Search Results for: Review

Getting Tricked by Helen DeWitt

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Brittany Allen | Longreads | July 2018 | 7 minutes (1,809 words)

Different writers call for different verbs. With Mary Karr, I go galloping. E.M. Forster wants to waltz. I hopscotch with George Saunders and craft, as in beaded amulets, with Helen Oyeyemi. Elena Ferrante is usually trying to slap me, and Denis Johnson is plummeting: out of windows, out of planes. Reading Helen DeWitt is puzzling, but not the kind of puzzling that will eventually resolve and make some pretty picture on a box.

There is the urge to go spelunking through her books, to descend into the mad caves and walk the corridors and labyrinthine tunnels, in search of meaning (or…treasure? Uh-oh, here goes the metaphor). But I discovered — about five stories in to DeWitt’s bursting, bizarre new story collection, Some Trick (New Directions) that the most pleasurable way to be with her fiction calls for a verb that requires no gear. What you really ought to do with DeWitt’s prose is dance with it. But I’m not talking waltz: these words want a fast-paced, hectic, muscular dance. Picture a foxtrot, breakdance, 15-step. I had the most fun getting “tricked” when I elected, as a reader, to live for the flash of poetic symmetry in a DeWittian gesture, parseable in the middle of some huge, hectic movement — the revelation sentence, the left turn ending line, the belly laugh one-liner out of seemingly nowhere. Less joy came from digging through the dark matter and attempting to make some neat narrative from the many objects in this collection. In DeWitt’s case, it is best to simply follow this dizzy mind where it leads, and be delighted. Prepare to sweat on the journey, though. Read more…

A Person Alone: Leaning Out with Ottessa Moshfegh

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Hope Reese | Longreads | July 2018 | 9 minutes (2,416 words)

The narrator of Ottessa Moshfegh’s new novel, My Year of Rest and Relaxation, a 24-year-old New Yorker, wants to shut the world out — by sedating herself into a near-constant slumber made possible by a cornucopia of prescription drugs. In various states of semi-consciousness, she begins “Sleepwalking, sleeptalking, sleep-online-chatting, sleepeating… sleepshopping on the computer and sleepordered Chinese delivery. I’d sleepsmoked. I’d sleeptexted and sleeptelephoned.” Her daily life revolves around sleeping as much as possible, and when she’s not sleeping, she’s pretty much obsessed with strategizing how to knock herself out for even longer the next time, constantly counting out her supply of pills.

Her behavior is so extreme — at one point, she seals her cell phone into a tupperware container, which she discovers floating in a pool of water in the tub the following morning — that a New York Times reviewer dubbed Moshfegh’s work an “antisocial” novel. Moshfegh, the author of Homesick for Another World and Eileen, which was shortlisted for the National Book Critics Circle Award and the Man Booker Prize, has a knack for creating offbeat characters who don’t fit into neat categories. Like other women in Moshfegh’s stories, the heroine in My Year of Rest and Relaxation is unsettling. She is beautiful, thin, privileged — and deeply troubled. Read more…

Letters from Trenton

Photo illustration by Katie Kosma

Thomas Swick | Longreads | July 2018 | 19 minutes (4,829 words)

 

In the fall of 1976 I returned home to New Jersey after a year in France. I had been pursuing my dream of becoming a travel writer by studying French in Aix-en-Provence and working on a farm in Kutzenhausen, Alsace. Now I needed a byline, preferably a steady one. Making the rounds of newspaper offices, I stopped one day at the two-story brick building of the Trenton Times. I wasn’t allowed to see anyone. This was the state capital’s leading newspaper, after all, and I was simply handed a job application. There seemed little reason to play it straight.

What was your last employment?

“Working on a farm.”

What were your duties?

“Picking cherries, baling hay, milking cows.”

Why did you leave your last employment?

“I got tired of stepping in cow shit.”

May we contact your last employer?

“Sure, if you speak Alsatian.”

A few days later I got a call from the features editor asking me to come in for an interview — my reward for being original, and knowing my audience, or at least guessing at it correctly.

I drove the river road south from Phillipsburg, where I was then living with my parents, back to Trenton. The features editor looked like a young Virginia Woolf in tortoiseshell glasses. She told me the paper was owned by the Washington Post and that one of her writers, a young man by the name of Blaine Harden, was exceptionally talented. The gist of the interview was that the editor — who, I later learned, had posted my job application on a wall in the newsroom — could not hire someone with no experience, as everyone else had come to the Times from other newspapers. But they would give me a three-month trial writing feature stories.

This suited me fine for, without a place in the newsroom, I was able to conceal the fact that I still wrote in longhand. I was possibly the last American journalist to do so. I knew how to type, but the typewriter was not a friend to the undecided. It was good for deletions — a quick, brash row of superimposed x’s — but for additions, I had to scribble with my pencil between immovable lines and on virgin margins.

In the evening, back home in Phillipsburg, I would write my stories. Then in the morning I’d get in my mother’s car and drive the river road through Milford and Frenchtown (whose bridges I’d worked on during summers in college), Stockton and Lambertville, the docile Delaware often visible through the leafless trees. The scenery was not as dramatic as in Provence, and the towns were not as picturesque as in Alsace, but there was a quiet, unassuming beauty to the place that suited my temperament, no doubt because it had helped shape it.

Once in the newsroom, I’d borrow a desk and type from my half-hidden handwritten pages.

After I was hired full-time, I bought my first car, a sea-green Datsun, and rented a studio apartment in Trenton. Most of the people at the paper lived in the more attractive surrounding towns like Yardley, Lawrenceville, and Princeton. Daisy Fitch, a fellow feature writer, had grown up next door to Albert Einstein. She was one of a dwindling minority of locals at the paper, as it was increasingly being written by out-of-staters who swooped in for a spell, then left to careers at the Post or someplace equally grand. Many were Ivy Leaguers — this was a few years after Woodward and Bernstein made journalism as sexy as it was ever going to get — and some, like Daisy, had interesting backstories. Celestine Bohlen, a young reporter, was the daughter of Charles “Chip” Bohlen, who had served as the American ambassador to the Soviet Union in the ’50s. Mark Jaffe, a former fencer at Columbia, was living with the daughter of Lyle Stuart, the publisher made rich and famous for putting out the 1969 handbook for women’s sexual pleasure The Sensuous Woman. David Maraniss, who exuded a kind of drowsy gravitas, and for whom everyone predicted glory, was the product of a marriage of editors: mother, books; father, newspaper. I was told that I had just missed the Mercer County careers of John Katzenbach, soon-to-be crime novelist and son of the former U.S. Attorney General, and his wife, Madeleine Blais, both of whose auras still flickered in the brick building on Perry Street.

It was astonishing to find this assembly of near and future luminaries in Trenton, a city I had associated mainly with Champale, whose brewery we used to pass on family drives to the shore. Add the fact that everyone had previous newspaper experience and you can understand if I say I felt a bit out of place. All I brought to the party was an irreverent job application.

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The Top 5 Longreads of the Week

Occupy Wall Street protest posters
(Photo by Spencer Platt/Getty Images)​

This week, we’re sharing stories from John Lanchester, Bethany Barnes, Stephen Kearse, Warren Ellis, and Soraya Roberts.

Sign up to receive this list free every Friday in your inbox. Read more…

Pay the Homeless

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Bryce Covert | Longreads | June 2018 | 10 minutes (2,546 words)

He was standing on the median of a busy road one morning in the dead of a Massachusetts winter. With bare hands, he clutched a sign asking for money. I was a freshman in college driving to CVS, warm in my car.

I grew up in a rural beach community, where I hadn’t encountered many panhandlers. My experiences with people asking strangers for money came from a few family treks into New York City. Still, I had somehow absorbed a lesson—either spoken or implied, I can’t quite remember—about how to react: Don’t give any money when people ask for it. Doing so will only lead to bad things. The bad things weren’t specified, but drugs and alcohol were likely culprits, with the idea being that giving money to an addict hurts more than it helps. So when I passed that man asking for change, I wasn’t sure what to do.

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The Road to Asylum

As dawn arrives, Marfil Estrella looks out the window of the bus that will take her from San Salvador, El Salvador to Guatemala City, Guatemala. Photos by Danielle Villasana.

Alice Driver | Longreads | June 2018 | 21 minutes (5,300 words)

DISPONIBLE EN ESPAÑOL

“I want to finish elementary school.” — Karla Avelar, 40, founder of the Comcavis Trans Association, which advocates for LGBTI rights in El Salvador

* * *

“Women, don’t be deceived,” boomed the weary, yellow-eyed preacher, his sombrero tipped forward with a drama fitting for his bus-ride sermon, one that would last all the way from San Salvador, the capital of El Salvador, to Guatemala City. As he made his way down the aisle of the bus, he stopped to touch women and girls on the head or the arm. “Don’t let men trick you,” he shouted, holding his bible up so high its well-worn pages brushed the roof of the bus. He didn’t touch Marfil Estrella Pérez Méndoza, 26, whose chosen name translates to Ivory Star. As she rested her round, hopeful face on the bus window, dark eyes peering out into the rainy grayness of early morning, the preacher passed by without laying a hand. “How do you say asylum in English?” she whispered.

Marfil Estrella was born in Cuscatlán, El Salvador, in a body that never felt like her own. She was assigned male at birth, and at 15, she came out as gay to her family. Their response was to disown her. “They told me that I brought shame on the family, that I should forget about them, and that I needed to leave,” explained Marfil Estrella. Like many members of the LGBTI community in El Salvador, her family forced her onto the street, and her schooling ended abruptly at ninth grade because she had no money to continue. She fled to San Salvador and slept in a park where she met other gay boys. “I saw a transsexual, and I said, ‘I want to be like her! I want to be like her!’” she recalled. She lived on the street, grew out her hair, and began to dress in women’s clothes, but she had no way to earn a living and consequently became very thin. Eventually she started to do sex work, one of the only options available to trans women in El Salvador to earn money. Read more…

On Mourning, Learning a More Sober Fandom, and Letting Go

DEERFIELD BEACH, FL - JUNE 23:Hip-hop mourns rapper XXXTentacion after fatal shooting at roadside memorial. The Rapper Jahseh Dwayne Onfroy, who performed under the name Xxxtentacion was shot, June 18, 2018 on June 23, 2018 in Deerfield Beach, Florida. Credit: Hoo-Me.com / MediaPunch /IPX

Jahseh Dwayne Onfroy, the singer-rapper known as XXXTentacion, died after an apparent armed robbery on June 18. He was 20 years old. His first album, 17,  debuted at number two on the Billboard 200 last August, and a follow-up, ?, landed the number one spot in March. The popularity of his emotionally raw lyrics and sparse, cutting beats did not wane when allegations of strangulation, head-butting, kidnapping and other forms of physical and sexual abuse were made public last September.  In fact, XXX’s appeal only grew; fans as well as music industry insiders seemed to double down on their support. When the streaming service Spotify announced a plan to classify XXX and R. Kelly’s music as “hate content” and curtail promotion of the two artists, representatives of established hip-hop acts and label heads protested. Spotify abandoned the policy less than a month later, citing its “vague” language as one of the reasons for retracting.

I wrote about the accusations XXX’s former partner made against him in a post last month on Kelis, Nas, and hip-hop’s #MeToo problem. At the time, I hadn’t yet spoken to enough people younger than me, like my 16-year-old nephew, to try to understand the hold XXX’s music had on them. I hadn’t thought enough about how, when I was 15, I’d lose myself on the dance floor to 2pac’s “How Do U Want It,” finding respite from everything going on at home. Pac had already been accused and convicted of sexual assault by then, and though I didn’t yet have the language of feminism to help me process things, I have enough faith in my own intelligence to believe there was more to my love of Pac than simply ignorance or self-hate. He had a ferocious creativity and communicated a sense of striving and overcoming, and he was defiant of the hypocrisy of respectability. I needed to tap into all that to survive those times. Like XXX, Pac often toyed with the possibility of his own early death, and he lived racing towards it. At 15, I read this, too, as defiance.

Still, adult-me is resolutely angry about the harm these and other hip-hop men have caused. I am also curious about what it is in XXX’s desperately sad body of work that his fans cannot bear to part with. I can wager guesses, because we live in desperate times. This is a burning house with a weaponized high court, menacing ICE agents, screaming toddlers at the border and the killing of innocents in our interior. We want our heroes to transcend these circumstances, but often, they simply reflect our own horror right back at us.

Reporter and critic Stephen Kearse tries to make sense of XXX’s enduring appeal in a thoughtful essay for Pitchforkfor which he speaks to some of XXX’s listeners.

I sought out XXXTentacion fans expecting to meet reactionaries and trolls mired in bad faith and adulation—a cult, essentially. Instead I found folks who make the same choices and suspensions of disbelief as other fans and listeners, consumers enthralled by and navigating the same badlands of treacherous content as the rest of us. These fans’ relationship to XXXTentacion was—and, perhaps more than ever, is—entirely based on the music and its importance to them, and everything outside of that was dismissible hearsay. For them, “the charges” against him took the form of a vague stigma without a particular origin.

I was alarmed by their skepticism, but the way XXXTentacion’s fans conflated newsgathering, rumors, and #inspiration was no different from radio DJs or Reddit users opinionating into the void. Stigma is the opposite of prestige, but it functions the same way, providing a readymade lens for interpreting art regardless of new terms or information. This doesn’t mean that XXXTentacion and his fans were beyond reproach or that the widespread reluctance by the press to embrace his music was unwarranted. But it does reveal the limits of music being treated as a lifestyle—to embrace or reject wholesale—and artists being worshipped rather than engaged with, challenged, doubted.

If our current cultural moment is predicated on a more honest reckoning with who we idolize and who is harmed by that idolatry—the abused, the assaulted, the discarded, the ignored—perhaps we should also consider the how just as emphatically.

Kearse says a large part of our problem is the nature of fandom itself — how we adore our favorites so unequivocally. He wonders how we can love what we love soberly. By the end of the essay, Kaerse describes how his own approach to listening to and critically engaging with music has changed.

Taking abuse allegations seriously has altered how I discuss music, professionally and personally. I don’t leave artists’ controversies out of reviews or shy away from the hard questions in interviews. I don’t mount convoluted defenses for questionable lyrics, even for dead or respected artists. I respect and acknowledge the apprehension of other listeners when a song or line or tweet grates. Above all, I no longer stan, for anyone. I realize this could never be the universal approach to ethical consumption—contrary to the saying, not everybody’s a critic. But it’s a system of constant engagement, with artists, with their actions, and with myself. Even for my faves, finality never comes.

Is this sober approach to fandom enough of a stand? Kaerse’s piece reminded me of the work of Pearl Cleage, whose essay “Mad at Miles” from a now out-of-print  volume of the same name, grapples with the crimes jazz innovator Miles Davis admittedly committed against actress Cicely Tyson. Certainly, the fans of Davis occupy a more rarefied space in the American imaginary than those of any Soundcloud rapper. It’s nearly impossible to conceive of a world where Kind of Blue isn’t heralded. In her piece, Cleage spends time with Davis’ music and takes care to consider its utility, asking, “Can we make love to the rhythms of ‘a little early Miles’ when he may have spent the morning of the day he recorded the music slapping one of our sisters in the mouth?”

While Kearse gives us a blueprint for ethical consumption of the work of artists who cause such harm, Cleage suggests there can be none.

XXXTentacion’s death has caused another surge in his music’s popularity. I listened to “SAD!” for a while on a trip last week. On the track, the rapper threatens suicide if a lover leaves. That’s an abuse tactic, and it me hurt to listen. I wondered if my nephew, who makes beats and had been mournful of the late rapper’s death, was okay, so I reached out. That is all I know to do.

Further Reading:

The Bungled Bank Robbery That Ended in a Landmark Legal Ruling

Illustrations by Juan Esteban, Archival illustrations by Alex Tatusian

Thomas L. Dybdahl | Longreads | June 2018 | 18 minutes (4,642 words)

This article was co-published with The Marshall Project, a nonprofit news organization covering the U.S. criminal justice system. Sign up for their newsletter, or follow The Marshall Project on Facebook or Twitter.

In early June 1958, 25-year-old John Leo Brady was in love. He was also in some trouble. His sweetheart, Nancy Boblit McGowan, had just told him she was pregnant, and he was the father. But she was only 19, married to another man. And Brady was broke.

He’d never had an easy life. He grew up poor in southern Maryland. His young parents, scraping their living from a small tobacco farm, couldn’t cope with a fussy baby. They gave him to his paternal grandparents and his Aunt Celeste, who raised him. From infancy through his late teens he suffered from serious otitis media, and his ears regularly oozed a thick, vile-smelling pus. At school, his classmates called him “stinkears.”

Brady gladly dropped out during the eighth grade to work full-time on his uncle’s farm. At 19, in 1951, he enlisted in the Air Force and served as a military policeman at bases in Washington state and Greenland. Then, over the space of four years, his otitis stopped, he got married, left the service, earned his high school equivalency, got divorced and returned home to Maryland.

In March of 1958, Brady met Nancy and her brother, Donald Boblit, because their parents were good friends with his aunt. Donald was 25, gawky, lonely and barely literate. Nancy was “just a dumb, good-looking blonde,” according to a friend, in the pre-feminist jargon of the ‘50s. Although both she and her husband, Slim, were living with her parents, they hardly spoke, and she let everyone know she intended to do whatever she wanted. Brady and the two siblings soon became close, and he and Nancy fell in love. Then Nancy got pregnant.

Brady didn’t know what to do. He was working at a local tobacco packing company for $1.50 an hour. He had recently bought a maroon 1947 Ford and was behind on his bills. But he wanted Nancy to know how much he was committed to her. She had planned a trip to New York to visit family for a week, leaving on Monday, June 23. That Sunday, when they were together, on an impulse he wrote her a check for $35,000, post-dated to July 6.

It was a dream sum—a huge number just pulled out of the air that he guessed could solve all their troubles, if he could only make it real. Nancy asked no questions; she put the check in her purse. Brady reminded her to wait. “Somehow,” he said, “in two weeks it’ll be in the bank.” Read more…

How the Self-Publishing Industry Changed, Between My First and Second Novels

Photo: Nicole Dieker

As of this writing, my self-published novel The Biographies of Ordinary People: Volume 2: 2004–2016 is currently ranked #169,913 out of the more than one million Kindle books sold on Amazon. When Biographies Vol. 2 launched at the end of May, it ranked #26,248 in Kindle books and #94,133 in print books. At one point my book hit #220 in the subcategory “Literary Fiction/Sagas.”

So far, Biographies Vol. 2 has sold 71 Kindle copies and 55 paperbacks, which correlates to about $360 in royalties.

I know what you’re thinking, and you’ve probably been thinking it since you saw the words “self-published.” But no, those sales numbers aren’t because my books are terrible—and I didn’t self-publish because my books were terrible either. (It’s a long story, but it has to do with an agent telling me that I could rewrite Biographies to make it more marketable to the traditional publishing industry, or I could keep it as an “art book” that would be loved by a select few.) Last year’s The Biographies of Ordinary People: Volume 1: 1989–2000 was named a Library Journal Self-E Select title; Vol. 2 was just selected as a Kirkus Reviews featured indie, with the blurb “A shrewdly unique portrait of everyday America.” I regularly get emails from readers telling me how much my books have meant to them, and how they couldn’t put their copies down.

So. I could tell you a story that makes The Biographies of Ordinary People sound like a triumphant success, and I could also tell you that in its first year of publication, Biographies Vol. 1 sold 382 ebooks and 157 paperbacks, earning $1,619.28 in royalties. Read more…

The Urban Crisis of Affluence

Skyscrapers
Photo by Tim Clayton / Corbis via Getty Images

After three decades living in and around New York City, I, too, am leaving to make way for the only people the city is still welcoming: billionaires who don’t live here.

In Harper’s Magazine, Kevin Baker writes at length in “The Death of a Once Great City” about how the few who can afford to build and buy in New York don’t want to live here, either. In one affluent twenty-block corridor, “almost one apartment in three sits empty for at least ten months a year.” A couple of neighborhoods south, developers at an eighty-three-unit luxury condo were recently offering “to throw in two studio apartments and two parking spots for any buyer willing to shell out $48 million for the building’s 7,000-square foot penthouse.” That’s five empty things for the price of one empty thing, in case you’d like to park dozens of millions of dollars in an investment property that’s big enough to fit dozens of homeless families.

Drawing from Michael Greenberg’s incisive piece on the city’s housing emergency last summer in The New York Review of Books, Baker connects the dots between empty penthouses and empty storefronts, decrying how “all that our urban leaders, in New York and elsewhere, Democratic as well as Republican, have been able to come up with is one scheme after another to invite the rich in.”

As New York enters the third decade of the twenty-first century, it is in imminent danger of becoming something it has never been before: unremarkable. It is approaching a state where it is no longer a significant cultural entity but the world’s largest gated community, with a few cupcake shops here and there.

The new rich infesting the city are barely here. They keep a low profile, often for good reason, and rarely stick around. They manufacture nothing and run nothing, for the most part, but live off fortunes either made by or purloined from other people—sometimes from entire nations. The New Yorker noted in 2016 that there is now a huge swath of Midtown Manhattan, from Fifth Avenue to Park Avenue, from 49th Street to 70th Street, where almost one apartment in three sits empty for at least ten months a year. New York today is not at home. Instead, it has joined London and Hong Kong as one of the most desirable cities in the world for “land banking,” where wealthy individuals from all over the planet scoop up prime real estate to hold as an investment, a pied-à-terre, a bolt-hole, a strongbox.

A triplex at the forthcoming 220 Central Park South will reportedly be sold for $200 million, and a four-story apartment at the same address is priced to move at $250 million. These would be the largest home sales ever recorded anywhere in the United States.

Who spends this sort of money for an apartment? The buyers are listed as hedge fund managers, foreign and domestic; Russian oligarchs; Chinese apparel and airline magnates. And increasingly, to use a repeated Times term, a “mystery buyer,” often shielded by a limited liability company.

This is not the benevolent “gentrification” that Michael Bloomberg seemed to have had in mind but something more in the tradition of the king’s hunting preserves, from which local peasants were banned even if they were starving and the king was far away.

There are now so many of the supertalls gathered so closely together that they threaten to leave the lower sections of Central Park, the only true architectural marvel to be seen here, in shadow for much of the year. One simulation found that the shadows of the highest towers may knife a mile into the park on the winter solstice.

When the journalist Warren St. John protested against these towers that block the sun and literally leave children shivering in the park, he pointed out that the highest supertall apartments—when they are occupied at all—house maybe a few hundred people, as opposed to the 40 million individuals who use Central Park every year. But this seems to be the calculation on which New York now operates.

Even for those who can afford the new New York, it is unclear how much they actually like it or maintain any ability to shape it to their tastes. What is the point, after all, of paying a fortune to live in a city that is more and more like everywhere else?

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