Search Results for: The American Scholar

The Speaking Length

Illustration by Fabio Consoli

Josh Roiland | Longreads | November, 2019 | 10 minutes (2,622 words)

I once lived in Delaware for two days. I had moved there under the pretext of graduate school, but soon fled back to Minnesota amidst the clanging static of a panic attack.

The morning of the move my car had a flat. Once the tire was patched, I headed east with an atlas and not much of a plan. After 15 hours, I stopped in a Walmart parking lot in Columbus, Ohio, and tried to sleep in my overstuffed car. At dawn, I pushed through the Ohio River Valley and emerged in Newark, Delaware, seven hours later.

It was my first time outside the Midwest.

I had booked my apartment online, and when I arrived, I saw that it sat next to a fire station. Inside, there was a woman painting my walls and singing songs from The Wizard of Oz. I unloaded my car as she packed up and left. My only furniture was an air mattress with a hand pump whose nozzle was too small for its opening.

Once my car was empty, and my apartment slightly less so, I stood surrounded by wet paint and cried. I scared myself by the force of everything pouring from me. I didn’t know where it was coming from, and I didn’t know how to stop it.

I tried to stay busy, distract myself from everything that was to come — whatever that may be. I went to Kmart. Because I was traveling, I thought I needed traveler’s checks. I paid for my home supplies with 15 10-dollar notes. The cashier had to call an 800-number to verify each one. The line grew while his patience shrank. My chest tightened. I fled back to my apartment where I plugged a random coaxial cable into my 13” television. I watched the Food Network until I passed out. In the morning, I awoke on the floor with the air mattress folded up around me.

***

There are, today, mornings when I wake up and my body vibrates like a piano string struck by a hammer. The musical term for the section of string that experiences these tremors is the “speaking length.” Preconscious, my feet knock together like boxers’ gloves. I lay there shimmering as pulses push me up off the bed, where I hover and tremble. Stretched tight across the bridge, I glint and wink like a snap of sunlight.

There are, today, mornings when I wake up and my body vibrates like a piano string struck by a hammer. The musical term for the section of string that experiences these tremors is the ‘speaking length.’

Or at least that’s what it feels like to wake up in the thrall of anxiety. I crackle and can’t communicate what’s going on, where these vibrations are coming from.

***

Day two in Delaware began with the rounded whine of fire trucks. I showered behind my new vinyl shower curtain then left for the grocery store where the briny stench of fresh seafood shocked my Midwestern sensitivity. I found a bank and set up an account. I went to the post office and bought stamps.

But the truth is that I was already plotting my escape.

That afternoon I went to campus and stood in front of my English department mailbox. Having seen what I would leave, I left. I went back to my apartment, which had transmogrified from alien to comforting. Everything was shape-shifting.


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The evening stretched and sprinted. I circled through my apartment, too afraid to leave but desperate not to stay. With everything unfamiliar and nothing certain, I didn’t know what to do. What were my options? Once again, I stood with my arms wrapped around myself, digging my fingernails into my triceps.

I called my dad. My sobs scared him, and he wasn’t sure how to respond.

“Well,” he finally said. “You can always come home.”

My car was packed before I hung up the phone.

Then, just before I left Delaware forever, my phone rang. A returning grad student called to welcome me and invite me out for a beer. I stood there in my again-empty living room, holding the phone, not knowing what to say.

***

The stories we tell are never wholly our own. Words, and the stories they create, have their own history, and we all work within their limits. Writers and speakers, all of us, constantly reorder and encode new meaning in what has already been said. Our words, as the Russian literary theorist Mikhail Bakhtin put it, are always “half someone else’s.” This phenomenon came to be known as “metadiscourse.”

One reason we tell stories is so others can understand what we are seeing, thinking, and feeling. But often we misunderstand a basic premise, believing that the communicative norm is transparency when, in fact, it’s opacity. What is meant never fully transmits into what is understood. Linguists call this false belief the myth of perfect understanding.

The stories we tell are never wholly our own.

As much as we may desire to control both the narrative and its reception, meaning is always contingent and never inherent. There is no such thing, Bahktin says, as “neutral and impersonal language.” We merely offer, in the words of Bahktin scholars, “endless redescriptions of the world.”

***

I first saw a therapist early in my second bout with a Ph.D. There’d been break-ups, and I once again felt dislodged from everything I thought I knew. But the counselor and I had a great rapport to the point where he questioned why I was even there. He thought my hyperventilating about certain regrets and uncertainties was overmuch. Though I shared and shared, I could not get him to understand exactly what was going on inside of me.

Nearly every session, in an effort to make me feel better, he’d joke: “So what’s wrong with you again?”

Nonetheless, I went on to see a psychiatrist, and then another, in an effort to better explain myself. Or have myself explained to me. OCD? Bipolar? Plain old depression? Who could tell? Regardless, medications were prescribed and ingested. Klonopin for acute anxiety. Zoloft for depression. Then Effexor when the Zoloft didn’t work.

There was little oversight with these scripts, and I experienced all the ignominious side effects without much psychic relief. When I told the doctor that the Klonopin didn’t seem to quell any sudden panic, she said it was because of my high metabolism and urged me to up the dosage until I felt OK.

Then one night, I was carried out of a bar.

***

A few years ago, I gave a public talk about my mental health. Its title, “Almost Aloud,” was a line clipped from the short story “Good Old Neon,” by David Foster Wallace. For years I had researched and written about the history of Wallace’s nonfiction, and the talk’s nominal hook was describing what it was like to work in his archive.

My first-ever publication argued that Wallace’s journalism lacked what Nietzsche called “oblivion” — the psychic ability to filter good self-consciousness from bad. The piece somehow ended up wedged between some famous authors in an anthology. Essentially, though, I just mapped my own experience onto Wallace’s work, and it happened they overlapped.

And so it was that six months into a tenure-track job, I nervously told an audience of colleagues, neighbors, and friends how working on Wallace activated my own anxiety. Or was it that my already-activated anxiety was an a priori factor in my interest in Wallace’s work? How to tell?

I began the talk:

For me the sound of anxiety is silence. It’s an empty room where I sit, alone, and all I can hear are my thoughts, which quietly insist themselves upon me, both unbidden and unwanted. And after a time, a time when I get up and walk through other empty rooms, only to return, and get up and return, those thoughts begin to take the same shape as that recursive path through my apartment. Looping endlessly, relentlessly.

For six minutes I guided the audience through these seemingly overlapping maps. When I mentioned Wallace’s suicide — an act he himself described in Infinite Jest as “eliminating your map” — there was an audible gasp, then dead silence for several minutes.

I ended the talk darkly. I wanted to convey a desperation, even a resignation at the whole intellectual endeavor. At the absurdity of speaking and writing and teaching. Where did all that thinking, all those words get you anyhow? I closed with the last sentence from “Good Old Neon” — the only way, it seemed to me, to control a feral mind: “Not another word.”

Looking back, I misread that story completely.

***

I haven’t slept through the night in decades. Melatonin, meditation, booze, Benadryl — they’ve all pulled me under, but invariably my mind burns through the restraints and I surface. When I’m marooned in the middle of the night, legs scissoring and feet belting back and forth, I turn to all manner of sleep apps and ambient music. The song I come back to over and over again is “DLP 3,” by the avant-garde musician William Basinski. It is one of nine songs on his five-hour, four-record album The Disintegration Loops.

Writing in Pitchfork, Mark Richardson tells the album’s origin story:

In the 1980s, [Basinski] constructed a series of tape loops consisting of processed snatches of music captured from an easy listening station. When going through his archives in 2001, he decided to digitize the decades-old loops to preserve them. He started a loop on his digital recorder and left it running, and when he returned a short while later, he noticed that the tape was gradually crumbling as it played. The fine coating of magnetized metal was slivering off, and the music was decaying slightly with each pass through the spindle.

The Disintegration Loops are literally disintegrating loops. They erode as you listen to them. The change from one revolution to the next is imperceptible, but the tape is falling apart. Each pass, a redescription of the past.

“DLP 3” is 42 minutes long. The loop, a three-note horn fugue that pushes forward over a ghost march before sucking back in on itself, is only eight seconds long. It repeats 310 times. My fibrillating mind trains on its respiratory rhythm.

Turning and turning, the song softly transforms from hypnotic to unsettling. The gradations are subtle, but the crackles widen and a buzzy silence fills the perforations. If I don’t fall asleep during its first half, I’m worse off than when I laid down. My mind catches on the crepitates and recollects all that I tried to cast off, like a needle dredging dust with each revolution of a record.

The longer I listen, the harder it is to hear.

***

A decade after my first foray into therapy, I tried it again. Academia had drawn me back to the East Coast and all of its familiar dislocations. Soon, a much more substantial break-up left me unmoored. My therapist gave me language to understand these upheavals, but when those words miscarried, she suggested medication.

The longer I listen, the harder it is to hear.

I met with a psych nurse and explained how meds hadn’t worked for me in the past. She suggested a genetic test. While I awaited the results of my cheek swabs, I started Lexapro. It did nothing. Six weeks later my GeneSight results came in. It sorted drugs into three categories: 1. Use As Directed; 2. Moderate Gene-Drug Interaction; and 3. Significant Gene-Drug Interaction. Many of my previously prescribed psychotropic medications were listed under the third category — meaning they were essentially incompatible. Below the drug columns were numbered notes headlined, “Clinical Considerations.” One referenced a high metabolic rate; another read: “Serum level may be too low, higher doses may be required.”

I was encouraged by these explanations.

My university health insurance, however, wouldn’t cover the test. The American Psychiatric Association says the science behind using biomarkers as a diagnostic tool is inconclusive. GeneSight’s website itself acknowledges these interpretive limits: “Psychiatric pharmacogenomics does not have an individual genetic marker or causative gene like is often typical in molecular diagnostic testing. … Instead of diagnosing the bimodal presence or absence of a disease state, the GeneSight test predicts patient response to medication.”

A year after starting Cymbalta, I finally felt I had a floor when I fell. But it did not eliminate the worry and doubt. I tried explaining to a friend the difference between my outward appearance and inward feeling; the incongruity between medication and the persistence of depressive symptoms.

“I guess that’s what makes it difficult to understand,” she said. “Because you have so many relationships and people to lean on and care about, and who care for you. But it’s so deeply seeded inside of you. I’m very sad about that, Josh.”

***

My life has nearly doubled since Delaware. The tenure track job’s gone. As are those colleagues and friends. Health insurance, medication, my retirement—none of it’s left. All stories too difficult to tell, yet harder still not to explain.

I now live in a camper, parked in the same driveway I departed two decades ago. The future feels weightier today than then, carrying everything that once was and the understanding of what can never again be. The strings still vibrate, louder sometimes than others, but I’ve learned, if not wholly accepted, that this is life. Or my life anyway.

A few weeks after I came home again, my dad nearly died in front of me. He’d recently been diagnosed with congestive heart failure, and one day after lunch I followed him as he walked to his bedroom to take a nap. Climbing into bed he looked at me and said, “Here it comes.” His heart slowed to a near-stop, and he began gasping for breath.

Since then, my dad, sister, and I have spent countless hours in hospital rooms genuflecting to doctors as they dispense diagnoses, which stirs complicated feelings for an unemployed Ph.D. whose own work never resonated with his father.

I’ve filled my reporter’s notebook with words I never thought I’d know: Ejection fraction. Asystole. Metoprolol. Amiodarone. Cardioversion. As I sit there asking questions and taking notes — grasping for agency — I worry that someone is going to ask me what I do for a living.

No one, of course, does, preferring instead to lightly fill in the blanks themselves. During our third visit to the heart clinic, a two-hour drive away, my dad’s cardiologist again observed my constant scribbling and said, “Josh is writing a novel over here with all his notes.” Everyone laughed. Then he doubled down: “Josh is like a historian!”

As misbegotten as faith ever is, hospitals can engender hope with their clear-eyed promise of science to diagnose, explain, and treat. They can offer a map. In my dad’s case, recovery has meant a CRT-D implant, a suite of medication, and cardiac rehabilitation.

Three days a week I drive him, in his pickup, to a rehab clinic where he pedals on an elliptical bike for 40 minutes, while I sit in the back of the room and record his weight and blood pressures. The nurses and other patients regard me benignly. They think I’m a college student, home for the summer.

It takes us a half hour to get to the clinic, and we don’t really say much on the way there or back. Sometimes, on the way home, we stop for ice cream.

My dad is months removed from the fainting spells and physical restrictions that catalyzed my chauffeuring in the first place. He’s returned to his routine drives by himself every afternoon and evening to look at crops, talk to friends, and go fishing. But every Monday, Wednesday, and Friday at 8:50 a.m. we head out to the truck, and he climbs into the passenger seat.

Sometimes I want to ask him why he still has me drive him to these sessions. But then, what really could he say?

* * *

Josh Roiland is a writer living in western Minnesota. He last wrote about Jonathan Richman’s mid-career hiatus to Maine for Popula.

Editor: Krista Stevens
Fact checker: Steven Cohen
Copy editor: Jacob Gross

The Spiritual Path at Fat Camp

George Peters / Getty, Illustration by Homestead Studio

Mona Kirschner | Longreads | November 2019 | 20 minutes (5,102 words)

Day One

I look around the pool as I kick my legs backwards. I wonder how I found myself in a swim cap and a full-piece bathing suit doing water aerobics with eight ladies over 60 at a health retreat that turned out to be an upscale fat camp.

Why is it that we never tire of talking about love? Of analyzing all angles of heartbreak?

No Uber driver’s English is bad enough to deter us, no stranger on an airplane too disengaged for it to all come spilling out, the same story, again and again.

Filling the void, my therapist had said. I always hoped that when I inevitably fell apart, at least I’d be original about it.

The previous day I had rushed down to the waiting taxi, stalling outside the high gates of my apartment building in São Paulo.

I was late, throwing clothes onto the bed and settling for stretchy workout pants and an old blue sweater that was too tight on the arms. The flight was smooth, the two hours going by quickly as I stared out the window in dark sunglasses that covered most of my face.

On the other end, I shuffled through the airport with my head down and bought sweet and salty peanuts after I couldn’t talk myself out of it. I walked outside; the muggy heat relentless, but I kept my sweater on, joining a group of elderly women next to a van stamped with a logo I recognized from the website. This should be good, I thought, making eye contact with no one and finding a seat.

A friend had recommended this place, deep in the countryside of southern Brazil, a short flight from my place of birth and my home for the last 10 years, having moved back after falling in love and dropping out of school in Canada, where I had grown up with my immigrant parents and privileged life.

I was always looking for something. For love, for adventure, for a story worth telling. I shifted happily from a good kid with a scholarship to a bartender in shorts and knee-high boots with no plan, chasing the drama.

And then I fell in love with a man in that way you do when you throw yourself into something so hard, you don’t even recognize yourself when you take a step back. Fully, entirely consumed.

He had green eyes and skin that actually glowed. I saw him for the first time from the side, across a cheesy wedding dance floor. I remember feeling short of breath. I hardly saw his face. Yet I recognized him as if I had known he was coming.

The van bumped along. I watched a series on Netflix on the drive out about an artist from Brooklyn and her many affairs. I noticed how all the actors on it were thin. Something I would have never realized a few months before.

We drove onto the property, a long, winding driveway with cornfields on either side. The sky was a rich shade of blue and the sun peeked out from the clouds, hot and unforgiving.

A purple and yellow butterfly flew next to my window as we drove up. I hated butterflies, always thought of them as the mean girls of insects. All colorful, flashy wings on the same old insect body.

We arrived to a welcome drink of green juice, the glass only filled halfway, hinting at the moderation that was to come. I noticed I was the youngest person there by at least 15 years. They showed me to my room and instructed me to turn up for my doctor’s appointment at 3:15. I let my bag drop off of my shoulder.

Everyone was in their provided white robes, the blue logo embroidered on the left side. I put mine on, noticing gratefully that it hid everything that needed hiding. My thighs chafed in the heat.

The nurse was gentle, especially when asking me to step on a large, rectangular scale.

“That’s a good girl.” She said, making a note on her clipboard. The doctor put me on a diet of 850 calories a day, which sounded absurd. “What caused the weight gain?” he asked.

“Heartbreak.” I shrugged. “Wish it was a more original reason.”

What is it about comfort from strangers that is so soothing? That makes us feel as if our uncertain futures are less terrifying if someone promises they won’t be? Someone who couldn’t possibly know? And yet.

“Do you think I’m going to be okay?” I would ask anyone who would listen.

I missed him. I could feel his hands, the callouses on his palms. The softness of the finer hair on the nape of his neck. The smell of his shirts. I could see the wrinkles on the side of his eyes when he laughed. I could hear his voice. My chest on his. Could feel him pinching my side when he thought something was funny. I’d say his name aloud.

They say our brains label pain, give it a face. He had a beautiful face.

How do you determine the difference between love and fear? Should it feel so similar?

The love had been there, at some point. Perhaps it was passion. It faded. The fear was constant. I was afraid of the fights, I was afraid of staying, I was afraid of leaving. I was afraid of being alone, of regretting it, of missing him, of realizing there’d be nothing better.

We introduced ourselves at the welcome address, our names, where we’re from, why we were there. I sat in the back. They assigned each one of us a table that we’d sit at for the week. Mealtimes clearly required military-level control. I looked down at the sad six grapes in front of me and tried to concentrate on chewing whatever absurd amount of times was recommended by one of the many (thin) doctors who gave a painfully slow speech before we could eat. Was it 40 times?

My ex and I used to get kicked out of bars for our screaming matches. He was jealous, I was hysterical. I thought it was romantic. I ended it after almost 10 years. He was my first love, all I knew. It was my decision. Courage and strength showed up suddenly, like unannounced dinner guests to an otherwise lonely affair.

He loved me. But he was terrible to me. We were terrible to each other. I plotted and hoped for my freedom for years. Yet the loss, the gaping hole felt like it was only getting bigger.

Love or fear?

They gave a tour of the grounds, the clinic, the vegetable garden, the main house.

I set my stack of books on the bedside table. I looked at the clean, neatly made single bed and sighed. I listened to Miles Davis.

Dinner was pea soup.
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‘I’m a Big Fan of Writing To Find Out What You Don’t Know.’

Tiger in a Tropical Storm (Surprised!), oil on canvas, Henri Rousseau, 1891. (Imagno/Getty Images)

Adam Morgan | Longreads | November 2019 | 11 minutes (2,861 words)

 

The deceptively slim Reinhardt’s Garden, Mark Haber’s astonishing novella, is composed of a single paragraph, one that meanders across 150 pages and several hemispheres, from the ramparts of an oddly constructed German castle (it’s full of fake walls and trap doors) to a fictional jungle in Uruguay (Uruguay is, in actuality, a country of rolling hills called the Pampas). At the center of this web of fun-house geographies and architectures, lost in that fictional jungle in the year 1907, Croatian scholar and megalomaniac Jacov Reinhardt is searching for his lifelong obsession — not a city of gold or a fountain of youth, like in the doomed adventurers of Aguirre, the Wrath of God or The Lost City of Z, but a man: Emiliano Gomez Carasquilla, “a lost philosopher of melancholy” last seen somewhere in Colombia or Brazil. Melancholy, as Jacov’s long-suffering servant (and the book’s narrator) explains, is “not a feeling but a mood, not a color but a shade, not depression but not happiness either,” an elusive emotion Jacov has pursued to the ends of the earth. Read more…

“Labor-Saving” Kitchen Gadgets End Up Creating More Work for Women

Copper and wooden pots and kitchen utensils
DEA / G. P. CAVALLERO (Getty Images)

Conventional wisdom assumes that technological advances make our lives more comfortable by automating and speeding up previously manual, time-intensive tasks. As Bee Wilson shows in an essay at Bustle (an excerpt from Women on Food), that’s rarely the case — at least when it comes to home cooking. Wilson’s history of women’s labor in the kitchen celebrates the few inventions — the Instant Pot, the gas oven — that have indeed revolutionized the way domestic cooks prepare food. But they’re outliers in a long parade of gadgets and appliances that increased, rather than reduced, the labor necessary for putting together a meal.

Due to its coinciding with a radical adjustment in the division of labor between the sexes, the arrival of appliances did not necessarily make life any easier for women. This case was made, with scholarship and wit, by Ruth Schwartz Cowan in her groundbreaking 1983 book More Work for Mother. From around 1860 to 1960, the American household steadily shed its colonial character and became industrialized. That century saw countless new contraptions hit the market, from cheese graters to toaster ovens; electric waffle presses to blenders. But, at the same time, the whole workflow of household cooking changed, and not to the benefit of women. Cowan observed that in the preindustrial rural kitchens of the United States, men and women were forced to collaborate to prepare food. The housewife might stew a simple meal of meat and grains in a kettle, but her husband would have grown the grains, butchered the meat, and constructed the fireplace. He grew corn; she baked cornbread. Children would also have helped out their parents by carrying pails of water. By contrast, the advent of industrially milled flour and cast-iron stoves and running water left women alone in the kitchen, solely responsible for making dinner.

Another problem with the labor-saving devices aimed at women is that they have always come along at the same time as a rise in culinary expectations, so the net result was a cook who was more exhausted than ever. From 1850 onward, eggbeaters became a veritable obsession in the American household. From 1856 to 1920 there were an astonishing 692 separate patents issued for this tool, the most famous of which was the Dover with its two revolving beaters. When it came to getting fluffy egg whites, not one of these elaborate designs was an upgrade from the French balloon whisk (an unimprovable piece of engineering) or even on the old-fashioned birch twig whisk, which can do a surprisingly effective job if you don’t mind the occasional fragment of bark in your meringue. It would not be until the electric mixers of the twentieth century that beating eggs became radically easier. The early patent eggbeaters, by contrast, brought only the illusion of ease, coupled with a sense that producing perfectly beaten eggs was something that women ought to do, and a woman in possession of a Dover felt obliged to make fancy cakes with it. The popularity of these whirligigs also corresponded to a new vogue for angel food cakes, which necessitated huge volumes of eggs to be beaten, the whites and the yolks separately. So far from halving a woman’s work, this latest, greatest mechanism could actually multiply it.

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The Corpse Rider

Yūrei from Bakemono Zukushi (Monster Scroll), artist unknown, c. 1700. Wikimedia Commons.

Colin Dickey | Longreads | October 2019 | 14 minutes (3,729 words)

“The daimyō’s wife was dying, and knew that she was dying.” So begins Lafcadio Hearn’s uneasy and unsettling ghost story, “Ingwa-Banashi,” gathered first in his 1899 collection, In Ghostly Japan, and republished this year in a new Penguin Classics anthology edited by Paul Murray. As the daimyō explains to his wife that she is dying and preparing to leave “this burning-house of the world,” he offers her any final rites she may request. She asks him to summon one of his concubines, the nineteen year-old Yukiko, whom, she reminds him, she loves like a sister.

Yukiko arrives, and the dying woman tells her that one day she will rise in rank and be made the honored wife of the daimyō, a fortune that the low-born Yukiko cannot believe. As her last request, the daimyō’s wife asks Yukiko to carry her out to the courtyard to see a cherry tree in bloom — obligingly, Yukiko lowers her back and allows the old woman to wrap her arms around her, to carry her. Once she has grasped hold of Yukiko, though, the old woman laughs, clutches tight, and, with her dying breath tells Yukiko: “I have my wish for the cherry-bloom — but not the cherry-bloom of the garden! … I could not die before I got my wish. Now I have it! — oh, what a delight!” Read more…

Records on Bone

Photo courtesy of the author

Tali Perch | Colorado Review | August 2019 | 46 minutes (9,154 words)

 

Vladimir Vysotsky, or the “Russian Bob Dylan,” has been dead for almost forty years, but were he still alive on this day, my father’s sixty-seventh birthday, we wouldn’t be playing his music anyway. We would play the music that made us American — Bruce Springsteen, Michael Jackson, Tina Turner, Neil Diamond — the same music we play now on this television, in this living room, in this beautiful house of my parents’ immigrant dreams. My brothers and I dance uproariously with our children to “Dancing Queen” and “Born in the usa,” and tenderly with our spouses to “Human Nature” and “Heartlight.” As a child I remember dancing with my father to these songs. But back then the parties were in the cramped living room of our tenement apartment near Newark, New Jersey, or in the similar dwellings of other immigrant families we knew. We ate Russian food, for it was the only food the mothers knew how to make, and the men drank vodka, for some habits are too hard to break. But in those early post-immigration years, no one cared to play Russian music or to be otherwise reminded of a past they loathed enough to flee.

Tonight Mom and Dad watch from their separate loveseats, beaming with joy, in a rare peace that has as much to do with wine and vodka as with the frolicking of children and grandchildren. Occasionally they hold the gazes of my two younger brothers, who managed to be born in America and have no memory of the post-immigration chaos that we three endured. I am jealous of how easily they are able to look each other in the eye. For Mom, Dad, and me, eye contact is like an embrace, a tear, or perhaps, one of Vysotsky’s melodies — too intimate. Our eyes are mirrors reflecting truths more easily avoided. Read more…

A Green New Jail

Felix Mizioznikov/iStock/Getty

Will Meyer | Longreads | October 2019 | 14 minutes (3,738 words)

 

“Seen clearly, nature and landscapes are palimpsests of history and social violence more than they are respites from these things,” observes legal scholar and environmental writer Jedidiah Purdy in his new book This Land Is Our Land: The Struggle For A New Commonwealth. This is an echo from his 2015 book After Nature, in which Purdy recalled the role of early American landscape paintings in a project of “collective self-creation”; these paintings, pioneered by the influential Hudson River School painters during the 1830s, obscured the settler violence inherent to the United States’ colonial project while presenting scenes from the fledgling countryside: the vistas, railroads, and faraway cities that were central to early imaginations of the nation. Not only were these images important to constructing a civic identity, they “yoked ideas of nature to nationalist and imperial projects and to new aesthetic and spiritual claims,” Purdy wrote — that is to say, seeing meant believing. Fusing together notions of landscape, nature, and narrative was critical to the success of the settler project — and remains so today, Purdy argues in This Land. Indeed, this violent visual history pulses through the slim book, which aims to make a case for a Green New Deal — “a commonwealth of shared dignity and mutual care.” Read more…

You Talk Real Good

Illustration by Jovanna Tosello

Alison Stine | Longreads | October 2019 | 10 minutes (2,469 words)

This essay was supported by the Economic Hardship Reporting Project, a journalism nonprofit organization.

Disability status?

It’s a question I am confronted with almost daily when I fill out job applications. Sometimes I skip the question or I say I am not disabled. Sometimes I answer it truthfully, writing that I am hard of hearing (HOH), born partially deaf.

I was laid off eight months ago from my full-time editing job, and in the arduous process of searching and applying for positions, I often face this voluntary disclosure form asking what I am and what my body does and does not do. Disability isn’t always included as one of the options on disclosure forms; it doesn’t always count as part of diversity.

But my status has bearing on my job search. Less than 40% of people with a hearing loss have fulltime employment, according to a study cited by NPR, in an article which profiles a woman very much like me, with hearing loss and multiple graduate degrees, who’s applied to over 1,000 jobs with no offers.

I’ve only applied to over 60, as of this writing. But I haven’t got any job offers yet.
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Dispatch from Puerto Nowhere

Merve Karahan / Getty, Photo Collage by Homestead Studio

Robert Lopez | Longreads | October 2019 | 25 minutes (6,239 words)

For years I’ve been misquoting the late Polish poet Czeslaw Milosz without knowing that Milosz is the one I’ve been misquoting. I’ve done this, I’m sure, because I heard someone else misquote Milosz. I’m pretty sure this person did so without attribution, as well.

How far back it goes is unknowable, of course, but it’s akin to a literary game of telephone that is entirely without consequence or the least bit interesting.

What I’ve been saying is this: When a writer is born into a family, it’s the end of the family.

I preface this statement with the safe and inarguable, “A writer once said …”

I used to think Flannery O’Connor said this about writers and families, as it sounds like something she would’ve said.

It isn’t very scholarly or academic to say, “A writer once said,” but it gets the point across to students. I trot this misquote out whenever I’m trying to get my students to risk more on the page, whenever I see them pussyfoot around potentially interesting and dangerous material. I use the Milosz quote to give them license to let it fly, to destroy themselves and their families.

I employ any number of quotes and misquotes when I teach fiction and nonfiction writing to students. Babel, Hemingway, Faulkner, Chekhov, Didion, Pritchett, Hannah, Shakespeare, O’Connor, Borges, Stengel, Berra, Ray Charles, A writer, etc.

The actual quote from Milosz is: “When a writer is born into a family, the family is finished.”

I like the misquote better.

There’s a finality to the misquote that feels apocalyptic, whereas the actual quote sounds softer. One can finish a coffee table or a deck. One lover can ask another, “Did you finish?” and it would be considerate, thoughtful. A diamond is finished as are countless other precious gemstones and earthly items.

A family finished can mean they’ve attained the pinnacle of human achievement. No reason to go any further, to go forth and continue with this mindless multiplying, for we have birthed a writer.

Of course, it could be an issue with translation, too, and there’s no accounting for that. And I don’t know where the quote comes from, if it was in a poem or essay or lecture or what. A google search doesn’t provide this information, and I will have to dig deeper.
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Queens of Infamy: Njinga

Illustration by Louise Pomeroy

Anne Thériault | Longreads | October 2019 | 23 minutes (5,741 words)

From the notorious to the half-forgotten, Queens of Infamy, a Longreads series by Anne Thériault, focuses on world-historical women of centuries past.

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Late into the 16th century, Kengela ka Nkombe gave birth to her second child. Her first had been a son, and she had dutifully named him after his father, Mbande, the future king of Ndongo. This one was a girl. The birth was difficult; the baby was breech, her face was upturned, and the umbilical cord was wrapped firmly around her neck. Royal attendants were able to safely guide the baby out of her mother’s body, but everyone present agreed that the birth foretold an unusual life. Mbande, who openly doted on Kengela as his favourite concubine, was immediately smitten with his newest child. He named her Njinga, from the Kimbundu verb kujinga, which means to twist or turn — ostensibly a reference to the cord wrapped around her neck. But perhaps as he held his daughter for the first time, he caught a brief glimpse of her future: how she would twist and turn to outwit her enemies, gain the throne, and, ultimately, fight for her country’s freedom.

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