neither the immediate fear of the wolf, nor the empathy we feel when we face a dying parent and smell her cold cream, is what makes for literary illumination — or, the way that what we write sheds light on the world, or the substrate of life we share. Those experiences — for the fiction writer and the poet and the factual writer alike — must pass through a prism, says Nabokov — of our minds, perhaps, or what Orhan Pamuk described in his 2006 Nobel Lecture as a sort of second self, one who revels, in a sense, and is surprised by the ignorance of the other:

As I sit at my table, for days, months, years, slowly adding words to empty pages, I feel as if I were bringing into being that other person inside me, in the same way one might build a bridge or a dome, stone by stone. … If I think back on the books to which I have devoted my life, I am most surprised by those moments when I felt as if the sentences and pages that made me ecstatically happy came not from my own imagination but from another power, which had found them and generously presented them to me.

If you feel the tension here of mixed metaphors, that’s fair enough: Nabokov is describing writing at the speed of light; Pamuk emphasizes the slowness of what we all do. But the basic point is the same, I think: our words will not shimmer without invention, without the application of what I’ve been calling, with Coetzee, the sympathetic imagination involved in building worlds. Unless our experiences are, in some way, refracted — not just felt, but transformed, by time, by a focus on the telling detail or by the selflessness involved in making ourselves weightless, by deception and invention — of worlds, of the second self — we will not produce art.

I think: our words will not shimmer without invention, without the application of what I’ve been calling, with Coetzee, the sympathetic imagination involved in building worlds.

For Nabokov, Nature provides our model. “Literature is invention,” he says,

Fiction is fiction. To call a story a true story is an insult to both art and truth. Every great writer is a great deceiver, but so is that arch-cheat Nature. Nature always deceives. From the simple deception of propagation to the prodigiously sophisticated illusion of protective colors in butterflies or birds, there is in Nature a marvelous system of spells and wiles. The writer of fiction only follows Nature’s lead.

And perhaps, too, does the writer of poetry, and even the factual writer — we follow, if we can, Nature’s lead, in how it deceives us and it how it reveals the truth. Because even if we can agree there may be no true stories — that all art is invention — I’m a believer in truth. Which leads me then to Barry Lopez and the bear in the woods.

In May, 2017, I was in the audience to hear a public conversation between Barry Lopez and the composer John Luther Adams. They spoke about their collaboration over the decades, their appreciation of the other’s work and processes, even the place of birdsong in their lives and art. To open the event, the actor James Naughton read a recent essay by Lopez called “The Invitation.” It was published in Granta in November 2015. Here’s how it opens:

When I was young, and just beginning to travel with them, I imagined that indigenous people saw more and heard more, that they were overall simply more aware than I was. They were more aware, and did see and hear more than I did. The absence of spoken conversation whenever I was traveling with them, however, should have provided me with a clue about why this might be true; but it didn’t, not for a while. It’s this: when an observer doesn’t immediately turn what his senses convey to him into language, into the vocabulary and syntactical framework we all employ when trying to define our experiences, there’s a much greater opportunity for minor details, which might at first seem unimportant, to remain alive in the foreground of an impression, where, later, they might deepen the meaning of an experience.

The details that come alive in this essay are mainly those describing a bear in the woods, a bear feasting on a caribou carcass. Or that’s what it seems at first. Encountering that scene, Lopez writes, “I would tend to focus almost exclusively on the bear.” But as he continues, he reveals the limitations of that approach, what might have led him, long ago, to write something called “Meeting the Bear.” What his companions knew of nature, however — what they could imagine — was that this moment was part of some vastly greater unfolding of events, what Lopez describes as an “immersion in the current of a river.”

They were swimming in it, feeling its pull, noting the temperature of the water, the back eddies and where the side streams entered. My approach, in contrast, was mostly to take note of objects in the scene—the bear, the caribou, the tundra vegetation. A series of dots, which I would try to make sense of by connecting them all with a single line. My friends had situated themselves within a dynamic event. Also, unlike me, they felt no immediate need to resolve it into meaning. Their approach was to let it continue to unfold. To notice everything and to let whatever significance was there emerge in its own time.

If you read this essay, you’ll see notes within about the desire to come to know a place deeply — and to be known, in return, by that place and to feel a sense of belonging. Lopez offers rules to live and write by: pay attention, be patient, be attentive to what the body knows. Here’s the conclusion — if we can call it that — he draws.

A grizzly bear stripping fruit from blackberry vines in a thicket is more than a bear stripping fruit from blackberry vines in a thicket. It is a point of entry into a world most of us have turned our backs on in an effort to go somewhere else, believing we’ll be better off just thinking about a grizzly bear stripping fruit from blackberry vines in a thicket.

Now, I can’t quote lines like this, about an alternative way of experiencing Nature, for an audience of avid readers and then doubt that I’m among people who love language. Nor can I doubt much that we also love that through language we possess an “ability to have thoughts about thoughts and to imagine alternatives to our current reality.” That’s writing, right? That’s also Michael Pollan again; and our ability to generate these alternate realities is also what he suggests makes our pain qualitatively different than animal pain: the pain of the caribou, say. Who knows about that? Like Pollan, I’m a meat eater who tries to be careful about the meat I eat. And the details of what this means we can save for another time, a private conversation — I may not always eat meat; I haven’t always; I’ve become, over the years, both less and more sure of myself, which is sort of the point of all I’ve been saying.

But Pollan’s focus on our pain and the way it differs from animal pain — which, to be fair, is ultimately something he’ll concern himself with very little — reveals the limits, once again, of empathy. It’s a habit of mind that rushes to meaning. Cartesian certainty. (And perhaps — if the parochial spotlight of empathy turns us racist, say — Cartesian cruelty.) It’s no wonder I panicked and had to leave the room.

The writers I’ve been turning to, and teaching lately, lead us to a different habit of mind. This habit resounds in what Pamuk and Nabokov and Gornick and Scarry say, Lopez and Pollan, too, if you read him fully, about building detachment — time, boundless sympathy, another self — into the writing life, resisting whatever need I have to know immediately what a thing means to me. I’ll be a better writer if I resist the pleasure of my own weightiness — and my ability to prove my weightiness and significance to others: I feel your pain; I know the answer; look out, here comes the wolf! If I — and ultimately WE — can get lost, and then eventually found, in the vast weight, in all that’s shimmering, in all of what surrounds us.

An Elegy for Bette Howland, a Writer Who Was Nearly Forgotten

Jacob Howland

This past Sunday, The New York Times reported that Bette Howland, a writer most contemporary readers have never heard of, died at the age of 80, in Tulsa, Oklahoma.

Howland was the recipient of a MacArthur ‘Genius’ prize. She had a prolific decade, beginning in the mid-1970s, first publishing her memoir, W-3, in 1974, which documented her stay in a mental hospital following a nervous breakdown; it was followed in 1978 by Blue in Chicago, a collection of largely autobiographical stories; and then by Things to Come and Go, a collection of three long stories, published in 1983. When Johanna Kaplan reviewed it in the Times, she called Howland, “a writer of unusual talent, power, and intelligence.”

Howland received the MacArthur in 1984 and never published another book, only sporadically contributing to literary magazines and journals, often responding to editors with resistance to the idea of publishing her work.

Despite having a champion, friend, and sometimes lover in the writer Saul Bellow, who encouraged her spiritedly after meeting her at a writing conference on Staten Island in 1961, Howland was often overcome by a lack of confidence, particularly after winning the MacArthur.

In 2015, Brigid Hughes, editor of the Brooklyn-based literary magazine A Public Spaceplucked Howland’s first book, W-3, off the $1 cart at Housing Works Bookstore in New York City and became intrigued upon reading its very first sentences. Hughes had never heard of Howland, but she took the book home and read it in a night. She had earlier in the year begun to think about an issue of the magazine focused on women writers — perhaps, she had thought, there might be something to include of Howland’s.

Hughes, with the help of Laura Preston, an editor at the magazine, began to sleuth for more information about Howland in order to contact her and see if she had more work. The internet offered few breadcrumbs. There was a Wikipedia page with a photo that was not Howland, and there were a few press clippings, but Hughes said at the time, “She had just vanished.”

Hughes and I talked about Howland during the production of her issue focused on underappreciated women writers at a time when I was renting a desk in the magazine’s office. I also became intrigued with Howland and started to read W-3 myself, as well as excerpts from a large stash of letters between Bellow and Howland that Hughes was publishing after their discovery by Howland’s son. Hughes had tracked down Jacob Howland to enquire after his mother’s whereabouts. Unfortunately, Bette Howland had a tragic car accident only the year before. She was suffering from dementia and not healthy enough to correspond with Hughes, but Jacob stepped in and began to work with A Public Space.

As a freelance writer, I thought Howland’s story and Hughes’s rediscovery would make for a good piece for LitHub. So I began to read and assemble everything I could about Hughes’s discovery, which included the letters. I reached out to her son by email to ask more about her, as well as his interaction with Hughes. “Brigid,” he wrote me at the time, “is the reason we found the letters, My wife and I started looking through Bette’s papers for unpublished material, and that’s when we ran across the letters.”

At some point, as I was reading a draft of that issue of A Public Space and working on my own piece about Howland, I went online and ordered first editions of all of her books. They were all under $10 and easy to acquire. I had recently been introduced to the rare book trade, through rare and antiquarian book dealer Heather O’Donnell, owner of Honey and Wax Books, and had caught the collecting bug. Then realizing I would never be able to afford to become a serious collector of any kind, despite being an excellent hoarder of books, I began to dream that I might start a business of my own focused on women writers.

The idea came about after I visited numerous rare book fairs, which I had begun to realize were run primarily by male dealers, male collectors, and predominantly filled with books by men (this is very broadly speaking), and as a result many women writers’ books were priced far lower than those of their male contemporaries

Howland became the inspiration for a new business I’ve just launched, The Second Shelf, and hers were the first books I acquired to sell, if I can bring myself to part with them. Since I bought them, and since Howland began receiving some attention again, thanks to Hughes, her first editions have increased in value and are difficult to come by at all — a copy of Blue in Chicago costs around $80-100 online.

Earlier this year, Hughes announced a new literary imprint, A Public Space Books, and will begin publication with Howland’s experimental novella, A Calm Sea and Prosperous Voyage, which was originally published in TriQuarterly in the 1990s.

The news of Howland’s death this past week came with a strange and surreal, nearly uncanny timing. I had only days earlier published a piece here on Longreads reporting on Hughes’s own erasure from literary history — as the first and only female editor of The Paris Review, and the editor to succeed the renowned George Plimpton. The piece was sparked by a series of frustrated tweets I posted upon learning of Lorin Stein’s resignation from The Paris Review, the result of a sexual harassment scandal in which he admitted to taking advantage of women writers and staff in his workplace.  

It was a poignant and emotional bit of news, and adding insult to injury, all the articles about it kept repeating the misreported legacy of the magazine’s editorship. I found myself urgently needing to correct the historical record of Hughes’s erased role at the Paris Review, the sexist treatment she received by the board in ousting her, and the similarly sexist treatment by the news media in its decade-long misreporting.

Although Howland chose to step out of the limelight, I see her disappearance from literary history as evidence of sexism in publishing and literary criticism. Great male writers, whatever their output or mental state, have legacies that far outlast those of women writers because men read books by men and are less interested in books by women. There is a maxim in publishing I have heard dozens of times from publishers and editors: Women buy and read more books. Women buy and read books by both women and men. Men buy and read fewer books. Men read books by men, not women. This is, again, not wholly the truth, but it’s not inaccurate either. Then, you’ve got patriarchal institutions and the academy still supporting a canon that was built by white men. Literary women suffer from this in their own lifetime, as Howland’s disappearance demonstrates, and they suffer even worse in their afterlives.

Hughes has been restored to her place in literary history with a series of corrections in The New York Times and with a correction on the masthead of The Paris Review. Because of Hughes, Howland is back in print in the pages of A Public Space and will soon have new work on the shelves, along with her out-of-print work.

It’s hard to not be discouraged as a woman writer these days. In addition to facing sexual harassment in the workplace, we have the boys’ club to contend with, we have unequal pay, we are asked far more frequently to write only for “exposure.” We are often given gendered book covers, often whether we want them or not. On top of it all, our literary history is written by men who mostly are interested in what men write.

But all is not lost, women are pulling up women, and some of us, like Howland, might be lucky enough to find champions who do not discriminate based on sex. Here is a quote from just one of Saul Bellow’s many letters to Howland, encouraging her back to the writing desk after her nervous breakdown:

I think you ought to write, in bed, and make use of your unhappiness. I do it. Many do. One should cook and eat one’s misery. Chain it like a dog. Harness it like Niagara Falls to generate light and supply voltage for electric chairs.

Who knows if we would have Howland’s books at all without Bellow’s constant encouragement? If one reads the small bit known about her personal biography, it seems incredible that she was able to accomplish what she did. She had very little support in her pursuits. Bellow’s mentorship appears to have made a huge difference in her life. How many other women writers are gone to us, or, like Howland, are on the precipice of being lost?

There is a secret history of literature, one full of forgotten women. Let’s honor the work of Howland and Hughes, and women like them. Let’s find them, pull them out from the cracks, and begin to balance the bookshelves.