Search Results for: Spin

‘I Still Live in a Small Town That I Hate’: Roxane Gay’s Perspective on Her Success

This week, a number of people heard of Roxane Gay for the first time when Simon & Schuster canceled its plans to publish controversial alt-right author Milo Yiannopoulos’s book. (In the weeks prior, Gay had withdrawn her forthcoming book, How to be Heard, from the publisher because they were giving the former Breitbart editor a platform.) For most writers, there’s no such thing as a bad way to be discovered by new readers. But it can be annoying when those who’ve just become aware of your work perceive you as an overnight success, especially when your career has been building for years. In a profile for Brooklyn Magazine, Molly McArdle asks Gay for her perspective on her success.

“A lot of people think it’s been overnight,” Gay says of her success. “In many ways my life hasn’t changed. My friends are still my friends. I still live in a small town that I hate.” But some things have started to shift. “It’s easier to pay my bills, certainly,” she says. “There’s a lot more scrutiny and attention.” There’s also a new apartment in Los Angeles, where she lives when she’s not in Indiana teaching at Purdue. (“It’s a workable compromise.”) There’s new creative projects in new genres: comic books, screenplays, occasional radio. Gay is the first black woman to write for Marvel, and her series, World of Wakanda, spins off from Ta-Nehisi Coates’s Black Panther, tackling romantic love between queer black women in a way that is both literally groundbreaking and utterly natural. Still, Gay sees herself first as a writer of short fiction. “I’m relatively new to nonfiction,” she says. (I have to respectfully disagree with the bestselling essayist, a phrase so rare it’s practically an oxymoron, on this point.) With only one novel, she adds, “I’m a beginning novelist.” But Gay also sees growth, accomplishment: “My writing is more confident,” she says. “I’ve always taken myself seriously as a writer. Now other people take me seriously.”

Read the profile

A Crisis in Sports: Attention Spans

Credit: Mark Danielson/Flickr

We’ll always be fascinated with sports; it’s a constant. There will always be a sizable percentage of the population that cares about the NBA trade deadline, what the New York Yankees accomplished during winter meetings, and whether Dak Prescott is in fact the real deal. Part of our collective human nature is marveling at what only just a few can do better than anyone else alive.

But if you’ve watched an NBA game and waited 10 minutes for the final minute and a half to play out, or if you’ve sat through a 20-pitch at-bat only to watch a player pop up, you might be understandably underwhelmed. There is something to be said for sports lacking the requisite amount of drama and intensity to keep people interested at all times. Again, this is all understandable. But for millennials, and we assume subsequent generations, it’s also a cause for concern.

According to a 2015 study undertaken by Microsoft, average attention spans had dropped by four seconds since 2000—we are now capable of concentrating on a subject at a given time for just eight seconds—why is why the NBA, MLB, and NCAA are all going to their own mattresses to figure out how to keep consumers engaged as the strength and prevalence of the Internet of Things continues to grow. Read more…

What It’s Like to Drown

Photo by 29cm (CC BY-SA 2.0)

In the Sydney Morning Herald, Fenella Souter reports in detail on what it’s like to drown through the harrowing personal experience of a woman named Merav. In a bid to show off to her boyfriend 40 years ago, Merav jumped into the surf at Gunnamatta Beach in Victoria, Australia, and lived to regret it.

Her first wave is an angry, spine-jarring dumper that hurls her down and holds her down. The returning rush of water sucks her back out, still under, while one of the many fierce rips that run out from this beach takes her in its grasp. When she finally pops up, choking and spluttering, disoriented under a leaden sky, sand in her ears, bikini top hanging around her neck, she’s at least 25 metres from where she went in.

The situation is suddenly crystal clear to her.

An unpatrolled beach, deserted, at 4.30 in the afternoon. A sea whose fury she has seriously underestimated. A boyfriend who can’t save her. She can see his flailing arms, his mouth moving. “Right then and there, I thought, ‘I’m not going to get out of this.’ I didn’t lose all hope, because the will to survive is so much stronger than that but I realised it was so much more dangerous than I had thought. I was already struggling to keep breathing.”

Read the story

Writing Our America

Illustration by: Kjell Reigstad

Scott Korb | Longreads | February 2017 | 32 minutes (8,200 words)

 

The following essay is adapted from a talk presented at Pacific University’s MFA in Writing Program. It includes advice from writers of “YA fiction, writers for television and stage, of novels and essays, investigative journalism, and criticism” on how we might produce meaningful work in the next four years.

* * *

I often teach a piece of writing by David Foster Wallace, included originally as the introduction to the 2007 edition of The Best American Essays. He called the piece “Deciderization—2007,” a title that jabbed at the then-current president, George W. Bush, who, in the midst of his second term—in the midst of the Iraq war, which as fought had been lost—reminded the country during a press conference insisting he would not fire Donald Rumsfeld, whom he would later fire, that he, George W. Bush, was “The Decider.”

The moment seems far away now, but Bush’s choice of words here, it was said at the time, “struck the national funny bone.” Writing in the New York Times, Sheryl Gay Stolberg said,

On the Internet, it was memorialized to the tune of “I am the Walrus,” by the Beatles. (“I am me and Rummy’s he. Iraq is free and we are all together.”) On late-night television, the Decider emerged as a comic-book hero, courtesy of Jon Stewart, host of “The Daily Show.”

In other words, in making fun of Bush, Wallace was not alone and, as he was well aware, was far from the most high-profile or widely observed jabber. Opening the book’s introduction, he wrote, “I think it’s unlikely that anyone is reading this as an introduction.”

Most of the people I know treat Best American anthologies like Whitman Samplers. They skip around, pick and choose. There isn’t the same kind of linear commitment as in a regular book. … There’s a kind of triage. The guest editor’s intro is last, if at all.

This sense of being last or least likely confers its own freedoms.

When I’ve taught his introduction before I’ve tended to highlight how Wallace considers and reconsiders the essay form itself—“one constituent of the truth about the front cover,” he writes, “is that your guest editor isn’t sure what an essay even is.” This confusion is fun in a way that Wallace is often fun. It does what this particular writer tends to do—puts his own subjectivity front and center in an effort to pull a rug out from under us. What do you mean you don’t know what an essay even is?

Continuing on, Wallace then addresses his lack of both confidence and concern with the distinctions between fiction and nonfiction—more fun for us—only to change course a moment later, explaining that he does care about such differences, but conceding that they’re “hard to talk about in a way that someone who doesn’t try to write both fiction and nonfiction will understand.” At which point he dives into the part of the essay I’ve always been most interested in talking about with writing students, who tend—as I am—to be interested in how to do what writers are trying to do. What is writing supposed to feel like?

Writing-wise, fiction is scarier, but nonfiction is harder—because nonfiction’s based in reality, and today’s felt reality is overwhelmingly, circuit-blowingly huge and complex. Whereas fiction comes out of nothing. Actually, so wait: the truth is that both genres are scary; both feel like they’re executed on tightropes, over abysses—it’s the abysses that are different. Fiction’s abyss is silence, nada. Whereas nonfiction’s abyss is Total Noise, the seething static of every particular thing and experience, and one’s total freedom of infinite choice about what to choose to attend to and represent and connect, and how, and why, etc.

The intergenre debates that go on in our culture have been a great pleasure to me over the years. I like what journalist Jeff Sharlet says on the point: “Fiction’s first move is imagination; nonfiction’s is perception.” And to be sure, I’m always delighted to hear from someone about the abyss under poetry’s tightrope. Read more…

A Shot in the Arm

Illustration by: Kjell Reigstad

Josh Roiland | Longreads | February 2017 | 14 minutes (3,710 words)

 

“Who’s sticking today?” the man asked.

He wore tan work boots and rough jeans. He told a friend in the waiting room that he had a couple hours off work and thought he’d stop in for some extra cash. The receptionist told him the names of that day’s phlebotomists. He paused. Sliding a 16-gauge needle into someone’s arm is tricky, and the man reconsidered. Instead of signing in, he announced to the room that he’d come back tomorrow and try his luck.

I’d driven 107 miles from my home in Bangor, Maine to the BPL Plasma Center in Lewiston to collect $50 for having my arm punctured and a liter of my plasma sucked out. The actual donation takes about 35 minutes, but the drive and its attendant wait makes for an eight-hour day. I clocked in for that trip five times this summer.

I’m a professor at the University of Maine. My salary is $52,000, and I am a year away from tenure. But like everyone else in that room, I was desperate for money. Read more…

What It’s Like to Lose Your Short-Term Memory

Illustration by Perrin

Christine Hyung-Oak Lee | Longreads | February 2017 | 18 minutes (4,276 words)

Longreads is proud to feature an exclusive excerpt from Tell Me Everything You Don’t Remember: The Stroke That Changed My Life, the forthcoming memoir by Christine Hyung-Oak Lee. Lee’s story was first featured on Longreads in 2014, for her BuzzFeed essay, “I Had a Stroke at 33.”

***

Short-term memory dominates all tasks—in cooking, for instance: I put the water to boil in a pot on the stove and remember that the water will boil while I chop the onions. I will put the sauté pan on the stove to heat up the oil for the onions, and I will then put the onions, which I will remember I have chopped, into the oil, which I remember I have heated for the onions. I will then add tomatoes. While the onions and tomatoes cook, I will put pasta in the water, which I remember I have boiled. I will know that in ten minutes I will put the cooked pasta into the tomato and onion stir, and thus have a simple tomato pasta meal. Read more…

Swan, Late

Illustration by Kjell Reigstad.

Irina Dumitrescu | Longreads | February 2017 | 23 minutes (5873 words)

 

“Perfect is boring.”
— George Balanchine

I discovered I couldn’t dance when I was ten years old. My parents had signed me up for a ballet course in Toronto with a dour, shriveled Romanian teacher, chosen no doubt because of our shared totalitarian traumas. In her class I felt uncoordinated, impossibly gawky. My clearest memory is of trying to accomplish a gentle downward sweep of the hand. My teacher performed the movement. As I attempted to imitate her, she said, over and over, “but do it gracefully!” I could not figure out how to do it gracefully. I could not even see the difference between her gesture and mine. I came to the logical conclusion: I was terminally ungraceful. In fact, I couldn’t dance at all.

I quit ballet. I did have to dance again when I took part in the yearly audition held by a local school for the arts. I was terrible at acting and drawing too, but the dance test was my Waterloo. A teacher demonstrated a complicated choreography at the front of the room while we waited patiently in rows. Then he gave us a cue, and as if by magic, all of the other children repeated the combination perfectly. I, on the other hand, was a mess of arms and legs and confused desperation. I managed with twisted precision to be always facing in the opposite direction from the other kids, stumbling into them dangerously.

My inability to dance became a matter of faith, something I believed in unquestioningly for the next two decades. But I did so with pride and stubbornness. Everything about ballet felt wrong to me: all that Pepto-Bismol pink, ribbons and tulle, polished princesses executing their steps in martial unison, tight little buns behind tight little faces. Ballet represented hard beauty, ungenerous towards human flaws or quirks. It was a tyranny of perfection.

Read more…

James Baldwin’s ‘The Fire Next Time,’ Published On This Day in 1963

The subtle and deadly change of heart that might occur in you would be involved with the realization that a civilization is not destroyed by wicked people; it is not necessary that people be wicked but only that they be spineless.

-From James Baldwin’s The Fire Next Time, published January 31, 1963.

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).

Read the story

Killing of a Young Woman Grips Iceland

Longreads Pick

Iceland’s crime rates aren’t typically plagued with carnage—an average of two people are murdered per year—which why the case of Birna Brjansdottir, a 20-year-old sales associate who disappeared after a night out in Reykjavik in early January and whose body was recently found on a beach south of the city, has thrown the country into a tailspin. There have been no arrests so far, though two sailors from Greenland (a country with similarly low crime statistics) have been questioned, so come for the still-unfolding murder mystery and stay for the Viking SWAT Team, the special ops group that features prominently in the investigation.

Published: Jan 23, 2017
Length: 4 minutes (1,200 words)