Search Results for: interview

Interview: ‘Poor Teeth’ Writer Sarah Smarsh on Class and Journalism

Longreads Pick

“Poverty isn’t a beat. Money is foundational to just about every human experience in our lopsided global economy. If you don’t realize that, you’ve probably never gone without it.”

Author: Julia Wick
Source: Longreads
Published: Nov 7, 2014
Length: 10 minutes (2,674 words)

Interview: ‘Poor Teeth’ Writer Sarah Smarsh on Class and Journalism

Julia Wick | Longreads | November 7, 2014 | 11 minutes (2,674 words)

 

“I am bone of the bone of them that live in trailer homes.” That’s the first line of Sarah Smarsh’s essay “Poor Teeth,” which appeared on Aeon earlier this month. Like much of Smarsh’s work, “Poor Teeth” is a story about inequity in America. It is also a story about teeth, hers and her grandmother’s and also the millions of Americans who lack dental coverage.

Smarsh has written for Harper’s, Guernica and The Morning News, among other outlets. Her perspective is very much shaped by her personal experiences: She grew up in a family where most didn’t graduate from high school, and she later chaired the faculty-staff Diversity Initiative as a professor at Washburn University in Topeka. I spoke with her about her own path to journalism and how the media cover issues of class.  Read more…

Interview: Maya Rao on Spending a Month Working as a Cashier in the Bakken

Western North Dakota—at the epicenter of the Bakken oil rush—has become a new Wild West of sorts, where fortunes are made, sought and lost with alarming speed. Thousands have been drawn to the Bakken over the last seven years, including Maya Rao, a talented reporter who has cut her teeth at dailies and currently covers regional issues at the Minneapolis Star Tribune. She first ventured there to write a short piece for The Awl last year about the overwhelming experience of “being a woman in a place where women could be in demand as much as the oil.” After her first visit to the region Rao felt there were larger stories still untold, and she returned this past summer, spending a month working as a cashier at a truck stop just south of Alexander. Her efforts culminated in “Searching for the Good Life in the Bakken Oil Fields,” an immersive 6,000-word piece published by The Atlantic last month. Rao spoke with us about her gutsy decision to pick up and spend a month in the Bakken, her experience as a female reporter in a decidedly male-centric environment and carving out space for longer form enterprise reporting at daily papers. Read more…

Interview: Simon Rich on Guilt, Humor Writing, and Being the Worst Person Ever

Jessica Gross | Longreads | Oct. 2014 | 17 minutes (4,290 words)

By the time Simon Rich graduated from Harvard, where he served as president of the Harvard Lampoon, he had a two-book deal from Random House. Less than a decade later, the humorist has written four short story collections and two comic novels. He also spent four years writing for Saturday Night Live (he was the youngest writer SNL ever hired) and about two years at Pixar, and is now at work on a film and a television series.

Rich’s level of productivity, impressive as it is, takes a backseat to the quality of his humor writing. His stories are crystalline, eccentric, and universally hilarious. Many of the stories in his new collection, Spoiled Brats are built on an unusual premise, or told from a surprising angle. In “Animals,” a hamster narrates his wretched existence as a class pet at an elementary school. In “Gifted,” a mother insists that her son—born as a monster, with horns and a tail—is exceptional. And in “Distractions,” a writer believes the whole world is out to get him, and they really are.

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How old were you when you started actively, seriously writing?

Well, I always loved to write. As early as kindergarten, I plagiarized Roald Dahl stories that I would try to pass off as my own. But I think it sort of shifted around when I was 17. That’s when I started writing every single day, whether or not I had an idea. Until then, I would only sit down and write a story if one occurred to me, and then I started to wake up every single day and write for a few hours whether or not I had anything worthwhile to say.

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Interview: Simon Rich on Guilt, Humor Writing, and Being the Worst Person Ever

Longreads Pick

An interview with humorist Simon Rich on comedy, writing stories for the New Yorker vs. writing sketches for SNL, and his new book Spoiled Brats.

Source: Longreads
Published: Oct 14, 2014
Length: 17 minutes (4,290 words)

Interview: Vela Magazine Founder Sarah Menkedick on Women Writers and Sustainable Publishing

Cheri Lucas Rowlands | Longreads | Oct. 2 2014 | 10 minutes (2,399 words)

 

Three years ago, Sarah Menkedick launched Vela Magazine in response to the byline gender gap in the publishing industry, and to create a space that highlights excellent nonfiction written by women. Last week, Menkedick and her team of editors launched a Kickstarter campaign to grow Vela as a sustainable publication for high-quality, long-form nonfiction, to pay their contributors a competitive rate, and to continue to ensure that women writers are as recognized and read as their male counterparts. Menkedick chatted with Longreads about her own path as a writer, the writer’s decision to work for free, building a sustainable online publication, and the importance of featuring diverse voices in women’s nonfiction.

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Let’s talk about Vela’s origins. You created Vela in 2011 as a space for women writers in response to the byline gender gap — yet it’s not a “women’s magazine.” Can you explain?

Like so many women writers, I was discouraged by the original VIDA count in 2011. I was also a bit disenchanted with a certain narrowness of voice and focus in mainstream magazine publishing, which tended to be very male, because men tend to dominate mainstream magazine publishing. Talking about the alternative to that gets really dicey, because it’s icky to talk about a “womanly” or “female” voice. I wanted to say: nonfiction and literary journalism written by women doesn’t have to sound like this sort of swaggering male writing, or like the loveable snarky-but-sweet meta writing of John Jeremiah Sullivan or David Foster Wallace. It can be like . . . and there we run short on models, because there aren’t very many women being widely published whose work falls into that middle zone between “creative nonfiction” — which tends to be more academic, more experimental, more the types of essays appearing in literary magazines — and traditional journalism.

Read more…

Interview: Vela Magazine Founder Sarah Menkedick on Women Writers and Sustainable Publishing

Longreads Pick

Menkedick chatted with Longreads about her own path as a writer, the writer’s decision to work for free, building a sustainable online publication, and the importance of featuring diverse voices in women’s nonfiction.

Source: Longreads
Published: Oct 2, 2014
Length: 9 minutes (2,399 words)

Interview: Caitlin Moran on the Working Class, Masturbation, and Writing a Novel

Longreads Pick

An interview with journalist, critic, and essayist Caitlin Moran, who just published her debut novel, How to Build a Girl.

Source: Longreads
Published: Sep 26, 2014
Length: 13 minutes (3,300 words)

Interview: Caitlin Moran on the Working Class, Masturbation, and Writing a Novel

Jessica Gross | Longreads | Sept. 25, 2014 | 13 minutes (3,300 words)

Caitlin Moran has worked as a journalist, critic, and essayist in the U.K. for over two decades, since she was 16. In her 2011 memoir/manifesto, How to Be a Woman, she argued women should keep their vaginas hairy, said she has no regret over her own abortion, and advocated for the term “strident feminist.” Moran brings the same gallivanting, taboo-crushing spirit to her debut novel, How to Build a Girl, which follows Johanna Morrigan, a working class teenager, as she navigates her way toward adulthood. Morrigan shares a few traits with Moran, from her background and career path to her obsession with music and masturbation.

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As I read How to Build a Girl, I pictured you laughing uproariously to yourself as you were writing it. But in the acknowledgments, you say, “Writing a book is literally worse than giving birth to a baby—in hell.”

I wrote the acknowledgments in a welter of self-pity. I love writing—it’s the easiest thing in the world for me to do. But all through that summer, my children and husband would disappear and come back all covered in sand, having been to the beach while I sat at the table I’m at now, in the garden, chain smoking roll-up cigarettes, chain-drinking coffee. I was working so hard that I genuinely thought I’d have to go to the psychiatrist and get some valium prescribed to me. I’ve always been incredibly cheerful and laid-back, and that summer I was incredibly anxious and depressed, like my head was going to explode. There was one morning where I was putting the coffee pot on, and I noticed it said that it made 12 cups of espresso. I’d been drinking that, diluted with milk, before lunchtime. I stopped drinking the coffee, and it all got a bit easier after that. Do not drink 12 espressos before midday. It’s enormously bad for your mind.

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Interview: Kiera Feldman on Oral Roberts, God and Journalism

In our latest Longreads Exclusive, Kiera Feldman and Tulsa-based magazine This Land Press went deep into the downfall of the Oral Roberts family dynasty—how Richard Roberts went from heir to the televangelist’s empire, to stripped from his role at Oral Roberts University.

Feldman, a Brooklyn-based journalist, and This Land Press have worked together before—her story “Grace in Broken Arrow” was named our top pick for Best of Longreads 2012, and it explored another scandal inside a religious institution, sex abuse at a Tulsa Christian school. I exchanged emails with Feldman to discuss the making of the Oral Roberts story, and her start in journalism.

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