Search Results for: Salon

We Need to Talk About Money: Seven Stories About Personal Finance

I suppose it’s fitting to begin a piece about personal finance by talking about my own situation: I owe the IRS and the Comptroller of Maryland a substantial part of my tenuous savings. This is the first year I’ve owed more than I’ve expected.

When I first learned how much money I owed, I had a panic attack and vowed to never leave my apartment again. I eventually emerged, sodden and pathetic, from my blanket cocoon. I discovered no one was judging me for my unfortunate situation. One friend admitted that she, too, owed an inordinate, unforeseen amount to the IRS and turned to her parents for help.

This summer, I turned 26, which means—in the good ol’ US-of-A—I’m off my parents’ health insurance. Luckily, I qualify for free coverage. It’s a huge relief. I’m proud of myself for overcoming my anxiety about signing up in the first place. This is the sort of task that feels insurmountable when I’m deep in that generalized anxiety. Again, I have to thank my dad for staying on the phone with me for 45 minutes, while I sat in the foyer of the public library, swearing about the confusing wording on the health care website.

Taxes and health insurance—what could be worse? I also owe about thirty grand in student loans; those I’ve accepted as part of life. My dad (who, I’m realizing, is basically my financial advisor), has been on my case to consolidate those puppies, but, oh my God, I don’t even really know what that means because none of us learned this in school?! Where is the manual?!

I think all of us, on some level, harbor an obsession with money—it shapes our habits, opportunities, social and familial interactions, and futures. Honest discussions about income, rent, budgets, taxes—all that stuff—force us to reckon with our privilege. For so long, conversations about money were considered gauche. With every essay and podcast episode, that taboo is broken down. Read more…

Girlhood Gone: Notes from the New Nashville

Susannah Felts | Longreads | September 2016 | 18 minutes (4,439 words)

At 18, I knew only that I wanted out.

Out of Nashville, Tennessee, out of the whole Southeast. Free from region. If you’d asked, I could have told you why, but I didn’t yet know how deep a print the South had left on me, only the urge to reject its further touch.

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Back then, the Nashville I knew was defined mainly by the limited spheres of a middle-class adolescence: home, school, and a 20-mile stretch of I-40 that I drove many hundreds if not thousands of times, back and forth, east and west, repeat. My family lived on one side of the city, my friends and classmates on the other, hitched together by a private school that sat roughly in between.

To a lesser degree I knew my hometown to be a place defined by country music and Christianity, home of the Grand Ole Opry and Buckle of the Bible Belt. This identity seemed distinct but remote: I did not listen to country, did not go to church. Music City? To a kid who was rock-n-roll crazy pretty much from birth, the nickname seemed almost a cruel joke. This was not my Music City. Read more…

On Being Fat

Illustration by Hana Jang (CC BY-NC-ND 2.0).

Sara Benincasa’s essay “Why Am I So Fat?” was one of our top five reads last week, and with good reason — it was honest and cutting in all the right ways. It was brash and unapologetic and funny as hell (and also suggests that perhaps Fader was slightly premature in declaring, earlier this year, that “fat shaming is dead”).

It was also problematic, and many fat women applauded the piece while also wishing it had pushed harder and skirted some problematic tropes. Luckily, many other writers, scholars, and activists have also been publishing wonderful pieces on fatphobia: their experiences, the cultural and institutional ways it is entrenched, and more. They might not have gone viral, but their voices are important — and just as honest, cutting, brash, and funny.

Read more…

Colson Whitehead: An Appreciation

Colson Whitehead
Photo by Madeline Whitehead

Black Cardigan is a great newsletter by writer-editor Carrie Frye, who shares dispatches from her reading life. We’re thrilled to share some of them on Longreads. Go here to sign up for her latest updates.

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I was skipping around Google the other day and was reminded of a piece by Colson Whitehead called “How To Write.” You may have read it when it came out in 2012 and laughed and, if you did, I can assure you that if you reread it now you will laugh again. It starts with the observation that the “art of writing can be reduced to a few simple rules” and kicks off with this one:

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It is like putting your broken unicorn out there, isn’t it? Anyway, Whitehead’s new novel The Underground Railroad is coming out Sept. 13, and I’ve been counting down to it.

Read more…

Borges and $: The Parable of the Literary Master and the Coin

Elizabeth Hyde Stevens | Longreads | June 2016 | 31 minutes (7,830 words)

 

Nothing is less material than money. . . . Money is abstract, I repeated, money is future time. It can be an evening in the suburbs, it can be the music of Brahms, it can be maps, it can be chess, it can be coffee, it can be the words of Epictetus teaching us to despise gold. Money is a Proteus more versatile than the one on the island of Pharos.

—Jorge Luis Borges, “The Zahir”

I fell in love with Jorge Luis Borges when I was a freshman in college. That year, full of hope and confusion, I left my hometown for the manicured quads of Brown University, desperately seeking culture—art, beauty, and meaning beyond the empty narrative of wealth building that consumes our world. It is easy to look back and see why Borges spoke to me. The Argentine fabulist’s short stories were like beautiful mind-altering crystals, each one an Escheresque maze that toyed with our realities—time, space, honor, death—as mere constructs, nothing more. With the beautiful prose of a poet-translator-scholar, he could even make money seem like mere fantasy. It was precisely the narrative someone like me might want.

Yet, money is real. We live and die by the coin. Money tells us how many children we can raise and what kind of future they can afford, how many of our 78.7 years must be sold off in servitude, and what politics we will have the luxury of voicing. As a college freshman, I still knew none of this, and I had the luxury of not thinking about money. These days, it seems all but inescapable.

I am still full of hope and confusion, but at 35, practically nothing concerns me more than the coin, a metonymic symbol representing my helplessness. The coin represents this desperate need to support myself and my writing when, in the very near future, I start a family. My mind has changed; all my journal entries turn into to-do lists and career strategizing. Money, planning, and money. I think of little else. Read more…

A Liberated Woman: The Story of Margaret King

Emma Garman | Longreads | May 2016 | 16 minutes (4,200 words)

 

In October 1786, 27-year-old feminist philosopher Mary Wollstonecraft journeyed from London to her new temporary home: an imposing Palladian-style mansion in County Cork, Ireland. Set in 1,000-plus acres of woodland, flanked by colonnades leading to outbuildings, and featuring statued terraces, vineyards, and conservatories, Mitchelstown Castle was the seat of Robert and Caroline King, who as Lord and Lady Kingsborough were the country’s largest landowners.

To Wollstonecraft’s radical sensibilities, such aristocratic excess was anathema. (As, no doubt, was the depiction of The Rape of Proserpina that graced the mansion’s entrance hall ceiling.) Still, she needed to financially support herself, as well as her two sisters, so had agreed to join the Kingsborough household’s 80-strong staff as governess to three girls. Caroline, it was rumored, had dismissed Wollstonecraft’s predecessor for sleeping with Robert. But she viewed the new hire as trustworthy, a principled woman of intellect unlikely to catch her husband’s eye. And Wollstonecraft, who had already written her first book—the soon to be published Thoughts on the Education of Daughters—wasn’t about to start batting her eyelashes at his lordship. His “countenance,” she wrote sniffily to her sister Eliza, “does not promise much more than good humour.” Read more…

The Good, the Bad, and the Highly Personal: A Reading List About Haircuts

Photo: Brian Auer

In 2011,  I had hair down my back. It was thick, wavy, and supposedly enviable. I hated it. I wanted it off my face, but my sensitive scalp made me prone to headaches and “sore spots,” as I’d called them since childhood. I didn’t have a knack for hot styling tools, which meant I was at the mercy of luck. When a bad hair day struck, I had to wait it out. I spent middle school trying to emulate the hyper-straightened hair of the popular girls and high school begrudgingly accepting my texture and reading a thousand WikiHow articles on living a shampoo-free life. I never could give up washing my hair completely. I’ve even made the mistake of getting bangs.

My first short haircut was a revelation. Two of my college friends accompanied me to a salon in Pittsburgh I chose via Yelp (I did not trust the hair-cutting joints in my small rural college town). My stylist was nervous, but my fellow clients and her colleagues encouraged us both. I wish I remembered her name. I felt as though I were a block of marble and my pixie cut, a sculpting. I could finally be who I was. I debuted my new “lifestyle” (the stylist’s words!) that night at the faculty talent show, striding up and down the aisles of the auditorium.

How strange that the fuzzy stuff on top of our heads is fraught with social and political implications, that it can destroy our self-esteem or make us feel like new creations. Read more…

Violet

Illustration by: Kjell Reigstad

Adele Oliveira | Longreads | January 2016 | 23 minutes (5,727 words)

 

I don’t believe in fate, or that life events, both everyday and profound, unfold the way that they’re supposed to. Yet the first six months of my first pregnancy were at once mundane and ordained. I got pregnant quickly. Morning sickness and a sore back arrived right on schedule. Growing up, my mom acquainted me with the details (like gaining 60 pounds) of her two healthy pregnancies and the unmedicated, uncomplicated births that resulted in me and my sister. I’d wanted to be a mother since I was a toddler pretending to breastfeed my dolls, and so I outlined the birth of a healthy child in an indelible mental framework, so unconscious and routine that it felt like destiny.

My pregnancy ended abruptly when our daughter Violet was born two years ago in late September, at 25 weeks gestation, about three months ahead of schedule. The day of Violet’s birth feels like a bad dream, partly because I was on a variety of strong drugs. I remember almost all of it with nauseating specificity, but it still doesn’t seem quite real; like it happened to somebody else.  Read more…

The Queen of the Night

Illustration by Carl J. Ferrero, Design by Sarah Samudre

Alexander Chee | First Chapter Exclusive: The Queen of the Night | Houghton Mifflin Harcourt | Feb. 2015 | 21 minutes (5,292 words)

 

Our latest Longreads Exclusive is the first chapter from The Queen of the Night, the second novel by award-winning writer Alexander Chee, as recommended by Longreads contributing editor A. N. Devers

“In the opening pages of The Queen of the Night, we are transported to a celebratory night at The Luxembourg Palace in Paris, 1882, where a legendary opera singer, Lilliet Berne, is trying to avoid attention (self-conscious of a poorly-designed dress she must wear), only to step accidentally into an intimate conversation with a writer who wants to put her at the center of a new opera. The one trophy missing on her crowded shelf is an original role in a new work, and she throws caution away as the stranger flatters her with the offer. As the soprano with the delicate voice tempts fate, we learn of her long-kept secrets, deep ambition, quick wit, and keen powers of observation. In Berne, Alexander Chee has created a fully-formed diva from a glamorous age that has long since passed, yet her role as her own mythology builder is as contemporary as ever, as seen daily in tabloids and online, as actors, athletes, fashionistas, Kardashians, politicians, Real Housewives, and yoginis shape their stories for column inches and Instagram followers—some, like Berne, have true talent. Chee’s Queen of the Night is a spectacular and balletic historical novel, its intricacies offer insights not only about fame, but also about the Second Empire in France and its rich musical and literary history.”

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WHEN IT BEGAN, it began as an opera would begin, in a palace, at a ball, in an encounter with a stranger who, you discover, has your fate in his hands. He is perhaps a demon or a god in disguise, of­fering you a chance at either the fulfillment of a dream or a trap for the soul. A comic element—the soprano arrives in the wrong dress—and it decides her fate.

The year was 1882. The palace was the Luxembourg Palace; the ball, the Sénat Bal, held at the beginning of autumn. It was still warm, and so the garden was used as well. I was the soprano.

I was Lilliet Berne. Read more…

The Top 5 Longreads of the Week

Illustration by Jeff Goertzen, courtesy of The Orange County Register

Below, our favorite stories of the week. Kindle users, you can also get them as a Readlist.
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