Search Results for: Slate

My Grandfather’s Fateful Goodbye, Reimagined

Illustration by Joe Gough

Karissa Chen | Longreads | July 2017 | 23 minutes (5,772 words)

 

This is how I always imagine my grandfather’s departure from Shanghai: him, a lanky boy of 19, wearing khakis and a pressed shirt, standing near the docks with a small brown suitcase in hand. I imagine the shirt to be white with intersecting gray lines, a series of chess-sized squares on his body. Maybe he’s wearing a matching beige jacket too, or a hat of some sort. I assume that going overseas was probably a big deal at the time, an occasion you were supposed to dress up for.

For some reason, in this scene, I don’t see the man traveling with my grandfather—a friend of my great-grandparents he might have called Uncle. Instead, I see my great-grandmother, small and slightly bent over, her lined face rearranging its features as she struggles not to cry. I see her gazing up at her tall boy, adjusting his shirt, touching his lapel, fussing the way mothers do. I see her pressing a sack of oranges into his palms, worried he’ll be hungry on the boat. Now he’s brushing her fingers away, annoyed, impatient. He’ll only be gone for a few weeks, he reminds her, three months at the most. She tells him not to do anything rash out there. She tells him to listen to Uncle. I can see him barely registering her words. I can see his eyes lingering on the boat and the ocean and the tiny island of Taiwan he can’t yet make out. I can see that his mind is already gone from his childhood home and she can see it too. She takes a deep breath and smiles. She tries to be happy for him, to be proud of her youngest son. She tries to remember that boys his age are fighting wars in the north, and that she is lucky, so lucky, that all he wants is to explore the world. She tries to be happy that her boy will not only be well-educated, but also well-traveled, but he is her baby boy and she is his mother and he’s never traveled so far from home before.

Read more…

Faster Than the Speed of Sound: An Interview with Holly Maniatty

Holly Maniatty interprets at a Rise Against concert at the Bonnaroo Music and Arts Festival in Manchester, Tennessee.

Cody Delistraty | Longreads | June 2017 | 11 minutes (2787 words)

 

Holly Maniatty is moving faster than anyone in the Wu-Tang Clan. She bounces up and down, her whole body undulates, her hands fly as she signs, her eyes flare precisely, her mouth articulates the lyrics. She is in the front row at the Bonnaroo music festival in Manchester, Tennessee, where she’s interpreting the concert for Deaf fans. The other American Sign Language (ASL) interpreter at the show looks at her in awe. Maniatty doesn’t pause.

Maniatty, who grew up in rural Vermont and holds degrees in interpreting and ASL linguistics, is a sensation in the Deaf community and among hip-hop fans. When she interpreted a Killer Mike concert, also at Bonnaroo, the rapper was so impressed with her rapid movements and visible passion that he jumped off the stage and began dancing with her. With a smile, he rapped a series of nasty words and phrases. Maniatty kept up; the crowd went wild.

Maniatty is an in-demand ASL concert interpreter and has grown in fame, appearing on late night shows from Jimmy Kimmel to Jimmy Fallon. Her skill is hard-won; for a single concert, she often prepares for up to 40 hours, to understand every aspect of the musical group she’ll sign for. She wants to provide near-perfect information to her Deaf patrons, so she learns everything: the group’s entire backlist, where they grew up, what charities they give to. By knowing the group she’s interpreting, she can more precisely — and more quickly — interpret their performance.

Maniatty wants to use her profile to bring greater equality to Deaf people. “There’s this whole population of culture in America that sometimes is easily overlooked and not served,” she tells me. Likewise, she wants attention turned not toward her but toward the Deaf performers who are breaking stereotypes of what it means to be a performing artist and what it means to be Deaf. She mentions her great respect for Deaf performers like Sean Forbes, Dack Virnig, and Peter Cook.

Maniatty and I discussed the boundaries of language, the complexities of interpreting, and raising awareness for the Deaf community. Throughout it all, she was upbeat and energetic, stressing how grateful she is to get to do what she does. Deaf or hearing, it’s hard not to look forward to her next concert.

* * *

How did you become interested in ASL?

I had ideas about going to art school and I really felt like I wanted to be an interpreter and I went for it wholeheartedly. I was very fortunate to be accepted to RIT (Rochester Institute of Technology). The National Technical Institute for the Deaf is there so they have a large population of Deaf students. I lived in a dorm with Deaf people and interacted with Deaf people, and most of my friends were Deaf, so I was really lucky to have that immersive experience, and because of that, I gained the language quickly. Since then, it’s really been one of the fulfilling things I could ever think of in life, really.

I worked for a short time as a staff interpreter at RIT and as a freelance interpreter, and just randomly was asked to do a concert. They were having a hard time finding an interpreter for it. I jumped in and found that I really loved the work because of the preparatory process: going through the music and analyzing the lyrics, and doing what an interpreter would call “text analysis” of the intent of the speaker and, hopefully, the received message of the person you’re interpreting for. I fell in love with that process.

That was in between my two degrees, and I went back to school to get a degree in ASL Linguistics because I felt like there was so much more that I needed to know about the language before I could really do this at the highest level. The University of Rochester has a fabulous program that includes linguistics classes, brain, and science classes, but also a lot of Deaf history, and Deaf folklore, and Deaf poetry. I was able to take those classes, and it really helped build my skill. From there, I just started doing shows and patrons liked the interpreting that I was able to offer, and they requested me to do shows.


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Was that your big break?

After I moved to Portland, ME, I got involved in Bonnaroo and interpreted there, and, again, that was patron-driven: someone that I had interpreted for before asked if I was able to go to Bonnaroo, and I contacted the accessibility department there.

Starting at Bonnaroo was a big step for me because it wasn’t just one show a night. Over the course of a weekend, an interpreter at a festival can do fifteen to twenty shows in just three to four days. That was a big step for me and brought me to another level of being able to do a variety of music throughout one day. You could go from something that was more lyrical and folk all the way to something that someone would refer to as a hardcore rap show. It definitely stretched my skills, and I think built me up to be a better interpreter every single year that I did it. I just really enjoyed that.

There’s a fabulous team of interpreters that come from all over the country to do Bonnaroo so it was a great opportunity to learn from other professionals, and we had this great, little brain trust going on — learning from each other and working together and supporting each other through that process. It was one of the pivotal interpreting opportunities I had.

Where does your particular skill set lie?

That’s such an astute question. No one has ever asked me that. I think the things that most prepares me for this work is my ability to look at communication as a whole entity — almost this global package. I try to use as many different possible ways to communicate a message as possible. Obviously the sign language, but then there’s the poetic aspect of music that you’re always trying to relay and put that experience out there for a person that’s at a show.

I always go back to what I would term as “the old Deaf masters,” like Clayton Valli and Patrick Graybill and The National Theater for the Deaf and all those old things we watched on VHS tapes when I was in college — that’s how old I am. Going back to them and seeing how they creatively used their language and then incorporated that into the way you communicate as a human being. So accessing people’s visual representations of things — like if they’re talking about a political movement, what was the picture that went along with that political movement? Or what was the striking Pulitzer image that goes along with that, and trying to access that through the interpretation. I research how the performer moves, and I think that speaks a lot to how they feel about one particular song or album. You see the way they shift their body posture and even the way they’re projecting their voice can be different based on the album, which goes back to a time in their life.

The more you look at communication as a global thing — a global delivery as opposed to just looking at the language itself — you’re able to communicate things a lot more efficiently and a lot more effectively than if you were just kind of thinking, How can I translate this instrument to sign language? Music is about so many more things than that, and if you’re going from very rich and lush movement to ASL, which is also a very rich and lush medium, you want to take advantage of everything you have.

…the most important thing is that they’re experiencing the same thing as somebody else is. They’re dropping with the beat at the same time; they’re having that emotional moment. I’ve interpreted shows before and almost everyone in the crowd is tearing up, and you want that for the patron that you’re interpreting for.

Is there something we can learn about translation from how you interpret ASL?

I do think that there are implications with any language — cultural implications. In Taiwan, February 14th is not Valentine’s Day; it was their February 14 Massacre so you couldn’t go from English to Taiwanese or whatever dialect you were using there and not understand the implication when somebody mentions February 14th. I think that in any language, you have to understand the cultural implications, and ASL is so deeply tied with American cultural experience.

I’ve learned, obviously, from my Deaf professors that you have to understand that cultural implication. I grew up near Canada in Northern Vermont, and on Quebec license plates, it says, “I will remember.” I never really understood that, and then I had a professor who was from France who explained to me the whole cultural implication of “I will remember,” as in Quebec will always remember their relationship as being kind of separate from Canada. So it’s interesting. If you delve into the culture of the language, you’ll have a more complete translation and one that moves people in the appropriate way.

What’s the most important part of interpreting music for Deaf patrons?

I think the most important thing is that they’re experiencing the same thing as somebody else is. They’re dropping with the beat at the same time; they’re having that emotional moment. I’ve interpreted shows before and almost everyone in the crowd is tearing up, and you want that for the patron that you’re interpreting for. Ultimately the goal is that they’re feeling the exact same thing as everybody else. When you hit that interpreting sweet spot, there’s nothing else like it. You’re just like, “Yes! Mission accomplished!”

Tell us about the connection you make with Deaf patrons.

I did a Beastie Boys concert, and the patrons were really excited about it, and I worked really hard to make sure the cultural references in Beastie Boys songs and the funny puns were tangible. There are moments when everyone’s like, “Oh no. He just didn’t say that” all at the same time, including the Deaf patrons. That’s what you go for. Those are the moments when the twenty to forty hours of preparation for the ninety-minute show are absolutely worth it.

I don’t know about you, but I definitely had experiences where I’m at a concert and I think a song means one thing, and then I’m in a crowd of people and we’re all kind of feeling the same thing, and then I see the performer and I’m like, “Oh, that’s what they meant?” I think people have those a-ha moments, and you want to provide an opportunity for someone to have that a-ha moment. They will never forget the moment they really understood what that song meant, or what it meant to the person that wrote it. That’s really the challenge. You’re just setting an opportunity before somebody, and they grasp it just like everybody else.

I think people have those a-ha moments, and you want to provide an opportunity for someone to have that a-ha moment. They will never forget the moment they really understood what that song meant, or what it meant to the person that wrote it.

Why hip-hop?

It just became my thing over the last ten years of interpreting. The Beastie Boys concert was a huge education for me because I was like, “Yeah, I can do that.” And then I was like, “Wait a minute. What is this song about? Wait, who and what are they referencing?” I didn’t grow up in metro New York City so I didn’t know about the Pelham train so I had to look that up and I read all of that. And I mean that whole song has like seventeen different historical references about Manhattan in it and for someone who didn’t grow up there, that’s huge.

I ended up falling in love with the simplicity of hip-hop. It’s this really lush and diverse use of language. Everyone’s really excited about Hamilton because it’s telling a story in a more modern way, but hip-hop’s been doing that for a long time. They broke barriers. They broke social barriers, racial barriers standing for a long time. I think the masterful way that people use language in hip-hop songs is just amazing. It just fascinates me. I read everything I can about hip-hop culture. Every single time, in the same way that I feel like I learned something new about American Sign Language on a weekly basis, I’m learning something new about hip-hop on a weekly basis.

Holly shakes hands with Method Man from the Wu-Tang Clan while interpreting their concert at the Bonnaroo Music and Arts Festival in Manchester, Tennessee.

Hip-hop is often the place where the vernacular of American English is first stretched. Are you likewise trying to expand the possibilities of ASL?

I’m a second-language learner, so I will never use ASL to one hundred percent of its potential like a native user. I understand and respect that. ASL is so complex and has so many beautiful nuances. It really is a perfect medium to translate any kind of hip-hop, just the way in which you can communicate so many concepts very, very quickly. Many of the aspects of ASL are spatial. We use first-person perspective and storytelling mode. It’s literally the perfect medium to make this accessible in a different language.

To what extent is the body a vital interpreting tool?

I think it’s super important. In preparation for a show, you have to think about the lyrical story and the story of the person who wrote it, but you have to think about the musical story too. Jay Z, in 99 Problems, uses this really awesome technique where there’s this weird static noise behind the lyrics where he’s “becoming” the cop that pulls him over. The way in which people are mixing and DJs are mixing their songs with these acoustic effects is really relayed in your body and the way you’re positioning your body in interpreting, and I think that — as much as the words — is important. The context is important, and the beat is just as important. There are some songs you know in just the first three seconds, like It’s Tricky from Run DMC. And that’s really important. If you can make your body movements equally as iconic as the music that’s written, it just enhances the access to the concert and to the musician.

What’s the most creative you’ve ever had to be when signing a lyric?

I think one challenge was when we were doing a back-to-back concert with Eminem and Jay Z. They’re very different performers, with very different approaches to the way they deliver the same genre of music. You have to be able to show that. Eminem had done a lot of sampling of other R&B like Rihanna, so that was a big challenge — to be really visceral like him and then kind of emotional like her in the same song and just kind of switch back and forth between that based on the lyrics and the hook.

I think, too, ideally as an interpreter, you’re making yourself vulnerable to whatever emotion the music is about. So there are some songs that are emotional and you have to go there, and it’s a risk. You really go the whole way and try to make the interpretation as accessible as possible even if it’s emotionally risky for you and other people there.

What do you see as your contribution to the Deaf community at large?

I hope my contribution to the Deaf community is bringing a greater spotlight to their need for access to interpreting. Not just concert interpreting — any kind of interpreting. The Americans with Disabilities Act just had its birthday; it’s twenty years old and people still struggle on a daily basis to get interpreting services for basic things like doctor’s appointments and surgeries.

I hope that somebody hears about this crazy person doing whatever concert and then looks at my page and sees maybe something about a Deaf performer like Sean Forbes or Dack Virnig and then they check out Deaf performers and then they go to their page and say, “Oh wow, this Deaf person is posting that the EDHI law is up for renewal in the United States House and that’s for early detection of hearing loss in children so that there can be ASL services and early intervention services.” There’s this whole population in America that sometimes is easily overlooked and not served.

Interpreters have an inside look on people’s lives. It’s a huge privilege being in a partnership with the Deaf community and Deaf culture. I will continue interpreting. and I will continue trying to be an advocate for access for Deaf people.
 

* * *

This interview has been edited for length and clarity.

Cody Delistraty is a writer based in Paris. Follow him on Twitter: @delistraty.

A Portrait of the Artist as an Undocumented Immigrant

The U.S.-Mexico border at the Pacific Ocean. Via Wikimedia Commons.

J.M. Servín| For Love of the Dollar: A Portrait of the Artist as An Undocumented Immigrant | Unnamed Press | translated by Anthony Seidman | March 2017 | 18 minutes (4,894 words) 

The excerpt below is adapted from For Love of the Dollar, in which Mexican novelist and journalist J.M. Servín recalls the 10 years he spent living and working illegally in the United States (with a brief interlude in Ireland). This story is recommended by Longreads contributing editor Dana Snitzky

* * *

No one would investigate anyone else’s experience because they were all identical.

The average wage for undocumented workers was six dollars an hour. With a Social Security card, even if it was fake, nobody could avoid paying taxes, unless they paid you under the table. I asked questions of other day laborers, who were often hostile or suspicious, as to how they got hired. Almost all of them were recommended by a family member or someone from their hometown. Those with most experience said that after two years of work, things would improve. The trick was to grin and bear it. Bosses liked inexhaustible workers who kept their mouths shut. No one would investigate anyone else’s experience because they were all identical. And for each poor soul who had a tragedy to share, there was someone else with an even more gruesome Calvary. I lived surrounded by tough types, in a religious sense: Jesuit-like, ready for the most absurd sacrifices as long as they could get a pot to piss in.

I worked my ass off just like them and I never complained because they were the first ones to test me. Working alongside them, each task proved to be a lonely and tough affair, until I proved my mettle and that I wasn’t going to desert my job. They were bent on destroying anyone who threatened their jobs with scheming and other tricks.

Parrot had given me my fake papers, but with my birthdate making me seven years younger. The signatures on the work permit and Social Security card looked as if they had been scrawled by a second grader. All in all, though, the papers seemed passable.

That same Tuesday night, the chef stopped serving a couple of hours earlier than usual; it was around two in the morning on a rather slow shift. I had finished washing a battery of enormous aluminum pots and had hooked them above the stoves. It was the least they expected of me. Nobody complained, but everyone else seemed to work harder. They were oiled up with pride itself. All the while I worked there I barely had the opportunity to size up the dimensions of the kitchen. We were able to move about with ease, but nobody stepped over the boundaries of his workstation. Each to his own, ignoring what was going on elsewhere. Waiters and busboys came down for their orders, and they shouted some praise at us if only to hurry us on, as their tips were at risk.

I remembered when I worked as a butcher at an expensive restaurant in Mexico City, how the waiters would toss us a few bones gathered from their tips. Here, hell no. We should be grateful that they even spoke to us. There was a red-haired waiter of Greek origin who would rush down the stairs each night, get down on one knee, throw us kisses, extending his arms, as if he were on the Broadway stage, all while shouting: “Thank you!” He would respond to our catcalls by inviting us to go out with him. He was always in a good mood, and he called all of us Pepes. One of the cooks gave him the nickname Puputo. It was the only word in Spanish that he understood.

Upon finishing my job, I went to the changing area. The Puerto Rican was there asking if anyone wanted to wash the shelves in the refrigerator the size of a guestroom on the rooftop, in order to place the meat, vegetables, and rest of the food that they had used during the day. Afterward, the volunteer would have to gather all the work uniforms, separate them, and then bring them up to the truck for linen service. The guy in charge of this hadn’t shown up. He started his shift when Parrot did. No one answered. They continued to quickly change, ready to get home. I raised my hand, and without glancing around to see if anyone else would do it, I received the extra pay, and I went to the restaurant to get to work.

I had to go up the stairs. The kitchen was in the basement of a twenty-three-story building. I finished almost three hours later, drugged from exhaustion. Read more…

Celebrating a Second Independence Day: A Juneteenth Reading List

Miss Juneteenth waves to the crowd during a celebration parade in Denver, 2015. (Joe Amon/The Denver Post via Getty Images)

June 19, also known as Juneteenth, marks the day when, more than two years after the Emancipation Proclamation was enacted, slaves in Texas were informed of their freedom. As the National Museum of African-American History and Culture notes in a Tumblr post, it could — and arguably should — be celebrated as a “second independence day.” But as the museum writes, “Though it has long been celebrated among the African American community it is a history that has been marginalized and still remains largely unknown to the wider public.”

This morning, the White House issued a statement on Juneteenth that didn’t land well. USA Today compared his statement to that of President Barack Obama, highlighting, as a commentator at the Independent Journal Review also noted, that Trump chose to praise a white person where Obama focused on the freed slaves. For more on Juneteenth, we’ve collected stories that explain the fraught history of the holiday, and the need for celebration.

Read more…

David Brown’s Quiet Resilience

(Photo by Stewart F. House/Getty Images)

David Gambacorta | Longreads | June 2017 | 15 minutes (3,755 words)

David Brown was a few months into his tenure as the head of the Dallas Police Department when his cell phone started to hum on a Sunday morning.

He’d been on the job long enough to know the drill: At any given moment, a phone call could be the harbinger of an administrative headache, a tactical crisis, or some gut-wrenching tragedy. But he resisted the reflexive urge to answer.

Brown was standing in a pew at the Oak Cliff Bible Fellowship Church. A low-slung building with a sharply pitched roof, the church and its weekly service was his temporary refuge from a chaotic world. He actually considered turning away from his faith once, when he was a younger man and inconsolable over the murder of a former partner, a blow that nearly drove him to quit the police force altogether.

But Brown came to understand loss, the way it coursed through and connected everyone around him like an unseen river. Such lessons had been present in his life from an early age. Brown was born at Parkland Memorial Hospital in 1960, three years before a team of trauma doctors there tried in vain to revive President John F. Kennedy after an assassin’s bullet had exploded through his skull. The very place that had given Brown life became synonymous with the death of a country’s tenuous sense of innocence.

He checked his phone when he left the Sunday service. It was hot outside; the temperature would touch 100 degrees that day. A voice message from the chief of a small-town police department 16 miles outside of Dallas was waiting. It was about Brown’s 27-year-old son, D.J., who suffered from adult-onset bipolar disorder.

D.J.’s behavior had turned erratic that morning, prompting his girlfriend to call 911. But everything was fine now, the chief calmly assured Brown. He tried to get in touch with D.J., but thought better of rushing to him; maybe his son just needed some time to cool down. A few hours later, Brown’s phone started rattling again. This time, it was a no-nonsense detective who took his breath away with just a few words: D.J. was dead.

He’d shot and killed an innocent passerby and a local police officer, the detective explained, and then engaged in a shootout with other cops. D.J. was cut down by police gunfire. The news hit Brown like a sledgehammer to the spine.

It was June 20, 2010. Father’s Day.

The grief could have broken a lesser man, could have swallowed him whole. But Brown clung to his faith, and he somehow endured. What he didn’t know then was that more sorrow was waiting for him down the road, the kind that would draw the world’s attention to Dallas like it was 1963 all over again. And Brown, a quiet, contemplative man who never imagined he’d be a police chief, would emerge from all of the darkness as the embodiment of grace—and the unlikely face of law enforcement in America. Read more…

A Sociology of the Smartphone

Photo by Alexander Koerner/Getty Images

Adam Greenfield | Radical Technologies: The Design of Everyday Life | Verso | June 2017 | 27 minutes (7,433 words) 

 

Below is an excerpt from Radical Technologies, by Adam Greenfield. This story is recommended by Longreads contributing editor Dana Snitzky.

* * *

They are the last thing we look at before sleep each night, and the first thing we reach for upon waking.

The smartphone is the signature artifact of our age. Less than a decade old, this protean object has become the universal, all-but-indispensable mediator of everyday life. Very few manufactured objects have ever been as ubiquitous as these glowing slabs of polycarbonate.

For many of us, they are the last thing we look at before sleep each night, and the first thing we reach for upon waking. We use them to meet people, to communicate, to entertain ourselves, and to find our way around. We buy and sell things with them. We rely on them to document the places we go, the things we do and the company we keep; we count on them to fill the dead spaces, the still moments and silences that used to occupy so much of our lives.

They have altered the texture of everyday life just about everywhere, digesting many longstanding spaces and rituals in their entirety, and transforming others beyond recognition. At this juncture in history, it simply isn’t possible to understand the ways in which we know and use the world around us without having some sense for the way the smartphone works, and the various infrastructures it depends on.

For all its ubiquity, though, the smartphone is not a simple thing. We use it so often that we don’t see it clearly; it appeared in our lives so suddenly and totally that the scale and force of the changes it has occasioned have largely receded from conscious awareness. In order to truly take the measure of these changes, we need to take a step or two back, to the very last historical moment in which we negotiated the world without smartphone in hand. Read more…

We Need to Talk About Uber: A Timeline of the Company’s Growing List of Problems

Uber CEO Travis Kalanick (Photo by Wang K'aichicn/VCG/VCG via Getty Images)

In a piece for the Financial Times titled “Fire Travis Kalanick,” Kadhim Shubber wrote of the founder of Uber: “One day we will look back at what will hopefully be the smouldering wreckage of Kalanick’s career and ask how a person so lacking in basic human and corporate ethics was allowed to run a company for so long.”

Founded in 2009, Uber was able to portray itself as an underdog “disruptor” into 2012, galvanizing support to beat back city lawmakers in Boston and Washington, D.C. who sought to impose regulations.

But then their practice of surge pricing during crises came under fire when ride prices doubled in New York City after Hurricane Sandy devastated the metropolis in 2012. When surge pricing reached nearly eight times the fare during a snowstorm in 2013, riders got angry.

At first, few reporters took to criticizing the company. When they did, Uber’s public relations machine responded by trashing those reporters in other outlets. When reports of assaults and misconduct by Uber drivers started to roll in, the company responded by claiming they were not responsible for the incidents because the drivers are “independent contractors.”

And since 2013, the missteps and scandals have only continued to pile up. Here is a not comprehensive timeline of all of the trouble Uber has gotten into to date:

January 2014: Pando reported that an Uber driver suspended after assaulting a passenger in San Francisco had a criminal record, including a felony conviction involving prison time. Uber has no explanation for why the driver cleared the background checks that California mandated they run. That same month, outlets nationwide report on the company getting hit with its first wrongful death suit stemming from a driver killing a 6-year-old girl in a San Francisco crash on New Year’s Eve. That driver also had a criminal record that included a conviction for reckless driving. Read more…

Haruki Murakami’s Advice to Young Writers

Photo by Ole Jensen / Getty Images

International best-seller Haruki Murakami has a new short story collection out, entitled Men Without Women. To celebrate, here is an excerpt from his essay “So What Shall I Write About?” published in the Japanese literary magazine Monkey Business. In it, Murakami muses on what it takes to become a novelist by analyzing his own methods and experience, and he gives us a glimpse into his creative process. Although Murakami has published numerous essay collections in Japanese, little of his short nonfiction is available in English. This essay was translated by Ted Goosesen, and it, and this issue of Monkey Business, are a treat.

We are─or at least I am─equipped with this expansive mental chest of drawers. Each drawer is packed with memories, or information. There are big drawers and small ones. A few have secret compartments, where information can be hidden. When I am writing, I can open them, extract the material I need and add it to my story. Their numbers are countless, but when I am focused on my writing I know without thinking exactly which drawer holds what and can immediately put my hands on what I am looking for. Memories I could never recall otherwise come naturally to me. It’s a great feeling to enter into this elastic, unrestrained state, as if my imagination had pulled free from my thinking mind to function as an autonomous, independent entity. Needless to say, for a novelist like me the information stored in my “chest” is a rich and irreplaceable resource.

…Remember that scene in Steven Spielberg’s film E.T. where E.T. assembles a transmitting device from the junk he pulls out of his garage? There’s an umbrella, a floor lamp, pots and pans, a record player─it’s been a long time since I saw the movie, so I can’t recall everything, but he manages to throw all those household items together in such a way that the contraption works well enough to communicate with his home planet thousands of light years away. I got a big kick out of that scene when I saw it in a movie theater, but it strikes me now that putting together a good novel is much the same thing. The key component is not the quality of the materials─what’s needed is magic. If that magic is present, the most basic daily matters and the plainest language can be turned into a device of surprising sophistication.

First and foremost, though, is what’s packed away in your garage. Magic can’t work if your garage is empty. You’ve got to stash away a lot of junk to use if and when E.T. comes calling!

Buy the issue

For the New York Times, a Bittersweet Ending for its Public Editor Role

Photo Credit: DON EMMERT/AFP/Getty Images

The publisher of the New York Times announced in a staff memo Wednesday that the position of public editor — an ombudsperson of sorts, meant to be an advocate for the paper’s readers — is being eliminated. The current occupant of the role, Liz Spayd, was expected to remain until summer 2018, but her tenure will now end on Friday.

According to a screenshot tweeted by Times reporter Daniel Victor, the memo read:

The public editor position, created in the aftermath of a grave journalistic scandal, played a crucial part in rebuilding our readers’ trusts by acting as our in-house watchdog. We welcomed that criticism, even when it stung. But today, our followers on social media and our readers across the internet have come together to collectively serve as a modern watchdog, more vigilant and forceful than one person could ever be. Our responsibility is to empower all of those watchdogs, and to listen to them, rather than to channel their voice through a single office.

NPR media reporter David Folkenflik noted on Twitter that the first public editor’s tenure also “coincided with growing outcry over failed WMD/Iraq coverage.” But as Huffington Post media reporter Michael Calderone noted, the “grave journalistic scandal” the publisher referred to was in 2003, when reporter Jayson Blair’s plagiarism and fabrications were revealed. In a lengthy story on their own investigation into Blair’s wrongdoings, Times reporters wrote that “something clearly broke down in the Times newsroom. It appears to have been communication — the very purpose of the newspaper itself.” Read more…

Learning to Swim in a Sea of Uncertainty

Illustration by Kjell Reigstad

Katie Prout | Longreads | May 2017 | 12 minutes (2,916 words)

 

This semester, I’ve been learning to swim. When I told her I didn’t know how, Stephanie laughed at me.

“John can’t swim either,” she said. “The people in your family don’t have enough body fat, you muscle-y freaks.”

Stephanie is John’s wife, my sister-in-law, and Stephanie can swim; she grew up in Michigan’s thumb, a remote place called Port Austin where freighters from Ontario still pull in. We grew up farther south in the state but still, my dad used to take us to watch them, longer than football fields; bigger, he said, than the Titanic. Further in along the boardwalk we’d go, skin sticky against the piping of the metal fence, and my dad would jump into the water my mom forbade us to enter, and come up clean.

When he was born, I hated John’s guts. Eventually, there were six of us kids, but for all of my memory it had just been me and my brother Steve, two years younger, and that was how I liked it. I was three years and 363 days old when my parents brought John home, and from his first adorable cry, the hot hate of cruel little animals coursed through my body, directing my actions toward him for the next two years.
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