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The Top 5 Longreads of the Week

May 31, 1977 —Cambridge, MA — Photographs of American slaves, possibly the oldest known in the country, have been discovered in the basement of a Harvard University museum. Among the previously unpublished daguerreotypes discovered are these (L-R): a Congo slave named Renty, who lived on B.F. Taylor's plantation, "Edgehill"; Jack, a slave from the Guinea Coast (ritual scars decorate his cheek); and an unidentified man.

This week, we’re sharing stories from Clint Smith, Hanif Abdurraqib, Lise Olsen, Jaya Saxena, and Emma Carmichael.

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1. Stories of Slavery, From Those Who Survived It

Clint Smith | The Atlantic | February 9, 2021 | 29 minutes (7,250 words)

“The Federal Writers’ Project narratives provide an all-too-rare link to our past.”

2. Grief’s Anatomy

Hanif Abdurraqib | The Baffler | January 4, 2021 | 8 minutes (2,074 words)

“Hope awaits organizers like a trap.”

3. Undetected

Lise Olsen | Texas Observer | February 8, 2021 | 15 minutes (3,762 words)

“Prior to his arrest, local authorities had dismissed nearly all of those incidents as an unusual spike in natural deaths—a run of bad luck. But public records and interviews reveal that, time after time, investigators in Dallas made critical mistakes and overlooked or ignored signs of foul play.”

4. The Limits of the Lunchbox Moment

Jaya Saxena | Eater | Febuary 8, 2021 | 13 minutes (3,400 words)

“The story of being bullied in the cafeteria for one’s lunch is so ubiquitous that it’s attained a gloss of fictionality.”

5. Megan Rapinoe and Sue Bird Are Goals

Emma Carmichael | GQ | February 9, 2021 | 21 minutes (5,324 words)

“Sue Bird and Megan Rapinoe both had Hall of Fame–worthy careers before they met. But to reach new, boundary-obliterating levels of achievement on and off the field, they needed each other. And, as they tell Emma Carmichael, their work is just getting started.”

The Top 5 Longreads of the Week

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This week, we’re sharing stories from Gus Garcia-Roberts and David Heath, Melissa Gira Grant, David Owen, Geoffrey Himes, and Traci Brimhall.

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1. Luck, Foresight and Science: How an Unheralded Team Developed a COVID-19 Vaccine in Record Time

Gus Garcia-Roberts, David Heath | USA Today | January 26, 2021 | 35 minutes (8,808 words)

Credit for the COVID-19 vaccine “belongs to a series of uncelebrated discoveries dating back at least 15 years – and a constellation of unsung scientists.”

2. QAnon and the Cultification of the American Right

Melissa Gira Grant | The New Republic | February 1, 2021 | 24 minutes (6,170 words)

“The conspiracy theory has become a theology of right-wing rebellion.”

3. How a Young Activist Is Helping Pope Francis Battle Climate Change

David Owen | The New Yorker | February 1, 2021 | 27 minutes (6,802 words)

“Molly Burhans wants the Catholic Church to put its assets—which include farms, forests, oil wells, and millions of acres of land—to better use. But, first, she has to map them.”

4. The Poet Laureate of New Orleans

Geoffrey Himes | The Bitter Southerner | Febuary 2, 2021 | 33 minutes (8,266 words)

“Earl King’s lyrical blues and electric stage presence set him apart. But he’s never been properly honored as a Louisiana writer who penned songs for Dr. John, the Neville Brothers, Stevie Ray Vaughan, and Jimi Hendrix. New Orleans doesn’t have a poet laureate, may we suggest this posthumous honor for the King?”

5. The Grief Artist

Traci Brimhall | Guernica | January 6, 2021 | 20 minutes (5,018 words)

“In the wake of a loss comes the urge to create.”

All that Glitters

An illegal mining site in Madre de Dios, Peru / Ernesto Benavides for The Atavist

This is an excerpt from The Atavist‘s 10th anniversary story, “The Gilded Age” by award-winning reporter Scott Eden. Gold mined in the jungles of Peru brought riches to three friends in Miami—but it also carried ruin.

Scott Eden | The Atavist | January 2021 | 5 minutes (1,352 words)

 

The Atavist is Longreads‘ sister publication. For 10 years, it has been a digital pioneer in longform narrative journalism, publishing one deeply reported, elegantly designed story each month. Support The Atavist by becoming a magazine member.

In 1511, the king of Spain gave his New World explorers an order: Get gold, humanely if possible, but at all costs get gold. Humanely was not how it happened.

When gold was discovered on Hispaniola, the native population was forced into serfdom to mine it. Within a few decades, the Taino people had been almost completely “exterminated in the gold mines, in the deadly task of sifting auriferous sands with their bodies half submerged in water,” writes Eduardo Galeano in his seminal book Open Veins of Latin America. Rather than carry on, some of the enslaved people killed their children and then themselves. Francisco Pizarro’s men entered the Temple of the Sun in Cuzco, the Incan capital in modern-day Peru, and melted down breathtaking works of high-karat art because bars were easier to stack and transport back to Spain. Hernán Cortés did the same after he captured the Aztec treasure house. “They crave gold like hungry swine,” one Aztec observer said of European invaders. A conquistador named Hernán de Quesada, whose brother founded Bogotá almost incidentally while searching for El Dorado, also set off in search of the mythical golden city, taking 6,000 captured natives into the jungles and mountains of what is now Colombia. None survived.

Gold wasn’t the only metal the Spanish wanted. In Quechua, the language of the Inca, the mountain was called Sumaj Orko, “beautiful hill”—a perfectly shaped conical peak made almost entirely of silver that sits in present-day Bolivia. In 1573, colonists began conscripting indigenous people to toil in the mountain’s shafts, working under a form of forced labor known as the mita system. “It was common to bring them out dead or with broken heads and legs,” wrote a contemporary observer. The biggest boomtown in world history, Potosí, grew at the foot of Sumaj Orko; its population at one point rivaled Paris’s. Up to eight million people, many of them children, are estimated to have died working in Potosí’s mines.

Spain was merely a middleman for all the blood metal. The crown used its colonial spoils to pay off the massive debts it had accumulated in Europe’s banking houses. Gold and other precious metals financed the late Renaissance and, next, the industrial revolution.

The pillaging continued, bringing with it other forms of cruelty. In the 18th century, the miners who came to the Minas Gerais region of Brazil during a gold rush were also slave traders; they preferred buying their human beings from the West African slave port of Ouidah, because the people sold there were said to possess magical powers for divining the richest sources of gold. In 1886, after gold was discovered in Tierra del Fuego, a European engineer orchestrated a genocide there, exterminating the Selk’nam people, hunter-gatherers who had lived in the region for millennia. In the 20th century, General Augusto Pinochet abolished the rights of mine workers in Chile’s lucrative high-desert gold and copper pits. Vladimiro Montesinos, Peru’s murderous spy chief, allegedly took bribes from multinational mining corporations to help them secure control of Yanacocha, which in the 1990s was the world’s most productive gold mine.

By then a new kind of colonist had emerged in Peru. On foot, they came down from the Altiplano, from some of the poorest places on earth, migrating to low-lying rainforests where they’d heard gold was in the ground. They hoped that the tools and skills their forebears had used since time immemorial—shovels, portable sluice boxes—would help them find wealth.

They came to a remote department in the country’s southeast called Madre de Dios—Mother of God—that was covered almost entirely with dense jungle. In time, the new colonists earned enough money to rent heavy equipment. They could dig faster. There were no laws to stop them; squatter’s rights ruled. You took what you wanted. The miners began tearing down forests, clearing the way to search for the glittering flakes that could change a man’s life forever. Or end it.

Peru is the kind of place, in the words of one gold industry participant, ‘where you can do everything right and still get in trouble.’

There once was a sawyer who lived in the rainforest. His name was Alfredo Vracko Neuenschwander, but everyone called him Don Alfredo. He grew up in Madre de Dios. His father, also a logger, was an immigrant from Slovenia, but Don Alfredo treated the forest like he was a native. He took from it only what he and his family—a wife, a daughter, and two sons—needed to survive.

Don Alfredo was tall and slim, and he wore black horn-rimmed glasses that made him look like an Apollo mission engineer. His timber concession, which he obtained in 1975, was located in a part of Madre de Dios called La Pampa. To the west was the high sierra. To the east was the jungle, vaporous and immense. Don Alfredo and his family lived in a small compound—a house and a handful of outbuildings—in a one-hectare clearing he’d hacked out of the jungle. The roofs were thatch. There was no electricity. He’d built everything himself out of the wood—achihua, pashaco, copal, tornillo—found on the roughly 6,000 acres of his concession. His sawmill consisted of wooden poles propping up a metal roof over a large circular saw and an ancient planer manufactured by the American Saw Mill Machinery Co., in Hackettstown, New Jersey. Nearby was an orchard of yucca, papaya, banana, and cupuaçu, a football-shaped fruit with meat prized for its pear-like taste. Fat boas slid under the fruit trees. Flocks of oropendola birds shrieked in the canopy alongside howler monkeys.

For the better part of a decade, starting in 2007, Don Alfredo tried to save his land and the rest of La Pampa from informal gold mining. It was then, and remains today, an industry of wildcatters: people who don’t pay taxes, who don’t bother to seek government licenses or perform environmental-impact studies, who just start digging. Informal mining accounts for as much as 20 percent of the world’s newly extracted gold. In other words, up to one-fifth of the global gold business, worth more than $30 billion a year, according to some estimates, is a black market. And like all black markets, the illegal gold trade is vulnerable to the whole range of organized iniquity: bribery, human trafficking, money laundering, murder for hire, terrorism. The South American gold business is particularly fraught with these dangers, the Peruvian one perhaps most of all. It’s the kind of place, in the words of one industry participant, “where you can do everything right and still get in trouble.”

No one knew the ugly side of Madre de Dios better than Don Alfredo. On a sunny November day in 2015, he waited for the authorities to arrive. At his behest, they’d scheduled an interdiction—the Peruvian National Police would go into the jungle, find a mining site that Don Alfredo had recently reported, chase off or arrest the miners, and destroy their equipment with explosives.

Afternoon turned into evening. The police were delayed. The setting sun flared off the nearby Guacamayo, a stream that runs into the Rio Inambari, which flows into the Rio Madre de Dios (from which the region takes its name), which runs into the Beni, which joins the Mamore, which feeds into the Madeira—a tributary, at last, of the Amazon. Don Alfredo stood on the balcony of his home, listening for the sounds of arrival: the motors of police vehicles turning into his driveway off the Interoceanic Highway, which stretched from Rio de Janeiro to Peru’s Pacific coast. Completed a few years prior, the highway had transformed a series of rude dirt tracks and ancient footpaths into a modern thoroughfare navigable by trucks and heavy equipment, easing the way for miners to infiltrate ever more deeply into Madre de Dios.

Don Alfredo almost certainly would have heard the motorcycles approach, their rumble fainter than the phalanx of police vehicles he’d expected. The two bikes appeared on his property, carrying four riders. The men stopped in the driveway and dismounted. They were carrying guns and wearing black balaclavas.

Don Alfredo opened his mouth to scream.

 

Read the full story at The Atavist

‘Plant-Based Eating Is Probably One of the Blackest Things I Could Do’

August de Richelieu/Pexels

“Plant-based eating has a long, radical history in Black American culture, preserved by institutions and individuals who have understood the power of food and nutrition in the fight against oppression,” writes Amirah Mercer in “A Homecoming.” The piece, published at Eater, explores Mercer’s path to veganism and the plant-based diets of the Black diaspora. While Mercer’s journey to a plant-centered diet initially brought up feelings of loss — “my veganism initially seemed like a rebuke of the rituals I had always known” — Mercer finds immense power in what she learns. Exploring veganism isn’t actually straying from her roots, and the shift is a way — as singer Prince once expressed — to liberate oneself and the world from injustice. “As a Black woman in America,” Mercer writes, “my veganism is, in fact, a homecoming.”

Just as I began to plateau on plants, my grandmother gave me a copy of Bryant Terry’s 2014 cookbook, Afro-Vegan. Seeing the words “Afro” and “Vegan” together on the book’s cover disrupted everything the mainstream had ever shown me about veganism. Terry, who is the chef in residence at San Francisco’s Museum of the African Diaspora, uses the foodways of our ancestors as a historical guide for plant-based eating, combining classic Southern, Caribbean, and African dishes into a uniquely Black vegan cuisine: There were recipes for stewed tomatoes and black-eyed peas, grits with slow-cooked collard greens, and a mango-habanero hot sauce. I felt overwhelming power in the sudden and profound realization that I didn’t have to stray from my roots in order to explore my veganism.

Food is political, and that is especially true for Black Americans. A lack of access to healthy food is a problem that disproportionately affects Black and Latino communities — a condition that the U.S. Department of Agriculture formally describes as a “food desert,” though the food justice activist Karen Washington prefers the more apt term “food apartheid” — which are defined in large part by the nearly century-long legacy of redlining.

Decades of U.S. agricultural policies that overwhelmingly favor meat, dairy, and corn have caused many Americans to load up on a diet rich in fatty, processed, and refined foods, but the ill effects of the standard American diet (appropriately also called the SAD diet) are heightened for racial and ethnic minorities. Systemic racism within the dietetics industry has kept Black dietitians out of the field — their number has fallen by nearly 20 percent over the last two decades — while the resulting Eurocentric view of diet and nutrition has severely constrained its approach to non-Western cuisines and cultures. Not only is there a lack of knowledge about the nutritional foundation of many traditional diets, but people from non-Western cultures are pushed toward Westernized views of health and wellness even though, for instance, people of color are generally less able to process dairy products.

Both health care and food policies are greatly affected by who is voted into office. Unfortunately, African Americans have historically been and continue to be victims of voter suppression, which takes away our ability to advocate for health care policies that nourish our families. And so for many in the Black vegan community, plant-based eating can be an act of protest against this disenfranchisement.

Even as Africans in America adapted to their new environment, they retained their Indigenous knowledge of plant-based nutrition. Those forced into slavery on smaller, poorer farms, or in areas where the plantation economy was not dominant, such as New Orleans and the Gulf, kept their own gardens, a practice described by Twitty in The Cooking Gene as “little landscapes of resistance: Resistance against a culture of dehumanizing poverty and want, resistance against the erasure of African culture practices.” In Hog and Hominy, Opie quotes a Scottish-born visitor to North Carolina who remarked that Black people were “the only people that seem[ed] to pay any attention to the various uses that wild vegetables may be put to.”

Chattel slavery, the influence of European foodways, and the interests of a capitalist economy disrupted the plant-centered African diet. That disruption was never repaired, as the government failed to deliver on its promise of “40 acres and a mule” after the Civil War, despite the 1865 special field order to reallocate 400,000 acres of Confederate land to the Black farmers who had tilled it for 250 years. Andrew Johnson — Abraham Lincoln’s successor and a sympathizer with the South — overturned the order and returned the land to the plantation owners. Denied the right to land ownership, African Americans who stayed in the South after the Civil War had little control over the food they grew to feed their families. (Of the Black farmers who have managed to acquire their own land between then and now, some 98 percent have had it taken from them.)

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This Visionary Chef Has Unlocked the Secrets of the Sea Floor. Can He Change the Way We Eat?

Photo by Allen J. Schaben/Los Angeles Times via Getty Images

Chef Ángel León’s expeimental dishes at Aponiente, his three Michelin starred-restaurant in the Spanish port town of El Puerto de Santa María, across the bay from Cádiz, showcase his culinary innovation and commitment to sustainability. Consider unexpected ingredients like “discarded fish parts to make mortadella and blood sausage and chorizo,” the “parts of a tuna’s head to create a towering, gelatinous, fall-apart osso buco,” and varied underwater flora presented on plates as sea pears, tomatoes, and artichokes. “He built his menu around pesca de descarte, trash fish: pandora, krill, sea bream, mackerel, moray eel,” writes Matt Goulding in a profile of the chef at Time magazine. “But in León’s mind, these are some of the most noble and delicious creatures in the sea.”

Known in Spain as “the Chef del Mar,” León has big plans: harvesting seagrass off different stretches of the coast and transplanting it to the Bay of Cádiz, near his restaurant, with the long-term aim of domesticating eelgrass and growing a vast “underwater garden for human beings.” Scientists have known that seagrasses are “one of the most vital ecosystems in the fight against climate change,” writes Goulding, but what’s lesser-known is that seagrass contains “clusters of small, edible grains with massive potential” — and it’s León who is exploring its possibilities.

He sees the region’s vast network of estuaries overflowing with flora and fauna—tiny, candy-sweet white shrimp, edible seaweeds like marine mesclun mix, sea bream and mackerel in dense silver schools. He sees a series of mills, stone-built and sea-powered, grinding through grains for the region’s daily bread. A wind-swept, sun-kissed saltwater economy, like the one that once made Cádiz a center of the world.

Zostera grains look more like amaranth or a chia seed than rice—a short, pellet-like grain with a dark complexion. León boiled it like pasta, passed me a spoonful, then watched me closely as I processed. The first thing you notice is the texture: taut-skinned and compact, each grain pops on your tongue like an orb of caviar. It tasted like the love child of rice and quinoa with a gentle saline undertow.

But there is something extraordinary about seagrasses: they are the only plants that flower fully submerged in salt water. They have all the equipment of a terrestrial plant—roots, stems, rhizomes, leaves, flowers, seeds—but they thrive in under-water environments. Seagrasses like Zostera marina are eco-system engineers: the meadows they form along coastlines represent some of the most biodiverse areas in the ocean, playing host to fauna (like seahorses, bay scallops and sea turtles) that would struggle to survive without seagrass.

But anthropogenic forces—climate change, pollution, coastal development—have threatened eelgrass meadows across the world. As León and team refine the conditions for large-scale cultivation, they hope to facilitate its growth along coastlines around the world—Asia, North America and, above all, across the Straits of Gibraltar in Africa—turning millions of hectares into a source of food, protection against erosion and a weapon against climate change.

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All Aboard for an Adventure in Inequality

ANTARCTICA - 2013/11/30: Tourists at Yankee Harbour, a small inner harbour on the south-west side of Greenwich Island in the South Shetland Island group, Antarctica, with cruise ship Seabourn Quest in background. (Photo by Wolfgang Kaehler/LightRocket via Getty Images)

To satisfy his wanderlust, Devin Murphy worked on a series of cruise ships to see the world and learn more about it. As he reports in this fascinating piece at Outiside, what he didn’t bargain for was a free education on the deep disparity between the poor and rich, the haves and the have nots, not only in ports of call around the world, but aboard the vessels upon which he served.

I’m an American who grew up surrounded by comforts that were delivered to me by ships like these—ships that I’d never thought about.

As the summer wore on, my hands became ribboned with cuts from barnacle shards caked into the rope fibers, and I got accustomed to the insults of the assistant engineer, who often tipped over into psychotic rage when I did something wrong. He spent all his free time reading biker magazines and smoking in the dark next to the engines, a patron saint of hatred.

Meanwhile, day by day, I really began to appreciate the passengers. Whether they were recent retirees on a dream trip or industrial business owners leveled by the beauty of the wilds, it was humbling to share in their awakening wonder.

I also got a better sense of the oddity of life on a boat. One time the captain called me to the bridge and told me to man the controls while he went to his cabin. I was 20 years old, steering a cruise ship through the night. It was so exhilarating that, when the captain came back, I didn’t notice at first that he was carrying a full-size test dummy with a long black wig on it. He began dancing around and humming to the doll.

“Um. Sir? What are you doing?”

The captain opened the wing station, sang, “Time for us to part, my love,” and hurled the doll overboard. He blew a kiss to the back of the ship, then called into his radio, “Man overboard.”

He shot a red flare into the sky, and I slowly turned the ship to start our impromptu man-overboard drill. The doll looked so much like a real person that I felt a wash of fear about one day being alone on the waves, drifting off into the cold unknown.

During our return trip from Antarctica, the Drake Passage—the expanse of ocean between Antarctica’s South Shetland Islands and Cape Horn—thrashed the ship around. The hotel executive, feeling sick, went to his cabin and left an Excel spreadsheet open on a computer we shared. It showed what the international crew members were paid, and their low compensation—far less than minimum wage in the U.S.—stunned me. I was able to save much of what I made. These men, who worked with kindness, effort, and attention to detail for 12 hours a day, six days a week, and up to nine months at a time, were being exploited, and they had to send money to families back home. The reality of the flag of convenience became clear.

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Rush Drummer Neil Peart: Master Student

Neil Peart (Photo by Clayton Call/Redferns — Getty Images)

The band Rush has a huge fan base at home in Canada and around the world, but despite having a big appreciation for their musicianship, I’ve never counted myself among them. (Please don’t @ me.) In reading Brian Hiatt‘s moving Rolling Stone retrospective in which family, friends, and bandmates remember the late Neil Peart, Rush’s drummer, I learned a lot that deepened my respect for the band, and for Peart in particular. A year ago, Peart died from glioblastoma, the same form of brain cancer that took another important Canadian musician, Gord Downie.

While Peart was a prolific reader who used his tour downtime to “fill the gaps in his education,” what struck me most was the student mindset he brought to the drums, despite being widely recognized as a virtuoso.

Before band rehearsals for Rush tours, he’d practice on his own for weeks to ensure he could replicate his parts. His forearms bulged with muscle; his huge hands were calloused. But he was also the self-educated intellect behind Rush’s singularly cerebral and philosophical lyrics, and the author of numerous books, specializing in memoir intertwined with motorcycle travelogues, all of it rendered in luminous detail.

Peart took constant notes, kept journals, sent emails that were more like Victorian-era correspondence, wrote pieces for drum magazines, and posted essays and book reviews on his website. Despite ending his formal education at age 17, he never stopped working toward a lifelong goal of reading “every great book ever written.” He tended to use friends’ birthdays as an excuse to send “a whole fucking story about his own life,” as Rush singer-bassist Geddy Lee puts it, with a laugh.

In May 1994, at the Power Station recording studio in New York, Peart gathered together great rock and jazz drummers, from Steve Gadd to Matt Sorum to Max Roach, for a tribute album he was producing for the great swing drummer Buddy Rich. Peart noticed one of the players, Steve Smith, had improved strikingly since the last time he had seen him, and learned that he studied with the jazz guru Freddie Gruber. In the year of his 42nd birthday, while he was already widely considered to be the greatest rock drummer alive, Peart sought out Gruber and started taking drum lessons. “What is a master but a master student?” Peart told Rolling Stone in 2012.

He was convinced that years of playing along with sequencers for the more synth-y songs in Rush’s Eighties catalog had stiffened his drumming, and he wanted to loosen back up. (For all of his efforts and mastery, there were some areas even Neil Peart couldn’t conquer: “To be honest, I am not sure that Neil ever fully ‘got’ the jazz high-hat thing,” Peter Erskine, who took over as Peart’s teacher in the 2000s, wrote affectionately.)

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I Will Always Love You: A Dolly Parton Reading List

Dolly Parton attends the 61st Annual GRAMMY Awards at the Staples Center on February 10, 2019, in Los Angeles. (Photo by Axelle/Bauer-Griffin/FilmMagic via Getty Images)

Central Florida doesn’t do glamour. I know because I was born and raised in Lakeland, Florida, the birthplace of Publix supermarkets and where Ernest Hemingway’s first wife, Hadley Richardson, died in a nursing home. Growing up, my sister Abby and I had a never-named game where we’d see a figure skater, Vanna White, anyone, wearing a pretty dress on television, and then we’d passionately bicker over who got to have the rhinestoned, beaded, or sequined costume. We knew what glamour looked like, and we wanted it. By the time I’d graduated high school, I knew glamour in real life. I’d seen it in person three times.

My high school band competed in an annual competition up in Gatlinburg, Tennessee. Each year, when the music part of the trip was over, we’d go to Dolly Parton’s dinner theater show one night, and spend a day at her theme park, Dollywood. And inside Dollywood, inside Chasing Rainbows, a museum dedicated to telling Dolly’s life story, was my pilgrimage: a collection of Dolly’s rhinestoned, beaded, and sequined costumes, more beautiful and breathtaking than anything I’d ever bickered over in the never-named game of my childhood.

Two years after high school, I moved to New York City and dug my heels into culture shock. Five years in, I got into a Dolly Parton-themed holiday party put on by a fancy New York PR firm. I glided through the night among the well-dressed and well-heeled. I sipped moonshine and peach iced tea with a party-themed name like it was mother’s milk. I danced to Kylie Minogue performing Dolly covers. And I held my head up high all night because I’d long already seen the installation in the front room, a sparkling display of Dolly’s costumes on loan from Dollywood.

I won’t say Dolly Parton changed my life. I’ve only just read her 1994 memoir “Dolly: My Life and Other Unfinished Business,” loaned it to three people, gave it as a wedding present, and have the first and only edition in paperback and hardcover. I recently got the first Christmas album Dolly recorded with Kenny Rogers, “Once Upon A Christmas.” I’m pretty proud of that. I don’t own any Dolly T-shirts or anything like that (maybe I should), I just think she’s a gift to humanity — a living, breathing embodiment of dreams. Maybe you agree, maybe you don’t. Dolly would say, “It’s hard to be a diamond in a rhinestone world.” Maybe she’s not for you, even though she’s for everyone. But, hey, don’t take my word for it.

1. “Outta That Holler” (Sarah Smarsh, Slate, October 2020)

In this excerpt from her 2020 book, “She Come By It Natural: Dolly Parton and the Women Who Lived Her Songs,” journalist Sarah Smarsh describes Parton’s brand of implicit feminism. By harnessing the value of economic agency and sexual power to overcome the poverty that defined her childhood — born the fourth of 12 children, “wearing dresses made of feed sacks” and “dyeing her lips with iodine from the family medicine cabinet for lack of lipstick” — Parton has shaped the person she is today.

She reminds her audiences that, no matter where they came from, everyone can identify with being shamed one way or another, and no one deserves it. Never be ashamed of your home, your family, yourself, your religion, she says, and adoring crowds applaud. One need look no further than her immense LGBTQ following to know that Parton’s transformation from a slut-shamed, talented teenage bumpkin to entertainment superstar contains a universal struggle that has less to do with being Appalachian than with being human. If her presence and the appreciation it instills in people could be whittled to a phrase, it’s “be what you are.”

2. “The Grit and Glory of Dolly Parton” (Emily Lordi, T: The New York Times Style Magazine, November 2020)

The person and brand that is Dolly Parton did not just happen overnight. Emily Lordi provides an overview of Parton’s decades-long career, illustrating how it’s been furthered not by reinvention, but through the reintroduction of Parton and her music, all while Parton herself engages with the times. Lordi first interviewed Parton over the phone, then in person after providing a negative COVID-19 test.

People want her gifts, her glow, her time; and Parton, who, as she says, “loves everybody and wants everybody to love me,” is often happy to oblige. She can’t sit still anyway — and early on in the pandemic, she decided to keep working, as long as her team could do so safely. Last May, she released “When Life Is Good Again,” a song of reassurance that justifies the journalist Melinda Newman’s claim, in Billboard, that, during the coronavirus crisis, Parton seems to have appointed herself America’s “comforter in chief”: “When everything is on the mend, / I’ll even drink with my old friends, / Sing and play my mandolin … And it’s gonna be good again.”

3. “Dolly Parton Steers Her Empire Through the Pandemic — and Keeps It Growing” (Melinda Newman, Billboard, August 2020)

The daughter of an industrious sharecropper father and a musically inclined mother, Parton is a savvy businesswoman whose earliest and latest decisions in the music industry are only the core of her empire. As Melinda Newman writes, “Her legendary body of music is just the start of what makes her Dolly. …”

She sounds surprisingly giddy as she talks about the next chapter of her career as if it’s her first. “I’m touched and honored that I’m still around and that I’m able to still be important in the business,” she says. “I honestly feel like I’m just getting started. I know that sounds crazy but I really feel like I might have a big music career, record career. Who knows?”

4. “Dolly Parton on How to Be More Like Dolly Parton” (Anna Moeslein, Glamour, November 2019)

In an interview with Parton, Anna Moeslein and Parton review “Heartstrings,” a Netflix series in which each episode is based on a different Parton song. They also discuss emotions and Parton’s position on what people can do to bring “a little Dolly in their own lives,” as well as fashion and beauty.

Well, I think it’s always important for us to be allowed to be who we are, all that we are, and appreciate that. And I know being a woman in this world…I’ve always been proud that I was born a woman, and I’ve joked that if I wasn’t, I would have been a drag queen. That’s my favorite line, but it’s probably true. I love being able to express myself, and I want to be seen and appreciated for who I am. So I’ve always appreciated and loved people for who they are. Because we don’t need to all be the same.

5. “Is Dolly Parton the Voice of America?” (Rachel Riederer, The New Republic, December 2020)

Citing Jad Abumrad’s Radiolab podcast (“Dolly Parton’s America”), Parton’s Netflix series, shoutouts from Nicki Minaj and Drake, and even a history course at the University of Tennessee, Rachel Riederer discusses the latest Dolly Parton renaissance. And, given the political landscape of the U.S., Riederer wonders if there’s a place for Parton’s enduring position to sidestep politics — which Abumrad refers to as “Dollitics.”

You cannot talk about sharecropping without talking about politics, and to say more would not be her style. She was not shy about her desire to sell books or to present her life as a fairy tale, and you sell a fairy tale by focusing on the romance and adventures of the rising princess, not the conditions that made her a scullery maid.

6. “Springtime for the Confederacy” (Aisha Harris, Slate, August 2017)

When I mentioned Dolly’s “dinner theater show” above, I was intentionally vague. Despite my setup, I know Dolly is human. And humans are complicated. Dolly’s dinner show seems complicated, too, but really, it’s not. The show, known until 2018 as “Dolly Parton’s Dixie Stampede,” is performed before an arena split into the “North” versus the “South,” where the audience, feasting on a four-course dinner eaten without cutlery, cheers on white-washed narratives of colonization, then the Antebellum South, then a performance competition between the North and the South. As a high schooler attending the show, I sat and watched from the North side, not fully grasping how problematic the programming was. I suppose I could do what Parton did in the Billboard article above: plead “innocent ignorance.” As an adult, I know better.

The last time I saw the show was in 2006. Aisha Harris reviewed the show in 2017, after watching it the same week as Unite the Right, a white supremacist rally, descended on Charlottesville, Virginia. At the rally, a neo-Nazi intentionally drove into a crowd of counter-protesters, killing an innocent woman, Heather Heyer, and injuring others. (The president notably remarked in the aftermath that there “were very fine people, on both sides.”) Harris recorded the experience of the dinner show from start to finish, without holding back.

While the show makes zero mention of slavery, that’s not to say there were no references to the Civil War. The war was alluded to both in the overarching North-versus-South conceit and through details both subtle (the gray and blue color schemes on each side) and blatant: The racing piglets were named after Abraham Lincoln, Ulysses S. Grant, Robert E. Lee, and Scarlett O’Hara. Dolly says that the show is about bringing back “those good old times,” referring to her childhood, but of course she wasn’t around during the days of Grant and Lee.

Harris wrote a follow-up to this piece after the show responded to her initial review, and again in April 2018, when the show dropped “Dixie” from its name.

7. “Living with Dolly Parton” (Jessica Wilkerson, Longreads, October 2018)

Jessica Wilkerson, who grew up in East Tennessee, where Dollywood is located, confronts the worldviews of her upbringing with those acquired as an adult after moving away from home for graduate school in New York. Weighing the socioeconomic implications of Dollywood’s hiring practices and confronting “Dolly Parton’s blinding, dazzling whiteness,” Wilkerson strikes a reluctant balance, compartmentalizing more than one version of Dolly Parton.

But the aftermath of Dollywood left me low-spirited. I was nestled into a cozy room in the log house my dad built on top of a ridge, where we lived. From the peak of that ridge, I could stand and see the Smoky Mountains, where Dolly Parton grew up and where she built a simulacrum of her mountain childhood. Hers felt more real than mine. I was sad, but jealous, too. I lived in the real world of Appalachia. A world of layaway stores and packaged foods, bleary-eyed workers and stressed-out mothers. I longed for the simulation.

Alison Fishburn is an American writer living in Paris, Ontario.

The Top 5 Longreads of the Week

WASHINGTON, DC, JANUARY 9: Two National Guards are seen through the fence where roses are left and which now now surrounds the US Capitol building three days after it was stormed, invaded and vandalized by Trump rioters in Washington, D.C., January 9, 2021. (Photo by Astrid Riecken For The Washington Post via Getty Images)

This week, we’re sharing stories from Timothy Snyder, Austin Carr, James Murdock, Myriam Lahouari, and Brian Hiatt

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1. The American Abyss

Timothy Snyder | The New York Times Magazine | January 9, 2021 | 18 minutes (4,500 words)

“A historian of fascism and political atrocity on Trump, the mob, and what comes next.”

2. The Cruise Ship Suicides

Austin Carr | Bloomberg Businessweek | December 30, 2020 | 18 minutes (4,587 words)

Cruise crew members experienced a “more extreme version of the household lockdowns that have sent people tumbling into depression.”

3. Orange is the New Peach

James Murdock | The Bitter Southerner | January 5, 2021 | 15 minutes (3,947 words)

“Southern winters have been getting warmer. Ten years ago, Joe Franklin started growing citrus on his farm in Statesboro, Georgia — a place where no one expected oranges to grow. Now, Franklin’s citrus groves teem with life and might actually help, in a very small way, to combat climate change.”

4. The Catch

Myriam Lahouari | BBC | January 7, 2021 | 9 minutes (2,427 words)

“The men call up to Sofiane, telling him that he and his brother have to jump. Guelord shouts that the younger boy needs to go first. Sofiane should throw him down.”

5. The Spirit of Neil Peart

Brian Hiatt | Rolling Stone | January 7, 2021 | 26 minutes (6,674 words)

“Rush’s virtuoso drum hero lived by his own rules, to the very end. For the first time since Peart’s passing, his bandmates and widow discuss his legacy and his final years.”

Ten Outstanding Short Stories to Read in 2021

Author Kelly Link (Photo by Awakening/Getty Images)

The #longreads hashtag on Twitter is filled with great story recommendations from people around the world. Pravesh Bhardwaj is a longtime contributor — throughout the year he posts his favorite short stories, and then in January we’re lucky enough to get a list of his favorites to enjoy in the year ahead.

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