Search Results for: Outside

How America Lost Its Identity

Longreads Pick

From the outside looking in: reporter Holger Stark, who spent the past four years as Der Spiegel’s Washington correspondent, asks “What led this once mighty nation into decline?”

Source: Der Spiegel
Published: Jan 27, 2017
Length: 12 minutes (3,192 words)

(Don’t) Smoke ‘Em If You Got ‘Em

collage no "No Smoking" signs

June Thunderstorm, writing in The Baffler with the support of the Economic Hardship Reporting Project, digs into the race and class issues that underlie efforts to quell smoking. Is “public health” really the name of the game?

Neither does the “public” protected by public health initiatives include people of the working class, no matter what color they are. If it did, initiatives would be directed first and foremost at the process of production, not consumption. And I mean production of everything. After all, anyone who works for minimum wage already expects organ damage, physical pain, a reduced quality of life, and an untimely death. And that, no doubt, is why the “If You Smoke You’ll Get Sick” warnings on packs aren’t working very well to inspire this particular group to quit: working shit jobs for shit pay is making the working class sicker, faster. And yet the promoter of “public health” does not concern herself with how the workers must soon enter the building to demolish rotten fiberboard all day. She is interested only in what they consume outside the door on their brief ten-minute breaks. Why should this be?

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The Inner Tiny House Journey: Jay Shafer on Finding Meaning in Things

Mark Sundeen, writing for Outside, traveled to the National Tiny House Jamboree in Colorado Springs last summer and talked to some of the tiny house movement’s pioneers, including its “godfather” Jay Shafer. Over a cigarette break in the woods — away from all the tiny space swooners, wannabe-minimalists, and sales reps — Shafer tells him a bit about his design philosophy and the purpose of material objects.

Shafer was raised in a large suburban house in Orange County, California. “I never had a true sense of home,” he said. After attending the University of Iowa, he got a master’s in fine art in New York City. But urban life didn’t suit him. He returned to Iowa City, where he taught art, living in a pickup and later an Airstream. Although he considers himself secular, as an artist he was drawn to sacred symbols and icons. “I got tired of building shrines I couldn’t live in,” he said.

I asked him if he’d been on any of the tiny-house shows.

“I was on Oprah.”

“What was that like?”

“Like watching Oprah on television, but in 3-D.”

During a commercial, she told him that he had inspired her to get rid of one of her mansions. “I wish she would have said it on camera.”

Shafer went on to describe design in a language I had not heard at the Jamboree—or anywhere. “Integrity is my word for God,” he said. It was wrong to conceal structural elements or disguise materials, and purely ornamental features were like a comb-over. Both attempted to convince us that the homeowner (or the hair owner) felt secure but of course revealed insecurity. “My best designs come only when my ego gets out of the way, when the higher power flows through me.” He had a sense of humor about it all, too. “I spent weeks trying to design a dining table that would convert into a coffee table. Finally, I figured out that all I had to do was turn the thing on its side.”

He described himself as a “meaning addict,” always looking for higher significance in material objects. “A gate in a picket fence that opens onto a narrow path that leads through a yard to an open porch that covers a door,” he said, “is a set of symbols we recognize as signposts guiding us through increasingly private territory toward the threshold of someone’s clandestine world.”

I finally got it. I had not understood why Williams’s house felt so authentic while so many of the blocks on wheels felt awkward or false. This subculture, although it seemed to be about nifty gadgets and Murphy beds, was at its heart the expression of our longing to find our place in the universe, to become as beautiful and functional as nature itself.

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Georgia: Asian, European, or Just Georgian?

Most geographical definitions of Europe do, in fact, exclude Georgia. A modified version of the border that Herodotus’ contemporaries agreed on—along the Tanais River, today’s Don—is still the most commonly accepted version of the Europe-Asia border, following the Don, Kuma, and Manych rivers from the Black Sea to the Caspian Sea. Other geographers put it along the ridge of the Caucasus Mountains, which separate Russia from Georgia—a particularly cruel irony, given that Georgia’s embrace of a European identity is focused largely on distinguishing itself from Russia.

In the 1950s, Soviet geographers undertook an effort to finally eliminate confusion about where the border between Europe and Asia lie, and as part of that they solicited opinions from the geographical societies of the three “Transcaucasus” republics: Armenia, Azerbaijan, and Georgia. The first two argued that they should be placed in Asia, with only the Georgian opinion dissenting, on “historical-cultural” grounds, that the southern border of the Soviet Union, separating it from Iran and Turkey, was the proper border with Asia. But Moscow disagreed: “That sort of radical decision would hardly be accepted by the scientific community either in the USSR, or outside its borders. In geographical, historical-ethnographic terms the Transcaucasus belongs to Asia,” wrote geographer Eduard Murzaev, summarizing the debate in a Soviet journal.

And so Georgians since then have preferred to demur on the question of where exactly the border of Europe lies. Even Georgian textbooks don’t argue that Georgia is geographically in Europe, instead offering varying definitions of “political” Europe, “geographical” Europe, and so on. “In Georgia, there’s no interest in discussing this,” Gverdtsiteli tells me.

In Roads & Kingdoms, Joshua Kucera travels to the nation of Georgia, along the border of Russia and Europe, to examine the longstanding debate about whether it belongs to Asia, Europe or the Middle East, and why it matters.

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Breaking Elgar’s Enigma: Cryptographic Genius or Crackpot?

Photo by Shawn Carpenter (CC BY-SA 2.0)

In New Republic, Daniel Estrin writes about how a former insurance adjuster claims to have solved the 118-year-old cryptographic mystery of the hidden message in Edward Elgar’s infamous Enigma Variations.

And far from the ivory towers of music academia, mostly on his blog, Elgar’s Enigma Theme Unmasked, Bob Padgett has emerged as perhaps the most prolific and dogged of all Enigma seekers. His solution, which has caught the attention of classical music scholars, lies at the bottom of a rabbit hole of anagrams, cryptography, the poet Longfellow, the composer Mendelssohn, the Shroud of Turin, and Jesus, all of which he believes he found hiding in plain sight in the music.

Over the course of seven years of work, and in more than 100 detailed blog posts, Padgett identified about 40 other clues that support his theory, weaving a confounding web of musicological, literary, theological, and historical references.

There is another way to experience music, and that is Padgett’s way: to dissect it, to learn its grammar, and, ultimately, to borrow a phrase from the sequence of coded letters he discovered, to know it better. For Padgett, who is very religious, wrestling with Elgar’s work is akin to studying the Bible. It is reassurance that a grand, intelligent design exists. “For him, it’s a religious text,” his wife told me. “But he didn’t want to go on faith alone. He wanted solid proof.” “I’m an outsider, you know. I’m not one of these credentialed academics. I’m not published,” he said.

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Not For the Paint of Heart

Mystery brunette and GQ correspondent Taffy Brodesser-Akner rented and rented, until a bad experience with a New Jersey landlord and a fit of financial security convinced her and her husband it was time to commit to homeownership. Now for the hard part: Choosing paint colors without having a complete existential breakdown. Akner details her taupe night of the soul at Curbed:

The only positive experience I can drum up in service of paint colors involves a hotel in Palm Springs. It was called the Saguaro, and outside and inside it was painted in the most pleasing lollipop colors: lavender, purple, lime, orange, yellow. Claude and I sat at the pool and looked up at the colors and I felt them infiltrate my cornea, then my retina, then my brain, then my soul. These were the colors I wanted to look at, but I didn’t think that my house should be a day care center, like my sister said. I couldn’t remember any house where I’d ever noticed the colors, and I didn’t know if that meant that you weren’t supposed to notice the colors, or if it was yet another symptom of how damaged I was, that I couldn’t see the details of what surrounded me when my actual trade was to see the details of what surrounded me. Willful blindness, it’s called, maybe. But maybe it’s just self-protection. I guess that was the toughest part: Was I supposed to have been planning this my whole life?

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Feeling Unsafe at Every Size

Illustration by Kjell Reigstad

Eva Tenuto | Longreads | January 2017 | 22 minutes (5,426 words)

 

I entered the sandwich shop and saw him at the counter, my old high school freshman homeroom teacher, placing his lunch order. I hadn’t seen him since I’d graduated 17 years earlier.

He and I were the only customers. If I got in line, it was clear, there’d be no avoiding him. I’d heard through the small-town-grapevine that he’d been forced to retire early just a year after I graduated, after one brave young woman turned him in for touching her inappropriately. I remember thinking he got what he deserved. But it never occurred to me that I was traumatized by what happened with him until seeing him in person that day made me seize up in a full body rage.

“Well, hello Ms. Tenuto,” he said when he spotted me. That was how he always addressed me, even as a high school freshman. It was only in that moment that I realized the subtlety of the language that had taken my childhood away, that made his power and authority seem to disappear, that created the illusion we were equal, as if we were both adults. “You don’t remember who I am, do you?” he asked. How could he have the nerve to think I might have possibly forgotten? Like nothing had happened between us that would stand to be memorable. But nothing did happen. That’s what I had been telling myself all these years.

“Oh, I remember you,” I said, looking him straight in the eyes. My body started to feel charged, as if my insides were effervescent. I knew this was an important moment and if I didn’t claim it, it would quickly pass me by. Read more…

Guilt: The Unwanted Guest at Every Family Holiday Celebration

Photo by Phing Chov (CC BY-SA 2.0)

In this humorous take on passing down family holiday traditions, NPR Code Switch’s Kat Chow reflects on how duty and guilt mute her enthusiasm for Chinese Lunar New Year until she accepts that guilt is simply a natural part of the ritual.

The Lunar New Year of my youth:

Dad pushes our kitchen table to the center of the room. He’s clearing space for the family to stand and pray. He and mom coat the table with platters of fish (symbolizing surplus, prosperity), black moss noodles (more prosperity), roast duck, poached chicken with ginger and scallion oil. Before we eat, my parents set out framed photos of our dead relatives (symbolizing filial duty, I guess) next to the food offerings.

We light incense. Clasping the puffing sticks in our palms, we bow three times (symbolizing … I don’t know) and dispose of them outside on the back deck. The smoke from the incense licks our eyeballs and clings to our winter jackets, which we wear throughout the night (symbolizing we’re cold).

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‘This Is Home Now’: The Karen People’s Journey from Myanmar to Australia

Escaping persecution and conflict, many Karen people of southern and southeastern Myanmar have migrated to Thailand, settling primarily in refugee camps at the Myanmar-Thailand border. As Margaret Simons reports on SBS, about 200 Karen people have since found a new home in Nhill, a country town halfway between Melbourne and Adelaide in Australia. Their presence has brought new life to the town — jobs, connections, and a sense of community — making Nhill a model for the rest of the country.

A board outside the shop announces, in the exotic Brahmin script of Myanmar, Kay’s great act of generosity and now her cause for hope. She has given, rent free, the space at the rear of her store to Karen community leader Kaw Doh Htoo. There, he has opened a grocery store for the Karen people who have made this remote country town their home. . . .

He sits at the formica table and tries to describe how he came to live here, in this little declining town with its wide streets and closed shops speaking of past prosperity. The Karen come from the hills and mountains of Karen state, part of Myanmar near the Thai border. He gets choked up.

This is home now, he says. It is a good place. But he misses the hills and jungle. Ask him what he hopes for his children, and he weeps.

Hope, after all, can be as sharp as a knife. . . .

But there are other things here, too — less visible to the passing eye. Nhill has a higher rate of volunteering than the nation as a whole. It has what Deloitte Access Economics has termed unusually high levels of social capital. Put more simply, it is a town with a big heart and, over the last six years, it has come to stand for a very different kind of Australian story.

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Author John Edgar Wideman on Isolation

Photo via Charlie Rose

In the New York Times MagazineThomas Chatterton Williams profiles John Edgar Wideman, MacArthur genius and author of more than 20 books including his latest, Writing to Save a Life: The Louis Till File, about the father of Emmett Till.

Wideman’s own life has been marked by tragedy:

If they knew any of that about Wideman the writer, they would also have to know this about Wideman the person: He is the older brother of a man convicted of murder, serving a life sentence without the chance of parole; the uncle of a young man shot execution-style in his own home; the father of a boy who, at age 16, woke up one night while traveling with a group of campers, got out of bed and stabbed his roommate to death while he was sleeping. The drama of Wideman’s personal history can seem almost mythical, refracting so many aspects of the larger black experience in America, an experience defined less by its consistencies, perhaps, than by its many contradictions — the stunning and ongoing plurality of victories and defeats.

Now 75, Wideman is noticeably gentler-looking than the severe ice-grill that has glared from dust jackets for so many years. After Bahaj left, he confessed to me that he had been reading reviews of his newest book, “Writing to Save a Life,” published in November. He noted that critics tend to write about him as an isolated and haunted figure, an idea he has resisted but has been coming to accept about himself. “I mean, if everyone tells you your feet stink, after a while, you may think you washed the boys, but everybody can’t be wrong.” He laughed at himself but then soberly conceded, “I always felt extremely isolated.” That loneliness Wideman speaks of is twofold: both peculiar to him and quintessentially black, especially for more talented men of his era. I have seen this loneliness, too, in my father, a man of Wideman’s generation and the first in his family to break out of the segregated South and get a college education, a dual triumph that simultaneously freed him and left him a consummate outsider.

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