Search Results for: fiction

When the Dishes Are Done, I Wonder About Progress

Lady Godiva rides through the streets of Coventry. July 1, 1962. (John Franks/Keystone/Getty Images)

Sarah Haas | Longreads | October 2019 | 11 minutes (2,825 words)

In the days after reading Coventry, Rachel Cusk’s newest book and first collection of essays, I knew I’d been affected — deeply — but struggled to understand how. A binding together of pieces published between 2006 and 2019, it’s not clear whether Coventry was written with its final product in mind. Sure, the architecture seems intentional — as in it makes sense to read the collection from left to right — but without a central nor obvious thesis at its core, interpretation of the whole seemed to require an unfounded creativity. To make sense of Coventry I’d created a narrative that positioned the book against Cusk’s own storied life, imagining the collection as an allegory for the author’s experience of having been pummeled by so many critics. Reviewers of her other nonfiction works have called Cusk “condescending,” “terrible,” and cruel — an adjective that still sticks to her persona today. Wanting for narrative, I imbued Coventry with the arc, protagonists, and villains I’d imagined part of her life story. But then I heard Cusk’s voice like a whisper, proclaiming the death of exposition and character, as she did in a 2017 interview with The New Yorker. Cusk has been careful to ensure the absence of both in her work but, habituated to expect it, I’d struggled to yield. Just past the edge of my attention, my mind filled in the void by assigning Cusk the burden of the narrative’s enactment. It was the first time as a reader that I felt the success of a book depended not on the author’s ability, but on mine. Read more…

It’s Time To Talk About Solar Geoengineering

Kamachai Charoenpongchai / EyeEm / Getty

Holly Jean Buck | an excerpt adapted from After Geoengineering: Climate Tragedy, Repair, and Restoration | Verso | 2019 | 24 minutes (6,467 words)

December in California at one degree of warming: ash motes float lazily through the afternoon light as distant wildfires rage. This smoky “winter” follows a brutal autumn at one degree of warming: a wayward hurricane roared toward Ireland, while Puerto Rico’s grid, lashed by winds, remains dark. This winter, the stratospheric winds break down. The polar jet splits and warps, shoving cold air into the middle of the United States. Then, summer again: drought grips Europe, forests in Sweden are burning, the Rhine is drying up. And so on.

One degree of warming has already revealed itself to be about more than just elevated temperatures. Wild variability is the new normal. Atmospheric patterns get stuck in place, creating multiweek spells of weather that are out of place. Megafires and extreme events are also the new normal — or the new abnormal, as Jerry Brown, California’s former governor, put it. One degree is more than one unit of measurement. One degree is about the uncanny, and the unfamiliar.

If this is one degree, what will three degrees be like? Four?

At some point — maybe it will be two, or three, or four degrees of warming — people will lose hope in the capacity of current emissions-reduction measures to avert climate upheaval. On one hand, there is a personal threshold at which one loses hope: many of the climate scientists I know are there already. But there ’s also a societal threshold: a turning point, after which the collective discourse of ambition will slip into something else. A shift of narrative. Voices that say, “Let’s be realistic; we’re not going to make it.” Whatever making it means: perhaps limiting warming to 2°C, or 1.5, as the Paris Agreement urged the world to strive for. There will be a moment where “we,” in some kind of implied community, decide that something else must be tried. Where “we” say: Okay, it’s too late. We didn’t try our best, and now we are in that bad future. Then, there will be grappling for something that can be done. Read more…

Hello, Forgetfulness; Hello, Mother

Roxana Wegner / Getty

Marcia Aldrich | Longreads | October 2019 | 19 minutes (4,770 words)

I can’t pinpoint when it began. Or whether what is happening to me is the same thing that happened to my mother. Is it the first signs of dementia or just your run-of-the-mill aging?

I had lived far away from Pennsylvania and only seen my parents intermittently for short visits since going away to college. With my mother, the first sign of change I noticed was that she couldn’t remember the titles of novels she had just read or television shows she had just watched. She’d search an invisible memory bank to identify the titles with a baffled look on her face when she found it empty, then shrug the moment of forgetfulness away. Her usually precise way of speaking, of being in the world, started to soften at the edges. She mumbled as if she were sucking on a lozenge she didn’t want to spit out or swallow. I thought she was just slowing down and this was what aging looked like. By the time she became a depressed person, the deterioration had been going on for years and it was something more than aging. Who knows for how long the changes had been fomenting, how far back I would have to go to ferret out the beginning — 10 years, 15? After all, she worked at hiding the slippage, handing the phone to my father when I called, laughing away the mistakes she made. She used her considerable charm, long honed, to divert attention from the truth, for example that the New York Times Sunday crossword puzzle that she had been religiously completing for decades was now blank, the squares empty, folded in the bathroom where she thought no one would see it.

At a more advanced stage, she became resistant to change. My mother, who had loved nothing better than a shift in scenery, a drive, a travel expedition, became someone who didn’t even like walking out the front door. My father couldn’t get her in the car to make their seasonal pilgrimage back to Pennsylvania from their winter’s stay in Florida. She wouldn’t do it. I pictured my mother bracing her leg against the door, refusing to enter the car, and my father who wasn’t about to use force, though I’m sure he thought about it, trying to coax her as one would coax a child to do something they didn’t want to do. What did he promise her? A new ring? An ice cream cone? But nothing worked and weeks would pass with my father delaying their departure, carrying the suitcases back inside, until something broke and she got in the car. He’d call my sisters and me from a spot on the road to say they had finally started the drive home. What had eased enough for her to proceed? My father said he didn’t know what allowed him to hustle my mother into the car, but he wasn’t going to count on these sudden and unpredictable openings anymore. He was giving up, and thereafter they stayed holed up in their condominium in Pennsylvania and never went anywhere again.
Read more…

Climate Messaging: A Case for Negativity

A home on stilts sits amidst coastal waters and marshlands along Louisiana Highway 1 on August 24, 2019 in Grand Isle, Louisiana. Since the 1930s, Louisiana has lost over 2,000 square miles of land and wetlands, an area roughly the size of Delaware. (Photo by Drew Angerer/Getty Images)

Rebecca McCarthy | Longreads | September 2019 | 14 minutes (3,656 words)

An ex-boyfriend once told me that if someone were to make a movie about his life it would begin with a pregnant woman riding a Coke machine out of a hurricane. That woman was his grandmother, pregnant with his dad during Hurricane Audrey, which killed at least 416 people, spawned 23 tornadoes inland, and effectively destroyed Cameron Parish — currently the largest parish in Louisiana and one of the least populated. Cameron was hit again in 2005 by Hurricane Rita, which wiped out my ex-boyfriend’s house, and then again in 2008 by Hurricane Ike. It was in the news more recently when it was revealed the area has the highest percentage of climate change skeptics in the country.

I was indignant, not about the polling but about the way it was presented. The economy down there is heavily reliant on shrimping and oil. Young people generally move forty miles north up to the city of Lake Charles in Calcasieu Parish and the land in Cameron is forecast to be some of the first in the United States to disappear into the sea — a much-cited football field of the state is lost to the Gulf of Mexico every hour and the land is turning to lace. It’s not that people in Cameron are just supernaturally stupid, I said to this ex-boyfriend over the phone, the problem is that most everyone who had the means and believes in climate change has already left. He’s a coastal engineer working on a project to restore the state’s wetlands, so it’s not like he’s indifferent to this, but he told me not to get worked up.

“We are stupid,” he said. Read more…

The Bread Thread

Daniel Grizelj, Getty / Photo illustration by Katie Kosma

Emily Weitzman | Longreads | September 2019 | 13 minutes (3,335 words)

 

EMILY WEITZMAN IS A HUGE FUCKING SLUT.

 

The words leap out of the computer screen and hang in the air. Enlarging, colliding, rearranging:

 

EMILY WEITZMAN IS A HUGE FUCKING SLUT.

Emily Weitzman Is a Fucking Huge Slut

Emily Weitzman Is Fucking A Huge Slut

Emily Is Weitzman Fucking A Slut

Weitzman A Fucking Slut

Huge Fucking, Emily:

SLUT.

 

When I sign on to my college’s gossip site, the “Anonymous Confession Board,” there’s my name at the top of the homepage. The words glare back at me. I rush into my dorm room and shut the door. I’m terrified the entire freshman class has seen the post by now. “Anonymous” could be in my English class or my dorm room or my bed. I hide in my room and call my friend Lisle, four floors below in Clark Hall. She has seen the thread and already begun retaliating. But every time she replies to defend me, the insult continues to rise to the top of the homepage. Lisle decides we should force the post down the page by starting another thread. Instead of writing slander, we set out to find a topic that’s neutral, undeniably loved.

The answer is simple: bread.

We call it: “The Bread Thread.” Lisle explains: “Everyone loves bread!” Maybe you don’t eat bread, but you likely don’t despise it either. The first post begins: I FUCKING LOVE BREAD! Soon someone adds: I thought no one could relate to my obsession with bread! People get into friendly debates on what’s the best bread spread. They post about white bread, wheat bread, flat bread, pita bread, rye bread, corn bread, banana bread, tortilla. “The Bread Thread” spreads across campus. Everyone writes of their love for the loaf.

Read more…

Where Am I?

AP Photo/Dario Lopez-Mills

Heather Sellers True Story | April 2019 | 44 minutes (8,983 words)

 

I was on my way home, flying from New York back to Florida. In the heart of Manhattan, I had given a keynote address to a large group of researchers at Rockefeller University. Internationally known neuroscientists, men and women at the top of their field, had been interested in what I had to say. I still couldn’t believe how well it had gone.

When we landed in Tampa, the plane, full of Disney-bound families and snow birds, nosed up to the gate, and I strode down the jet bridge. Confident and successful in my big-city clothes — black boots, black tights, black silk tunic — I followed the stream of passengers ahead of me as we made our way past the gates.

Read more…

The Art of Acceptance Speech Giving

Angela Weiss / Getty, Illustration by Homestead Studio

Michael Musto | Longreads | September 2019 | 9 minutes (2,135 words)

We’ve heard it a million times: “I was nothing until I got this award, and now I’m everything. But this honor isn’t really for me. It’s for you — all the little people out there in the dark, who now have all the inspiration you need to know that someday you can be as great as I am. You just might be holding this trophy someday long into the future — though right now, it’s me! And I love it! Thank you to the Academy, CAA, and God — in that order!!!!”

Inspirational, right? Nope. That’s actually a tone deaf, self aggrandizing approach to an awards speech, and we usually end up loathing the winner for being so condescendingly grand about their big moment. It comes off extra phony because we sense that, deep down, the winner isn’t really thrilled with the idea that this honor may lead to millions of other wannabes yapping at their heels and trying to win one.

So what should an award winner say? Well, with the mass audience taking to social networks to dissect every moment of awards shows, speechmaking definitely makes a difference, to the point where a 90-second acceptance can make or break a career almost as much as the award itself can. Anne Hathaway seemed to become significantly less popular because of her breathless laundry lists of names (and by starting her Oscar speech with “It came true”), whereas Meryl Streep has become even more beloved because her speeches are invariably witty, pointed, and also touching. (They should let Meryl win every time, even when she’s not nominated, just so we can hear her talk.)

Meryl knows that an acceptance speech should be sincere yet entertaining, succinct yet somewhat comprehensive, and humble yet confident, and there should also be some real emotion involved. In another seeming contradiction, there needs to be serious thought put into what the winner is saying, but they should also make sure to brim with the spontaneity of the moment. Come on, folks, you’re actors — you can do it.

Glenn Close did brilliantly at the Golden Globes earlier this year, when she was a surprise Best Actress winner for The Wife. Glenn looked shocked when her name was called, yet she quickly composed herself to speak about the themes of the movie and to come off truly grateful and honored. And in framing The Wife as being about a talented woman living in someone else’s shadow, she seemed to herself be crawling out from behind Meryl Streep! It was such a terrific speech that I was sure it clinched Glenn the Oscar, but that instead went to The Favourite’s Olivia Colman, who wasn’t necessarily the favorite, but gave a lovably daffy acceptance that was eccentric and droll.

Alas, instead of speeches like those, we usually get Hathaway-like name checks (“I want to thank my accountant, Jim; my trainer, Joanne…”), speeches that leave out key names (In 2000, when Hilary Swank won her first Oscar, for Boy’s Don’t Cry, she forgot to thank then-hubby Chad Lowe; they eventually split), phony bouts of gushing, self-satisfied preening, fake-spontaneous recitations (“I didn’t plan anything”) that seem to have been rehearsed for months, and canned orations full of platitudes and advice, as if we schlepps out there want nothing more than to someday win Best Lighting in a Musical, and the winner knows just how we can get there.
Read more…

Regarding the Interpretation of Others

Jean-Regis Rouston/Roger Viollet via Getty Images

Patrick Nathan | Longreads | September 2019 | 30 minutes (8,235 words)


“The only review of Under the Sign of Saturn would be the eighth essay — an essay describing me as I have described them. The pathos of intellectual avidity, the collector (mind as every-thing), melancholy & history, arbitrating the moral claim versus aestheticism, and so forth. The intellectual as an impossible project.”

Susan Sontag, journal entry, May 1980


 

1:

Differently, we buy and borrow, and steal, our ongoing educations. American writers tend to forget this, even dissuade it. There is an assumption — general, if not unconscious — that “we” have all read Raymond Carver and Joan Didion, seen Dazed and Confused and The Princess Bride, and exhausted “prestige” television from Lost to Big Little Lies. That these works are canon in a post- or anti-canonical culture highlights the need for inexhaustible and pluralistic inspiration against the deprivation of that need. What’s worse, if you are labeled — black, queer, immigrant, disabled, trans, or a woman — those expectations constrict; the canon tightens. To be a gay writer means one must have read Edmund White and seen Mean Girls; to write as a black woman means one must have read Angela Davis and seen Kara Walker’s silhouettes. What was supposed to liberate our literary sensibilities has reduced us, clinically, to trained specialists. Under this pressure, so carefully curated and categorized, it’s difficult to will one’s own work into being. To learn passively, and ultimately write passively, is the great cultural temptation.

Yes, I have been reading — and reading about — Susan Sontag. There is nothing passive in her legacy. In her combined erudition, ambition, and seriousness, she has few peers, and for several years she has symbolized my aspirations as a writer — the uncompromising rigor with which she approached her essays; her self-proclaimed interest in “everything”; an urgency in dissenting, when ethically necessary, from received opinion; her energy in consuming art constantly; and the esteem, to the end of her life, in which she held literature, above all fiction. Her passion is contagious. Sontag’s narcotic approach to art and experience is, for a provincial writer with little access, renewably invigorating; and because Sontag’s lifetime of work is willed, Nietzscheanly, from her passions, reading about her life is its own invigorating project. In this, Benjamin Moser’s Sontag: Her Life and Work, at 832 pages, is certainly her legacy’s largest complement. Read more…

Communiqué from an Exurban Satellite Clinic of a Cancer Pavilion Named after a Financier

Mannequins modeling a wig and a cooling accessory to be worn under a wig by someone undergoing chemotherapy. (FABRICE COFFRINI/AFP/Getty Images)

Anne Boyer | an excerpt adapted from The Undying| Farrar, Straus and Giroux | September 2019 | 14 minutes (3,665 words)

 

Pull your hair out by the handfuls in socially distressing locations: Sephora, family court, Bank of America, in whatever location where you do your paid work, while in conversation with the landlord, at Leavenworth prison, however in the gaze of men. Negotiate for what you need because you will need it now more than ever. If these negotiations fail, yank your hair out of your head in front of who would deny you, leave clumps of your hair in the woods, on the prairies, in QuikTrip parking lots, in front of every bar at which your conventionally feminine appearance earned you and your friends pitchers of domestic beer.

Put your head out the window of the car and let the wind blow the hair off your head. Let your friends harvest locks of your hair to give to other friends to leave in socially distressing locations: to scatter at ports, at national monuments, inside the architecture built to make ordinary people feel small and stupid, to throw against harassers on the streets.

Pull your pubic hair out in clumps from the root and send it in unmarked envelopes to technocrats. Leave your armpit hair at the Superfund site you once lived near, your nose hairs for any human resources officer who denies you leave. Read more…

McDreamy, McSteamy, and McConnell

Illustration by Jason Raish

Samuel Ashworth| Longreads | September 2019 | 13 minutes (3,389 words)

 

Senators Ted Cruz (R-TX) and Marco Rubio (R-FL) are nestled in one another’s arms, sweat glistening on their muscled chests. They kiss softly and tenderly. It’s the middle of the night in a hotel somewhere on the campaign trail, and they are in love.

“So, if you were an animal, which would you be?” asks Ted.

“Let me think,” says Marco. “A manatee.”

Welcome, friends, to the glorious world of congressional fan fiction. If you’ve always associated fan fiction with the kind of people who hand-sew their own Star Trek jumpsuits, think again. Since going online in the late ’90s, fan fiction — a fan-created spinoff (sometimes way, way off) of an already-existing pop culture presence — has exploded. Its protagonists range from fictional, like Han Solo, to real, like Ariana Grande or members of the British Parliament. Published stories, which can range from a few hundred words to a few hundred thousand, number in the tens of millions, and boast an immense readership. The genre also remains one of the few resolutely not-for-profit corners of the internet: Since the work often involves trademarked intellectual property, fair use rules forbid fanfic authors from making money off their writing, unless they change all recognizable details, as E.L. James did with her BDSM Twilight fanfic story, Fifty Shades of Grey. Stories about congress fall under the penumbra of “Real-person fiction,” which isn’t bound by copyright laws in the same way.
Read more…