Search Results for: New York Review of Books

Why Beyoncé Placed HBCU’s at the Center of American Life

(Kevin Mazur/Getty Images for Coachella)

When Beyoncé strolled onto Coachella’s desert stage like a drum major on the night of April 16, no one was prepared for the spectacle that was to come. There was, of course, the sheer magnitude of it: She wore a cape and crown of painstaking detail, bedazzled by Olivier Rousteing of Balmain, referencing the ageless black regality of Nefertiti and Michael Jackson. Dozens of monochromatically clad dancers joined Bey, along with a drumline with sousaphone and trombone players. It was an ocean of sound and color against the backdrop of bleachers. “‘Let’s do a homecoming,” she reportedly told her choreographers in early rehearsals.

Perhaps we should’ve been ready. Beyoncé, known for rigorous stagecraft, always promises a spectacle. She’s a pop star who sings soul, although she hasn’t ever tried to be earthy or minimalist like Erykah Badu or Jill Scott, two artists whose work I can tell she pays attention to. I’m sure Beyoncé could pull off a full-length, stripped down, acoustic album if she wanted, but she’s always seemed willfully extra. Her sound is emotive, melismatic, acrobatic, and her visuals are similarly bombastic — a lot of hair, plenty of ass and sweat, and more than a few wardrobe changes.

Yet some of my favorite moments of her career are when she’s focused on fundamentals. Keeping the beat on her lap while performing “Halo” at a children’s hospital, ad-libbing on Frank Ocean’s “Pink and White,” harmonizing on the relaxed, minor-note groove of Destiny’s Child deep cuts like “Get on the Bus,” and “Confessions”. You notice her ear for complex harmonies, the strength of her lower register, the sense of rhythm that makes the delivery of her hooks sticky, and the staccato of her cadences — along with everything else she’s capable of, she’s also more than competent as a rapper.

What I loved most about Bey at Coachella was how her performance drew out elements that have been important in her art for the past 20 years and took them to their logical conclusion — or rather, to their true beginning. She’s long had a brassiness in her voice and she’s always mined black, Southern ways of being for her work. When her sister’s meditative album A Seat at the Table climbed the charts alongside Lemonade in 2016, both of which explicitly pulsed with a brazen black consciousness, Solange told the public not to be surprised. “I’m really proud of my sister and I’m really proud of her record and her work and I’ve always been,” she said to Fader. “As far as I’m concerned, she’s always been an activist from the beginning of her career and she’s always been very, very black.”

If you’re black and from the South, it feels like the culture of HBCUs (Historically Black Colleges and Universities) is in the ether. They are spaces you can’t ignore and wouldn’t want to. Beyoncé was born in Houston and her father graduated from Fisk University. When she was a child in the 1980s and 90s, Spike Lee joints came out almost every other year, and Lee never let us forget that he’d gone to Morehouse, the way Morehouse men are wont to do. The culture of HBCU’s and black Greek life was everywhere: Lee’s 1988 film School Daze and the 1987 TV series A Different World shared similar themes and a few principal cast members, including Jasmine Guy, who was head of the Gamma Ray sorority in the former and iconic B.A.P. Whitley Gilbert in the latter.

That Beyoncé chooses to highlight the specific culture of HBCUs and black Greek life shouldn’t really surprise us, either, and if it does, it feels to me as if we haven’t really been paying attention. A host of black artists have seen black college culture as ripe for the imaginary. At JSTOR Daily, Lavelle Porter reminds us that it was taken up by novelists Ralph Ellison and Nella Larsen at the beginning of the century, and later, by the creators of films and shows like Drumline, Stomp the Yard, and The Quad. To that list,we could add Janelle Monáe, who depicted HBCU life in her 2013 music video “Electric Lady,” as well as Kanye West, whose mother got degrees from Virginia Union and Atlanta University and was the head of the English department at Chicago State for six years.

Growing up, my older sister ran a small business selling Afrocentric gifts and black Greek paraphernalia at Classic ballgames and other events throughout the South. This was the early 90s, when Kenté cloth and Malcolm X fitted caps and medallions were everywhere. One of the T-shirts in our inventory read “The Blacker the College, the Sweeter the Knowledge,” a riff on an old saying about blackness and fecund soulfulness. At a well-attended event at Memphis’ Cook Convention Center, a customer looked me in the eyes and said she knew the future was secure since I’d been such an eloquent and competent salesperson for a fifth grader.

My sophomore year of high school, I visited a few Southern and East coast colleges, both HBCUs and PWIs, on a tour bus with a church group. Spelman felt like home in a way that I didn’t know a place of learning could. Missy Elliot videos played in a student center, women who looked and sounded like people I loved carried full backpacks, answered our questions. When we got to Howard, we were giddy. It was a Friday afternoon in the late spring, and we spent a long time out on the green, buzzing Yard.

Part of the reason I didn’t go to an HBCU was that I was so familiar with them. Now, I wonder what I could have been had I let myself bask in that kind of affirmation for a little bit longer. Nonetheless, I was pretty sure that who I was — a nerdy, bespectacled daughter of a poor-to-working class single mother, wouldn’t easily fit in at one those campuses.

My experiences with wealthier black families in Memphis — and watching Bill Cosby’s shows — made it clear that I needed to aspire to a pristine, black middle-class ideal. I think Cosby’s crimes have given us an opportunity to think about the limits of some of our sacred black spaces, how the pressure to be respectable can force you to abandon or question or edit yourself if you’re poor, or queer, or anything else. By associating herself with HBCUs, Beyoncé challenges those mores with her self-avowed feminist, queer-loving and blatantly sexual art. She helps expand the possibilities of what it looks like to be a black thinking person.

That she chose to share this at Coachella, with its largely wealthy, white audience, wasn’t exactly a disruption. I truly believe that her performance placed HBCUs and black Greek culture at the center of American life, and that’s where they belong. Today, there are 102 HBCUs, a mix of private and public institutions. Most have some relationship with federal or state funding, and none have endowments like those of the oldest, private universities in the northeast, many of which are uncovering their ties to slavery.  The share of black college students enrolled in HBCUs has declined in recent years, but the schools do more than their share of the work — enrolling about 9 percent of the nation’s black undergraduates and graduating about 15 percent of them.

They are also American institutions that have an important relationship with our nation’s long march towards democracy. According to W.E.B. Du Bois in his 1935 essay Black Reconstruction:

The first great mass movement for public education at the expense of the state, in the South, came from Negroes. Many leaders before the war had advocated general education, but few had been listened to. Schools for indigents and paupers were supported, here and there, and more or less spasmodically. Some states had elaborate plans, but they were not carried out. Public education for all at public expense, was, in the South, a Negro idea.

Before this mass movement, the South’s leadership did not believe in the “educability of the poor,” and much of the white laboring class in the region saw no need for it, mired as they were in the plantation system’s feudalism. State by state, Reconstruction governments set up tax-based schools that would be open to all. There was resistance to nearly all of this — to the idea of blacks becoming educated, to whites teaching blacks, to the black and white students sharing facilities. As a compromise, secondary schools and colleges were opened specifically to train black teachers. Fisk University opened in 1866, and Howard University was founded in 1867, partly funded by the Freedman’s Bureau. Du Bois said these institutions “became the centers of a training in leadership and ideals for the whole Negro race, and the only fine and natural field of contact between white and black culture.”

A few studies have shown that throughout the world, compulsory education increases voter participation, and increases in education predict social engagement in the sort of groups and organizations that do critical grassroots work. The push for education on the part of emancipated blacks, then, can be considered a driving force in the ever-widening democratization of American life.

Beyoncé’s Coachella sets were a correction to the erasure and historical amnesia that make us feel like she could possibly disrupt something that her forebears had such a heavy hand in creating.

For further reading:

A Kendrick Lamar Syllabus

Kendrick Lamar performs at the Grammys on January 28, 2018. (Christopher Polk/Getty Images for NARAS)

Last month, Kendrick Lamar Duckworth won the Pulitzer Prize in music for his 2017 album DAMN. It’s the first work of hip-hop to be commended since the award for musical composition was created in 1943. Most winners have been classical musicians, and a few, like Wynton Marsalis and Ornette Coleman, composers of jazz.

The Pulitzer board noted that DAMN. “offers affecting vignettes capturing the complexity of modern African-American life.” The album’s selection updates and redefines conceptions of music and high culture — it is canon expanding and its reverberations and aftershocks should be significant.

DAMN. is Lamar’s third album, and while it is spectacular, I don’t think it’s his most thrilling. good kid m.A.A.d. city, from 2012, succeeds more on the plane of hip-hop aesthetics, with its structurally sound story arc. To Pimp a Butterfly, from 2015, was more melodically lush, and it magnetized a rising tide of political fervor: The single “Alright” became a protest anthem, and every major release by a popular black musician afterward seemed to form a politically-charged chorus.

Lamar has made a career of delivering prescient, complex work that is sometimes fiery and discordant, and other times deeply meditative or grief-stricken. But his work always feels honest. With the significance of his Pulitzer in sight, I offer a small selection of the insightful writing on Lamar that has published in the years since his debut.
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Of Breakdowns and Breakthroughs

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Jenny Aurthur | Longreads | May 2018 | 28 minutes (6,886 words)

 

On the Monday before Thanksgiving in 2004, my father went missing. I was at the Santa Monica apartment I’d been subletting to a friend while working for three months in New York City, getting ready for bed when my phone rang. It was my mother, wondering if I’d spoken to him. I had not seen or heard from my dad since he’d picked me up from the JetBlue terminal at the Long Beach Airport three days earlier. I was 30 and had returned home to L.A. from New York to spend the holiday with my family.

I’d never missed Turkey Day with my folks. Nothing about my childhood had been typical. I was raised by atheist, socialist activists who called me “Jenny Marx,” never just Jenny, after Karl Marx’s wife. They skipped religious holidays, but observed Thanksgiving, well, religiously.

Fort Green, 1974

Thanksgiving had solidified into a legendary event among our friends, and most years we had a full house. It wasn’t unusual for so many people to show up that some had to sit cross-legged on the floor, leaning against the living room wall. The food was so good, and the company even better, that no one minded not having a seat at the table. My father cooked for an army, and there was never a shortage of food. Our parties were lively and conversations were raucous, everyone talking over one another. We were an opinionated bunch. Current events were passionately discussed, and my parents were walking encyclopedias. Topics ranged from global warming to recent movies to the upcoming local and presidential elections. The musical selections were just as diverse as the crowd, from Dixieland jazz to gospel to classical to Dylan.

Everyone got quiet when the food was ready. We passed around two kinds of homemade stuffing — one for vegetarians and one with Italian sausage. Huge bowls of steaming sweet potatoes, buttery green beans, thick slices of light and dark meat my father carved from the 20-pound bird, fresh cranberry sauce with tart orange zest, loaves of freshly baked sourdough bread, green salad, and a ceramic pitcher of hot gravy barely fit on our dining room table.

***

I started having friends come over for the holiday when I was in junior high. My mother, Elinor, and my father, Jonathan, were popular with my classmates and considered the “cool parents.” During the years I was in school and well into my twenties, our house was the place to be. After Thanksgiving dinners with their own families, droves of my old pals showed up to our house. Everyone loved being around my parents. When I was in high school, one of my best friends, Leisa, was having trouble at home, and my mom took her in. Another friend, Ania, also lived with us a couple of years later.

“I wish Elinor and Jonathan were my parents,” my girlfriends would often say.

This year, though, Thanksgiving would be different. I’d been living in New York since the late summer. Preoccupied with my work, I put the holidays on the back burner. My parents and I had decided to keep it mellow for once. Eight years after my younger brother’s suicide, for the first time, it would just be the three of us.

***

Historically the kitchen was my father’s territory, and when I was growing up, my mother, my brother, Charley, and I were careful to stay out of his way. He loved being the king of his castle, but he pretended not to enjoy it. “I’ve been burning my ass over a hot stove for the last three days for you ingrates,” he complained, acting annoyed, wiping sweat from his forehead. He loved this yearly charade, and we went along with it, rolling our eyes and laughing.

The aromas coming from the forbidden room made our mouths water and stomachs growl impatiently. Under the pretense of being helpful, my mom, my brother, and I would wander into the kitchen and lurk over the stove and poke around. We were shooed out immediately. “Everyone out of the kitchen,” my dad said with mock exasperation. The table had been set for hours; that was my job. I pulled out and polished the prized Tiffany family silver that had belonged to my grandparents, for its once-a-year appearance. My mother was responsible for buying lilies and dahlias. She also designed beautiful Japanese-style flower arrangements that she’d made in her ikebana class. Charley was in charge of dusting and vacuuming. We liked a late dinner and by the time we ate at 8:00, we were famished.

“Now can I sit down?” my dad asked, drawing out the “now,” acting like an indentured servant finally getting a break. Collapsing into his chair with a dramatic sigh, he surveyed the bounty of food, enough for Henry VIII’s court. “Well,” he said, “if we don’t have enough we can always order pizza.”
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Finding the Soundtrack to My Desert Life

Photo courtesy the author, notes via Shutterstock

Aaron Gilbreath | Longreads | April 2018 | 30 minutes (7,571 words)

After I transferred from the university in Phoenix in late 1995, I kept myself in motion so compulsively that I barely got to know my new town. I biked to class. I hiked after class. I ditched class to hike during the week and drove all over Arizona’s rugged southeastern corner to hike the whole weekend. Half a year passed during which I spent as little time in my sad, lonely apartment as possible. I didn’t know anybody in Tucson, and I didn’t want to — not yet. My previous friendships had only helped me turn myself into a pothead. And yet I couldn’t stand to be alone and sit still either. Struggling with my isolation and anxiety about life, I tried to work through my twitchy misdirection in the border region’s dry mountain forests and lowland deserts, taking advantage of the long highways that gave me time for silent contemplation at 75 miles per hour.

Madera Canyon in the Santa Rita Mountains, Sycamore Canyon in the Pajarito Mountains — in those first Tucson months, I saw more of this rugged landscape than many University of Arizona students did in four years of college, yet I never really saw my new city for what it was, because I didn’t take the time. I only saw the land around it.

***

I was restless at age 20, lost, searching for something beyond my reach and always beyond my understanding, some cosmic insight and career path that Mother Nature’s vast deserts seemed capable of offering in a way cities could not. I’d smoked too much weed during the previous three years, and I was trying to quit in order to find my calling. Sitting still meant dealing with temptation; hiking kept me on track. I read a lot of ecology and nature books back then, and what compounded my avoidance was my belief that the wilderness held the answers to all of humanity’s questions — from the meaning of life to cures for cancer to an objective sense of right and wrong. I still believe in wild nature, but in my young, confused Thoreauvian worldview, urban areas were cancerous “man-made” places to escape, not savor, so I fled Tucson every chance I got, just as I had fled Phoenix the year before.

Phoenix was bland. It had a Taco Bell personality. Tucson had a singular, authentically Sonoran Desert character that evolved from its origin as a military outpost in Spain’s old northern territory, then developed in the isolation resulting from Phoenicians’ dismissal of the city as a backwater. People nicknamed it the Old Pueblo. Even before I moved there, I could see the Old Pueblo’s superiority. Prickly pear cactus grew as tall as trees. Roadrunners climbed ornamental palo verdes in the middle of town, and the lonely howl of passing trains rang throughout the night. Many streets had no sidewalks, just as many houses had no lawns. The plaster on old buildings peeled to reveal straw in the adobe bricks underneath. It was as if the city was letting you see who it really was.

Phoenix looked as engineered as Las Vegas, or worse, like bad cosmetic surgery. Central Tucson looked like an extension of the desert, natural and spacious and endearingly shaggy. I could see this when I arrived, but my philosophical views let me rationalize my unwillingness to really appreciate it; it was a city, natural-looking or not. Only when I discovered The Shadow of Your Smile, an album by a band called Friends of Dean Martinez did I finally quit running long enough to find something to value about urban Arizona, besides Mexican food and live music. I’d learned to use cities as basecamps for outdoor excursions. This instrumental steel guitar band helped me stay put, because its cinematic cowboy lounge music matched the personality of this Spanish colonial city. When I started looking at its beauty as equal to that of wildlands, I not only started feeling at home in my city, but also in my own body, and I found my sense of direction.
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Earning Our Place on the Planet: An Interview with adrienne maree brown

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Justin Scott Campbell | Longreads | April 2018 | 19 minutes (5,357 words)

 

When I was first introduced to the work of adrienne maree brown, it was through fiction. A mentor at the time suggested I read Octavia’s Brood: Science Fiction Stories from Social Justice Movements (AK Press, 2015), a science fiction anthology co-edited by adrienne and the activist Walidah Imarisha. Their goal was to produce a collection of “Visionary Fiction” written by social justice organizers; the grounding principle of their collaboration was the idea that “all organizing is science fiction.”

In that project, adrienne asked activists to imagine possible future worlds; in her next project, she’s asked her readers to imagine a future for the only possible world: this one.

The one that’s dying.
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On Junot Díaz’s ‘The Silence’ and Our Uncomfortable Reckoning

Junot Diaz, winner of the Pulitzer Prize for his novel "The Brief Wondrous Life of Oscar Wao." (RICARDO HERNANDEZ / AFP / Getty Images)

It isn’t easy to read “The Silence: The Legacy of Childhood Trauma,” novelist Junot Díaz’s beautiful and searing personal essay published in the New Yorker’s April 16 edition. It’s the kind of piece “trigger warnings” were made for, the kind you don’t link to in your group chat without disclaiming. Sitting on a crowded, air-compressed Amtrak car on a cloudy Monday before 8 a.m., waiting to depart for a day trip to Philly, I was in a brain fog after reading it and texted its link to a friend without thinking. Not even five minutes passed before I came to my senses and tried to walk it back, like you would a text you’d mistakenly sent to a parent instead of a lover.

At about 5,000 words, “The Silence” is a #longread and not anybody’s crowdsourced listicle or half-baked take. By way of structure and content, it’s obvious that it took some mulling over, a life lived, to create. An essay, in the literary sense, is an attempt. The word comes from an old French verb meaning to try, and the first known writer to use it to describe his own work meant that he’d offer a lot of thoughts in an attempt to reveal himself — his mind, his consciousness, his relationship to the world outside —  on the page with some precision. There should be a discovery of something in an essay, a path, though perhaps meandering, through many questions that lead to an answer or lesson or something else entirely. That winding road is what makes an essay different from an article or a paper. It is an attempt to approximate the neural processes that make up thought, memory or revelation itself.

In the eighth paragraph of “The Silence,” Díaz tells us he was sexually assaulted by a trusted family friend when he was only 8 years old. The admission feels spat out and abrupt — it has taken a reserve of courage to get it out. He has written around this incident for years, he says, but fear and shame have choked his truth and cheated him out of years of a life lived with an honest reckoning, in community with other survivors. “And always I was afraid — afraid that the rape had “ruined” me; afraid that I would be “found out”; afraid afraid afraid,” he writes. Here, I feel the weight of shame for one of our society’s collective failures — how we too often allow the wronged to carry the burden of crimes committed against them. Read more…

‘I Try Not to Have a Schedule’: Talking Writing with William Vollmann

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William T. Vollmann is as renowned for the size of his books as the magnitude of his subjects: poverty, the morality of violence, the collision of Indigenous and European cultures. His book Rising Up and Rising Down spans seven-volumes and 3,300-pages. Imperial runs 1,306 pages. But his beautiful sentences, challenging structures, and documentary photography deserve equal attention, and his ten published novels and four story collections often require as much research as his nonfiction.

His newest project is a two-volume series called the “Climate Ideologies” that addresses how the wonders and waste of energy consumption are irrevocably heating our planet. The first volume, No Immediate Danger, covers the effects of manufacturing, farming and nuclear energy, and it took him into the restricted zone one mile from Japan’s ruined Fukushima Daiichi Nuclear Power Plant. Volume two, No Good Alternative, covers coal, oil, and natural gas.

Prolific, original and determined, on paper Vollmann cuts an intimidating figure. He famously wrote his first novel You Bright and Risen Angels at the San Francisco office where he worked as a computer programmer, often sleeping there a week at a time and living off of vending machine candy bars. In person, his warmth and humor make for easy conversation. Years ago, when I gave up on a big book project that was tormenting me, I did something crazy and wrote him a letter through his agent, telling him about my idea and struggles. Four months later, a handwritten letter arrived in my mailbox, encouraging me with wisdom that distilled his own approach to writing: read as much as you can about the subject, take the trip as many times as necessary to get it right, then the story will be yours. His words were just what I needed. I booked a flight soon after and wrote a whole book based on that reporting trip. Writers need mentors, and hungry readers need writers like Vollmann.

***

Aaron Gilbreath: You start No Immediate Danger by stating that it’s too late to stop climate change, so now we can only understand what led our species here so future generations know the details. Did your 2014 book Last Stories, about death, help prepare you for this grave work?

William Vollmann: Yeah. I had been preparing for the worst for a long time, but in Carbon Ideologies I do believe that it’s probably too late, but I’m hoping I’m wrong. Any book is really about its own present, even a science fiction book or a book like this, so it’s always possible that maybe some sort of a plant-based carbon sequestration system could come to our rescue. I’m not counting on it.

AG: I like that it’s dedicated to your daughter since that does add a small sense of hope that maybe salvation is possible.

WV: It would be nice, and if it isn’t then I’m just hoping that her life won’t be too much worse than mine and that there might be a few more generations yet before it peters out. You never know.

AG: One interesting thing about Carbon Ideologies is that it functions as an apology to future generations for the earth that we destroyed. The fact that you’re even hopeful enough to envision future readers makes me want to uses this interview to talk about writing in the same way, as a time capsule message to other writers both alive and unborn.

WV: Why not?

AG: You are one of the most productive writers on earth. A lot of my fellow writers know how hard it is to research, report and write a single-story, so we always wonder how you sustain your pace, publishing so many books at this size nearly every year. People like me picture you sort of living at your computer from morning until night. They wonder if you sleep. What are your writing days like?

WV: Well, I try not to have a schedule. So, I’m pretty much writing every day at some point, but I do other things also. When I get bogged down, there is something that I don’t understand, I set that aside and do something else, whether it’s another writing project or doing a little maintenance at my studio or painting or going on some river adventure to see my outlaw friends in the Delta. I just try to mix it up. So I very rarely feel any boredom, unless of course, I’m on my stationary exercise bike. After about 10 or 11 hours of misery, I get off and realize it’s been about 30 seconds.

AG: That sounds like my gym experience. Is that bike in your studio where you can toggle between it and your computer?

WV: It’s at the home, yeah and maybe I should get one at the studio too, I don’t know. But it’s also so hateful that it might be better just to swell up and die of diabetes or something. We will see.

AG: Did somebody convince you to get a bike, or was that your own decision to start that?

WV: It was my own decision. I have had that bike for 20 years, and once in a great while I will force myself to use it.

AG: The older I get, the more I wonder how exercise fits into the daily routine of somebody with a sedentary profession that involves so much reading and writing. Do you take preventative measures? Are there measures you wish you had taken now that you’re 58?

WV: There was an old guy one time who said, “Bill, in your 50s you start having problems. In your 60s you realize that you have to do something about those problems, and in your 70s you realize that those solutions don’t work.” So, you might as well just have a sense of humor about it and know that it has to end badly one way or another so, why worry?

AG: Smoke a cigar and have a drink.

WV: Exactly.

AG: It surprises me that you don’t have a schedule. Is part of your productivity related to successful multitasking and time management?

WV: I guess so, and also the fact that I don’t want to feel forced to do this or forced to do that. Sometimes I have to for a while, but mostly, if I really don’t want to be working on one particular thing at that particular time I don’t have to do it. That keeps me feeling fresh and gives me the sense of novelty, because once that’s gone you are thinking, Well, why on earth am I doing this? How can you write something interesting if it’s just drudgery?

When I’m researching a book, there is some necessary drudgery, so if I’m working on one of the Seven Dreams books, I try to get up to speed on the anthropology or archeology of those people whom I’m writing about. With Carbon Ideologies, there were a lot of tables I had to put together. At first, that was a rather dreary experience. Then I began getting quite interested. Whether or not the reader will ever be interested, I can’t say. But, once I had those tables, I felt that I was able to start saying things about what the tables implied. So that’s just how I do it.

AG: Making sure that it retains enough freshness to drive your interest?

WV: Yeah, I would say. How about you when you are writing, what do you do?

AG: Sort of the same thing. Since most of the time nobody is paying me ─ I write so many essays on spec ─ that I only write because it’s interesting and not drudgery. I operate almost entirely out of curiosity. I want to know or process my own experience or learn about the world, so I write because those subjects are fresh.

WV: That makes sense to me. If I try not to put limits on the curiosity, then I’m more likely to actually learn something. In Riding Toward Everywhere I talked a little bit about this one thing Thoreau said that I have always found inspirational. It runs something like, “We must not let our knowledge get in the way of what’s far more important, which is our ignorance.” So as long as I keep saying, “Alright, I’m ignorant. I’m ignorant about everything, and I want to learn more,” then I’m more likely to actually learn more, as opposed to saying, “Okay, now I know the answers about climate change.” People knew the answers about climate change a long time ago, and they were wrong.

AG: I saw that you mentioned that in the book that people had suspicions in, was it 1945 or the ’50s?

WV: By the ’70s people really started wondering. At Oak Ridge they were saying, “Well, things probably won’t be too bad until we get up to 400 parts per million of C02, but why worry, because that won’t happen until the 21st century.” So it’s an odd thing thinking about our obligation to the future. We never really had to do that. We probably should have done that, but we never actually considered the possibility that we might be making the future unlivable. Then suddenly here we are forced to decide, “Well, is that our responsibility? Do we want to do something about it?” I hope the answer is yes.

AG: In No Immediate Danger you distilled that sort of frivolity with the phrase “Keeping the lights on.” That seems to summarize the sense of convenience and thoughtlessness. Flicking the lights on and leaving them on, we don’t even think about energy’s effects or waste.

WV: There is something very beautiful in the idea that we have all this electric power at our disposal to make our lives better, and of course, in many ways, it has improved our lives, and will probably continue to do so. One of the real troubling things is that what we’re doing is not entirely frivolous. The fact that someone can do all the cooking and cleaning in the kitchen in less time than they used to. That’s really great. But what about all the so-called vampire power? All the lights on, computers and surge protectors just to keep telling you, “Yes, everything’s good, I’m still drawing current.” There are so many things that we don’t need, and one very dangerous aspect of our economic system is that there’s this notion that one has to keep creating demand. That means we will need more and more power, and no matter how efficiently we use it, if our absolute demand is increasing, most likely so will our greenhouse emissions. That is not very promising at all.

AG: Is that related to the sort of capitalist ideology of constant expansion? Edward Abbey said, “Growth for the sake of growth is the ideology of the cancer cell.”

WV: That’s right. It is a capitalist pattern, and it was also a socialist pattern. I talk at one point about the Russian’s idea that there have to be more consumer goods. They were doing it differently at a different scale, but what it really comes down to in my opinion is natural biology. A tree is going to try to grow taller and maybe crowd out the competition. A rabbit is gonna have lots of bunnies if it can, and we humans are going to want to have more and more. We want to reproduce and make our lives more comfortable and interesting, and in a sense that’s the natural thing that every organism does. Of course, the problem is that there are not unbounded limits. There are bounded limits, so unless organisms are checked by some means, organisms that obey their natural proclivities will get into trouble. I can’t even really blame capitalism as much as I would like to.

AG: In a sense, it’s a very judicious way of viewing our perilous climate situation. You do an impressive job in No Immediate Danger of not being judgmental of the culprits and instead simply look at why we do what we do, and assess what we have done. Are you are saying we are the victims of our own biology, even if we don’t recognize it or not?

WV: We’ve been very successful. I love being able to plug my laptop into the wall; I’m able to write more books. I love being able to get on a plane and fly to other countries. Probably the single best thing that you or I could do would be to give up air travel. I mean, there are lots of other things we could do. I’m still flying. I want to advance my career. I want to write a book. I want to see this or that, so I’m part of the problem. How can I blame capitalism for that?

AG: You implicate yourself right before the table of contents. You admit that you’ve consumed all these forms of energy and say, “Better an honest muddler than a carbon-powered hypocrite.”

WV: That is right.

AG: I grew up as an environmentalist, so I always felt very conflicted about procreation because of the amount of waste generated with plastic diapers and trash bags and all sorts of things. Once I met the right person, I wanted to have a kid. Then I met my daughter and just thought, To hell with it, this is the right thing to do.

WV: In a way that’s the so-called tragedy of the commons. Are you familiar with that paradigm?

AG: Yes.

WV: So, we all want to do what’s best for us, and we each take a tiny share of the net detriment to everyone that our choice has caused, so we’re still ahead by getting most of the net benefit.

AG: There’s obviously a moral imperative, but in our very individualistic society, is it possible for us to accept that moral imperative that comes with being a part of the commons in order to make any lasting changes?

WV: I am guessing that you and I as individuals can’t really do very much. We can reach out to other individuals and maybe, if I were lucky and many people read my book, and they all decided, for instance, not to fly anymore. That would make some difference, but my suspicion is that it wouldn’t make enough difference. What we really need are top-down regulatory changes. Why is it that in Japan it takes a lot less coke to make coal than it does in the US? Why shouldn’t we say, “Alright, if we’re going to make steel from coke then we have to at least use the Japanese technology?” And maybe somebody has to decide when we really need to use aluminum and cement and these other so-called big five materials that use 80% of all the energy for manufacturing. Of course, the more of this regulatory or bureaucratic burden you impose, the more we become something like East Germany. It will get less and less pleasant. But it may well be that we are approaching a state of emergency and won’t have any choice. It’s certainly true that the sooner we start figuring out how to reduce demand, the easier it’s gonna be.

AG: The regulatory experiment that Mayor Bloomberg did with the size of sodas in New York was an interesting way of changing people’s perception of what’s required to quench their thirst and what actually qualifies as a “large size.” It seems you’re right: the only way to make these large-scale, long-term societal changes will be top-down regulatory in that same generational way.

WV: I think that’s right, and I think that we are going to have people making cost-benefit analyses of various things. For instance, it takes almost a hundred times more energy to manufacture a pound of aluminum than a pound of cement, which is the lowest energy user of the big five materials. But aluminum, by being so strong, light and recyclable, makes a lot of sense in skyscrapers and bridges, and it may actually be more energy efficient to use that aluminum than to use the vastly heavier, greater quantity of steel that you would need to use. So who is going to figure that out? You want someone who is intelligent, practical and doesn’t have some kind of a bias, someone who is not a show for the aluminum industry or the steel industry. Where are we going to find people like that? I don’t know where to look. Those are the kinds of things that really make me very disheartened about the dilemma we’re in.

AG: It might be easier to create a colony on Mars than to find an unbiased politician who isn’t influenced by industry lobbyists.

WV: Yeah, a colony on Mars would probably be a fantastic boondoggle, and a lot of people could probably get rich supplying and exploiting it.

AG: If we are going to keep creating demand, why not do it on another planet?

WV: That’s right. First, we need to create some Martians that we can sell to.

AG: I did enjoy your comments in previous interviews about the potentially positive effects of swine flu.

WV: It’s all rather bleak. And that would certainly be an effective way to reduce demand, but I would rather we reduce demand in some voluntary and kinder way.

AG: A question for you about the origins of this book. A lot of us nonfiction writers fret about how to come up with ideas: have we run out of ideas? Can we generate more? I remember you saying you came up with the idea for the Seven Dreams Series while researching Rainbow Stories, asking yourself what the continent looked like before all these parking lots. How do you generate ideas, and how did you come up with Carbon Ideologies?

WV: Well, I guess it was my visit to Fukushima in 2011. First, I saw the devastation created by the tsunami. Then I went into the areas that were already abandoned as a result of the nuclear disaster. The tsunami left very palpable effects, but when I first went into the town of Kawauchi, for instance, it seemed as if people might almost still be there. It was very eerie. There were blinds pulled down, a couple of places maybe an umbrella would have fallen down at the front doorway, some potted plants starting to die. Over the next few years, as I kept returning to those parts of Fukushima that hadn’t been reclaimed, they were looking worse and worse and more creepy. But still, the local people kept saying, “Well, I don’t even know what radiation is. I mean, I don’t itch from it, I can’t really see it. It’s invisible.” And I started thinking about how great a metaphor that is for the effects of all these fuels. After a while, you can see indirectly the effects of the radiation contamination by looking at these hideous abandoned places, but you can’t see the contamination directly. Then when you go to nonnuclear fuels, you start seeing certain affects ─ the mountaintop removal and various ugly sites of oil and coal in Bangladesh ─ but you can’t see the emissions. So it’s a more slowly unfolding version of the tsunami or of the radiation contamination. You kind of have to work yourself into understanding it or to feeling it. That’s how I started thinking about Carbon Ideologies.

AG: So you started with invisibility as a metaphor, then in No Immediate Danger‘s Japan sections, you use your dosimeter and scintillation counter to bring this invisible drama to life, both to measure it and to prove that it exists at all. And people in the no-go zones still don’t believe you!

WV: I really wish that I had a lot more money to throw at this problem. I would have liked very much to have had a FLIR camera ─ forward-looking infrared ─ so that in my book I could have pictures of carbon dioxide coming out of smokestacks or people’s mouths, or of methane rising from manure heaps. But I wasn’t able to make those emissions visible in that way. Those cameras cost something like $60,000.

AG: Well, if you were online you would have been able to do some sort of Kickstarter campaign.

WV: That’s right. If I were online I’m sure I could do all kinds of great things.

AG: And be monitored. What about doing that retroactively; has it ever been done before?

WV: Well, maybe you can do it.

AG: I would love to. I’d have to get some money together. But the fact that you work in multiple mediums for different projects and have a photo book to accompany Imperial, you’re obviously the ideal person.

WV: Well, it would really be fun to be able to do it, and it would be nice if they had cameras to show the radioisotope blooms. Maybe they do. Anyway, all we can do is do our best with our limited senses. One of the things that I liked about the pancake frisker, which was the real-time analog to the decimeter, was as one of my friends put it, it’s like an extra sense. It was really fascinating to frisk my daughter’s cat. I was frisking everything for a while, and then I would be a little bit unnerved if something was four or five times more radioactive than something else. Eventually, I realized that that’s all so trivial. You fly to the East Coast or you go out to the granitic rock of the Sierras, and things are 10 times higher or whatever. Then you go to Fukushima and you might find things up to 700 times higher.

AG: What about your health: In one great scene in Japan’s radioactive city of Ōkuma, the protective shoe covers and painter’s suits “manufactured with pride in the United States of America” ripped. Have you been tested for the effects of radiation lately?

WV: I doubt that you could really tell. If I got some kind of cancer maybe there would be a way to track it back to the cesium, or maybe not. We probably all have micro-particles of various isotopes from atmospheric testing and concentration in seafood or whatever, so if I get cancer, maybe I can just console myself that it was as a result of drinking a lot of whisky or playing around in the dark room.

AG: You have made your peace.

WV: I have, yes.

AG: If the idea for this book started with your first visit to Fukushima, how do your other books evolve?

WV: It sort of depends on the book, Aaron. With one of the Seven Dreams books, I know what the story is, or at least what I think the story is. It turned out that what I thought I knew about Pocahontas and Captain John Smith wasn’t exactly true, but still I knew the basic historical events were fixed and my job was not to write a new story but to interpret those events. With something like Carbon Ideologies, the events and their effects are still unfolding and, to some extent, in dispute. My job there would be to take a lot of notes, visit the people and places available to me, read a lot of books and just let my ignorance guide me and hopefully save me from too much prejudice as I started building up judgments about these things.

AG: In your fiction, how do you inhabit other people’s lives in those historical eras?

WV: Well, for the Seven Dreams it’s possible to go to a very particular place. In The Ice Shirt I was able to go to the ruins of Erik the Red’s farm in Iceland and I could stand there and think, Okay, this is not too dissimilar to the view that Erik himself had. So I’m looking out at the water, at the clouds and the birds and grass and flowers and the stones and thinking, How does this make me feel? Is there any way brings me closer to Erik? For him, these things would all have been more quotidian and yet still there must be some kind of a common human response to wet grass and gray sky. That’s one of the ways you can just kind of work yourself back into seeing and trying to feel what those people would have. Then you try to perform some of the acts that you know the historical characters would have. For The Dying Grass, I had a chance to fire a Springfield single-shot rifle of the kind that the US cavalry would probably had fired. So I could say, Okay, this is what it feels to hold something of this weight. This is how you load it and how quickly could a person do this? Not nearly as quickly if one had an AR-15. How steady can you hold it? How difficult is it? What’s it like and here comes this topple white smoke from the black powder out the barrel, and then I have to clean it afterwards; the barrel is quite fouled with this stuff. So I’m doing all of these things relative to one particular action that if I describe accurately, I’m describing something intrinsically true about those US Calvary men. That’s another way of getting into what they might have felt and seen, and that is so much of who you are or who you become I think and what you do.

AG: So research and travel are the essential elements that unite both genres for you. The structures of all your books vary widely, so do you just adjust your approach and the structure of a book according to each project?

WV: That’s right. I think it would be a drag for me and the reader if I were just following some formula for my books. As I get older my options narrow, and I imagine that my books will become a little bit more of a piece, and that’s probably already happening. But the extent that I can resist that and make every book new, I think that’s a win-win for the reader and for me.

AG: So far, mission accomplished. One of the things that I also love about your nonfiction is its dry sense of humor. One of countless examples in No Immediate Danger was, “Let us now celebrate the miraculous smog of Calabar!” What else can humor do besides add levity to certain dark subjects?

WV: Sometimes you can make a frightening or bitter point more effectively through humor. You can actually make it sting a little bit more, and you can also try to sparkle up the page a little bit. If there are a lot of things about agriculture, fertilizers and so forth, it’s really incumbent on me to try to give the reader some little reward every now and then for reading that.

AG: You embrace the exclamation point, which I also like. Is that contentious punctuation also a way to get people’s attention?

WV: Yeah, and often in Carbon Ideologies the exclamation point adds to the ironic pseudo-ingenuous nature of some absurd claim about how wonderfully healthy radiation is or whatever.

AG: No Immediate Danger isn’t a joke, but in the way you point out the flaws of our thinking and denial about nuclear energy and climate change, this 600-page book all seems sort of punctuated by a giant exclamation point.

WV: That’s right. In a way it is, of course, a joke, right? It’s just the joke is on us and we’re not gonna like it, but maybe the beetles that replace us will somehow be able to laugh with their antenna.

AG: That sounds like your first novel brought to life. The fact that you wanted a FLIR camera to document the carbon dioxide and methane and expand the range of your climate change inquiry to a second medium makes me think how you like room to explore your subjects sufficiently. From what I gather, though, there’s been a long-standing attempt by your publishers to get you to cut your books, including page limits in your contracts and lowering royalties for longer books. Can you tell me about your legendary resistance to heavy editing?

WV: What if someone were to tell you, “We think your daughter was born a little bit too tall, so would you mind chopping off her legs?” You might not have the most compliant reaction to that, right?

AG: No.

WV: My books are my children. They’re just like my daughter. She’s turning out the way she’s turning out and that’s just how it is, so people can like her or not, but I love my daughter and I’m not going to chop off her legs. [laughs]

AG: So editing is forced surgery. You try to let the story be what it is, and the people who publish the book have their financial and other concerns? What dictates this chopping of the legs?

WV: Well, wouldn’t it be perfect for editors and publishers and maybe reviewers if all books had to be the same length? They all had to be, let’s say, exactly 124 pages, and the extra 24 pages all have to be ads. I mean, wouldn’t that just be lovely? One of the many reasons that I love the internet is, of course, because that’s how things are there. You can watch something and there’s going to be some wiggly, giggly little ad in the corner the whole time, and also, let’s track your eye movements. How wonderful it all is. As soon as there is any attempt to control creativity for noncreative purposes, we start going down that miserable road. But as I always say, Aaron, the world doesn’t owe me a living, and a publisher could legitimately say, “Well, Bill, we just don’t think you are going to pencil out, so we don’t want to publish your book.” That’s like saying, “Well, your daughter really is too tall, so we don’t want her to date our son.” That’s okay, but how awful it would be if they said, “Your daughter is too tall, so we want to chop off her legs,” and I said, “Okay, I’ll do that.” What kind of a father would I be? What kind of an author would I be to go along with that bologna?

AG: So protecting your vision of your book seems to be first and foremost?

WV: That’s right. My strength and my weakness is that I don’t really care about the financial implications. I don’t care too much about whether a book is going to make its advance back, which means I’m not a good team player. I have to be very thrilled and grateful that Viking once again saw things my way and let me publish Carbon Ideologies at the length that I thought it needed to be. It certainly can’t be too good for Viking’s bottom-line, but I think that, like me, they’re worried about climate change. They worked so hard, it was a real thrill to have such dedicated colleagues. I worked really hard too, and we all did our best without cutting off anybody’s legs.

AG: You struck a few of those chords in the “Note to the Reader” at the beginning of No Immediate Danger. You meant for the two volumes to appear as one volume. Your endnotes and citations got cut. I interpreted the “Note” as an apology to readers that the book they hold isn’t the book you intended. There and in the acknowledgements in the back of the book, you weren’t shaming Viking, but you were like letting the reader in on this push and pull between both parties. What was your intent including those?

WV: The main reason is that I’m very grateful. This is to some extent a math/science book, and I’m not a mathematician or a scientist, so I’m doing my best. Even so, it’s a risk for me and a risk for the publisher. So I’m really, really thrilled that they tried to help me and everyone by publishing this. That’s the main thing. As far as the push and pull part is concerned, I think that’s kind of interesting, and it’s probably a good thing that readers who care can learn that I didn’t want to cut the source notes. I wish they could have been in the hard copy. This is the first time that that’s happened, and it was a compromise that I was willing to make because Viking had already done so much for me and this book. Thank God I don’t have to understand their financial imperative, and I guess that’s all I would say.

AG: You do your job and they do theirs, and it seems you are able to meet in the middle.

WV: That’s right.

AG: I just love that there is a couple of places at the beginning of the book where you say, you know, it will be okay to skip the primer section and start over 200 pages in. I just pictured your publisher shaking their head, like, “Bill, please, try harder to entice the reader!”

WV: [Laughs] Unfortunately, it is to some extent a dreary book about a dreary subject. Of all my books, it’s probably not the book that people are going to put a pick up and re-read for fun. It can’t be. Just having to decide Let’s see, do we want to talk about lignite’s emissions per pound or its emissions per energy produced when it’s burned? ─ all this kind of stuff. It’s important and needs to be discussed, but it’s not particularly fun.

AG: But you clearly tried to have fun. You titled one section “The Parable of Adipic Acid” and had some fun there despite the dreariness of the subject.

WV: I do my best. [Laughs]

AG: As informative as it is, there are some funny lines in there like, “What a treat to watch adipic acid combining with the hexamethylene diamine so that we could see a pallid syrup forming, settling out into something resembling melted cheddar cheese!”

WV: Aw, how delicious.

AG: I guess it’s a good example that there are different types of books for different kinds of experiences, and your oeuvre contains so many different sorts, including the kind that we probably aren’t going to read on the beach.

WV: No, maybe not. Unless, of course, rising sea levels turn your backyard into a beach.

AG: That’s what so many residents of Phoenix, Arizona where I grew up were banking on with California earthquakes. They didn’t understand geology. Speaking of which, I was just reading about California governor Jerry Brown retiring, who said he doesn’t believe in legacies. I was wondering if you as a writer believe in legacies.

WV: Well, I want my daughter to live as long and as happily as she can, and I feel the same about my books. If people find some value in them after I’m gone so that their lives are extended, that’s a concept that makes me happy. But it’s hard for me to believe that I’m going to know it, and therefore what’s the point of a legacy in the way. You find that you give someone a very nice tomb and what happens? The tomb gets robbed. That’s life and that’s death.

AG: It seems interesting to think that since you don’t know if there will be a legacy, you shouldn’t burden yourself with trying to create one. Is that liberating?

WV: That’s right, but that doesn’t let me off the hook. I want to make sure that I do the best job I can and try to make things ─ to the extent that that’s possible ─ somewhat timeless. I try not to get too bogged down in what is current in 2018, for instance. I’m hoping that in the future someone could pick up Carbon Ideologies and say, “Alright, here and there, this part seems a little bit antiquated now, a little bit superseded, but still I understand what Bill’s trying to do, and how he’s trying to compare the different fuels, and this was how many perks per million of C02 there were in his lifetime.” What I would like is for the book to still be useful or of interest or still something in its dated way.

AG: When it’s a paper copy or in your achieves at the Ohio State University, readers will be able to see your intent and data unchanged, unlike on the evolving internet.

WV: Unlike the internet, exactly.

AG: Can I ask you about your daughter? I’m curious what it was like raising a child as a writer who travels for work as much as you do.

WV: Well, I love her very much and it’s been a thrill to be in her life.

AG: Your father was a very encouraging, cool father, a business professor who frequently told you, “Bill, if it’s not easy, lucrative, or fun, don’t do it.”

WV: Yeah, he was great. That’s a good business plan. I recommend that to everybody, especially to people like you and me Aaron who are self-employed. There is certainly no reason to do something for nothing unless it’s going to be fun.

AG: Amen. My dad, who is Mr. Practical, had good advice in that same vein. He said, “When you find what you like, do the hell out of it and make sure you enjoy it.”

WV: I agree with that.

AG: Do you see some of your intellectual appetites and hunger for knowledge and experience in your daughter?

WV: I think so, yes.

AG: As a new father myself, I just wonder how working writers balance everything, that and I want to help encourage curiosity in my own daughter.

WV: The good news is that as parents we will inevitably fail, and therefore all we can do is fail with grace and let our children see that we are not perfect and they are not going to be perfect either. If we can help each other through the hard times and forgive the rest then we are probably doing our best.

Read an excerpt from William Vollman’s “No Immediate Danger”

The Ladies Who Were Famous for Wanting to Be Left Alone

Sarah Ponsonby and Lady Eleanor Butler In Their Library, engraving by Richard James Lane (Creative Commons)

 

Patricia Hampl | Excerpt adapted from The Art of the Wasted Day | Viking | April 2018 | 18 minutes (4,735 words)

 

On the night of Monday, March 30, 1778, an Anglo-Irish lady named Sarah Ponsonby, age twenty-three, the unmarried dependent of well-placed relatives (her parents long dead), slipped out of her guardians’ Georgian mansion in Woodstock, Kilkenny, the rest of the house asleep. She was dressed in men’s clothing, had a pistol on her, and carried her little dog, Frisk.

She made her way to the estate’s barn where Lady Eleanor Butler, a spinster sixteen years her senior, a member of one of the beleaguered old Catholic dynasties of Ireland (the Dukes — later the Earls — of Ormonde), was awaiting her, having decamped from stony Butler Castle twelve miles distant on a borrowed horse. She too was wearing men’s breeches and a topcoat.

Their plan, long schemed, was to ride through the night, the moon a bare sliver, to Waterford, twenty-three miles away on the coast, and from there to embark for England to live together somewhere (they had no exact destination) in “delicious seclusion.” Their goal was “Retirement,” a life of “Sentiment” and “Tenderness.”
Read more…

The Strike: Chemicals, Cancer, and the Fight for Health Care

Ian Frisch| Longreads | April 2018 | 32 minutes (8,040 words)

When 59-year-old Jack Mack wandered from picket station to picket station to ask the Question, he tried as best he could to ease into the conversation. He didn’t want to scare anyone off. It was two months into the strike, and tensions were high. “You know, we handle some pretty nasty stuff in there,” he’d say. Or, if the guy was older: “C’mon, you’ve been here as long as I have! You know everyone!” Sometimes, if he already knew the person, he’d cut to the chase: “Wasn’t there a guy you worked with down there that was diagnosed with cancer a few years back? Did he make it through?” If they didn’t answer, staring instead at their steel-toed boots, Mack would lean in and say, “You know, I’m sure you heard, but I was diagnosed with cancer myself. Beat it, but — you know.” Then he’d turn toward the sprawling complex across the street — the site of the only job he’d ever had — and nod, adjusting the cap perched on his head. “Yup. Forty years.” He’d inhale deeply, nearly a sigh. “That’s a lot of hours around those chemicals.” He’d shake his head, unsure if he should blame himself or Momentive Performance Materials, the chemical plant in Waterford, New York, where he had dedicated so many years of his life.

Like Mack, many of the employees on the picket line had worked at Momentive for decades, and while they didn’t know for sure that working at the plant caused their cells to metastasize, the workers certainly knew of the inherent consequences that stemmed from handling carcinogenic chemicals on a day-to-day basis. That fear of a link is what troubled Mack and his cohort, and it’s why in November 2016, nearly 700 unionized workers at Momentive went on strike, protesting what they thought was an unfair contract — one that pushed for more expensive and restrictive health insurance for workers and the elimination of health care for retirees altogether, “many of whom,” according to leaflets handed out during the strike, “are suffering from job-related illnesses caused by exposure to dangerous chemicals.” For decades, the workers had mixed and churned chemicals in a variety of forms to produce an endless array of products, which included specialized goods such as F14 fluids and rubber stoppers on syringes along with items encountered on a day-to-day basis like exterior coatings for soft drink bottles and the rubber used to manufacture nipples for baby bottles.

Now, though, those same workers were walking out for the first time, and the union outfitted a defunct hot dog shack across from the plant into a headquarters. Nearly all of them had been picketing the plant’s nine entrances 24 hours a day, powering through snow squalls, huddling around burn barrels for warmth, trudging through slush puddles.

rattman_2017_01_23_L1020435

Union strikers around a burn barrel outside Momentive’s Water Treatment Facility. (Jonno Rattman)

On the picket line, in rare close quarters with men who worked elsewhere in the massive plant, Mack learned his coworkers’ stories. He took a few minutes out of each day to ask strikers if they’d had cancer or knew anyone who did. Sometime after Christmas, Mack had started jotting down the names — current and retired, dead and alive.

He kept the handwritten list folded up in his jacket pocket, adding new sheets as he collected new stories: six pancreatic cancers, seven bladder cancers, nine brain cancers, 11 throat cancers, 18 prostate cancers — spine, skin, stomach, and more. While these are cancers that do afflict men of a certain age—according to the American Cancer Society, one in nine men will be diagnosed with prostate cancer—the diagnoses outpace certain national averages. Brain cancer afflicts .006 percent of adult males, far below the roughly 2 percent of the strikers with throat cancer whom Mack surveyed. By mid-January, he had 85 names. Many of these men had worked in the plant for more than 20 years, which meant they’d tallied up decades of exposure to dangerous chemicals. (Of the scores of men on Mack’s list, I’ve independently confirmed the cancer diagnoses of two dozen, through interviews with either the men themselves or, in the case of 11 who died, with family and friends.) Mack himself had long known coworkers with cancer. To him and other employees, it was almost commonplace to know a guy who had been diagnosed. “Three other electricians I worked with in waste treatment also have cancer,” he told me. “Long-term exposure — in some of these buildings, there’s no way you can avoid that.” Mack, an electrician who works on the machines that process the plant’s chemical waste was diagnosed with prostate cancer in 2014. His brother, who also works at the plant, was diagnosed with tongue cancer the next year. Their father, who worked at the plant for 36 years, died of cancer in 1994.

Mack’s oncologist, Dr. Kandasamy Perumal, who specializes in urology and has operated a practice in nearby Troy for 35 years, is no stranger to cases like his. “As time went on, more and more people came from that area with instances of malignancy, rather than Troy or Latham or other towns. My practice sees comparatively disproportionate numbers of tumors from people who live in Waterford and Mechanicville,” he said. “But do we know if they all worked at the plant? I don’t know for certain,” he added, explaining that his practice is not obligated to collect workplace information from patients. Momentive said that it was unaware of any chronic health problems among employees as a result of exposure to raw materials, and that their well-being is its highest priority. “The company takes all necessary actions to ensure strict adherence to all federal and state health guidelines,” said a Momentive spokesperson.

There were risks in taking on this kind of work, Mack knew. So did many of the men whose names were folded up in his pocket. But there had been some promise of security at Momentive, a belief that their jobs would take care of them — a good living, a secure retirement, health care. Today they’re not so sure. After the plant was acquired by a private equity firm in 2006, things took a dark turn. A decade of control by Wall Street brought pay cuts and a litany of increasingly rancorous labor disputes — culminating in the massive strike.

When I visited Momentive in January 2017, workers sat at the booths inside the hot dog shack wearing camouflage jackets, reading newspapers, drinking coffee, and eating hot dogs and stale pastries. One checked in picketers who, after nine weeks on the line, were eligible for unemployment. They were also paid $400 a week by the union. The 104-day walkout began November 2 and ended February 14, and during that time these men were constantly on edge, both about the security of their job but more importantly about the precariousness of the benefits they desperately relied upon. The men were on strike for many reasons, but high-quality, affordable health care was their main concern. It was what they needed most.

Bill Tullock, a 55-year-old senior advanced control operator, whose doctor had found a tumor in his throat during an endoscopy for acid reflux in 2015, maintains that he’d never have gotten the routine procedure that led to his cancer diagnosis without Momentive’s old health insurance. At the time, his annual deductible was $500; now it’s $3,500. Tullock doesn’t solely blame the plant for his cancer, but he’s adamant that were it not for the generous coverage, he’d never have known he was sick.

“I dodged a bullet,” Tullock said of his battle with cancer, which, thanks to the low deductible he paid courtesy of his previous health care coverage, was caught early. “With the new insurance, I am pretty confident I would’ve never had the endoscopy, and would’ve never known there was a tumor. Then it would’ve spread, and I wouldn’t have known.” Under the new contract, once he retires, he’s on his own. “I dedicated myself to this place,” he said during the strike in January, sitting in the basement of the hot dog shack, holding back tears. “I should have never started working here. And now they are trying to give us this shit insurance and just — what, ‘Go die?’” He rubbed his eyes with the palm of his hand. “Our health insurance is like the final firewall of personal protection,” he said. “It’s all we’ve got.”

Tullock

Bill Tullock was told by his doctor to get an endoscopy in 2015; it turned out he had a tumor in his stomach. Jack Mack sits down with his list of sick workers while on a break at union headquarters. (Jonno Rattman)

The men who’ve worked at the plant for decades and battled cancer — whether they think it’s from the chemicals they handled or not — now face a task familiar to millions, one from which they thought they had a reprieve: They must either sign up for the company’s onerous coverage or fend for themselves to get health insurance, with costs varying widely through the complicated, cumbersome public exchange overseen by the government — the precariousness of which is compounded by the Trump administration’s promise to gut the Affordable Care Act, leaving workers in an even more fretful state of uncertainty.

Like so many Americans, they’re threatened by a toxic triumvirate of lax chemical-safety regulations, costly health coverage, and growing pressures on Wall Street to perform — the latter of which has forced businesses to perform under expectations that set them up to fail, with employees taking the brunt of the downfall

The decade of private equity ownership had gradually worn down a generation of workers, stoking a divide between those who would be taken care of and those who would go without. “Sacrifices were made with the expectation that we would get adequate health care when we retired,” Mack said. “If you are going to work in environments like this, you are going to need affordable health care.” The strike marked dividing lines between worker and owner and financier, but it also revealed a rift so deep that it was often left unspoken: What do American workers owe to one another?

***

Waterford, New York, is one of a cluster of manufacturing towns situated north of Albany, where the Mohawk River joins the Hudson. It blossomed into a factory hub as early as the mid-1800s and was known for its paper mills. A reported stop on the Underground Railroad, it was even visited by Alexander Hamilton and Frederick Douglass. Drive into town from across the Hudson and you’re greeted by a memorial to Waterford’s veterans, including men who fought in the Revolutionary War. Keep driving north on Route 4, past the village center, and the Momentive complex flanks both sides of the road, sprawling across an 800-acre plot.

The town greeting in Waterford, New York.

The town greeting in Waterford, New York. (Jonno Rattman)

The chemical plant is one of Saratoga County’s largest employers. First built by General Electric in 1947, it anchors the region both economically and culturally. For decades, the plant with its hundreds of union jobs offered its primarily male workforce a stable, middle-class kind of prosperity, one where high school graduates could eventually earn a six-figure salary. There was a sense of local pride: The soles of the boots in which Neil Armstrong took his one small step were made of silicone rubber manufactured here. “If you’re from here, this is where you work,” said Vinny Anatriello, a third-generation employee. “And if you don’t work here, you work in the school where all the guys’ kids go to, or you work in the doctor’s office where the guy’s sick wife goes, or you work in the grocery store.”

It’s no secret to the workers that materials used in Momentive’s Waterford plant can be dangerous. It’s been this way for decades. The plant sources silicone ore and, through reactions with various chemicals, produces materials used in consumer products ranging from shampoo and medical equipment to caulking and car parts. Numerous longtime workers say that the current operations use dozens of toxic chemicals, among them benzene, lead, mercury, and hydrochloric acid. The waste it has produced over the years — over 11.4 million pounds in 2015 alone — has at times included more than three dozen toxic chemicals, 11 of which are carcinogens, according to the Environmental Protection Agency.

There used to be even more, workers say, decades ago when GE owned the plant. Numerous workers said that until the early 1980s, they cleaned their winter coats with pure trichlorethylene, now a known carcinogen, and used fiberglass and lead as fillers in chemical mixtures. For some processes, they weighed out raw lead by hand. “Back then we’d scoop it like it was salt,” said George LaMarche, 65, who retired in July 2017 after 44 years at the plant and whose doctor is closely monitoring his elevated prostate-specific antigen levels — potentially an early sign of prostate cancer. “We never wore any protection for that.” In a statement, a Momentive spokesperson said that the company provides all its employees with protective equipment, extensive training, and instructions in how to properly handle the materials they work with: “When employees act in accordance with the policies and procedures Momentive has in place, potential risks are mitigated.”

Millions of American workers are exposed to carcinogens, or possible carcinogens, according to the National Institute for Occupational Safety and Health, the division of the Centers for Disease Control and Prevention that researches and investigates workplace safety and health. In 2012 alone, upward of 45,000 diagnosed cases of cancer — and, since the agency is still investigating and uncovering potentially carcinogenic materials used by the American worker, perhaps twice that many — were caused by past workplace exposure. On average, nearly eight times as many people die each year of diseases acquired on the job as die from injuries sustained on the job.

He kept the handwritten list folded up in his jacket pocket, adding new sheets as he collected new stories: six pancreatic cancers, seven bladder cancers, nine brain cancers, 11 throat cancers, 18 prostate cancers.

Since 1976, federal law has required all new industrial chemicals to be submitted for review by the Environmental Protection Agency. (Tens of thousands of industrial chemicals already in use were grandfathered in.) But after that initial environmental review, many industrial chemicals — which don’t necessarily have to get tested before being used in manufacturing — may never get a closer look by regulators. Once chemicals have entered the market, U.S. law only requires the EPA to collect data on the roughly 3,700 of them that are used at a rate of at least 500 tons per year. The data collected pertain mainly to their effects on the environment or the consumers of the products they produce — not on the workers who handle them.

“These chemicals are never sent back with actual information from the workplace,” said Jennifer Sass, a senior scientist with the Natural Resources Defense Council’s health program. “The regulations are focused on the end of the pipeline. But you can’t put the genie back in the bottle at that point. People are already affected.”

Updates to the Toxic Substances Control Act, which was amended by Congress in 2016, mandated more pre-market testing for new chemicals seeking federal approval and required the EPA to review already-approved chemicals in widespread use. Ten of the most toxic of those are slated to be tested in 2018, but it’s unclear whether that deadline will be met. (Two of the chemicals have been commonly used at Momentive.) Since then, however, President Donald Trump has promised to scale back regulations broadly and has targeted federal agencies, the EPA chief among them, for sharp funding cuts.

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Momentive Performance Materials, a chemical plant in Waterford, New York (Jonno Rattman)

In May 2017, Nancy Beck, a former industry advocate and executive at the American Chemistry Council (of which Momentive is a member), was selected to become the deputy assistant administrator of the EPA unit tasked with implementing the updates to the toxic-chemicals law. Just two months earlier, she had gone before a Senate subcommittee as a then-executive at the ACC to push back against the review process. According to an investigation by Eric Lipton at The New York Times, the EPA has spearheaded “a broad initiative by the Trump administration to change the way the federal government evaluates health and environmental risks associated with hazardous chemicals, making it more aligned with the industry’s wishes.” This included reevaluating plans to ban certain uses of two chemicals that have caused dozens of deaths or severe health problems: methylene chloride and trichloroethylene, both of which have been used by Momentive employees.

Regardless of these policy reversals, tens of thousands of chemicals that have been in production for decades still need review. The Union of Concerned Scientists, an environmental-advocacy group, estimated in 2015 that it could take 50 years to reevaluate 1,000 of the most toxic chemicals on the market. “Most toxins have not been adequately studied, employees have no tools to act on their suspicions, the companies have a disincentive to learn the full truth about what its chemicals do in terms of health impact, and the government is underfunded and doesn’t have sufficient tools to fully investigate,” said Dr. Steven Markowitz, director of the Barry Commoner Center for Health and the Environment at Queens College. “It’s a recipe for making the health consequences of working with toxic chemicals invisible.”

***

Tim Larson is a tall, broad-shouldered man who wears a musty cap tossed on his head. When I met him during the strike, he carried a megaphone that he used to shout chants on the picket line. His face lit up when he screamed, and his eyes — which seemed to hang out of his skull — bulged even further from their sockets. I stood with Larson most nights while I was there — he held the late shift on the picket line — and he explained that the plant is a complex of various buildings, each housing in a different part of the production line. You’re either breaking down raw ore, reacting the rock with chemicals, mixing together intermediate materials, packing products, or organizing them for storage and shipment.

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Tim Larson steps off a bus before a protest in Momentive CEO Jack Boss’s neighborhood in Saratoga Springs. (Jonno Rattman)

Larson, a chemical operator, began working at Momentive in 1988 when he was 35 years old. He told me stories about the different parts of the plant, including Building 78. This area of the massive plant is home to the Waterford plant’s fluorosilicone manufacturing operations. There, a silicone base is reacted in roughly 100-gallon “dough” mixers at more than 240 degrees Fahrenheit to produce fluorosilicone gum for use in automobile gaskets and aerospace products. (The mixers are also used to produce “intermediates,” which are unfinished products that passed from building to building within the plant, and included different grades of polymers and fluids.) Long-term exposure to seven chemicals used in Building 78, according to Momentive material-safety data sheets, are suspected of or known to be reproductive toxins. Another chemical, Tris(2-chloroethyl) phosphite, is a carcinogen. Workers call the building the One-Nut Club, for reasons that to them seem less ominous than inevitable.

When GE owned the plant, risks from fluorosilicone production had been on the company’s radar since the 1970s. In a “strictly private” 1977 safety audit, a safety specialist said that research had shown that materials created by these processes, when ingested — which could mean breathing in the chemical or having it touch one’s skin — shrank rats’ prostates and testes “and may have similar effects in man.” The specialist also wrote that tests showed that the chemical compound handled by workers was “probably not a carcinogen.” GE performed a similar toxicity review 20 years after its initial testing and analyzed several chemicals used to the produce fluorosilicones. “The data, although not definitive, did not give rise to any concerns over the potential for carcinogenicity,” the report concluded.

“Nobody admits there is a correlation, but we put stickers on the tanks that hold this stuff, saying that it causes cancer,” Larson told me, referring to the warning stickers that California state law required them to affix. (Many of their products are shipped to the Golden State.) “It’s right there in front of you.” 

“After six years, my eyes started bulging out of my head,” he told me, pointing to his face. He was diagnosed in early 1996 with Graves’ disease, an autoimmune disorder that affects the thyroid. “I had to get my eyelids sliced, because I couldn’t close my eyes,” Larson said. He knows he can’t prove a direct link, he added, but he is “convinced that all my autoimmune problems are directly related to working here.” Soon after his diagnosis, Larson transferred to another area of the plant.

The men were on strike for many reasons, but high-quality, affordable health care was their main concern. It was what they needed most.

Other workers voiced their concerns about Building 78. In 1998, a GE-employed research chemist named Herman Krabbenhoft wrote a letter to two operators who worked there, Joe DeVito and Dan Patregnani, explaining that the previous year he had expressed concerns to managers about the vapors released during fluorosilicone operations. Krabbenhoft wrote that GE’s health and safety manager was supposed to have initiated a study of how to measure the vapors’ concentration, but that after a year nothing had been done, adding that he was told by a colleague to “back off on pushing this because it might affect how GE’s managers viewed me and my performance.”

“Herman was on our side,” DeVito said.“He said, ‘Stay away from it. It’s going to kill you.’” Shortly thereafter, DeVito said, Krabbenhoft was fired. (Multiple attempts to reach Krabbenhoft for comment were unsuccessful; GE declined to comment for this article, referring all questions to the plant’s current ownership, who also declined to comment on the specific incident.)

The building’s ventilation system was updated in the early 2000s, multiple employees who worked there said. The system was supposed to be air and temperature controlled. “It never worked, never sealed the room properly,” said John Ryan, who worked in Building 78 at the time, adding that temperatures could reach 110 degrees in the building due to the faulty system. In 2005, Ryan said he filed a formal grievance, asking to spend less time near the mixer, explaining that he didn’t want to be exposed to the hazardous mixture and its vapors. “But nothing changed,” he said. “And they never fixed the dough mixer either. Materials would come out into the air or spill onto the ground. That’s still going on, until this day.” In mid-2017, Momentive installed a second dough mixer to Building 78 to ramp up production, and though the machine suffered at first from issues relating to its packing seal, there haven’t been any recent health-related complaints. (Both the venting system and the initial dough mixer have also been serviced and are reportedly in working condition.)

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Joe DeVito was diagnosed with throat cancer in 2013. He worked in Building 78. (Jonno Rattman)

Now, DeVito said, workers must wear full-face respirators when they clean the mixers, which have to be pristine before the machine can be used to produce another product. The fluorosilicone is so sticky, Larson claimed, that he used to have to climb into the 100-gallon drum and scrape off any lingering substance with a razor blade. “Fluorosilicone is a highly resistant chemical — oil, water, you name it,” he said. “That’s why it is used on gaskets and car bumpers, or in rocket ships.” According to DeVito, “Momentive took more steps for safety over the years,” but the process itself and the chemicals used in it remained the same. Additionally, the company’s material-safety data sheets do not indicate whether the vapors produced from these chemicals are hazardous to humans, despite there being a warning that TFPA vapors, which are highly toxic, may evolve from the products used to make fluorosilicone gums and polymers. “The company raised certain health issues related to the chemicals used in this building, but despite a very incomplete knowledge base, they draw the conclusion that there is no cause for concern,” said Dr. Markowitz of Queens College, who reviewed the documents. “My conclusion would’ve been: ‘There’s a big gap in what we know versus what we don’t know.’ That’s the proper conclusion.”

DeVito was diagnosed with stage 4 throat cancer in 2013, after a bump on his neck swelled to the size of a golf ball. DeVito told me he knows of five other control operators who worked in Building 78 who were diagnosed with cancer. He told his doctor about his decades of exposure to fluorosilicone vapors. “She said, ‘It would take years to prove that it happened from work,’” he explained. “‘Take care of this and just move on.’” His treatment, radiation, and chemotherapy, were successful. He retired in early 2018.

Some workers, like Tony Pignatelli, who worked in the plant for 34 years, weren’t so lucky. Pignatelli was diagnosed with brain cancer in January 2000 and passed away three weeks later. “My dad knew the risks, but he did it because they took care of them with good pay and health care,” his daughter said. “But I can’t even begin to understand what those guys are going through down there now with this new contract.”

***

Employees accepted the risks associated with working in the plant, the backbone of their community, for over half a century. They felt taken care of: stable pay, a sizable pension, affordable and quality health care, good communication with management, camaraderie with fellow workers. But that all changed when GE sold its global silicone operation, with the Waterford plant as its centerpiece, to a Wall Street investment firm in 2006 in a leveraged buyout. “When it was GE, they treated you like family,” Jack Mack said. “After the sale, everything changed.”

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Matthew, Kenny and Vinny Annatriello—father, nephew, and son—on the picket line. (Jonno Rattman)

Apollo Global Management, a private equity firm that manages $249 billion in assets, bought a controlling stake for $3.8 billion, then saddled the corporation (which changed its name to Momentive Performance Materials in December 2006) with $3 billion in financing debt while it collected a $3.5 million that first year for “financial and strategic advisory services.”

Many employees didn’t understand the implications of the sale until 2009, when nearly 400 production workers received surprise pay cuts. Brian Cameron Jr., a 34-year-old second-generation employee, was making $27 an hour as a chemical operator. He had just bought a house in Waterford and a new Dodge Ram pickup the previous summer. “Everything was going good. I paid my bills,” he said. “I thought I was set for life.” Then his wages were slashed to $17 an hour. He eventually took a higher-paying position at the plant, but his debt piled up too fast. “I thought if I moved quickly, I would be able to save my life,” he said. “But it was too late.” He lost his house, gave back his truck, and moved into a coworker’s apartment.

The cuts meant that his coworker Ron Gardner, then 53, and his wife, Donna, could no longer afford the $1,300 monthly payments on their two-bedroom ranch home in Grangerville. “We were struggling,” he said. A few years later, in 2013, they abandoned it and moved into a trailer park in Saratoga Springs, just two miles from Momentive’s current CEO Jack Boss’s $950,000, 4,375-square-foot home. They took out personal loans to pay for a $23,000 double-wide, then used savings and loans from family members to pay for the roof and the lot’s rental fees. Unable to sell their ranch, they filed for bankruptcy and began paying off their new debts.

The local union contested the wage cuts, and 18 months later, in 2010, with their contract soon to expire, Momentive agreed to settle by issuing back pay — more than $50,000 before taxes for some workers — while making the wage cuts permanent going forward. Gardner, Cameron, and others who had lost their homes or been pushed into bankruptcy by the cuts couldn’t turn down the chance to repay their debts. “People were so broke from the wage cuts, they voted yes for that contract,” said local union president Dominick Patrignani, who has worked at the plant for over 30 years and was the chief bargainer during last year’s strike. “They were given no alternative.”

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Ron and Donna Gardner lost their home, then Ron developed esophageal cancer. Dominick Patrignani, president of the local union, is the chief bargainer for the 700 strikers. (Jonno Rattman)

But Momentive wasn’t done. In 2013, the company froze pensions for workers under 50 and those with less than 10 years of service. “Every contract, they slashed benefits and made it harder for me to do what my father did: provide for his family,” Cameron told me during the strike. All of this is par for the course for private equity firms like Apollo. According to a study led by Josh Lerner, professor of investment banking at Harvard Business School, private equity buyouts lead to sizable reductions in earnings per worker compared with traditional companies, as well as modestly greater job loss, with a comparative decline of 4 percent over a two-year period.

“If a private equity firm needs to goose their returns, they will take it out of worker’s compensation — wages, pensions, benefits, all of it,” said Eileen Appelbaum, a co-director at the Center for Economic and Policy Research and the co-author of Private Equity at Work: When Wall Street Manages Main Street. To her, private equity firms only care about one thing: profit. “The fastest and easiest and least controversial way, in their point of view, is to cut compensation. They make a dollar every time they take a dollar out of workers’ compensation,” she said. “Private equity controls management and the board of directors. They can fire anyone at any time. They sit at both sides of the table. There is no one looking out for the workers.”

In 2014, still under Apollo management, Momentive filed for Chapter 11 bankruptcy, trimming its debt obligations from $3.2 billion to $1.2 billion. This is also a familiar tactic for the firm. “It makes sense [Apollo did that] because you create money out of thin air,” said Tony Casey, professor of law at the University of Chicago, who studied the Momentive bankruptcy case. “Apollo is an aggressive investment firm,” he added. “They are not shy when it comes to using bankruptcy to their advantage.” The company announced a public offering three years after it emerged from bankruptcy, but the offering was postponed. When it did, Apollo owned the largest stake of shares.

Taking advantage of bankruptcy courts is also a preferred method of President Trump, who counts Apollo CEO Leon Black as a friend. And while Trump boasts about his dedication to the American worker, the company he keeps deliberately erodes the foundation upon which the middle class is built. In a 2011 interview with George Stephanopoulos on ABC News, Trump said: “If you look at our great businesspeople today — Carl Icahn, Henry Kravis, Leon Black of Apollo — all of them have done the same. They use and we use the laws of this country, the bankruptcy laws, because we’ll buy a company. We’ll have the company. We’ll throw it into a chapter. We’ll negotiate with the banks. We’ll make a fantastic deal. … You know, it’s like on The Apprentice. It’s not personal. It’s just business. OK?”

“Every contract, they slashed benefits and made it harder for me to do what my father did: provide for his family.”

During Momentive’s bankruptcy proceedings, GSO Capital Partners, the credit arm of Blackstone Group, one of America’s largest hedge funds — headed by Steve Schwarzman, who chaired President Trump’s defunct Strategic and Policy Forum — translated its bond investment in Momentive into public stocks, a 6.8 percent stake. (A spokesman for Blackstone said the firm sold its stake in Momentive on August 3, 2016 — the same day union workers voted to strike if a contract agreement could not be reached. The spokesman, however, could not provide documentation of the sale. The spokesman also confirmed that Blackstone senior adviser John Dionne is still on Momentive’s board of directors.)

In 2013, Blackstone had bought a 20 percent controlling stake in another longtime upstate New York employer, then-declining Eastman Kodak, which had already slashed retiree health care benefits and pensions (though the company did restore elements of its pension plan upon emerging from Chapter 11 bankruptcy in late 2013). When Carl Icahn, the recently ousted special adviser to the president on regulatory reform — whom Trump also counts as a close friend — came to Trump’s rescue and retained full control of his Taj Mahal casino through a bankruptcy proceeding, he shut down the operation rather than give the union employees better health benefits. Roughly 3,000 people lost their jobs. “It’s a classic take-the-money-and-run — Icahn takes hundreds of millions of dollars out of Atlantic City and then announces he is closing up shop,” Bob McDevitt, the president of the local union, said in a statement after the closing.

Others in Trump’s family and inner circle have deep ties with these Wall Street operators, whose business tactics, like those being implemented in Waterford, affect middle-class families. Blackstone has loaned Kushner Companies, the real estate empire of Jared Kushner, Trump’s son-in-law and senior adviser, more than $400 million for real estate deals since 2013. The firm is one of the company’s largest lenders. Two months ago, the New York Times reported that Joshua Harris, a founder of Apollo, met with Kushner several times in 2017, at one point even discussing a possible job opening in the White House; by November of last year, Apollo would lend $184 million to Kushner Companies. (While Kushner is no longer CEO of the real estate company and has sold a chunk of his stake, he still reportedly holds properties and other interests in Kushner Companies — those investments are worth upward of three-quarters of $1 billion.) Kushner Companies is also on the clock to pay the $1.2 billion mortgage debt for 666 Fifth Avenue, a 41-story albatross in Manhattan that the company purchased in 2006, which is due February 2019.

Jack Boss joined Momentive as an executive vice president in March 2014, one month before the company filed for Chapter 11 bankruptcy, and he officially became CEO that December. The union believes that Apollo brought in Boss specifically to weaken the union during the next contract negotiation, which was slated for 2016. “They planned this entire thing,” Dominick Patrignani, the local union president, told me. “They knew what they were doing.”

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Dan Patregnani, a union member who worked in Building 78, and the headquarters of Apollo Global Management at 9 West 57th Street in. New York City. (Jonno Rattman)

In mid-January 2017, workers rallied outside the midtown Manhattan headquarters of Apollo Global Management, the private equity firm that had bought their company more than a decade prior. About a month later, members of their parent union, the Communications Workers of America, also handed out leaflets near the White House as President Trump met with Schwarzman, whom he had named an economic adviser and head of the Strategic and Policy Forum during the early days of the strike. (The 16-member group would disband just months after this meeting.)

Jack Mack, the second-generation worker who compiled the list of employees with cancer, trekked down to New York City to participate in the demonstration outside Apollo HQ. He stood with dozens of other workers and supporters, and his hot breath crusted in the frigid air as he called out Leon Black by name. This was the first time I met Mack — the strike had just begun. As the event came to an end and the NYPD began to shuffle protesters off the street, I asked Mack what he planned to do next.

He looked me in the eye and said, “Go back up to the plant and stand out there until this whole thing comes to an end — until we get what we deserve.”

***

The labor negotiations broke down over the summer of 2016, and by August a strike seemed imminent. In early September, 85 percent of workers rejected an offer that would have forced current employees into more expensive health insurance plans and eliminated the much-beloved benefit for future retirees altogether. They officially went on strike November 2. Five days later they voted again, with the same result — they rejected the offer by a larger margin.

Ron Gardner retired on New Year’s Day 2015. He was 61. He’d already lost his home and moved into his trailer, and he’d spent much of the previous summer at Saratoga’s venerable racetrack, watching and sometimes betting on the races. “I won enough to keep going the entire season,” he said, seated at his dining room table, television game shows audible in the background. Soon after he retired, he changed his health insurance on Momentive’s recommendation, switching providers and opting for a plan that was cheaper from month to month but caused his deductible to rise from zero to $3,500. He wasn’t worried. “I had never been sick a day in my life,” he said. But shortly before he retired, right around Thanksgiving 2015, he began having trouble swallowing. “It scared me,” he recalled. “I couldn’t even swallow my own spit.” There was a nearly two-inch tumor in his esophagus: adenocarcinoma, a form of cancer.

Gardner had begun working at GE’s Schenectady plant in 1973 and transferred in 1988 to Waterford, where he held various positions over the years, including the production of chemical mixers for caulking After GE sold the plant in 2006, he worked for more than two years refining chemicals in Building 30, filtering out cloudy imperfections before transferring those same liquids into drums to be sold to consumers. “I often inhaled a lot of vapors,” he said.

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The water treatment facility at Momentive Performance Materials. (Jonno Rattman)

Gloves, Gardner said, weren’t required for the job. According to material-safety data sheets, gloves are required only if a risk assessment deems them necessary. “He would come home covered in this caulking shit, all over his clothes and his hands,” his wife, Donna, said. “It would be everywhere.”

He transferred five years later to wastewater treatment, where he ran presses that compacted hazardous waste into dry, disposable cakes the size of kitchen tables before dropping them into trailers for disposal. He had to clean up spilled waste by hand and scrape out the presses if the cakes didn’t fall properly. The plant, he added, didn’t require respiratory protection for that particular job. “I breathed that stuff in for three and a half years,” he said. By the time Gardner began his last job at Momentive, the white walls of the facility had long turned gray from the dust produced by the waste. “That’s where I think I got the cancer from.”

Starting in January 2016, Gardner began a six-week course of chemotherapy and a month of radiation, paying off the $3,500 deductible in installments. Despite the treatment’s apparent success, Gardner’s doctor pressed him to undergo an esophagectomy. The operation — which would remove part of his esophagus and reconstruct it with the upper portion of his stomach — would be risky, and one of his lungs would have to be temporarily deflated during the procedure. Gardner decided against it.

By October 27, 2016, his cancer had returned. He needed the surgery to survive. But now he was racing against two clocks: the cancer and the company. Labor negotiations had broken down months before; the strike would begin within a week, and his current insurance coverage would run out at the end of December. “Company-paid medical, dental, vision, and drug coverage will not extend for the duration of employee strike activity,” a letter to employees from Momentive said.

“I wrote all the numbers down, in case I didn’t make it through the surgery, so Donna could get my pension,” Gardner said. “I didn’t trust Momentive to call her and say she was entitled to it.” He called his lawyer and had his will updated. He went into surgery on November 29, and spent nearly two weeks in the hospital. “I wish I could’ve been out there on the picket line,” he said. “It was all such bad timing.”

Once home, Gardner was told by Momentive to sign himself and Donna up for new health insurance through Mercer, a private online benefits marketplace, where employees can choose from a variety of providers and plans. A 2014 Aon Hewitt survey found that despite accounting for only 5 percent of current plans, 33 percent of employers said they would begin offering insurance through private marketplaces in the next three to five years. In a 2016 report, Mike Gaal of Bloomberg BNA wrote that large employers pitch private exchanges to employees as a way for them to “buy down” to more appropriate levels of coverage. “While this may be true,” he wrote, “the reality is that the plan savings, in this example, are derived through shifting costs to employees through high deductible, copayments and out-of-pocket limits.”

“I wrote all the numbers down, in case I didn’t make it through the surgery, so Donna could get my pension,” Gardner said. “I didn’t trust Momentive to call her and say she was entitled to it.”

The Gardners’ 2017 deductible would drop to $600 each, but their monthly premium soared from $262 to $1,152 per month — a hike Momentive promised to offset for already-retired workers under 65 with a $400 monthly subsidy. He got his first subsidy check on January 27, 2017. As a retiree, Gardner was one of the lucky ones. The younger generation was battling a contract that offered them expensive insurance while they worked — and nothing when they were finished with their working lives.

***

As the strike wore on, it drew the attention of elected officials in the area. Twenty-one Albany County lawmakers wrote to Momentive chief executive Jack Boss that the proposed contract seemed “to greatly hurt retirees and take too many health care and retirement benefits away from active employees.” State comptroller Tom DiNapoli reached out to Apollo; he has New York’s state-employee pensions partially invested through the firm. “I urge you to encourage Momentive to work diligently towards an expeditious settlement of this dispute on terms that are fair to labor and management,” he wrote. On the picket line in Waterford, one popular sign slung around the necks of strikers called out Apollo’s chief executive by name: hedge fund billionaire leon black, tell momentive: don’t destroy good jobs.

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Union strikers hold a sign outside of Momentive CEO Jack Boss’s home near Saratoga Springs. (Jonno Rattman)

In early February 2017, likely facing pressure from the governor’s office and intense publicity around both the strike and Momentive’s high-profile shareholders, Boss contacted the union’s regional leadership, bypassing the local chapter, and offered to resume negotiations. Four days later, a tentative deal was reached. Governor Andrew Cuomo, in his first public statement on the strike, announced his support for the deal, calling it key to “investing in the [union’s] world-class workforce, restoring operations at the plant and keeping upstate New York moving forward.”

Under the proposed new contract, to be voted on February 13 and 14, Momentive would keep matching 401(k) contributions of workers whose pensions had previously been frozen and would pay each striking employee a $2,000 bonus upon returning to work. In exchange, the union would accept the proposed health care amendments for current workers — more expensive premiums and deductibles. The company, rather than provide health insurance to future retirees, agreed to give at least 100 veteran workers a $40,000 cash bonus upon retirement — around $23,000 after taxes — that would hopefully cover any medical expenses before workers were eligible for Medicare at age 65. Though this was a win for the union, the next round of negotiations, in 2019, could decide the future of whether retirees will continue benefitting from Momentive’s medical coverage. “We have the right to negotiate now, which we didn’t have before last year’s strike,” says Patrignani. “It was going to sunset, but it’s still a topic of bargaining for future contracts.”

“You either have a preexisting condition, or you have an underlying condition, or you have an undiagnosed condition because of the inherent risk of working in a chemical plant,” said Robert Hohn, a 55-year-old employee. “You would probably have to pay a high premium and a high deductible. Would $23,000 cover that if something went wrong?” Hohn’s wife has degenerative disc disease, which requires constant care, and chronic gastrointestinal inflammation. Under the new contract, Hohn would have to pay $74 per week for him and his wife, with a $3,500 deductible and an annual maximum payment of $7,000. (Most workers signed up for this plan, which is the cheaper of the two; the other option has a $12,000 out-of-pocket maximum for a family). “The health care is going to kill me,” he said the day of the vote. “With my wife’s condition, we will definitely be hitting the maximum every year.” When the new contract came up for a vote, he felt he had no choice but to vote no. (At the beginning of 2018, Hohn’s wife left the insurance plan; he now pays $36 per week and a deductible for himself of $1,750.)

But many other workers feared that if the contract didn’t pass, some would cross the picket line to return to work, giving up their representation and fracturing the union. “They are pitting us against one another and using that to their advantage,” one worker said as he waited in line to vote on the proposed contract. “People are scared, feeling forced to vote ‘yes,’ even though the contract isn’t much better than what we went on strike for.”

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A classified ad for temporary replacement chemical operators in the Saratogian newspaper on a table in the union’s break house.

This internal tension became more and more apparent as the strike wore on, endless weeks of picketing outside during the coldest part of the year for upstate New York. “When it comes to these guys losing their health care, I should give a fuck?” one Momentive worker, speaking on condition of anonymity, wondered aloud in January, before the new union contract was ratified. “Why should I care about you when you didn’t give a shit about me in the past?”

Like some other younger union workers at the plant, he was in the minority and had voted yes on the contract back in September, recalling the wage cuts and pension freezes of years past. To them, the older generation were on their way out; the younger workers needed this place to provide for their families for decades to come. They wanted a fair contract for everyone, but they didn’t want to ruin what they had already — a stable job — and were willing to sacrifice benefits in the process.

Apollo has shut down other manufacturing plants in the past, and that threat was real for workers on the picket line. Noranda Aluminum’s Missouri plant once employed over 800 union workers. Then it began a slow decline, and after Apollo sold its position in 2015, the plant shut down in early 2016. To some workers, a long and intense strike could make that possibility a reality. “To me, it’s not worth losing all of this. If they shut down, where will we go?” said another during the strike. “Stop whining and move forward. These old guys, they’ve had it so good for so long that they don’t want to give anything up. Sometimes, to me, it’s better to take one step back so I am able to still move forward — not like this situation now.”

The contract passed on February 14, 2017. The men went back to work within days. “They didn’t achieve everything they wanted,” said Bob Master, the union’s legislative director for the region. “But sometimes the fruits of victory don’t show up until later on, during the next round of negotiations, when the company remembers the spirit and determination of a united workforce.”

***

Robert Hohn and his coworkers are already anxious about what new concessions their next contract negotiation in 2019 might bring. Since the company’s sale to private equity a decade ago, men like Ron Gardner, who went into bankruptcy after leaving his home for a double-wide trailer and fought cancer from exposure at the plant, have watched as their Wall Street–backed corporation trimmed job benefits they’d counted on for decades — benefits all the more crucial now, as they face retirement tinged with the threat of cancer. This time around, it was health care for retirees. What will it be next time?

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Outside the entrance gate of the Momentive chemical plant. (Jonno Rattman)

Apollo, meanwhile, announced in July 2017 that the firm had raised $24.7 billion for its latest global buyout fund, the largest sum of leveraged-buyout capital ever raised by a private equity firm, poised to pave the way for many more acquisitions like the one that created Momentive. Up in Waterford, there are whispers that Apollo is even trying to force the landlord to sell the hot dog shack — which the union still uses as it’s headquarters — and its surrounding land rights.

But despite these big-picture moves by corporate financiers, workers at the plant are still focused on their benefits — assets that are crucial to their survival. “I still don’t trust Momentive,” Gardner told me. The company had already cut his pay. What, he wondered, would prevent it from eventually taking away the insurance subsidy he received each month? If he lost the subsidy before he got Medicare, he explained at his dining room table, he won’t be able to afford health insurance. “After that, I don’t know what would happen,” he added, looking out the window. It was starting to rain. “If the cancer came back and I didn’t have coverage, I would die.”

***

Ian Frisch is a journalist based in Brooklyn. He has written for The New Yorker, The New York Times, Bloomberg Businessweek, Wired, Playboy, and Vice, among others. His first book, on magic and the secret lives of the subculture’s most prominent young magicians, will be published in 2019 by Dey Street Books, an imprint of HarperCollins. 

Editor: Michelle Legro
Photographs: Jonno Rattman

Fact checker: Matthew Giles
Copy editor: Sean Cooper

When Sartre and Beauvoir Started a Magazine

(Photo: Getty)

Agnès Poirier | Excerpt adapted from Left Bank: Art, Passion, and the Rebirth of Paris, 1940-50 | Henry Holt and Co. | February 2018 | 20 minutes 5,275 words)

In September 1945, together with their band of students and friends, Simone de Beauvoir and Jean-Paul Sartre were working night and day finalizing the first issue of their journal Les Temps modernes. They had launched the idea at the end of 1944, choosing the title as a tribute to Chaplin’s Modern Times, and, apart from Camus who was too busy editing Combat, they could rely on almost everyone else to write for them — Communists, Catholics, Gaullists, and Socialists: their schoolmate and liberal philosopher friend Raymond Aron, the Marxist phenomenologist Merleau-Ponty, the anthropologist and art critic Michel Leiris, the Gallimard supremo Jean Paulhan, and even Picasso, who had agreed to design the cover and logo, along with a new generation of writers who were submitting articles and ideas such as Jacques-Laurent Bost. The British writer Philip Toynbee would contribute a Letter from London, while novels and essays the committee particularly liked would be serialized prior to their publication or with a view to attracting a potential publisher. Les Temps modernes would be a laboratory of new ideas and a talent scout rolled into one. Simone de Beauvoir had personally approached the minister of information, the Gaullist and résistant Jacques Soustelle, to ask for an allocation of paper.

Gallimard had agreed to finance the journal and to give the team a little office where they could hold their editorial meetings. The first issue was planned for October 1, 1945. Jean-Paul Sartre was made the head of the publication, “Monsieur le Directeur,” and he thought it important to make himself available to everyone. This would be democracy and public debate in action. He committed to receiving anyone who asked to see him at the magazine’s office at 5 rue Sébastien Bottin every Tuesday and Friday afternoon between five thirty and seven thirty. This commitment was printed at the beginning of the magazine, along with the telephone number Littré 28-91, where they could be reached. Sartre had decided to dedicate the first issue of Les Temps modernes “To Dolorès,” in all simplicity. Simone did not blink an eye.

In the first issue, Sartre announced loud and clear what Les Temps modernes stood for. It was to be the megaphone that would carry their thoughts far and wide.

Every writer of bourgeois origin has known the temptation of irresponsibility. I personally hold Flaubert personally responsible for the repression that followed the Commune because he did not write a line to try to stop it. It was not his business, people will perhaps say. Was the Calas trial Voltaire’s business? Was Dreyfus’s condemnation Zola’s business? We at Les Temps modernes do not want to miss a beat on the times we live in. Our intention is to influence the society we live in. Les Temps modernes will take sides.

The tone was set, the thinking promised to be muscular and the writing fearless.
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