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Longreads Best of 2015: Arts & Culture

We asked a few writers and editors to choose some of their favorite stories of the year in specific categories. Here, the best in arts and culture writing.

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Shannon Proudfoot
Senior writer with Sportsnet magazine

The Late, Great Stephen Colbert (Joel Lovell, GQ)

Stephen Colbert has pulled off the rare feat of being a public figure for the better part of a decade while keeping his true self almost entirely obscured behind a braying façade. Here, with such uncommon intelligence, sensitivity and nuance, Joel Lovell shows us who’s been under there the whole time. The writer is very present in the story, sifting through the meaning of what he finds and tugging us along behind him through reporting and writing that starts out rollicking and then turns surprisingly raw and emotional. But Lovell never gets in his own way or turns self-indulgent; that’s a tough thing to pull off. The word I kept coming back to in thinking about this story was “humane”—it just feels so complex and wise, and unexpectedly aching, buoyed with perfect, telling details and effortlessly excellent writing. Read more…

Longreads Best of 2015: Essays & Criticism

We asked a few writers and editors to choose some of their favorite stories of the year in specific categories. Here, the best in essays and criticism. Read more…

Five People Who Shaped 2015: A Reading List

Photo: Youtube

Here are five people who influenced the world in powerful ways in 2015.

1. The Pro Protester
“In Conversation with DeRay Mckesson.” (Rembert Browne, New York Magazine, November 2015)

Over the eight months that followed [the 50th anniversary of the march at Selma], DeRay’s fame grew in a manner unprecedented for an activist. From showing up at protests from Charleston to Baltimore to Minneapolis, to getting an audience with multiple presidential candidates, to increasingly having the ear (or eye) of those in many corners of the social-media-consuming public (from the followers to the haters to the famous), his impact in 2015 has been undeniable.

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We Are All Compromised: The Access Game Isn’t Dead Yet

Mark Zuckerberg
Mark Zuckerberg, via Wikimedia Commons

John Herrman’s excellent Awl series on the anxious state of the media business (featured in our latest Top 5) should be required reading for anyone who creates or consumes content on the internet. His conclusions—advertising models are sputtering, no one wants to pay for news, Facebook dictates the entire tenor of conversation and its subject matter—do so much to explain why we are inundated by media but largely unsatisfied with what floats to the surface. Come for Herrman’s dystopian vision—a future in which professional journalism is suffocated to death—and stay for the animated robot GIFs. Read more…

How Sarah Schweitzer Discovered the Story About a Boy Rescued from Near-Fatal Abuse

There are stories that creep up and remind us that there is no substitute in journalism for simply spending time with a subject. It’s a luxury many reporters don’t get, but what these stories reveal about the depth of humanity—the best and worst sides of it—make them so worth it.

The Boston Globe’s Sarah Schweitzer was a finalist for the Pulitzer Prize for last year’s “Chasing Bayla,” and it wouldn’t be a surprise to see her nominated again for “The Life and Times of Strider Wolf,” in which she and photographer Jessica Rinaldi documented the difficult life of a young boy and his brother, rescued from near-fatal abuse, and sent to live with their grandparents, who face their own troubles. I sent her a few follow-up questions via email: Read more…

The Biblical Rheology of Deep-Dish Pizza

Matthew Gavin Frank | The Mad Feast: An Ecstatic Tour Through America’s Food | Liveright | Nov. 2015 | 11 minutes (2,839 words)

The following is the Illinois chapter from Matthew Gavin Frank’s exceptional new tour of signature foods from fifty states, excerpted here courtesy of Liveright Publishing.

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If frostbite is just another kind of scalding, then let’s imagine this earth as a dish, or—even better—a platter, something capable of containing the thickest of our dinners, the cold cut, as if geologically, with the orange grease of the mozzarella, the pepperoni’s fat char. Let’s pretend that all winters can be spatula’d into our mouths in easy triangles, that, if we take too big a bite, if we don’t blow the world cool, our mouths will fall lame, and we will make only weather sounds.

Uncle sprinkles crumbs of parmesan and crushed red pepper over his slice. Outside, on the window, a child leaves his hand in the frost, and the pizza whines as Uncle bites it. You think of crying, of fallow fields, of—just south of the city—some awful crow choking to death on some kernel of frozen corn. Here, in Illinois, our corn is better. Better even than the birds.

The crust uplifts the sauce. In this is some kind of offering, sacrifice. The pizza cries for its mother. The ovens gasp. This, Uncle says, tracing his pinky over the imprint of the child’s thumb, trying to measure up, is what your aunt and I used to call Baby-Making Weather. Read more…

An Ode to du Maurier’s ‘Rebecca,’ by Rachel Pastan

A screenshot from Alfred Hitchcock's 1940 adaptation of Rebecca.

Rachel Pastan | Riverhead Books |  2014 |  15 minutes (3,709 words)

Our latest Longreads Exclusive is the second chapter from the novel Alena by Rachel Pastan, as chosen by Longreads contributing editor A. N. Devers, who writes:

“Sometimes a book that is wonderful and well-told and riveting is overlooked. I believe this is the case with Rachel Pastan’s Alena. This novel, about the art world and its ghosts, came out quietly to great reviews last year, was called “a brilliant takedown of the self-serious art world” by Alex Kuczynski in the Times Book Review, and was published in paperback earlier this year. Inspired by the ghost-filled mega-bestseller of its day, Daphne du Maurier’s Rebecca, Pastan’s ode tells the story of a young art curator who takes a position at a small Cape Cod art museum that is left mysteriously vacant by her predecessor, a woman named Alena who has vanished under mysterious circumstances. Pastan trades the aristocracy of manor house for the aristocracy of the art world, but keeps all the hauntednesss one expects to find oozing from a haunted house’s drafts and flues. In this chapter, we meet our narrator, as she works to make art her life, and we see a glimpse of the fraught future she has in store.”

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‘Unyielding Boredom’: On the Slow Passage of Time Behind Bars

Photo via Flickr

It was an interesting microcosm of adapted culture and could be really inspiring. (Inspiring maybe because I’m a nerd and was so bored I had to do something with my own brain.) People will figure out a way to amuse themselves, to connect, to re-frame, to reconcile, to make a home in the most unlikely of places. I may have laughed more, and harder, there than anytime in my life. (Also, cried. Also, raged.) The process of the whole thing (according to Viktor Frankl) follows the stages of grief. It was fascinating to watch that go down over and over with new arrivals. Once you reach surrender, there is some psychological space. And for the people who had access, there were really interesting shifts of perspectives and growth.

-At The Weeklings, Sean Beaudoin interviewed ex-convict, prison reform activist and author Meg Worden about the twenty-three months she served at Bryan Federal Prison Camp in Bryan, Texas, for transporting 5,000 ecstasy pills from New York to Missouri–an experience she says wasn’t entirely unlike what is depicted on “Orange is the New Black.”

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The Many Deaths of California

When “the big one” strikes California, the state isn’t going to fall into the Ocean the way so many Arizonans who want beachfront property like to imagine. But there are many ways to die. In The New York Times, author Daniel Duane writes about what he calls the Golden State’s “sense of unraveling” and its associated “profound mood of loss.” Drought. Forest fire. Air pollution. Gentrification. Loss of open space. Skyrocketing real estate costs and traffic and sweeping changes in values. The California Duane and many natives love is rapidly disappearing, but it always has been. For everyone who feels conflicted and paralyzed about loving a place that’s being loved to death, Duane offer a reappraisal of California, change, and the way we think about place.

Confusing one’s own youth with the youth of the world is a common human affliction, but California has been changing so fast for so long that every new generation gets to experience both a fresh version of the California dream and, typically by late middle-age, its painful death.

For Gold Rush prospectors, of course, that dream was about shiny rocks in the creeks — at least until 300,000 people from all over the world, in the space of 10 years, overran the state and snatched up every nugget. Insane asylums filled with failed argonauts and the dream was dead — unless you were John Muir walking into Yosemite Valley in 1868. Ad hoc genocide, committed by miners, settlers and soldiers, had so devastated the ancient civilizations of the Sierra Nevada that Muir could see those mountains purely as an expression of God’s glory.

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By the Reflection of What Is

Plate 2. Unknown photographer, July–August 1843.

John Stauffer and Zoe Trodd | Picturing Frederick Douglass: An Illustrated Biography of the Nineteenth Century’s Most Photographed American| Liveright | Nov. 2015 | 22 minutes (5,654 words)

The following excerpt appears courtesy of Liveright Publishing.

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Frederick Douglass was in love with photography. During the four years of civil war, he wrote more extensively on photography than any other American, even while recognizing that his audiences were “riveted” to the war and wanted a speech only on “this mighty struggle.” He frequented photographers’ studios and sat for his portrait whenever he could. As a result of this passion, he also became the most photographed American of the nineteenth century.

It may seem strange, if not implausible, to assert that a black man and former slave wrote more extensively on photography, and sat for his portrait more frequently, than any of his American peers. But he did. We know this because Douglass penned four separate talks on photography (“Lecture on Pictures,” “Life Pictures,” “Age of Pictures,” and “Pictures and Progress”), whereas Oliver Wendell Holmes, the Boston physician and writer who is generally considered the most prolific Civil-War era photo critic, penned only three. We have also identified, after years of research, 160 separate photographs of Douglass, as defined by distinct poses rather than multiple copies of the same negative. By contrast, scholars have identified 155 separate photographs of George Custer, 128 of Red Cloud, 127 of Walt Whitman, and 126 of Abraham Lincoln. Ulysses S. Grant is a contender, but no one has published the corpus of Grant photographs; one eminent scholar (Harold Holzer) has estimated 150 separate photographs of Grant. Although there are some 850 total portraits of William “Buffalo Bill” Cody and his Wild West Show, and 650 of Mark Twain, no one has analyzed how many of these are distinct poses, or photographs as opposed to engravings, lithographs, and other non-photographic media. Moreover, Cody and Twain were a generation younger, and many if not most of their portraits were taken after 1900, when the Eastman Kodak snapshot had transformed the medium, bringing photography “within reach of every human being who desires to preserve a record of what he sees,” as Kodak declared. In the world, the only contemporaries who surpass Douglass are the British Royal Family: there are 676 separate photographs of Princess Alexandra, 655 of the Prince of Wales, 593 of Ellen Terry, 428 of Queen Victoria, and 366 of William Gladstone.

Douglass’s passion for photography, however, has been largely ignored. He is, perhaps, most popularly remembered as one of the foremost abolitionists, and the preeminent black leader, of the nineteenth century. History books have also celebrated his relationship with President Lincoln, the fact that he met with every subsequent president until his death in 1895, and that he was the first African American to receive a federal appointment requiring Senate approval. His three autobiographies (two of them bestsellers), which helped transform the genre, are still read today. Yet, because his photographic passion has been almost completely forgotten, historians have missed an important question: why would a man who devoted his life to ending slavery and racism and championing civil rights be so in love with photography? Read more…