Search Results for: incarceration

A New View of Crime in America

Pat Sutphin / The Times-News via AP

Fox Butterfield | In My Father’s House | Knopf | October 2018 | 37 minutes (7,317 words)

 

Tracey

A Fateful Compulsion

At precisely 8:00 a.m. on August 10, 2009, a solitary figure emerged from the front gate of the sprawling Oregon State Correctional Institution. The man looked small set against the immensity of the yellow-painted prison complex, sheathed by coils of gleaming razor wire. It was Tracey Bogle. He had just finished serving his full sixteen-year sentence for the attack on Dave Fijalka and Sandra Jackson, and he was carrying a large plastic trash bag that held all his worldly possessions: a well-thumbed Bible, a few other books, his copious legal file and a change of clothes. Tracey was wearing black slacks and a dark collared shirt that had been donated to him by two volunteers from the Seventh Day Adventist Church. They had also given him $25, the only money he had.

No members of Tracey’s family were waiting to meet him. His brothers were all in prison themselves. His two sisters were leading vagabond lives, doing drugs and panhandling where they could. His mother, Kathy, was about to go on trial and then go to jail too. So Tracey had asked me—knowing that I was working on a book about the Bogle family—if I would pick him up. He needed a ride to the halfway house for newly released sex offenders where he would be required to live by state law, and he needed to be driven to meet his new parole officer and to a state office to get his allowance of food stamps so he could buy food. He also had to report to the Oregon State Police office to register as a sex offender.

At first I was reluctant. As a correspondent for The New York Times for thirty-six years, I had followed the paper’s strict code of not becoming personally involved with a source to get a story. But Tracey had no one else to turn to, and I knew from reporting on criminal justice for the past fifteen years that the odds of a newly released inmate making a successful transition back to life outside prison were bleak. In fact, a comprehensive national survey of state prison inmates by the Bureau of Justice Statistics found that two-thirds of the 600,000 inmates released every year are rearrested within three years, and three-quarters of all inmates are rearrested within five years. Our prisons have become a giant, expensive recycling machine that feeds on itself. Repeated findings by criminologists about this high level of failure had led one leading sociologist, Robert Martinson, to conclude, “With few and isolated exceptions, the rehabilitation efforts that have been reported so far have had no appreciable effect on recidivism.”

Martinson’s conclusion was so damning that it soon became known as the “nothing works” doctrine in trying to rehabilitate inmates. Later research by other criminologists questioned Martinson’s findings, but the “nothing works” notion helped lay the groundwork for America’s great social experiment with mass incarceration in the 1970s, 1980s and 1990s as the way to solve our crime problem. So I thought that picking Tracey up on his release from prison and following him around for a week or two might give me an insight into why so few convicts were able to make a successful reentry into civilian life.

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Remembering G. Dep, the Rapper Who Confessed to a 17-Year Old Cold Case

(Photo by Suzi Pratt/WireImage)

Among the standout tracks on Lil Wayne’s Tha Carter V, the long awaited and oft delayed fifth album in the rapper’s conceptual discography, the highlight might just be “Uproar,” a ridiculously bouncy track that is as much of a throwback to Wayne’s glory days as it is a sign of the musician’s continued evolution.

Of note, though, isn’t just the song’s lyrics — but also the beat, produced by Swizz Beatz and a reimagining of G. Dep’s “Special Delivery” beat, a 17-year old song that reigned supreme over the NYC airwaves in the early 2000s (signed to Bad Boy Records, G. Dep was a Harlem native). What’s so fascinating about a remixed “Special Delivery” is two-fold: Wayne uses the beat as he would a freestyle, nimbly interweaving bars throughout the boombap-cum-keyboard laden sample; and the release of “Uproar” brings G. Dep (born Trevell Coleman) back to the current pop culture fold.

As chronicled by Jennifer Gonnerman for New York Magazine, Coleman confessed in 2010 to a cold case murder committed in 1993; Coleman pled guilty to second-degree murder, revealing how he shot a man three times and fled the scene without knowing whether the individual died. In his confession, Coleman outlined why he decided to suddenly come forward: “The reason I turned myself in was because I felt awful about what I did and I wanted to make it right for this guy’s family.”

Gonnerman deftly reports on Coleman, his rise to G. Dep fame, and his current incarceration (at Elmira Correctional Facility until at least 2025), and it’s worth revisiting the 2012 profile in light of Lil Wayne’s “Special Delivery” revival.

At times, his life felt like a series of endless internal calculations, all part of an effort to, as he later explained, “balance myself out.” If he bought a coat, he might scribble on one pocket with a marker before putting it on, just to deprive himself of the chance to wear something completely new. He never had much money, and he was so determined to give away what he did have that a few times he stuffed bills into the coin slots of pay phones, then walked away. Afterward, he’d feel a little better—“I did think, Well, okay, now I don’t have to feel like I have too much regret,” he says—but the relief was only temporary.

Coleman and his wife had separated, but he still stopped by to visit his 7-year-old sons. Some days, he’d be seated with them at the table, sharing a meal, thinking how blessed he was to have such beautiful boys, and suddenly be seized by guilt. Did the man he shot at have any kids? What happened to them? And why should he get to spend time with his kids if there was a chance he’d robbed another child of his father?

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Stripped: The Search for Human Rights in US Women’s Prisons

Illustration by Wenjia Tang

Adam Skolnick | Longreads | September 2018 | 36 minutes (9,904 words)

“The degree of civilization in a society can be judged by entering its prisons.”
— Fyodor Dostoevsky

“God’s mercies are infinite. They are new every morning.”
— Lamentations 3:23

Though its pews were packed, the courtroom was silent as a sanctuary. Most onlookers who filed into Pierce County Superior Court in Tacoma, Washington, on January 25, 2013, were residents of nearby Gig Harbor, a community shaken by a shocking crime, here for the final act: the sentencing.

In the front row, Kay Nelson watched nervously as her sister, Karen Lofgren, the defendant, prepared to make her final statement. The sisters lived two streets apart. Nelson’s children were like older siblings to Lofgren’s two daughters, who were just 6 and 9 years old. Conservative and Christian, Nelson had always been an advocate for tougher crime laws, and until her sister landed in Lady Justice’s crosshairs, she could have never fathomed praying for a judge in criminal court to show mercy on her behalf.

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Confessions of An Unredeemed Fan

Shirlaine Forrest / Getty

Leslie Jamison | Tin House | Spring 2017 | 18 minutes (4,943 words)

Amy Winehouse’s last big concert was in Belgrade, a month before she died. This was June of 2011. Billed as the beginning of her comeback tour, the gig turned into one of her most infamous train wrecks: when she came on stage, she was drunk beyond the point of making sense, beyond the point of standing — tripping and crouching, sitting down to take off her shoes, leaning into her bass guitarist and holding his hand. The crowd started heckling her early and didn’t let up. “Sing!” they shouted. “Sing! Sing!”

Her eyes were as large as a child’s, as if she’d been dropped into a life she had no idea how to live. Her life had been unmanageable for years. But the thing was, she had all this management: a promoter, a producer, a father. She was asleep when they put her on the plane to Serbia. She slept for the whole flight, woke up to her own life, and heard: Sing! Her fans loved her as long as she gave them what they needed — as long as she broke down so they could watch, as long as she picked herself back up again so she could give them her voice. Her backup guys in their orange suits didn’t know what to do with her.

The footage of Belgrade is nearly impossible to believe, but there it is, happening over and over again, as many times as you want to click the YouTube refresh button. Amy stumbles along in her tiny yellow dress with ragged stripes of black, a bruised banana. When she falls off an amp, her drummer’s smile stretches into something more like a grimace. Is this an oh-those-self-destructive-music-legends-how-they-fuck-up moment or an actually-this-woman-is-basically-committing-suicide-right-in-front-of-you moment? He isn’t sure what face to make. The public didn’t know what face to make for years. “She’s shit-faced,” says a voice on the YouTube video. “She doesn’t know where she is.” And then: “Look at her. Look at her.” At a certain point, her face changes. She’s not confused anymore, or scared. She’s smirking. Her smirk seems to say, I’m done with this. She throws the mic. Someone hands her another. One voice cries out: “Sing or give me my money back!”


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She finally does sing, her voice barely audible above her music — above the song she’d written to turn her heartbreak into something beautiful, something profitable, your love goes and my love grows, the music that had turned her into a tabloid sensation it never seemed like she wanted to be. At a certain point, her voice is no longer audible above the noise of the crowd, the sounds of their frustration and desire, their voices reminding her of the words to her own song.

* * *

The public loved to see Amy fucking up. They loved to hate her, loved to judge her, loved to feel bad for her. They loved to relate to her, whatever the terms of that relation, because it brought them closer to her, and what they wanted most was access. The public loved to watch her falling apart. The darkness inside her was always spilling out. They got more of it than they wanted: She couldn’t sing for them in Belgrade. She couldn’t stay alive for them in London.

The public loved to see Amy fucking up. They loved to hate her, loved to judge her, loved to feel bad for her.

At a concert on the Isle of Wight, where she slurred her mumbled words behind a wheel bearing the title HMS Winehouse, she sang “Rehab,” her unrepentant rallying cry, and drank from a plastic cup of wine held close to her mouth. She had to choose between drinking and singing — moment by moment, on a physical, literal level: she couldn’t do both at once. She was already drunk. At the end of the song, she threw the cup and an arc of booze sprayed across the stage, streaking it like paint. No, no, no, she sang. She wouldn’t go to rehab. Instead, she was doing this.

There are thousands of comments on her YouTube clips, full of taffy strands of pity: It’s really sad to see a human being like this. Or else harsh strokes of judgment: She is the definition of trash, nice voice or not! She is a disgrace to music and all the hard-working musicians around the globe. Fifty years after the emergence of Morton Jellinek’s disease model of alcoholism, people are still trying to figure out if it’s a sickness or a sin: Addiction = retardation . . . the crowd was right to boo her . . . So many people dream of being a Singer and being on stage and Amy just threw it all away.

Someone else: I see someone with a broken heart.

After Belgrade, one newscaster wondered: “Why do they keep putting her on stage? Surely they know she has a problem.” Another said: “This was supposed to be a comeback. And she TOTALLY. BLEW. IT.”

Something about her addiction made people angry. But that anger wasn’t simple. The woman who wrote, Amy just threw it all away, had a story of her own: As for accidentally OD’ing that’s bullshit. My dad didn’t have a fucking accident when he overdosed on heroin . . . Me and my brothers just stood and watched as the paramedics revived him. Someone else just had a question: Does she want to go back to rehab now ;P

* * *

The soap opera version of the story went something like this: Amy’s drinking got out of control after a breakup with Blake, her no-good junkie boyfriend, and then her friends tried to make her go to rehab. She said, no, no, no, and then she wrote an album that blew up, fueled by the anthem of her refusal to get better. Her career went through the stratosphere and Blake fought to get her back. They were madly in love. They got married in Miami, and hugely addicted to crack back home in London. At the peak of her use, she was spending £16,000 a week on hard drugs.

After Amy almost overdosed, her friends and family staged an intervention at a Four Seasons in Hampshire. The doctor said if she had another seizure, she’d die. But she went on her US tour anyway. She and Blake kept doing drugs together till he went to prison. She won five Grammys but she wasn’t allowed to attend the ceremony because of all the drugs. In her acceptance speech — delivered at a club in London, where she was watching from afar — she said: “For my Blake, my Blake incarcerated.”

A YouTube video from six months after Blake’s incarceration shows Amy high on crack, playing with a bunch of newborn mice. Watching it is like falling into some one else’s terrible dream. “This one has a message for Blake,” Amy says, holding one of the wriggling furless mice on her finger. She gives us a squeaky mouse-voice, pleading: “Blake, please don’t divorce me.” The mouse-voice says: “I’m only a day old but I know what love is.”

Even after Amy finally stopped the hard drugs, she kept drinking. She and Blake got divorced, mouse pleas notwithstanding. She kept drinking, and kept singing, but never made another record. She stopped drinking, kept drinking, stopped drinking, kept drinking — until her body finally just gave up. When she died, her blood alcohol content was over .4 percent, five times the legal limit for drunk driving. The coroner ruled it “death by misadventure.”

* * *

The paparazzi loved Amy. They couldn’t get enough of her. They loved her beauty. They loved its blemishing even more. They didn’t just want her beehive hair; they wanted it ratty. They didn’t just want her eyeliner cat’s-eyes; they wanted them smeared. Their photos tried to zoom in on her cuts and bruises; the damage from her crack binges and booze benders. Little wounds were like openings in the tent flaps of her privacy. The camera got close on her wet flesh as if it were trying to get inside the wounds themselves, the closest thing to fucking that a camera could manage. The paparazzi wanted to get right into her bloodstream.

Amy once said to her husband: I want to feel what you feel. And that’s what the public wanted from her — to know what she felt, to get under her skin. But also they wanted to jump away again, hide under the safe cover of irony: What crawled into her hair and died there? one comedian wanted to know. She looks like a campaign poster for neglected horses. Her broke-down addict self was irritating. It was so fucking sad. OMG, it was funny.

Her addiction kept delivering physical evidence of her vulnerability, her bruises and her gashes and her emaciated body, and comedians kept delivering jokes so everyone could metabolize the horror of what was happening, like a five-year-long video of someone slowly dying in public. One paparazzi photographer took a photo of her getting into a car and started snapping shots closer and closer on her crotch, then posted these photos as proof that she was wearing diapers — that she’d started wearing them because she couldn’t control her bodily functions. It was unending, our collective fascination with the self-inflicted weakness of a beautiful woman.

Why were we obsessed with her anti-rehab anthem? It’s a great song, straight-up and flat-out, jaunty and sublime, Amy’s singular voice all acrobatic and vaulting and rich, like vinyl and leather; the chorus blunt and surprising, full of defiance where you might expect to find the keeling croon of self-pity. The song finds hope and energy in its own rhythms. It’s not interested in self-care. The no, no, no of refusing rehab echoes another kind of assertion: Yes I been black, but when I come back, you’ll know, know, know. No turns into know: resistance becomes knowledge. This isn’t just refusal; it’s a declaration of presence.

It was unending, our collective fascination with the self-inflicted weakness of a beautiful woman.

The unrepentant junkie had been a beloved figure for a long time, an unleashed alternative to the good little sober boy. William Burroughs’s 1953 cult classic, Junkie, was subtitled Confessions of an Unredeemed Drug Addict. It offered an appealing antidote to the bow-tied conversion narrative.

During the same decade, just as federal legislation against “narcotic addicts” was growing more draconian — mandating minimum sentences and constructing the addict as villain — people created another vision of the addict in stark opposition to these moralizing measures: someone who wasn’t apologizing for anything, who was spinning something defiant or even beautiful from the darkness of their compulsion. Elizabeth Hardwick loved to imagine that Billie Holiday faced the wreckage of her life with unrepentant grandeur. She admired Holiday’s “luminous self-destruction,” and her refusal to play nice: “there did not seem to be any pleading need to quit, to modify.” But that was its own myth; Holiday tried to kick her habit many times.

Perhaps with Amy, decades later, it was liberating to see someone who didn’t want to get better; who seemed to say, Fuck it, let’s DRINK. Let’s roll the foil and smoke. If Amy was an unredeemed addict, then “Rehab” was her battle cry: She sang it over and over and over again. She sang it and stumbled; she sang it and drank; she sang it and spilled her wine. She tripped over her sky-scraper heels. “I’m not gonna spend ten weeks,” she sang. “Have everyone think I’m on the mend.”

It was exciting to hear her resist the solace of mending and its easy answers, to hear her reject gift-wrapped redemption, refuse to give it to us — the public act of recuperating pain by performing its transcendence. She refused to get better.

But maybe “unrepentant” wasn’t an alternative to the fantasy of conversion so much as another flavor of fantasy. Maybe fuck it was a fantasy. Maybe our collective vision of her alchemy — ache altered into chorus — depended on a myth that wasn’t quite true. As the poet John Berryman put it, even he had to fight the “delusion that my art depended on my drinking.” That delusion was what he had to break, he felt, if he ever wanted to get sober.

Amy launched her career on refusing rehab, but she actually went to rehab four times. On a home video from her first stint at an island rehab mansion called the Causeway Retreat, Blake taunts her to sing a revised version of “Rehab.” Can she still sing, no, no, no, now that she’s actually in treatment? Will she have to sing, yes?

Amy launched her career on refusing rehab, but she actually went to rehab four times.

But she doesn’t seem particularly drawn to the joke. She tells him: “I don’t mind it here, actually.”

* * *

Amy Winehouse was born in London in September of 1983, three months after I was born across an ocean. When she was twenty-seven, she died from too much booze in her blood. When I was twenty-seven, I gave up booze entirely. Maybe these correspondences are part of the reason I grew so obsessed with her life, and with the possibility of what her life might have looked like sober. Or maybe these correspondences are just the little pieces of her I’d like to claim for myself. People love claiming little pieces of Amy for themselves: “Everyone wanted a piece of her,” said her friend Nick, her first manager.

By the time I found myself wanting a piece of Amy, in memoriam, I’d been sober for years. But I could still remember what it had felt like to be unsober — gloriously, unapologetically unsober: drinking whiskey by a bonfire, feeling the sluice of heat down my throat, its rhyme with the flames at my fingertips. I remembered how drinking felt like constant apology; how a blackout could drop inside your life like hostile terrain, behind enemy lines, and how getting drunk also felt absolutely necessary, the only horizon of relief — like the perspective point in a painting, the crucial pivot everything else referred to. I remembered how the prospect of sobriety seemed like unrelenting gray, after luminous, disjunctive nights — a bleak horizon, a shirt washed so many times it had lost all its color. What could the straight line of on the mend hold that might rival the dark, sparkling sweep of falling apart?

* * *

When I imagined sobriety, before I got sober, I imagined The Shining: Jack Nicholson playing a writer white-knuckling his way through bitter sobriety in an empty mountain resort — the opposite of rehab, solitary confinement instead of company — or else a rehab full of ghosts. He spent his days punching a single sentence into his typewriter, over and over: All work and no play makes Jack a dull boy.

On the night she won five Grammys, Amy told one of her best friends: “Jules, this is so boring without drugs.”

Part of me wants to tell her: You were wrong. It wasn’t boring without drugs. You just needed to learn how to live sober. Part of me wants to tell her about church basements and evening coffee dates in diners, about the primal thrill of sitting across from someone who has felt some version of what you’ve felt — the fear of boredom, the urge to flee pain, or dissolve self, or permit self — and hear them say it out loud, how liberating that feels, in recovery, resonance not as easy moral or redemption but as a sense of outward possibility, drawing a door on something that looked like a wall.

That is part of me. Another part of me knows I’m drawn to watching her destroy herself. In one short story about an alcoholic going to rehab, Raymond Carver writes: “Part of me wanted help. But there was another part.”

This was the other part: drugs and booze were part of why Amy’s life was so interesting, to me and to everyone. They were part of why we wanted to keep getting closer, wanted to bring our magnifying glasses and our microscopes, our telephoto lenses, to give ourselves a better view of her heartbreak.

Even the title of Asif Kapadia’s 2015 documentary about her life confesses our collective desire for proximity: just Amy. As if we all knew her; or could still get to know her, even after she was dead, maybe because she had died. As if she were still available to us; as if she had ever been. Amy. It’s ridiculous I call her that. But I find it hard to call her anything else. The film summons the fantasy of intimacy but also ironizes it. It’s full of paparazzi shouting: “Amy! Amy! Amy!” like the chorus to another song.

Off their tongues, in their mouths, her first name doesn’t summon intimacy but its distortion; not private relation but its violation. “Cheer up, Amy!” one tabloid guy calls out, after she shoves a few of his colleagues out of the way. Then a year later, when her body is being carried out of her Camden mansion, a voice says, “Rest in peace, Amy,” a perfect stranger, still on a first-name basis.

* * *

Every story about a dead girl needs a villain, and Amy dangles a few suspects: Maybe her promoter killed her by keeping the machinery of her fame running even when her body was getting crushed by it. Maybe her father killed her by not giving her the love she needed when she was young. Maybe her husband killed her by giving her the thing that numbed the pain her father had already caused, and by causing even more pain that needed numbing.

The film offers Amy as victim-addict and Blake as villain-addict: the woman who got sucked into crack; the man who dragged her into its thrall. We don’t have to reconcile these types: addict as victim; addict as villain. We’re allowed to project them across two conveniently discrete human bodies.

When the documentary shows Blake coming back into Amy’s life, after her album about their breakup made her a star, it visually frames his return as a literal emergence from darkness: he materializes from a dark doorway across a series of paparazzi shots. He’s like a demon, ready to take her back: Back to Black. A doctor who consulted with both of them said: “It was a common case of one person having a situation that was very beneficial to his using . . . not wanting the other person to get better for fear of losing the gravy train.”

Of Amy, the doctor said simply: “She was a very vulnerable woman.”

Amy’s addiction meant she was vulnerable, while Blake’s addiction meant he preyed on someone vulnerable. Amy needed to be protected; Blake needed to be protected from. But Blake needed crack for reasons of his own: “It literally eradicates any kind of negative feeling,” he said once. This was a man who had tried to slit his wrists as a boy, at the age of nine. Was that not vulnerability as well?

* * *

Really the film’s greatest villain is celebrity itself: we killed her. Celebrity was an ally to Amy’s addiction, and an enemy to her art. It kept her in gigs rather than in the studio. Kapadia’s documentary has an uneasy relationship to the paparazzi it documents. They are its villains — all menace and flash, shutters like staccato gunfire — but also its collaborators. The film is built largely from their footage. At one point we see Amy closing a curtain; gazing out her window warily, protecting herself from view. But we can only witness that violation because the violation gave us a record of her resistance.

Celebrity was an ally to Amy’s addiction, and an enemy to her art.

The film critiques the paparazzi’s hunger for access, but also raises the stakes on this hunger — effectively, implicitly — by promising to take us deeper inside Amy’s wounds than the paparazzi ever did. By showing the harsh glare and invasive constancy of paparazzi as one kind of access, heartless and shallow, the film invites us to think of its exploration as another kind of access entirely, full of depth and compassion. We want to feel better about our hunger, but it’s still hunger: We’re still after her, still sniffing the trail of her blood. We still just want in.

Or I should say: I wanted in. I’m not pleased or proud — but there it was, that desire. Winehouse’s life was gone, Amy’s life was gone, and that only made me want to get deeper inside what her life had been. My own drunk life was gone and sometimes I wanted to get back inside it, too. Sometimes I didn’t feel done with it. When I saw ten empty champagne flutes in front of her on a tabletop in St. Lucia, I felt sad for her, and I felt shame — shame at my own desire for proximity — and I also felt thirsty. Even the empty vodka bottles cluttering her home; all of it made me remember that old fuck it feeling. She’d followed it somewhere else.

When I watched the public obsession on film, an endless fuel driving the celebrity that killed her, their eager hands buying the magazines the paparazzi peppered with their eager angles, I hated that public. I also knew I was part of it. The fact of the film itself was almost sickening: we had outlived her, and we were still obsessed with her.

At one point, the film gives us the photo collage of a bender, after Amy’s first stint in rehab: her face darkened by smeared mascara, Blake’s whole face covered in streaks of blood; his arms in bandages, holding his cigarettes; her ballet flats covered in splotches of red. He’d cut himself with a bottle and she had to do it, too, because she wanted to feel whatever he felt, and we want to see the blood on her, so we can feel what she felt, too, or convince ourselves we’ve gotten close.

The film describes the bathroom at her recording studio after she’d covered it with her own vomit; the white towels darkened by mascara where she’d wiped her face. The film narrates these details while showing a video of Amy playing guitar in the studio: she is binging on booze and purging beauty, still metabolizing the pain, still turning it into song.

It was uncomfortable to watch the film because it was exposing a fixation and exploiting it at once. I cried when I watched it, and I wanted it to end. Then I wanted to watch it from the beginning, so I could cry again. I watched the end of the film at least twenty times, the haunting piano composition that plays as her corpse is carried from her house to a private ambulance in the street, as a doctor’s voice speculates that years of starving and purging and drinking “just made her heart stop.” I watched mourners gathering awkwardly in the street, after her funeral service: a man in a kippah standing with his head bowed in grief, one hand to his face; her mother using a cane to get into her car. I thought: Who filmed this private grief? I thought: Who am I, watching it?

“I died a hundred times,” Amy sings in one of her torch songs, and I kept hitting rewind — to watch her die again.

* * *

“This isn’t Amy,” her mother said in 2007. “It’s as if her whole life’s turned into a stage performance.” Amy always had a sense of humor about the dark silhouette she cast, the ways in which she had become an archetype. When the Guardian asked, “What keeps you awake at night?” She said: “Being sober.” She was self-aware about her “issues” and their public performance. “What is your most unappealing habit?” she was asked once. She said: “Being an abusive drunk.”

She seemed to get a kick out of performing a kind of ironized self-destruction, spelling Blake’s name on her stomach with a shard of glass while Terry Richardson snapped photographs. She called it “chickenscratch on her tummy,” but it wasn’t just performance. She’d really cut herself for years. Her arms were covered with scars.

She seemed to get a kick out of performing a kind of ironized self-destruction

Mos Def remembers watching Amy smoke crack one night and thinking: This is someone who is trying to disappear. Near the end, her doctor asked her: “Do you want to die?” She said: “No, I don’t want to die.” Her bodyguard said she didn’t want to do that final gig in Belgrade: “Can’t go anywhere. Can’t hide anywhere. She needed an escape.” He said, “Then the drinking . . . Escape route, innit?”

* * *

When I watched Amy change across the course of the documentary, watched her body shrink across the years, I felt as if I were watching the disappearance Mos Def described her craving. She went from a voluptuous girl to an emaciated creature; from plump to skeletal. Her beehive got so huge. Her body got so tiny.

Her tiny body was part of the outsized myth, too, our collective awe at how the force of her voice — and the chaos of her her feverish dysfunction — was somehow held by the slip and twigs of her body. Her Rolling Stone cover profile started with her size: “Alongside the world’s tallest free-standing tower, one of the world’s tiniest pop stars is crouched next to a garbage pail, collecting a pile of eyeliner pencils and mascara tubes between her hands.” It’s all there: She was tiny. She was obsessed with her own beauty. She was close to the garbage.

In that profile, she says she wanted a different kind of life: “I know I’m talented, but I wasn’t put here to sing. I was put here to be a wife and a mom and to look after my family. She told one newspaper she wanted to be remembered as genuine.

Billie Holiday may have been beloved for what Hardwick called “the sheer enormity of her vices. . . the outrageousness of them,” but she had other dreams: She wanted to buy a farm in the country and take in orphans. She once tried to adopt a child in Boston, but the judge wouldn’t let her because of her drug record. Hardwick loved the absence of “any pleading need to quit, to modify” in Holiday, and admired that she spoke with “cold anger” of “various cures that had been forced upon her. But Holiday wasn’t entirely resistant to quitting or to cures. Her anger was directed at the particular kind of “cure” that involved arrest and incarceration, persecution at the hands of federal agents. As a black woman, her addiction made her more vulnerable to being treated as a criminal: she spent nearly a year in a West Virginia prison, and died handcuffed to her hospital bed. She hated that cure, but as for the junk itself? She tried to quit over and over again. To her pianist she said: “Carl, don’t you ever use this shit! It’s no good for you! Stay away from it! You don’t want to end up like me!”

* * *

If Amy had gone to rehab that first time, we might have never gotten Back to Black, but I wonder what we would have gotten instead. I would have loved to hear her sing sober. Not just two weeks sober, but three years sober, twenty years sober. “She had the complete gift,” Tony Bennett once said of her. “If she had lived, I would have said, ‘Life teaches you, really, how to live it; if you live long enough.’”

I never lived Amy’s life and she never lived mine, but I know that when I see her on that stage in Belgrade, as if she’s been air-dropped into a moment she can’t possibly fathom, I think of coming out of a blackout into the strange new world of a Mexican bathroom stall, or a dirt basement, wearing handcuffs, tasting gin and citrus, or some breezeless bedroom where it was easier to let a man finish fucking me than it was to stop him.

I know that when I watch Amy stumbling across that stage in Belgrade, and finally squatting there — still and quiet, smiling — just waiting for something to happen or something to stop happening, I feel less that I know what is happening in her and more that her eyes know something that happened in me. I feel sad she didn’t get years of ordinary coffee dates and people saying, I get that, that she was doomed to her singularity and her vodka-thinned blood and all her drunken stumbling under the broken tower of her beehive, hair like a pagoda on her head and her body barely holding the weight — until it wasn’t, until it couldn’t any longer.

* * *

“Confessions of an Unredeemed Fan” by Leslie Jamison. Copyright © 2017 Leslie Jamison, used by permission of The Wylie Agency LLC.

Leslie Jamison teaches at the Columbia University MFA program, where she directs the nonfiction concentration and leads the Marian House Project. Her latest book, The Recovering, was published in April 2018. She’s also written a novel, The Gin Closet, and a collection of essays, The Empathy Exams. Her work has appeared in The New York Times Magazine, Harper’s, Oxford American, A Public Space, Virginia Quarterly Review, and The Believer.

This Month in Books: ‘What Used To Be Me Before the World Buried It’

(Photo: Getty Images)

Dear Reader,

Ottessa Moshfegh, in an interview with Hope Reese, says the through line between her first novel, Eileen, and her new one, My Year of Rest and Relaxation, is isolation:

The book was challenging because of the essence of it being a woman in an apartment. You know, it’s like writing about someone being in jail, which is my first book…. I needed to write that book [My Year of Rest and Relaxation] to give myself a chance to look at the things that are difficult about being a person alone.

One of those difficult things, as the former Slits guitarist Viv Albertine writes in her new memoir To Throw Away Unopened, is how what’s “worse than… being alone forever is the thought that I’ll grow to love a person very much and won’t have them for very long. Finding another person to love is finding another person to lose.” Isolation can become self-perpetuating; it can be easy to convince yourself, once you are experiencing it, that it is inevitable.

Being forced to be alone is a form of torture, and (as I remember from the anthology Hell Is a Very Small Place, a book which I excerpted on Longreads a few years ago) it has always been recognized as such. In their 1833 report on the new practice of solitary confinement in U.S. “penitentiaries,” Alexis de Tocqueville and Gustave de Beaumont wrote:

This absolute solitude, if nothing interrupts it, is beyond the strength of man; it destroys the criminal without intermission and without pity; it does not reform, it kills…. The unfortunates on whom this experiment was made fell into a state of depression so manifest that their keepers were struck with it; their lives seemed in danger if they remained longer in this situation…

In a world in which a form of torture like solitary confinement exists and is so widespread, it can seem callous to talk about loneliness. But there are other kinds of forced loneliness, even if they don’t result in total solitude. A prison, for example, also causes loneliness on the outside. In his interview with Tori Telfer, Issac Bailey talks about how his beloved oldest brother’s incarceration scarred his childhood psyche. His brother’s absence was an open wound which still hasn’t healed:

I was a nine-year-old boy when this happened. I had nothing to do with it but have been punished, in a very real way, nonetheless. It’s one of the reasons I’m convinced I still speak with a stutter all these years later.

And there are other kinds of prisons. Your own body, for instance. In his memoir Inward Empire, Christian Donlan grapples with the effects of MS. He describes the quotidian robbing of his selfhood and the disconcerting isolation he experiences inside the vast emptiness of his failing synapses:

Day to day, I sometimes feel I am chasing a little pool of nothingness around inside me, the way I might tilt an air bubble up and down through a spirit level. Sometimes this nothingness seems to gather in the fingers, a lack of sensation that feels implausibly, paradoxically, raw. Sometimes it pools in the brain, a wordlessness, a theft of language…

In the face of this horror, Donlan jokes: “I have never really liked the fact that I have a brain,” a sentiment with which, incidentally, Moshfegh wholeheartedly agrees:

I am acutely aware of how much I do not like my own mind. When I’m not distracted by my imagination or by something external, time passing feels like I’m just waiting for the time to pass until I die.


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Luckily, there are a few voices in this month’s books newsletter who point out the upsides of being alone. In her book dedicated to the subject of solitude, Alone Time, travel writer Stephanie Rosenbloom mentions writers and artists who have been both for and against the practice of eating alone. Nathaniel Hawthorne once called it “the dismallest part of my present experience,” whereas Fran Liebowitz said, “My idea of a great literary dinner party is Fran, eating alone, reading a book.” Rosenbloom comes down heavily in favor of the practice, somehow managing to make being alone sound simple, pleasurable, and not at all terrifying: “When you’re not sitting across from someone,” she says, “you’re sitting across from the world.”

In her interview with Ryan Chapman, Chelsea Hodson says she finds it intriguing, rather than, say, disturbing, to be acutely aware of inhabiting a specific, lone self — because it gives her the ability to just make it up, to pick and choose her “self,” and to let a version of herself walk away from her:

There’s something about that difficulty — curating the “I,” deciding what to include, deciding what that eye “sees” — that’s really interesting to me. [The “I” in the book] feels very distant actually. It’s this weird thing that’s happened… Somehow, when it’s on my computer it’s still accessible to me. And now that I can’t touch it, it feels far away from me.

Of course, it’s the act of writing that gives her this ability to create a separate self — a revelation shared by Pearl Curran, who, in the early twentieth century, was possessed by the prolific and critically acclaimed novelist, poet, playwright — and, notably, ghost — Patience Worth. In Joy Lanzendorfer’s profile of Curran and Worth, she writes that:

When confined to writing from her own experiences and thoughts, Curran found herself bored by the “conscious effort of the ordinary manner of writing,” adding, “My own writing fatigues me, while the other (Patience Worth’s) exhilarates me. That’s a queer mess of a statement, but quite true.”

The “other” self doesn’t feel like a prison. The “other” is a treasure, a friend who keeps her company, maybe even the truer version of her. Lanzendorfer goes on to tell us that:

In [Curran’s] short story, “Rosa Alvaro, Entrante,” the character Mayme, like Curran, had a drab life until she discovered a beautiful spirit, who, for a time at least, brings her excitement, money, and a sense of purpose. Or, as Mayme says of Rosa: “Oh Gwen, I love her! She’s everything I want to be. Didn’t I find her? It ain’t me. It’s what used to be me before the world buried it.”

Dana Snitzky
Books Editor
@danasnitzky

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‘I Had Nothing To Do With It But Have Been Punished’: Issac Bailey On His Brother Moochie, the Murderer

Getty, composite by Katie Kosma

Tori Telfer | Longreads | June 2018 | 14 minutes (3,622 words)

Issac Bailey was nine when he watched his hero get taken away in handcuffs. It felt like a bad dream: the police were closing those handcuffs around the wrists of his older brother Moochie, the charming, athletic, charismatic father-figure who’d protected their mother from their dad’s beatings, whose checks from a stint in the army kept their large family afloat, and who was “like a god” to his little brothers. All that changed in the blink of an eye when he murdered a white man and was fed into the maw of the criminal justice system.

Moochie was a murderer. But he was also a person, a big brother, a black man who’d absorbed a thousand and one shocks for his little siblings, a kid born into the sort of soul-crushing racial environment that made it a sin to wear dark skin, as Bailey notes below. Had his worst act put him beyond the possibility of redemption? This is the question Bailey sets out to ask in his latest book, My Brother Moochie: Regaining Dignity in the Face of Crime, Poverty, and Racism in the American South (Other Press, May 2018).

Through a childhood and young adulthood spent with his beloved older brother behind bars, Bailey experienced firsthand how callously the families of perpetrators are ignored by the criminal justice system, and how little nuance is afforded both black men who’ve offended and the families who love them. “The more hideous, the more one-dimensional black men who kill…are portrayed, the better,” he writes. “It’s easier to hate them that way…and if they are monsters, they likely come from monstrous stock, meaning the broken families from which they hail aren’t worthy of the resources needed to repair them.” After thirty-two years behind bars, Moochie was unexpectedly released. By then, Issac had grown into a successful journalist who’d grappled with his brother’s crime for his entire adult life—a crime that had left Bailey himself with a stutter, and a bad case of PTSD, both remnants of the trauma that had radiated throughout his family for decades. Read more…

Behind The NYT Investigation into Prosecuting Overdoses as Homicides

Sonya Cradle holds a poem she wrote in memory of her friend Len Bias, during a wake for Bias at a church Sunday evening on June 22, 1986 in Washington. Bias died of an apparent heart attack in his University of Maryland dormitory. (AP photo/Tom Reed)

Last year, I spoke to a former cop and a public health policy expert, both of whom told me that the major failing of the “war on drugs” was prioritizing incarceration over treatment and prevention. Part of the problem today, the former cop told me, was that in many places where opioids are currently leading to deaths, the only resource available is law enforcement. He pointed to the Midwest town of East Liverpool, Ohio, where a photo of two adults overdosing in a car with a baby in the backseat had gone viral. The East Liverpool police chief had told NPR, “We don’t have any resources, and we don’t have a place. Even if somebody comes down here to the station, knocks on the door and asks for help, where do we send them? We have nothing here in our county.”

“Opioid crisis” has become a catchphrase in the United States. The word crisis points to the panic that authorities in government and law enforcement feel about the situation — panic that seems to be spurring a fevered response to the issue.

A recent New York Times investigation looked at the fervor that has seized prosecutors around the country attempting to do their part to address the problem — by bringing homicide charges against the friends, family, and fellow users of people who die by overdose.

“I look at it in a real micro way,” Pete Orput, the chief prosecutor in Washington County outside Minneapolis, told the reporter, Rosa Goldensohn. “You owe me for that dead kid.”

Goldensohn wrote:

As overdose deaths mount, prosecutors are increasingly treating them as homicide scenes and looking to hold someone criminally accountable. Using laws devised to go after drug dealers, they are charging friends, partners and siblings. The accused include young people who shared drugs at a party and a son who gave his mother heroin after her pain medication had been cut off. Many are fellow users, themselves struggling with addiction.

Goldensohn (who goes by Rosie) spent nearly a year exploring this issue, in several states around the country. Longreads spoke to her and her editor, Shaila Dewan, about the investigation and how it came together.

How did you come up with or find this story?

RG: In 2016, I heard New York City’s now-police commissioner, then the Chief of Department, James O’Neill, allude to opening overdose investigations on Staten Island during a City Council hearing. Then last year, I learned that the city was spending a lot of their opioid plan resources on detectives and amping up that approach. I set up a Google alert, “overdose charged murder.” I wasn’t necessarily thinking of doing a national story, but I was getting so many clips from all over that I set up a spreadsheet and started tracking them. I saw a lot of local articles saying, “This is the first such charge in this county,” that kind of thing, so I knew it was an emerging trend.

Shaila, What was your reaction when Rosie first brought this story to you? Did you have any hesitations? Did you immediately know what was needed, or was there more of a process in developing what it would ultimately be?

SD: Rosie’s story pitch was ​like Athena leaping from the head of Zeus full grown. I knew immediately that even though she had not written for us before, it was worth a full-fledged New York Times takeout. It was a staggering trend that had so many implications and said something important about how the country deals with crisis.

In terms of what was needed, what we talked about early on (and what I think Rosie achieved), was giving full voice to all sides of the issue — the accused, the victims’ families, the prosecutors, etc. We didn’t want it to be a gotcha piece; we wanted it to really grapple with responsibility and guilt.

What kind of resources and support did this story require?

RG: A lot. First off, a very experienced and fantastic editor and a supportive desk and institution. Shaila spent a ton of time with me, basically taught me how to do this kind of story while I was doing it. I had never done anything on this scale before and she had the map and knew where we were in the process even when I didn’t. We projected each section on a TV screen and worked through it line by line.

Second, time. Third, money. The Times invested a lot of money in this piece, flying me around to West Virginia, Colorado, Minnesota, Wisconsin. Fourth, a brilliant data team that audited all my numbers and analysis to make sure I was doing it right. Fifth, the lack of desire for any extracurricular activities or social engagement.

SD: We needed time and travel. Time to do way more interviews than we would ever use, to become an expert on something that no one is an expert on yet because it’s too new, and travel to find and go deep with the right examples. Rosie actually went to Hibbing, MN, twice, but I’ll let her tell that story if she wants to.

We also needed to quantify the problem as best we could​. Data is a perennial problem in criminal justice stories because there are basically more than 3,000 local justice systems and many states don’t have reliable, centralized case tracking.

Rosie, can you talk about what you learned from this project, your biggest takeaways?

RG: One of my biggest takeaways is how much of the writing of a long feature like this is done in the reporting of it, getting the kind of details that will bring it to life. As Shaila mentioned, I went to Hibbing twice. I planned to go back secretly for a weekend night with frequent flyer miles because I was looking for a word to describe this town and I felt like I needed to see it again. I had a really nice breakfast at Sportsman’s Cafe and gabbed with the dishwasher there and tried to see the taconite mine but it was blocked off. Hibbing is not only the birthplace of Bob Dylan, but of the Greyhound bus, I learned. The word I came back with was “snowy.”

What were the biggest challenges in making this story happen?

SD: It was extraordinarily difficult to count cases because they were charged under various statutes and sometimes were impossible to separate from other homicide cases. The Times‘s data people and researchers were able to help Rosie clean up her database and determine what data was reliable enough to use. Also, in legal reporting, it’s just incredibly easy to misstep because there are so many finer points.

RG: The analysis of Pennsylvania cases had a lot of logistical pieces, because I needed to get court documents from all these counties and then speak to people involved in dozens of cases, many ongoing. But for me, the biggest challenge was wrangling this massive quantity of material. I interviewed, I think, 15 prosecutors and four are in the piece. I went to a whole trial that’s not in here. What to leave in, what to leave out, in the immortal words of Bob Seger.

Shaila, what advice do you have for reporters who want to undertake a story like this?

SD: Persistence is a good quality. ​I just think that good reporters are determined reporters.

The Tether Between Two Worlds: An Interview with Sergio De La Pava

Tobias Carroll | Longreads | May 2018 | 18 minutes (4,881 words)

Lost Empress addresses the injustice of mass incarceration, plays with the possibility of parallel universes, and uses arena football as a metaphor for how the revolution is unforeseeable. Welcome to the world — or should I say worlds — of Sergio De La Pava, whose fiction certainly doesn’t lack for a sense of scope.

His debut, A Naked Singularity, followed a young, incredibly successful public defender through a personal and professional collapse, weaving in a heist narrative and moments of absurdist comedy, moving from harrowing scenes of inequality to suspenseful setpieces and back again. Initially self-published before being reissued by the University of Chicago Press (which also released his second novel, Personae), A Naked Singluarity would go on to win the prestigious PEN/Robert W. Bingham Prize — an award also won by Jonathan Safran Foer’s Everything is Illuminated and Paul Harding’s Tinkers.

In De La Pava’s fiction, grand ideas and societal tragedies coexist with a brisk narrative voice and an irreverent worldview. Lost Empress alternates between two seemingly unconnected stories: Nina Gill, a genius football strategist, suddenly becomes the owner of an indoor football team in Paterson, New Jersey, during an unexpected pause in the NFL season; meanwhile, Nuno DeAngeles, imprisoned at Rikers Island, ponders his earlier crimes and romantic connections, and his plans for the future. Within this sprawling narrative, De La Pava tells the secret history of a Salvador Dalí painting, discusses Cambodian politics in the late 20th century, and muses about why the NFL’s labor market is uniquely exploitative of American athletes.

Improbably in our age of hyper-specialization, De La Pava, like the hero of A Naked Singularity, is a public defender in Manhattan, where he handles 70 to 80 cases at a time. He recently wrote an impassioned op-ed calling for reform of New York’s discovery laws. His interests are obviously wide-ranging, and our conversation touched on the cultural history of Paterson, what we hate about rich people, the multiverse, and more.

*

Read more…

Speaking Candidly about Opioid Dependence and Legal, Safe Alternatives

AP Photo/Richard Vogel

Every ten minutes, an American dies from opioid abuse. In fact, drug overdose is America’s main cause of accidental death. And yet, as journalist Janet Burns points out at Forbes, “the U. S. assigns more favorable legal status to around 50 different opioids than it does to cannabis or psilocybin mushrooms.” Most of those 50 opioids are prescription drugs.

With disarming candor, Burns describes the way a seemingly routine painkiller script led her to full-blown dependence. Going into debt, having to move, buying drugs on the street to ward off withdrawal ─ her experience with prescription painkillers mirrors the experience of the majority of Americans’ who have opioid addiction disorder; four out of five American heroin users started their dependence with prescription medication. Burns uses her experience to make a case for the benefits of legal, accessible medical marijuana to treat the ailments that lead people to opioids. And she show the flaws in America’s war on drugs, which protects the pharmaceutical industry more than American citizens. In her words, “our laws for protecting people form dangerous drugs seem to have far less to do with safety and efficacy than you would hope.”

In the past few years, I’ve also had particular opportunity as a business writer to explore the costs of such policies, and to bring those numbers to light.

I found that cannabis — which currently costs the country billions per year in arrests and incarceration (not counting the cost of lives lost to opioid addiction or other treatable illness), and remains unavailable to millions of patients who need it, including family and friends of mine — stands to deflate the patent-prone pharmaceutical industry by at least $4 billion per year, according to estimates.

I discovered that comparatively cheap programs like syringe exchanges, low- or no-cost medication-assisted treatment and safer injection sites (a.k.a. supervised consumption spaces) have been shown to reduce public disorder, save lives and bring down the cost burden for police and hospitals.

And that the cost of the decades-old drug Naloxone, which reverses overdose, has risen right alongside opioid abuse.

 
Read the story

Stewards of the Blood

A memorial for one of the four young men killed in Long Island in April 2017. The street gang MS-13 has been blamed for the deaths. (Spencer Platt/Getty Images)

 

Caille Millner | Michigan Quarterly Review | Winter 2016 | 16 minutes (4,329 words)

I need to tell you about someone whose name I can’t speak. The lack of a name is inconvenient, but it’s not the most important thing about him; he gave it up so long ago. Everything important that I can tell you has been a fight against time and language, and I’m still only halfway there.

Halfway. We were half-grown when we met: eleven years old. Some concerned adult had determined that he was at risk. We all are, but in his case there were metrics. He had immigrated from Mexico. He lived with too many siblings; there was a rotating cast of uncles and cousins in his life. This seemed dangerous ─ we lived in San Jose before it became a booming city, when it was still threaded with apricot orchards and poverty. Some of his uncles and cousins had joined La Nuestra Familia, the Norteños, the gangs that offer protection to Chicanos and Mexicans who lived in Northern California. Joining the gang meant that they had joined a violent feud, with the Sureños from Southern California and also with the Salvadoran gangs — La Mara Salvatrucha, or MS-13.

I should have asked him questions about this. The truth is that I failed to find the language to do so. The first reason for this failure is that I was impressed with the ornate speech used by so many of these uncles and cousins. They never spoke about gangs or violence or illegal anything. Instead, they had a seductive patois of slang and simple commands and complex phrases about their respect for tradition, their commitment to duties as men. To my 11-year-old ears these were ancient, powerful words; it sounded like the language of legend. Warriors and glory.

I could only speak about homework and grades. Such words could not compete with theirs even in my own imagination. How could I use them to convince someone else?

When I was near all of them I couldn’t even say what it was that captivated me about the drudgery I was supposed to be championing. When I was alone it became all too clear: That drudgery was my way to be special. What I really liked was the approval I received from those concerned adults for caring. The kind of regard that allowed me to be chosen as a positive influence in another 11-year-old’s life was intoxicating.

Looking back, of course, I made sense as a translator of this other life. I was going places even then. My family was steady and ambitious. They were teaching me the language of the higher classes, but more importantly, they were teaching me their timelines. I understood that for many years my life would be a slowly unfolding landscape of education and that in the distant future I would have nothing to do with boys like him.

Not that this mattered in our moment. I fell hopelessly and immediately in love with him. He was smaller than I was: a thin body, all angles like an arrow tip. His was a face of beveled edges rather than common features — the only curve on him was a radiant smile. As soon as I met him I wanted to see more of it, and I hung around for as long as I could.

To even speak about it now is to risk embarrassment, for this was eleven-year-old love: a love that bloomed over secondhand video game consoles and dimly lit strip malls. We gawked at passing teenagers; we pooled our quarters to split Orange Juliuses and McDonald’s French fries. It was the love of one child — puffy, awkward, patiently hoping to bloom into beauty — for another child who was beautiful and lean and waiting only for others to be overcome by his charm. He never had to wait long. Where I was aloof and serious, he was open and easy.

He knew how to be eleven years old. He took joy in the moment — in the good slice of pizza, the trip to the arcade, the tickle fight. As part of a big family he was happy to be in company with lots of people. To his relatives I must have seemed like the strange one: quiet, introverted, demanding of difficult pleasures that were a long time in coming. I never talked to him, or to them, about love.

The next year he joined the feud.

We lost him, one of those concerned adults told me.

I found the judgment unfair. Even today I can tell you in which prison his body may be found.

He is doing time. Yet I wonder if he sees time in the way that I do, in the way that all of those concerned adults do. We cling to years because our imagination does not extend to the language of duty and obligation. We hoard our years because they belong to us alone, not to the ages.

At 11 years old it is easy to believe in the ages; I was enthralled by them myself. And in many ways, his transformation happened much faster than mine did. At 12 years old he had a new name, new clothes, new friends, a new body. New constraints and intimacies. He had a duty now, and it stood as an immutable fact of life, something beyond individuality. When it was clear to me that I should abandon him so that I could continue on my own slow line of time I did so without regret, and for many years I stopped trying to find words to talk about him. I spent much time on my education and my goals. I busied myself with the intricacies of language and the books of long-dead men.

They never spoke about gangs or violence. Instead, they had a seductive patois of slang and simple commands and complex phrases about their respect for tradition, their commitment to duties as men.

Then as our paths diverged my own line of time sped up. The years that are ticking slowly for him, in his cell, are moving much faster on the outside. Time has become a relentless crush for skill and for money, at least in the land of his feud. San Jose has changed. Like me, it became educated and upper-middle-class. The orchards were paved over for expensive housing; the immigrants from Mexico and El Salvador moved to cheaper cities further south. The crime rates dropped, the feud grew quiet.

Things were different now, I thought. The wounds from the feud would heal. There would be no need for these battles that seemed to have no purpose. Too many were gone but at least it would slow down.

* * *

Years passed. I moved to San Francisco. I chose to live in a neighborhood that seemed to have the familiarity of my birth neighborhood and none of its problems. My neighbors came from Mexico and Panama and El Salvador and Nicaragua and Brazil. It was a neighborhood of modest and miraculous prosperity. Everyone worked as often as they could. Their children played on the sidewalks day and night and they were full of memories of the children they had left behind in the old countries. Their lives ran on the rhythms of phone cards and remittance payments and scratch-off lottery tickets.

When I moved in I asked many of them about the feud. We had similar worries about it, and similar feelings of denial. It was close but we believed that it was far enough away. Two gangs — one linked to MS-13, the other linked to the Norteños — operated on the blocks that bounded us. But because there had been no violence in our small bubble for years we thought that they would always remain there.

Around 8 pm on June 16, 2007, a 15-year-old named Edivaldo Sanchez was standing with a friend outside of his family’s apartment on 24th Street. Eddie, as we called him, often stood outside of that apartment in the evenings. It was a practical choice. He had five siblings and a rotating cast of relatives in his life. He needed space, like any teenager.

Eddie was a student at Horace Mann Middle School. He was a recent immigrant from Puebla, Mexico, a city whose important industries include maquiladoras and drug trafficking.  After her husband died, Eddie’s mother had brought the family to San Francisco. She thought that the move would give her children the peaceful years they needed for an education and a more prosperous future.

What is there to say about him. Eddie made friends in the neighborhood fast. His personality was gentle. He was crazy about soccer and music, eager to help fellow students fix their old electronics or put together a pick-up game. He smiled easily and often. I remember thinking how delightful it was to see that. He was at the age for boys when smiling tends to stop.

We had a nodding acquaintance when we passed each other on the street. He was shy, and being a recent immigrant he was also tentative about the way he sounded. I didn’t want to make him feel nervous by speaking too often. It was another one of my failures of language.

Two men in a stolen Honda pulled up beside the boys that night. We will never know what they said, or if they said anything at all. In the neighborhood, we decided that the men asked who they claimed. We decided that because we knew that the boys claimed no gang associations, and because it was the only question we knew that fit with what happened next.

The passenger in the car pulled out a gun. The boys ran for their lives and he shot at their backs.

Eddie’s friend escaped.

Eddie was hit. He staggered for half a block, collapsed, and bled out in front of a taqueria on 24th Street at the corner of Balmy. He was dead before the emergency response team arrived.

Eddie died near a mural painted with folk spirits, one of whom is giving birth to the world. It’s the first mural at the entrance to Balmy, a short block that’s also a gallery for more than 60 murals. These bright, splashy scenes stretch from the roof to the foundation of almost every building. The murals were begun by a collective of artists known as La Mujeres Muralistas, whose desire to add more peaceful, domestic images to the macho mural art scene in San Francisco during the 1970s grew into a massive visual celebration of Latin American myth and history. Eddie died among a kaleidoscope of life from all around the Americas, the red of his blood joining an explosion of yellows and blues and purples and greens. While he died he was watched over by Archbishop Oscar Romero, by Frida Kahlo, by Diego Rivera, by La Virgencita of Guadalupe, by children escaping war and poverty, and above all by weeping women, women who are weeping for Mexico and for El Salvador and for the innocents massacred in those countries and in this one.

Eddie died near a mural painted with folk spirits, one of whom is giving birth to the world.

When I stepped out of my house the next morning the altar for Eddie had already been assembled. The sun was bright but the red candles were blazing. Most of them filled tall glass cases to the brim and were plastered with a picture of the Virgin of Guadalupe. Every corner store on 24th Street sold these candles, but that day they handed them out for free.

Within a few hours it was impossible to walk down that strip of sidewalk. The mourners spread a blanket of flowers and candles and homemade signs that crowded out all of the space in front of the taqueria. Eddie’s family members hung small cardboard signs to rest his soul in peace on the lampposts nearby. The schoolgirls he had helped at Horace taped up pictures of him.

For a few weeks, I passed by him every day. We all looked up when we saw him. I think the memory of seeing him on the same corner, alive and wiry, kept us from cleaning up his memorial in the normal frame of time. We left Eddie’s altar up until it had fully disintegrated. As the days and then weeks passed it underwent a metamorphosis. Bunches of flowers shrank and died. They stained the sidewalk with the violet colors of exploded petals and the yellow powder of broken stamens. The cathedral of candles melted onto the sidewalk, spreading out into red gooey puddles. The goo hardened into something brittle, geological. If I squinted, the sidewalk in front of the taqueria looked like a mural on Balmy.

And above the mess floated Eddie’s face — thin, a little pimpled, forever smiling.

* * *

After Eddie’s time stopped and I was yanked back into an age of ruined myths and false legends I began to look for the language that would help me speak about it. Though I’ve read many pieces about MS-13 and the Norteños, most of them are disappointing. I’m not looking for lurid chronicles or patronizing analysis of the young men who join what is, for them, a ritual battle that exists not just in our time but in all of the ages before us.

Where I’ve found the language to express this has been a matter of accident: like the 1978 novel Broken April. I picked up this book because I was curious about its author, the great Albanian novelist Ismail Kadare. I wondered how a learned, upper-class man (his author photos show him reclining in his Parisian apartment, clad in cashmere sweaters) had found the words to chronicle the martial traditions of his tiny, impoverished country. Kadare’s work is awash in blood and violence — war, feuds, sieges, occupation, brutality — and he writes it all with the calm candor of a professional and the deep passion of a lover.

So I picked up Broken April and I discovered that, for Kadare, it’s partly a matter of translation. The novel is all about making clear the circumstances of the blood feuds that still take place in Albania today, feuds that seem strange to outsiders yet indispensable to those who act them out. As usual, Kadare doesn’t shy away from the horrible toll: Broken April opens with the premeditated murder of an innocent man.

On an early spring day in Albania’s High Plateau region, Gjorg of the Berisha has been perched behind a ridge overlooking the highway since daybreak. As the hours drag on, he’s startled over and over by passerby. He pulls out his rifle at each disturbance.

He’s waiting for a man named Zef Kryeqyqe. Zef Kryeqyqe and Gjorg of the Berisha barely know each other and have no personal animosity, but that doesn’t matter. What matters is what happened the previous year, when one of Zef Kryeqyqe’s relatives killed Gjorg of the Berisha’s elder brother, Mehill. In keeping with the blood feud that their families have been engaged in for generations, it’s now Gjorg’s duty to kill Zef.

The fated man doesn’t appear until dusk. He wasn’t expecting to meet Gjorg near the highway. When Gjorg appears before him, rifle cocked, Kryeqyqe fumbles uselessly for a defense.

Gjorg shoots him. He falls. Gjorg steps out of hiding onto a deserted road and stares at the fallen body.

The crucial act of violence takes place over the first ten pages. By swiftly dispensing with the murder, Kadare can expand at length on the real subject of Broken April: the culture that surrounds and maintains the blood feud. It is a culture that, above all, depends on a strange sense of time. Its rituals are measured in moments and days but its sense of value and consequence stretches over centuries. We learn that the Berishas are villagers in a part of the country that has seen little social change since the Dark Ages. The economy is subsistence agriculture; the residents abide by a medieval code of conduct known as the Kanun. The Kanun regulates manners, marriages, and above all the blood feud in which the Berishas have found themselves.

After Gjorg kills Zef, Kadare flashes back to the weeks after Mehill’s death. Abiding by the age-old custom, the Berisha matriarch hangs her dead son’s bloody shirt up on the family clothesline. She leaves this shirt on the line so that the neighborhood, and Gjorg, can see it. They need the sight of the bloodstain to torment Gjorg until he avenges his brother.

It works. Gjorg has an extended, Hamlet-like season of agonized inaction, but when the winter ends he leaves his family and goes to the highway. In killing Zef Kryeqyqe, Gjorg knows that he is launching his final cycle in the feud. After a month’s truce, he will no longer be the killer but the prey.

Still, when Gjorg walks back into the village he can walk with pride. He has returned honor to his family and banished humiliation, its dark twin. For a long, slow moment in his short life, he is envied and feared and powerful. The villagers spread the word that he has “taken back his brother’s blood.” His mother pulls the stained shirt down from the clothesline and washes it. His father can look at the neighbors with satisfaction. A brief expansiveness opens his family’s existence even as Gjorg feels the looming constriction of certain death.

Zef Kryeqyqe’s death launches another series of actions set forth by the Kanun. The two families fulfill their roles solemnly, without emotion, as though what were at stake was not a murder but a legal transaction. Everything is prescribed and organized, including the fine, or blood tax, that Gjorg of the Berisha’s family must pay. They must pay this tax not to the Kryeqyqe family but to the prince. So, after the men of the village have negotiated the 30-day truce, Gjorg of the Berishas embarks on a long walk across the Plateau to present this payment.

Gjorg’s only possibility for escaping death would be to hide in one of the 74 Towers of Refuge. These towers dot the bleak landscape that we travel through with him. With their comfortless cells and desperate inhabitants, they resemble prisons: “scattered, dark forbidding, with their black loopholes and their heavy doors.” The values of the Plateau villagers assure that their purpose is to function as places of incarceration as well. There’s a special shame for the men inside, one that is visited on their families. Deprived of their prideful place in the community for as long as they have unredeemed blood, these families do not farm: “Whole clans allowed their fields to go uncultivated and themselves to suffer hunger so that the blood might be redeemed….Each man chose between corn and vengeance.” Despite the business-like aspects of the feud, the concepts of comfort and profit are foreign to its priorities of duty and pride. Comfort and profit are concepts for another time, another moment, outside of the feud.

Eventually, we make it to the castle and to one of the most loathsome characters in the book: Mark Ukacierra, the prince’s first cousin. Ukacierra is the “steward of the blood,” the man who is responsible for keeping accounts of all blood feuds on the High Plateau. His archives, which stretch back for centuries, detail every feud that has gone settled or unsettled, and every murder that has maintained it. Ukacierra loves the feud with a possessive madness, fears for its survival, and looks upon the incursions of the contemporary world with hatred. An educated man, he reads contemporary books and journals from the capital city, Tirana, and stokes the flames of his hatred with their interpretations of the blood feud. In the opinion of these learned authors, the feud has been “changing gradually into an inhuman machine, to the point of being reduced at last, according to the author of the article, to a capitalist enterprise carried on for the sake of profit.” The idea that the ancient feud can be reduced to something so shallow, so contemporary, as capitalism — that, to Ukacierra, is outrageous.

Thanks to the impertinence of these outsiders, as well as a general worry that the men of Albania have grown soft and do not take the feud as seriously as they used to, Ukacierra looks on the pale, shaking Gjorg with the closest approximation to love that we see in Broken April. To him, Gjorg is the future of an age, an actor in a long tradition that he adores. Meanwhile, the writers of the contemporary books live in a “weakening” time “without honor.”

The time that Ukacierra lives in is expansive and everlasting. Meanwhile, Gjorg’s time is growing precarious and short. Once he has paid his fee and began the trek back to his village, he has already used up many precious days of his truce. While he walks, Zef Kryqeqye’s family is watching the calendar and making their preparations. Should they miss their son, they may visit his murnanë — a small stone altar that passerby built to mark the place where the dead man fell.

* * *

In the seventh year after Eddie’s death I requested the public documents for a murder case that had started just a few blocks away from where he was murdered. The U.S. Attorney’s office in San Francisco released these documents in October 2014, after the three young defendants were each sentenced to 27 years in federal prison on charges related to the murder of Alexander Temaj-Castanon.

It was a strange moment to see a case like this one. I still thought about Eddie, though seven years on it was clear to that he would never get any justice. No arrests were ever made in his case. No murderer was ever found. His family had moved back to Mexico, torn by their grief, to face their uncertain future in a more familiar country.

There were few people left in the neighborhood who remembered Eddie, or had any knowledge of what the feud was.

Time had transformed another place. Many of my neighbors were long gone. They left for a less tragic reason than Eddie’s family had: they simply could not afford to live there anymore. The new residents were upper-middle-class and educated. They needed things that would help them thrive on a faster line of time ─ coffee shops, express workouts, places that sold the latest technology. The neighborhood sped up to reflect their needs.

Yet for all that time was speeding up something was still happening in a slower and more ancient era.

On the night of June 21, 2010, Davie Jimmy Mejia-Sensente, aka “Crazy,” or “Loco,” Carlos Mejia-Quintanilla, aka “Sleepy,” or “Dormido,” and Luis Amilar-Zanas, aka “Trucha,” or “Yomo,” were on a 14-Muni bus, traveling on Mission Street from San Francisco to Daly City. The three young men were members of the transnational gang known as La Mara Salvatrucha, or MS-13.

A 26-year-old man named Alexander Temaj-Castanon boarded the bus after leaving his job as a cook at a San Francisco barbeque restaurant. Mejia-Sensente, Mejia-Quintanilla, and Amilar-Zanas watched Temaj-Castanon and decided that he was a member of La Nuestra Familia, or the Norteños. They based this decision on their observations of Temaj-Castanon’s tattooed body and his general bearing.

When Temaj-Castanon stepped off the bus on a quiet stretch of Mission Street in Daly City, Meijia-Sensente and Mejia-Quintanilla collected a backpack from Amilar-Zanas and followed him. Amilar-Zanas had placed a gun in the backpack.

The night was dark, the hour was late, and the street was deserted. They crept up behind him. Mejia-Quintanilla pulled the gun from the backpack and shot Temaj-Castanon once. Mejia-Sensente took the gun and shot the dying man again. They watched the body fall. Then they ran.

Temaj-Castanon was not a member of the Norteños or any other gang.

None of these facts were in dispute, not even by the defendants. This was a senseless murder, executed for no other reason than that the defendants believed it was their duty and obligation to eliminate a rival in a blood feud that has persisted for decades. But that duty and obligation, though so compelling as to bring these three young men to assassinate an innocent man, is nowhere to be found in the public documents. The U.S. Attorney’s office dismisses it in the same way that enraged the steward of the blood: “MS-13,” reads the sentencing memorandum for the case, “constitutes an ongoing organization whose members function as a continuing unit for a common purpose of achieving the objectives of the enterprise.” In this rendering, murder has been reduced to a business enterprise that must be done on a schedule according to the time demands of a corporate entity.

I can understand this sense of time. I live in it, I fought for it, and I will do all that’s in my power to remain within it.

But in looking through the public docket for this case I located one time factor that the U.S. Attorney’s office may have overlooked.

In 2002, when he was jumped into MS-13, Mejia-Quintanilla was a 12-year-old named Wilfredo Oliva-Castro who lived with his family in El Salvador.

In 1996, when he was jumped into MS-13, Mejia-Sensente was a 12-year-old, name unknown, who lived with his family in El Salvador.

In 1991, when he was jumped into MS-13, Amilar-Zanas was a 12-year-old named Luis Sana who lived with his family in El Salvador.

We will never live in their time but they will always live in ours.

There is one more important notation in the paperwork for this case. Though they’re not publicly available, the docket shows that each defendant requested a translator during the course of the legal proceedings. Presumably the three defendants, all native Spanish speakers, wanted to be certain that they could follow the language of the prosecutors, the defense attorneys, and the judge as these people presided over the direction of the rest of their lives. The case files note that the translators all came to assist the defendants.

I am so glad that they came. But how I wish, oh how I wish, that these translators had spoken sooner.

* * *

This essay first appeared in the Winer 2016 issue of the Michigan Quarterly Review. It was also named a Notable Essay in Best American Essays 2017. Our thanks to Caille Millner and the MQR staff for allowing us to reprint this essay.