Search Results for: Tin House

Giving the Ultimate Gift: Granting the Wish to Die at Home

Photo by Alexandre Dulaunoy (CC BY-SA 2.0)

At The Australian, Andrew McMillen writes on palliative care as a critical service, and of the “power and the grace” required to care for those who are terminally ill and grant their final wish: to die peacefully, at home.

On an adjustable bed in a room towards the front of the house is Tony Huelsmann, a retired dancer, choreographer and dance instructor whose skills were once in high demand at schools throughout Melbourne and Brisbane. Sandra was one of his dance students. He was 30 when they met, seven years older than her, and it was love at first sight.

Born in Germany, Tony has spent much of his life in Australia. Now 80, he is dying from complications associated with several internal and ­external cancers, including a rash of angry red squamous cell carcinomas that have colonised the skin of his swollen upper thighs. These painful sores require daily dressings, performed by a personal care worker, while Karuna’s rotating ­roster of nurses help with symptom management, bed-baths, toileting and bedding changes, as well as emotional support for both husband and wife.

Since May, Tony’s world-spanning life has been confined more or less to these four walls while Sandra cares for his every need. At night, she snatches sleep where possible. It is their wish for Tony to die at home and they are both determined to see this wish fulfilled.

“A good palliative care nurse should be invisible,” she says, while navigating her hatchback between house visits. “You’re there to help them negotiate the process with friends and loved ones. The Dalai Lama says compassion should be selfless: it’s not about you, it’s about them. You’re a springboard. But it’s a real dance: you’re not a robot, and you go in with your whole self and heart open. We’re all emotionally involved, and the moment you’re not – when it becomes mechanical – I think you should quit.”

By midday Friday, Tony has lost more strength and lucidity. Swollen from the waist down, he has little control of his body. Today, for the first time, he is unable to use scissors to cut the tape that his wife uses to dress his sores. When Karuna nurse Kate Hooper visits his bedside, Tony clocks her prominent baby bump. A man near death meets a woman weeks away from giving birth. Pointing a shaky finger, he smiles and rasps to her, “How long to go?”

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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.

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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…

Trump Revives a Shameful Tradition: Targeting a Minority Group with Crime Reports

A Japanese family returns from a relocation center camp in Hunt, Idaho, to find their home and garage vandalized with anti-Japanese graffiti and broken windows in Seattle, Wa., May 10, 1945. (AP Photo)

Andrea Pitzer | Longreads | February 2017 | 8 minutes (1,600 words)

 

The history of atrocity is littered with the corpses of scapegoats. When it comes to convincing people that their problems have a simple answer, few narratives have been as effective as assigning responsibility for society’s ills to a vulnerable minority group. Yet to succeed, vilification requires effort.

A year and a half ago, Donald Trump declared his candidacy in a speech accusing Mexicans crossing the border of “bringing drugs … bringing crime” and being “rapists.” During his first week in office, President Trump took additional steps to make the image of dangerous aliens stick, signing an executive order on public safety on January 25. Receiving less attention than the order barring immigrants and nonimmigrants from seven countries that arrived two days later, the earlier decree called on the secretary of the Department of Homeland Security to publish a weekly crime report detailing “a comprehensive list of criminal actions committed by aliens.” Read more…

‘There Is Something Distinctly Grown-Up About Being Attracted to Tiny Things’

At Harper’s, Alice Gregory ruminates on the world of miniature collecting, and explores why people make and admire such tiny things.

It is difficult for me, in the presence of miniatures, not to feel like a pervert. Tiny things have always filled me with a devious and urgent covetousness. “Delight” is too casual a word to describe it, and not at all physical enough. The first and last thing I ever stole was a Sudafed-size doubloon from a friend’s pirate-themed Lego set. I needed it. More than twenty years have since passed, but preventing myself from buying Polly Pocket sets on eBay is a feat of near-constant diligence. Sometimes I slip up, though, see a tiny thing I simply must own, and breathlessly buy it. The lining of my purse was once destroyed by the tines of several miniature forks that I kept stashed away for almost a week; on my mantel sit lead soldiers and ceramic seals, a single reduced radish, and a U.S. passport smaller than a Chiclet. They gather dust and puzzle friends. I don’t see myself as a trinkets person, and yet when I heard of a woman at the fair who hid her extensive miniatures collection at her son’s house so that her husband would never learn of it, I thought to myself, “Good idea,” and made a mental note to maybe one day do the same.

It feels gluttonous—and good—to hoard so much sensual detail at once. Miniatures are the most concentrated form of extravagance I know, a decadent combination of ontological and visceral attraction. There is wickedness to it, a pleasant brand of self-disgust. The masochistic ecstasy of seeing myself as a monster when next to a miniature is unshakeable. A hand never appears more sun-ravaged than when cradling a ticking grandfather clock that is the height of a stick of chewing gum and carved from an especially fine-grained pearwood. Nothing compares more favorably to a hangnail than a christening gown for a doll’s doll, made of embroidery thread so thin it must be sewn with acupuncture needles.

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Life in a Post-Soviet Melting Pot

Photo by Nicolai Bangsgaard (CC BY 2.0).

These days the museum has no ticket office, schedule, or employees. An elderly Georgian man named Soso, who introduced himself as a former KGB colonel, guides the tours. Soso said that when he returned to Tbilisi from Moscow after the collapse of the Soviet Union, he was unable to obtain a pension or an apartment, so he moved into the museum. He survives on donations from tourists.

“There are sometimes no tourists for two weeks,” he complained.

While we were talking, kids from the neighboring houses dashed into the museum. They said it was the first time they had seen the museum’s gates open, and they wanted to see what was inside. They looked at the numerous portraits and busts of Stalin and Lenin.

“Do you know who that is?” I asked, pointing to a bust of Lenin.

They said they didn’t know.

n+1 publishes an excerpt, with illustrations, from Victoria Lomasko’s 2015 book, A Trip to Tbilisi. Journalist and illustrator Lomasko was first noticed in the West for her graphic reportage from the Pussy Riot trial. In Tbilisi, Georgia, she spoke with historians, artists, journalists, activists, squatters, and local clergy about the political and cultural climate in a former Soviet republic that continues to have a tense relationship with Russia.

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Happy and Unhappy Messes: On Working as a House Cleaner in London, England

Photo by Jasleen Kaur (CC BY-SA 2.0)

I once burst into tears while doing the flat of an obsessive Italian shoe-hoarder. He had hardly any stuff except the basics — bed, fridge, cooker, telly — and hundreds of boxes of Italian designer shoes. The only “art” on the wall was a yellowing Polaroid of himself as a boy in Italy, smiling at the seaside. Tanned and shoeless, young and carefree. How did he go from that to this, working 70-plus hours a week to pay rent on his nice but pokey flat full of shoes? It might look like cleaning, but every job feels a bit Miss Marple-ish. I am looking for clues, though I’m never really sure what the crime is.

At The Independent, Michele Kirsch reflects on working as a cleaner in London, England, and the fascinating, unspoken social rules that keep the cleaner-cleanee relationship “shipshape and Bristol-fashion.”

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Empathy and Escapism — Obama’s Secret to Surviving the White House Years: Books

Photo by Michael Pittman CC-BY SA 2.0

Not since Lincoln has there been a president as fundamentally shaped — in his life, convictions and outlook on the world — by reading and writing as Barack Obama.

“At a time when events move so quickly and so much information is transmitted,” he said, reading gave him the ability to occasionally “slow down and get perspective” and “the ability to get in somebody else’s shoes.” These two things, he added, “have been invaluable to me. Whether they’ve made me a better president I can’t say. But what I can say is that they have allowed me to sort of maintain my balance during the course of eight years, because this is a place that comes at you hard and fast and doesn’t let up.”

Writing was key to his thinking process, too: a tool for sorting through “a lot of crosscurrents in my own life — race, class, family. And I genuinely believe that it was part of the way in which I was able to integrate all these pieces of myself into something relatively whole.”

At The New York Times, Michiko Kakutani reports on how reading and writing helped President Obama to “slow down and get perspective” from novelists, memoirists, and historical figures during the eight years of his presidency.

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What We Eat When We’re Eating at Christmastime: A Reading List

"Fruitcake" by Emily Balsley (CC BY-NC 2.0).

It’s always the same: a morning arrives in November, and my friend, as though officially inaugurating the Christmas time of year that exhilarates her imagination and fuels the blaze of her heart, announces: “It’s fruitcake weather! Fetch our buggy. Help me find my hat.”

“A Christmas Memory,” Truman Capote

’Tis the season! A time for awkwardly posed Santa photos, awkwardly getting tipsy at office holiday parties, awkwardly offensive carols, and awkwardly feigning excitement over receiving a Harry & David fruitcake. For many of us who celebrate Christmas, foods are as closely bound to the experience as gift-giving. And making fun of fruitcake has become a time-honored tradition — though thanks to the success of this dedicated fruitcake besmirchment campaign, I suspect many of us have never actually tasted, let alone received or re-gifted, a traditional fruitcake.

This reading list celebrates oft-maligned holiday foods like fruitcake and mincemeat pie, along with unlikely new candidates like White Castle and KFC.

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Longreads Best of 2016: Business & Tech Reporting

We asked a few writers and editors to choose some of their favorite stories of the year in various categories. Here, the best in business and tech reporting. Read more…

Longreads Best of 2016: Investigative Reporting

We asked a few writers and editors to choose some of their favorite stories of the year in various categories. Here, the best in investigative reporting.

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Francesca Mari
Senior Editor at The California Sunday Magazine.

My Four Months as a Private Prison Guard (Shane Bauer, Mother Jones)

Hands down the best reporting I read all year is Shane Bauer’s “My Four Months as a Private Prison Guard.” Bauer applied for a job at the Winn Correctional Center in Louisiana; though, let’s be real, as you’ll learn from the piece, applications are hardly necessary. Winn, which is run by the Corrections Corporation of America, the company that basically invented private prisons in the eighties, pretty much begged him to come onboard. After all, the pay is $9 an hour, the shifts are twelve hours long, and only some one-third of hires stick around. Bauer’s piece gets readers up to speed on the history of private prisons and their ubiquity today and takes readers deep into the particulars of the understaffed hellhole that is Winn–a place in which the guards, having so little support, are left to negotiate their own rules with prisoners. Bauer’s portrait of the prison community–and it is a community–is rich, illuminating without being condescending, in part because Bauer is, to some extent, a participant. Here’s a taste of an exchange between Bauer’s 19-year-old coworker, a kid all too keen to demonstrate his power named Collinsworth, and a prisoner he won’t deign to talk to:

“The best thing you could do is get to know people in the place.”
“I understand it’s your home,” Collinsworth says. “But I’m at work right now.”

“It’s your home for 12 hours a day! You trippin’. You ’bout to do half my time with me. You straight with that?”

“It’s probably true.”

“It ain’t no ‘probably true.’ If you go’ be at this bitch, you go’ do 12 hours a day.” He tells Collinsworth not to bother writing up inmates for infractions: “They ain’t payin’ you enough for that.” Seeming torn between whether to impress me or the inmate, Collinsworth says he will only write up serious offenses, like hiding drugs.

The Architect Who Became a Diamond (Alice Gregory, The New Yorker)

First of all–mini spoiler alert–you can make a diamond out of someone’s ashes! That’s just one of the odd little twists in Alice Gregory’s nail-biter about the most unlikely of nail-biter subjects–an architect’s archive. The architect in question is the very on-trend (and truly talented) Luis Barragán, who designed geometric buildings with vivid colors throughout Mexico. And the problem is that a Swiss manufacturing family owns his archive. The woman in that family for whom the archive was bought is determined to carefully catalog his work herself and protect his legacy and so she has refused to grant anyone access to his archive for the last two decades. This story is about a contemporary artist’s clever plot to persuade her otherwise. Gregory’s excellent structuring lends suspense and urgency to questions about how to best maintain a virtuoso’s legacy. Who should be allowed access to his archives and who should determine who should be allowed access? Read more…