Search Results for: essay

‘Twin Peaks: The Return’ Has Made Traditional TV Recaps Obsolete

Still from Showtime's Twin Peaks: The Return, episode 8.

It might be technically over, but it’s been hard to let go of Twin Peaks: The Return, whose final two episodes aired last Sunday. I’d worried about this 18-part work, and how the powerful waves of nostalgia its arrival sent across the web would alter my experience of it. In the end, it was breathtaking: horrific, funny, bold, and masterful — even at its most frustrating.

The middle stretch of the series coincided with the seventh — mostly mediocre — season of Game of Thrones. The juxtaposition was revelatory: I realized how limited my tolerance of narrative experimentation had become in this supposed golden age of prestige television. On the right side, flimsy, expensive, predictable storytelling. On the left, something beautiful and impossible to define, at once seductive and hermetic. The two shows also encouraged very different types of engagement. Sure, redditors have come up with outré theories about both Jon Snow’s parentage and Agent Dale Cooper’s tulpas. But where the former forced you to think in straight lines and pose questions about verisimilitude (“how did those ravens fly so fast?”), the latter invited lateral explorations, detours, and multilayered analyses.

Speaking of which, Sarah Nicole Prickett has written gorgeous, spiral-like reviews after each episode (or pair of episodes), which Artforum has since collected into one mammoth post (the final installment is still forthcoming). These essays take the (mostly dull) genre of the weekly recap and inject it with a sense of intrepid questioning. Here, for example, is Prickett responding to the show’s eighth episode, likely the best hour of television I’ve ever watched.

Imagine having been a child in the jaundiced dawn of the Atomic Age, anticipating the death of all you’d known, the reality at Hiroshima and Nagasaki transposed on your Manhattan, or your Missoula, Montana. Imagine seeing one photograph in particular, depicting the instant shared death of a hundred thousand people and thinking, “I have an idea.” Seeing a perfect image in . . . a mushroom cloud, and making it your own. Who is so outrageous? Sylvia Plath? Bruce Conner? I would kill someone to have that kind of brain, which is why God didn’t give it to me. He gave it to Lynch, who reappears on The Return as FBI Regional Bureau Chief Gordon Cole, now with a fancier office, and behind his wide desk, as we saw in the third hour, a wider black-and-white photograph of a nuclear blast. Five hours later, this completely inappropriate decorating choice is explained.

We go to the first detonation of an atomic bomb, in White Sands, New Mexico, on July 16, 1945, at 5:45 AM (MWT). The date and time, with its stressed specificity, is like an evangelical’s save-the-date for this year’s doomsday. The Trinity Test we are about to see did in fact take place, but a shimmer of unlikelihood, like this is unbelievable, remains. The cloud mushrooms and swallows the camera, so it feels like we’re shrinking, like Alice in . . . Hell. The colors are too much for words: imperial purple, incarnadine orange, gold. (Lynch, in his wonderfully inadequate explanation for dissecting a stranger’s recently deceased cat in his basement, said that “when I opened up the inside, it was unbelievable—the organs inside the cat were brilliant colors, and as soon as the air got to them, all the color started draining out, right before your eyes.”) The rest of the episode is in lambent black-and-white, as in Lynch’s Eraserhead (1977). There are quivering shots, almost stills, displaying staticky, patterned abstractions that look like Ross Bleckner’s paintings after AIDS. Bleckner has said that the disease, with its radioactive threat, was “a total paradigm shift in consciousness, a rupture.”

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The Whistleblower in the Family

Spencer Platt/Getty Images

Pearl Abraham | Michigan Quarterly Review | September 2017 | 18 minutes (5,007 words)

“The power of narrative stems from the narrator’s ability to be there and then, as well as here and now.”

— C. Fred Alford, Whistleblowers: Broken Lives and Organizational Power

1

In 1974, the year Richard Nixon resigned to avoid impeachment, my father, a man with rabbinic aspirations, was deep in his own pickle, indicted for conspiracy and fraud in the federal summer school lunch program.

Nixon was brought down by Deep Throat, the pseudonym given the informant who passed information to Washington Post journalists about his administration’s involvement in what came to be known as the Watergate Scandal. My father got off somehow.

With him in court for one of his hearings, I suffered his ashen face, then his palpable relief when the case was deferred or dismissed, I’m not now sure which. I also don’t know whether his case made headlines the way rabbinic and priestly scandals do these days, “Five NJ Rabbis Arrested for Fraud and Conspiracy” a recent one.

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Peak Peaks

Longreads Pick

Twin Peaks: The Return is a show that clearly aimed to render weekly recaps impossible. That didn’t stop Sarah Nicole Prickett, whose Artforum mini-essays — now collected into one mammoth post — also challenge what it means to write about a TV show as it airs.

Source: Artforum
Published: Sep 2, 2017
Length: 91 minutes (22,976 words)

I Was a 9-Year-Old Playboy Bunny

Longreads Pick

A personal essay in which Shannon Lell recalls discovering her father’s porn collection when she was 9.  Looking back on her childhood longing to be a sex-symbol,  she grapples with a lifetime of self-objectification.

Source: Longreads
Published: Sep 6, 2017
Length: 9 minutes (2,345 words)

Plasma For Sale (Used) — $20 a Pop

Transfusion of human plasma. (Getty Images)

In this essay about her brother at Virginia Quarterly Review, Sarah Smarsh writes about how rich drug companies buy plasma from the poor and working poor, literally feeding their wealth with one of the few renewable resources the poor have to sell — their blood.

Your brother has a hole on the inside of each arm that never quite closes. A blood tap, really, like an oil well for drilling. He is a tall, strong man in his early thirties—an ideal source for plasma.

A woman calls his name. She takes his temperature and blood pressure. He gets to skip the full-blown health screening since he’s been coming here twice a week, off and on, for almost ten years. She pricks his finger to make sure his blood is okay today.

When your brother finally graduated, the economy was in the tank. As a first-generation college student he had no connections in the professional world, and no one to tell him that communications and history degrees were bad bets to begin with. A good job never turned up. For years he has worked at call centers, leasing agencies, shipping companies. Those paychecks don’t cover basic living costs, though. Thus, his face has aged a decade going in and out of this place by necessity.

The materials around the place tout the life-saving service he’s providing others; the plasma stripped from his blood will be turned into pharmaceuticals. Very expensive pharmaceuticals, ones he could never afford were he diagnosed with hemophilia or an immune disorder. He doesn’t have health insurance and could use a trip to the doctor himself. The promotional pamphlets and websites call what he’s doing a donation, but it’s really a sale.

The buyers are corporations with names like BioLife, Biotest, Octapharma. Plasma brings thirty, fifty bucks a pop depending on how often you go and how much you weigh. Your brother is in the highest weight class, which means he gets twenty dollars for the first donation of the week, forty-five dollars for the second.

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Like Sheep to the Sanitized Slaughter Zone

A Turkish Kurdish man pushes sheep on a handcart in the eastern Turkish town of Dogubayazit. (AP Photo/Murad Sezer)

Pelin Keskin first saw her grandfather sacrifice an animal for Eid al-Ahda when she was nine. Years later, visiting Turkey for a family wedding that coincides with the Eid, she reflects on what the day — and the sacrifice — means in a changing Turkey where the farmers and butchers integral to the holiday are hidden from view behind screens at a glossy new mega-grocery-markets, called hypermarkets.

Ten to 15 butchers, covered in blood and sweat, worked the sacrifice zone, trying to get the orders right. One calf panicked as it felt a rope try to lift it by its hind legs, while another next to it was completely gutted. A calf already skinned was sectioned into kilograms. It was like a Shake Shack line, but instead of a buzzer and a burger, you have a butcher yelling your number for kilos of fresh meat. I’ve been an unapologetic carnivore all my life, but there was something soulless, something haraam, about this unrelenting efficiency.

The appeal of formalizing the sacrificial process is understandable for both farmer and customer: There is clarity, ease, convenience. My younger uncle and I could’ve easily walked out with the meat and skipped the hassle of bargaining with farmers, but we still did things the traditional, more humanistic way. Days like Eid may unify the nation, but when you come across the scene at a Carrefour, it symbolizes a reality that’s almost laughably on the nose: Turkey, in all of its modernist efforts, is just covering up the smell of its own shit.

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The Top 5 Longreads of the Week

Photo by Helen H. Richardson / The Denver Post via Getty Images

This week, we’re sharing stories from Rana Dasgupta, Whitney Joiner, Jesse Barron, Kiese Laymon, and David Roth.

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On NYC’s Paratransit, Fighting for Safety, Respect, and Human Dignity

Longreads Pick

A personal essay in which civil rights attorney Britney Wilson recalls a ride home from work on NYC’s paratransit that exposed her vulnerabilities as a Black disabled woman.

Source: Longreads
Published: Sep 1, 2017
Length: 17 minutes (4,410 words)

On NYC’s Paratransit, Fighting for Safety, Respect, and Human Dignity

Illustration by Kjell Reigstad, Photo by Chris Sampson (via Flickr)

Britney Wilson | Longreads | September 2017 | 18 minutes (4,410 words)

 

He pulled up on the wrong side of the street fifteen minutes late for my pick-up time. I was sitting outside, in front of the New York City office building where I work, in a chair that the security guards at my job have set aside for me. They bring it outside when I come downstairs in the evening and take it back inside whenever I get picked up, so I don’t have to stand while I wait anymore. I was on the left side of the street; he pulled up on the right. I stood when I saw him, and taking a few steps closer to the tide of people rippling endlessly down the sidewalk that early evening, I waved one of my crutches in the air trying to get his attention. He looked up and down the street. I wasn’t sure if he’d seen me.

“Excuse me,” I said, taking a few more quick half steps forward, trying to catch the attention of a passer-by, “do you see that Access-a-Ride across the street?”

“The what?” the passer-by asked.

“The Access-a-Ride,” I repeated. “That little blue and white bus across the street.” I pointed my crutch in its direction, and his gaze followed its path.

“Oh,” he said. But just as I was about to request the man’s assistance, I saw that the driver had finally spotted me. He put his hand up as if to tell me to stay put.

“Nevermind. I think he sees me,” I said. “Thanks anyway.”

My Access-a-Ride driver, a skinny older Black man with glasses and a graying beard, exited the vehicle and crossed the street toward me. I bravely parted the latest oncoming wave of pedestrians and made my way to the curb to meet him.

“Come on,” the driver said when he reached me, urging me to step right out into traffic on Broadway and cross with him, but I was reluctant.

“I’d rather wait for the light to change,” I said.

“Don’t worry, I’ll stop traffic for you,” he said, moving toward the middle of the street, his right hand extended making a “stop” motion toward the oncoming cars. I tried to pick up my pace while also being careful not to place my crutch tips on anything slippery, or get too close to other pedestrians rushing to the other side of the street.

“Take your time. I’ll make them wait,” he attempted to reassure me. I wasn’t reassured.

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The Unknowable Diana, 20 Years On: A Reading List

(Princess Diana Archive/Getty Images)

There are two events that can define a separation of generations: Where were you when Princess Diana got married? Where were you when she died?

I was a tiny toddler sitting on my young mom’s lap for the first, an awkward 17-year-old for the second. San Diego’s Starlight Musical Theatre was in the middle of a production of Singin’ in the Rain and my job was to get costumes onto cast members before they hurtled out onstage.

Somehow I learned she was dead during the performance, in the time before widespread cell phones or internet. News spread fast, through the usual backstage channels, in whispers and passed notes. The busy dressing rooms were oddly quiet. People danced off stage and started crying in the wings. Downstairs, near the costume shop, they used the pay phone to find out details from friends.

The world seemed stunned, half silent. But why? Why did we spend the next few days glued to the television and the radio? Why did we leave flowers and sing songs and feel personally affected by a woman few knew and even fewer ever understood? Who was this bashful princess, anyway? This reading list contains a few answers—but 20 years after her death, the enigmatic Diana is harder to grasp than ever.

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