Search Results for: fuck

The Top 5 Longreads of the Week

Below, our favorite stories of the week. Kindle and Readmill users, you can also get them as a Readlist.

Sign up to receive this list free every Friday in your inbox.

 

Read more…

Playboy Interview: Gawker’s Nick Denton

Longreads Pick

The media entrepreneur’s vision for the future of content and journalism:

DENTON: The Panopticon—the prison in which everybody is exposed to scrutiny all the time. Do you remember the website Fucked Company? It was big in about 2000, 2001. I was CEO of Moreover Technologies at the time. A saleswoman put in an anonymous report to the site about my having paid for the eye operation of a young male executive I had the hots for. The story, like many stories, was roughly half true. Yes, there was a young male executive. Yes, he did have an eye operation. No, it wasn’t paid for by me. It was paid for by the company’s health insurance according to normal procedure. And no, I didn’t fancy him; I detested him. It’s such a great example of Fucked Company and, by extension, most internet discussion systems. There’s some real truth that gets told that is never of a scale to warrant mainstream media attention, and there’s also no mechanism for fact-checking, no mechanism to actually converge on some real truth. It’s out there. Half of it’s right. Half of it’s wrong. You don’t know which half is which. What if we could develop a system for collaboratively reaching the truth? Sources and subjects and writers and editors and readers and casual armchair experts asking questions and answering them, with follow-ups and rebuttals. What if we could actually have a journalistic process that didn’t require paid journalists and tape recorders and the cost of a traditional journalistic operation? You could actually uncover everything—every abusive executive, every corrupt eye operation.

Source: Playboy
Published: Feb 21, 2014
Length: 30 minutes (7,539 words)

David Foster Wallace and the Nature of Fact

Josh Roiland | Literary Journalism Studies | Fall 2013 | 23 minutes (5,690 words)

Josh Roiland is an Assistant Professor in the Department of Communication & Journalism and a CLAS-Honors Preceptor in the Honors College at the University of Maine. Roiland is a cultural historian of the American news media, who researches and teaches classes on the cultural, political, and literary significance of American journalism. This piece originally appeared in the Fall 2013 issue of Literary Journalism Studies. Our thanks to Roiland for allowing us to reprint it here, and for adding this introduction:

David Foster Wallace saw clear lines between journalists and novelists who write nonfiction, and he wrestled throughout his career with whether a different set of rules applied to the latter category. In the years after his death, he has faced charges of embellishment and exaggeration by his close friend Jonathan Franzen and repeated by his biographer D.T. Max. Their criticisms, however, do not adequately address the intricate philosophy Wallace formulated about genre classification and the fact/fiction divide. This article explores those nuances and argues that Wallace’s thinking about genre was complex, multifaceted, and that it evolved during his writing life.

* * *

Before he sat down with the best tennis player on the planet for a noonday interview in the middle of the 2006 Wimbledon fortnight, David Foster Wallace prepared a script. Atop a notebook page he wrote, “R.Federer Interview Qs.” and below he jotted in very fine print 13 questions. After three innocuous ice breakers, Wallace turned his attention to perhaps the most prominent theme in all his writing: consciousness. Acknowledging the abnormal interview approach, Wallace prefaced these next nine inquires with a printed subhead: “Non-Journalist Questions.” Each interrogation is a paragraph long, filled with digressions, asides, and qualifications; several contain superscripted addendums.  In short, they read like they’re written by David Foster Wallace. He asks Roger Federer if he’s aware of his own greatness, aware of the unceasing media microscope he operates under, aware of his uncommon elevation of athletics to the level of aesthetics, aware of how great his great shots really are. Wallace even wrote, “How aware are you of the ballboys?” before crossing the question out.

Read more…

Too Poor for Pop Culture?

“What the fuck is a selfie?” said Miss Sheryl.

“When a stupid person with a smartphone flicks themselves and looks at it,” I said to the room. She replied with a raised eyebrow, “Oh?”

It’s amazing how the news seems so instant to most from my generation with our iPhones, Wi-Fi, tablets and iPads, but actually it isn’t. The idea of information being class-based as well became evident to me when I watched my friends talk about a weeks-old story as if it happened yesterday.

* * *

Miss Sheryl doesn’t have a computer and definitely wouldn’t know what a selfie is. Her cell runs on minutes and doesn’t have a camera. Like many of us, she’s too poor to participate in pop culture. She’s on public assistance living in public housing and scrambles for odd jobs to survive.

D. Watkins, writing in Salon, on how class differences influence the consumption of pop culture. Read more from Salon in the Longreads archive.

Photo: Urban Feel, Flickr

***

We need your help to get to 5,000 Longreads Members.

Join Longreads now and help us keep going.

My Tears See More Than My Eyes: My Son’s Depression and the Power of Art

Alan Shapiro | Virginia Quarterly Review| Fall 2006 | 20 minutes (4,928 words)

Alan Shapiro published two books in January 2012: Broadway Baby, a novel, from Algonquin Books, and Night of the Republic, poetry, from Houghton Mifflin/Harcourt. This essay first appeared in the Virginia Quarterly Review (subscribe here). Our thanks to Shapiro for allowing us to reprint it here, and for sharing an update on Nat’s life (see the postscript below).

***

Read more…

How to Forgive Yourself

“I’ve never forgiven myself. I think eventually you realize that it’s just another form of self-indulgence to keep beating the shit out of yourself so you sort of try not to. If you fuel all of that guilt you’re going to be the guy who walks into a room who radiates self-loathing, which God knows I’ve been for years before I realized people were passing out whenever I walked into a room. I think you do it as much for other people because it just becomes a fucking bore to carry that cross around.”

-Author Jerry Stahl (Permanent Midnight, Happy Mutant Baby Pills) on The Nerdist podcast. Read more on forgiveness.

(h/t contexual_life)

***

Photo: Wikimedia Commons

We need your help to get to 5,000 Longreads Members.

Join Longreads now and help us keep going.

In the Belly of the Beast

Longreads Pick

Animal rights activists uncover the dark underbelly of factory farming:

Carlson’s secretly recorded footage, compiled over more than a month, triggered a cruelty indictment and cost the dairy a major buyer. The takedown, in 2008, was Carlson’s first assignment. Hired out of college by Kroll Advisory Solutions to gather business data, he left to find work at a nonprofit firm devoted to social justice. Neither the Polaris Project nor the Environmental Investigation Agency called back, but Mercy for Animals did. After several weeks of training, he hired on at Willet, a giant dairy in Locke, New York, that churned out 40,000 gallons of milk a day. So damning was his footage of standard factory-farming practice – chopping the tails off calves without anesthesia; gouging the horns off their heads with hot branding irons, also without anesthesia; punching cows, kicking calves, beating desperately sick downers – that Nightline ran it on national TV, confronting Willet’s CEO on camera. “Our animals are critically important to our well-being, so we work hard to treat them well,” droned Lyndon Odell of the 5,000 cows standing in lagoons of their own shit. Shown tape of the tortured calves, and pressed on whether a cow feels pain, he rolled his shoulders and mumbled, “I guess I can’t speak for the cow.” It bears saying here that nothing would have come from the tape if left to the whims of Jon Budelmann, the Cayuga County DA. “We approached him with our evidence and he told us to fuck off – he wasn’t going to take on Big Dairy,” says Carlson. “It was only after we went to the media with the tape that he got off his ass and brought charges.” (Budelmann later cleared Willet of any wrongdoing, telling the Syracuse Post-Standard that while Willet’s practices might seem harsh to consumers, they’re “not currently illegal in New York state.”)

Source: Rolling Stone
Published: Dec 10, 2013
Length: 29 minutes (7,298 words)

‘The first time I shaved my eyebrows was in fifth grade’

Longreads Pick

Edith Zimmerman on the mystery of the eyebrow—and why we have mirrors:

I can’t remember the first time I plucked my eyebrows, but the first time I shaved them was in fifth grade. My stepbrother had been making fun of my unibrow, which until then I hadn’t known I’d had. “Well, at least I have two eyebrows,” he said, ending whatever stupid fight we were having with a comment that was both confusing and clearly an insult, so I said something like, “Whatever, fuck you,” and ran off to the bathroom to check my face, on the unlikely chance that one of my eyebrows had literally fallen off, leaving a single strip over one eye. But looking in the mirror, I realized he meant that mine joined in the middle.

A few minutes later, I dragged my stepmother’s plastic razor down my forehead between my eyes (is there a name for that area?), slightly off-center.

Source: Into the Gloss
Published: Dec 5, 2013
Length: 8 minutes (2,230 words)

A Question for Storytellers

“I want a good story, but I want it to be told for a reason. Is affirmation that the storyteller exists a good enough reason for the story to be told? Sometimes. Some stories aren’t told as often as others. I’m not saying there is a hierarchy of suitable topics for essays. Not everything should be about death or hunger or, you know, celebrity diets. But it’s really the frequent lack of quality in the story itself that bothers me, especially when it’s done for a price. Then I wonder what the fuck is going on. Then I ask myself why and what and why again, over and over. Then I feel like no one is asking why they are telling their stories. It seems like the only answer to that question is: so that I can be heard.”

Jen Vafidis, in a short post for Vol. 1 Brooklyn, on the question of why we tell stories. Read more on writing.

(h/t @legalnomads)

***

Photo: catnipstudio, Flickr

We need your help to get to 5,000 Longreads Members.

Join Longreads now and help us keep going.

Elizabeth Gilbert and the Art of Ignoring Rejection

elizabeth-gilbert

“I was just so committed, and I did have six years of rejection letters. And it really didn’t break my heart. Some of them made me really excited because some of them had little handwritten notes at the bottom. Pretty good, but not our thing. And I was like, I got a really great handwritten note from Harper’s! And I would hang it on my wall, like, That’s such a great rejection letter! I don’t know why I felt like I had the right to do it. I don’t know. I’ve always been really surprised—and I really remain very surprised—at people who don’t think they have the right to do their work, or feel like they need a permission slip from the principal to do it, or who doubt their voice. I’m always like, What? What? Fucking do it! Just fucking do it! What’s the worst that could happen?! You fucking fail! Then you do it again and you wear them down and they get sick of rejecting you. And they get tired of seeing your letters and they just give up. They don’t have any choice. So part of it was real confidence, and part of it was fake confidence, and part of it was insecurity. It was a combination of all them.”

Elizabeth Gilbert, in The Rumpus.

Read the story