Search Results for: interview

Sometimes the Story Finds You: An Interview With Rachel Monroe

Rocky outcrop in the desert near Shiprock in far northwestern New Mexico. (Education Images/UIG via Getty Images)

For Esquire, Rachel Monroe spent time on the enormous Navajo reservation to examine how the Amber Alert system failed to protect a missing girl. Typically, child abductions launch immediate responses from local law enforcement, but when a Navajo sister and brother, Ashlynne and Ian Mike, went missing in Shiprock in 2016, the Navajo Nation Police Department didn’t put out an Amber Alert for eight hours after the girl went reported missing. Jurisdiction, a lack of resources, and confusion about procedure wasted vital time, and Ashlynne was found dead.

Monroe spent two years speaking with sources and unraveling the bureaucratic and cultural threads that kept the Navajo Nation Amber Alert system from working as well as is does off the reservation. Monroe tells a chilling story, especially to parents, but it honors Ashlynne’s memory and offers hope that the bipartisan bill that Ashlynne’s mother helped pass, a bill to fund a Amber Alert in Indian Country system, and renamed it after Ashlynne, will help save the lives of other Indigenous children when they go missing. I spoke with Monroe about the years it took to bring this story to publication, and why a complex story often needs to take the time.

***

You’ve been writing features for a long time and covered everything from the culture of living in vans to a West Texas fertilizer plant explosion. How did you find out about the abduction on the Navajo reservation?

In 2016, my editor, the wonderful Whitney Joiner, asked me to find an Amber Alert story since it was the program’s 20th anniversary. I dug around a bit and found the Amber Alert in Indian Country program, and went to Taos for a conference in April 2016. At the conference, I heard people talking about the mistrust, underfunding, racism and jurisdictional tangles that make it so challenging to deal with abductions on reservations. I just got kind of obsessed with how knotty and complicated it all was. And then, a few weeks later, Ashlynne and Ian were kidnapped. It was a perfect, awful illustration of all these issues I’d been thinking about.

One structural issue this kidnapping illustrated was an issue unique to many tribes: that talking about abductions and doing training exercises invites these particular evils into the tribal community. Were there other culture-specific issues that you wish you could have explored further?

There are more than 500 different federally recognized tribes in the U.S., and they’re all distinct, even though the issues they’re grappling with are similar. The story kept shrinking and ballooning and shrinking again as I tried to figure out how much to include about the specifics of this case, and of the Navajo Nation. A lot of the struggles with writing it had to do with questions of scale — how to write about this one child and colonialism without writing a 20 million word story. I also thought a lot about how to portray the culture-specific challenges, which many people discussed with me, without playing into tropes of Native people being exotic or mystical. I really didn’t want to do that.

Many Americans have little opportunity to interact with Indigenous people, so many don’t understand how tribal sovereignty works, or what life on reservations is like. It was interesting to learn about how accepting federal money to improve things like the Amber Alert system on Navajo land could undermine tribal sovereignty. What other things did you learn about the Navajo Nation that surprised you?

The community was so shaken by this crime, and I wanted to make sure that came across in the story. When it works well, crime writing can give you a portrait of a community and a place — the horror of a murder brings internal conflicts and debates into relief as people try to negotiate what happened, how it happened, what it means, what should be done.

I was surprised by the layers of bureaucracy that has to be negotiated to get anything taken care of on the reservation. Gary Mike told me about how he helped the FBI agents plan the raid on the sweat lodge where they arrested the man who was eventually convicted of Ashlynne’s murder. Gary was so anxious that they might mess it up, because the sweat lodge was on a patch of land that technically wasn’t a part of the reservation, so the jurisdictional rules and responsibilities were different in that particular spot. And he knew all of that just because in his daily life he’d had to deal with all these overlapping systems all the time.

How do you write a story of this size and complexity? What’s your process, from reporting to writing?

I started by going to that conference in Taos, which was useful in that it provided an overview of the various issues at play, and it also helped me connect with people working in the field. After Ashlynne was abducted, I knew I had to go to Shiprock. It was difficult to find contact information for anyone in advance, so I just crossed my fingers and drove out there, hoping it would all work out. I started by going through local leaders like Rick Nez and Chili Yazzie. It’s a very tight-knit community, so when those people met me and saw that I was sincere and committed to telling the story in its full complexity, they helped put me in touch with others.

Eventually I was introduced to Ashlynne’s dad. I also had one really intense, long off-the-record interview that I wasn’t able to use, but that proved to be really crucial in helping me understand the dynamics at play in Shiprock. Jim Walters, who has been involved with Amber Alert in Indian Country for over a decade now, was very patient in explaining the intricacies of the system to me over and over again. He also helped facilitate the connection with Pamela, Ashlynne’s mom. Basically all the important connections I made with this story were person-to-person. It’s always so daunting to approach a story like this and not know whether or not people will give you access, but I was fortunate that so many people were so generous and willing to share. After that visit to Shiprock, I just kept following the case through the court system, got all the documents I could get my hands on, FOIA’d some police departments, and attended various court proceedings.

 

Ashlynne’s mother helped get a bill passed to improve the Amber Alert system on tribal lands, and the alerts are named after Ashlynne. In the long-run, do you think the improvements will stick?

I try to avoid prognosticating. In one sense, I’m optimistic. People are paying more attention to violence committed against Indigenous women and children. At the same time, everyone working in this field is fighting such intense headwinds — poverty, trauma, racism, just to name a few. Even so, I have so much admiration for those fighting the good fight, and I think that their work does make a difference over time.

 

Chasing the Man Who Caught the Storm: An Interview With Brantley Hargrove

Longreads Pick

An interview with Brantley Hargrove, the author of a new biography of the storm chaser Tim Samaras, who was killed by the biggest tornado ever recorded. To understand the life of a chaser, Hargrove had to become one himself.

Source: Longreads
Published: Apr 11, 2018
Length: 16 minutes (4,096 words)

Chasing the Man Who Caught the Storm: An Interview With Brantley Hargrove

AP

 

Jonny Auping | Longreads | April 2018| 15 minutes (4,096 words)

 

In his recently released book, The Man Who Caught the Storm, Brantley Hargrove tells the story of an unlikely legend named Tim Samaras, who lived his life grappling with and addicted to one of nature’s most dangerous marvels.

Samaras was a tornado chaser with a simple but absurdly treacherous goal: to get close enough to a twister to glean data from within its core. Hargrove, who spent months on the road chasing tornadoes for the reporting of the book, retraces and recreates Samaras’ most dramatic missions, culminating on May 31, 2014 in El Reno, Oklahoma, where he would face off with the largest tornado ever recorded. That same tornado would take Samaras’ life along with those of his son, Paul, and fellow chaser Carl Young.

“We now live in an era when the Mars Pathfinder rover has touched down on the Red Planet,” Hargrove writes. “The human genome has been mapped. But twisters still have the power to confound even the most advanced civilization the planet has ever known.”

Samaras legacy and life’s work represented a crucial foundation for how to better understand and predict historically unpredictable tornadoes.

But The Man the Who Caught the Storm is hardly a meteorological textbook. Rather Hargrove weaves a uniquely American tale of adventure — “nowhere else on the planet do tornadoes happen like they do in this country,” as he explained to me — diving into the circumstances and makeup that leads a man to chase what he should be running from.

Lacking even a college degree, Samaras was an outsider in the meteorological community, who not only developed one of the most sophisticated information-gathering probes the field had ever seen, but also had the courage (or perhaps unrelenting urge) to personally drop that probe in front of a twister.

Hargrove sat down with Longreads to discuss tornadoes, his own storm chasing, and the addicting thrill of being in the presence of something that can cause unfathomable chaos and destruction.
Read more…

Sharp Women Writers: An Interview With Michelle Dean

Photo illustration by Katie Kosma

Natalie Daher | Longreads | April 2018 | 15 minutes (4,014 words)

The subjects of cultural critic Michelle Dean’s new book Sharp: The Women Who Made an Art of Having an Opinion — including Dorothy Parker, Janet Malcolm, Joan Didion and Nora Ephron — have appeared in Dean’s writing and interviews again and again over the years. It’s not difficult to see how Dean would develop a fascination with opinionated women — she is one herself. Lawyer-turned-crime reporter, literary critic, and Gawker alumnus, Michelle Dean’s has had her own “sharp” opinions on topics ranging from fashion to politics, from #MeToo to the Amityville Horror.

The book is more than just a series of biographical sketches. Dean is fascinated by the connections between these literary women — their real-life relationships, their debates, and the ways they were pitted against each other in a male-dominated field.

We spoke by phone between New York and Los Angeles and discussed writing about famous writers, the media, editors, and feminism.
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Sharp Women Writers: An Interview With Michelle Dean

Longreads Pick

Cultural critic Michelle Dean discusses her new book Sharp: The Women Who Made an Art of Having an Opinion. Topics covered range from emotionally fraught book reviews of Susan Sontag to male blowback against the famous first line of Janet Malcolm’s The Journalist and the Murderer to how horrified Elizabeth Hardwick was by her friend Adrienne Rich’s feminism.

Source: Longreads
Published: Apr 4, 2018
Length: 16 minutes (4,014 words)

Lying Down in the Dirt: An Interview with Denis Johnson

East Fork of the Salmon River, Idaho (Eric Zamora/VWPics via AP Images)

Janet Steen | Longreads | February 2018 | 13 minutes (3,523 words)

In 2002, while I was the literary editor at Details magazine, I interviewed Denis Johnson on the occasion of the tenth anniversary of what is perhaps still his most famous book, Jesus’ Son. When he died last year, at the age of 67, I wondered if I could locate the cassette I’d recorded the interview on all those years ago.

Eventually it surfaced, on a dusty ancient Sony type-1 normal bias, and there, suddenly, was Denis — before books like Train Dreams and Tree of Smoke, and before his last recent posthumous book of stories The Largesse of the Sea Maiden, which, as it turns out, would be his only other collection of stories. On the recording he is soft-spoken and easy and open, but there is still a hint of the jangly “Fuckhead” he drew on for the stories, a guy who finds it “painful to be amongst humans,” who made the rest of us feel less ashamed for finding it so hard.

(This interview has been greatly edited for clarity, but the full audio is available below. -Ed.)

* * *

Janet Steen: Have you reread any of the stories in Jesus’ Son lately?

Denis Johnson: Not really lately. But it happens I’m very familiar with the book. For a couple of years before it was published, and then several years after, when I would give a reading, I would read one of those stories, or two of them. I’d look around for something I hadn’t read out loud in a while in that book, and that was kind of my routine. I ended up reading all of the stories out loud several times. Three, four readings a year. I became really familiar with the sound of the stories.

I haven’t looked at them lately though. I never really got tired of reading them out loud. I just quit because I started to feel like I was beating a dead horse, and I felt like I should read something a little more recent.

JS: What did you feel towards them when you read them, even if you would sit down and read them by yourself?

DJ: Well, I don’t know. I rarely read them to myself, but reading them out loud I really enjoyed the humor in them. People would almost always come up to me afterwards and say, “I didn’t realize those were funny. I thought those stories were just sad.” When you read them out loud, people laugh a lot, because the characters are humorous. It’s just their situations are generally very, very bleak.

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What Happens Between What Seems Like All the Facts: On Interviewing Artists

(Photo courtesy the Auping family)

Jonny Auping| Longreads | February 2017 | 15 minutes (4,011 words)

Michael Auping recently retired after 25 years as the chief curator of the Modern Art Museum of Fort Worth. His 40-year curatorial career, which focused on the international development of postwar art, has resulted in numerous, critically-acclaimed exhibitions featuring many of the 20th century’s most prominent visual artists.

Before becoming a curator, Auping spent his post-graduate years in mid-70s Southern California trying to figure out how to break into the art world. Around 1975, he came across the book Workingby Studs Terkel, in which the author interviews various working people — from parking valets and cab drivers to gravediggers and pharmacists — about the meaning they find in their jobs. Auping began going to the studios of Los Angeles-based artists like Robert Irwin, Tony Delap, and Craig Kauffman to record conversations about their work, their background, and most importantly, their process.

His new book, Forty Years: Just Talking About Art, is a compilation of interviews ranging from 1977 to 2017 featuring artists such as Frank Stella, Lucian Freud, Susan Rothenberg, Bruce Nauman. Anselm Kiefer, Ed Ruscha, Richard Serra, and many others. Read more…

Finding My Way into a New Form: An Interview with Teju Cole

Longreads Pick

Steve Paulson interviews Teju Cole about why he left Twitter, his photographic inspirations, how he delights in the beauty of sentence fragments, and his meditative approach to combining text and photography in his book, Blind Spot.

Source: The Millions
Published: Jul 5, 2017
Length: 20 minutes (5,150 words)

An Interview with ‘Call Me By Your Name’ Author André Aciman

Andrè Aciman attends a screening of "Call Me by Your Name" during the 55th New York Film Festival in New York City. (Dia Dipasupil/Getty Images)

Jessica Gross | Longreads | November 2017 | 20 minutes (4,900 words)

I spend the first day in any new place, particularly when I’m traveling alone, feeling massively out of sorts and wondering if I should turn right back around and come home. By now, I know that by the end of my stay that initial despair will feel almost unreal. But last summer, on a trip to Vienna, my sense of dislocation was so acute I didn’t know if I’d last. I’d spent the long train ride over from Paris re-reading my great-grandmother’s autobiography—as told to my grandmother—which details my Jewish family’s flight from Vienna in 1938. Arriving in the city so many decades later, I still couldn’t shake the sense of terror they’d described. No matter how much I tried to talk myself down, I couldn’t seem to stop conflating the cold stares of the Austrians I passed on the street with the fact that this country had wanted my relatives dead.

So: It was fraught. Until, that is, a friend sent me an essay by André Aciman. In “Parallax,” the epilogue to his essay collection Alibis: Essays on Elsewhere, Aciman—a Jew and an exile from Egypt to Europe, who now lives in New York—writes of the dislocation that seems by now intrinsic to his personhood. He cannot, he writes, appreciate one place unless through the projection of another. “What we missed was not just Egypt. What we missed was dreaming Europe in Egypt—what we missed was the Egypt where we’d dreamed of Europe,” he writes. “Parallax is not just a disturbance in vision. It’s a derealizing and paralyzing disturbance in the soul—cognitive, metaphysical, intellectual, and ultimately aesthetic. It is not just about displacement, or of feeling adrift both in time and space, it is a fundamental misalignment between who we are, might have been, could still be, can’t accept we’ve become, or may never be.” I can’t remember whether reading this made me abruptly stop crying or, in the way that transcendent literature can, made me sob even harder.

Since then, I’ve read enough Aciman—a memoirist, essayist, and novelist—to know that dislocation is one of several central and vital themes. He also grapples with evasion of the present, and of pain; with ambivalence; and with desire. These last two are on particular display in his masterful novel Call Me by Your Name, which has now been adapted into a gorgeous film. Aciman expresses what it’s like to inhabit a human mind with more intricacy, subtlety and lyricism than almost any other writer I’ve read. We met at a café on the Upper West Side, where I tried to keep my reverence in check, and spoke about his distaste for realism, mitigating joy, trying to induce a sense of immersion in the reader, his respect for editors, and the new film. He began by telling me there was only one question I couldn’t ask: whether he thinks it did justice to the book.

Are there any other questions you absolutely loathe?

No.

How do you generally answer when people ask that question?

“I loved it!” Okay, now you’re asking the question. [Laughter] Okay, fine, I’ll answer.

As a writer, you have two choices. You can be very proprietary—in other words, you own the book, you own the story, and the movie has to follow, otherwise you get upset, you go crazy.

Or, you can say, “I’ve written the book. You want to make a movie, you want to make a play, you want to make an opera out of it? Do with it what you want. And if you want my opinion, I’ll give it to you; if you don’t want to hear it, I won’t give it to you.” I’m probably the easiest author to edit because I feel that an editor knows what they’re doing.  So if they say, “This sentence is horrible,” I’ll listen. I disagree one percent of the time. Read more…

The Intimacy of an Android: An Interview With Alex Mar

(Cait Opperman / Wired)

Alex Mar’s cover story for Wired‘s November issue, “Love in the Time of Robots” is an epic look at the life and work of Hiroshi Ishiguro, director of the Intelligent Robotics Laboratory, who has spent his life and career in pursuit of a more perfect android. He has made copies of his friends, family, and himself with his “Geminoid” project, and he delights in the moment when a human confronts its twin. What could have been a simple profile of Ishiguro goes much, much deeper — at nearly 12,000 words, it is one of the longest features that Wired has run in print — as Mar explores the origins of human nature and intimacy, and the desire to turn to a robot for comfort or companionship. “Most of us already allow technology to mediate what was once simple, direct human interaction,” Mar writes, “what really is the difference?” I spoke with Mar via email about her experience with Ishiguro and the freedom of writing at a length far beyond the typical magazine feature.

***

How many times did you meet with Hiroshi Ishiguro? How did your understanding of him and his work change with each meeting?

I’ve been in touch with Hiroshi for over two years and we spent about three weeks in each other’s constant company in Japan, between Osaka and Tokyo. He was immediately forthcoming with me, very open and direct. We had a great, natural rapport from our first Skype chat, and that was a big part of why I decided to pursue the story. Almost immediately he announced himself as less of a roboticist and more of an artist, which I could relate to more than an engineer’s perspective — he was turned on by big concepts and risk-taking.

Over time he did become more open about his family, a subject that’s pretty verboten for him, as he’s always been a firm believer in keeping his family life separate from his public, professional life. (Ironic, considering his first major experiment was an android copy of his then 5-year-old daughter.) He’s a charismatic figure, and he and his work have gotten plenty of press coverage internationally over the years. It took a moment for him to realize I was also interested in very minute details about his life — his childhood, his personal habits — things that he at first dismissed as too boring to discuss. It’s funny how often people assume that the kind of minutia that really makes a story, the intimate stuff, isn’t worth mentioning.

Ishiguro closely studies the small physical cues involved in human interaction in order to build a better android. (He notices, for example, that people never sit completely still.) But you seem to think his understanding of humanity is lacking. How did your understanding of his work change over time?

I don’t know if Hiroshi’s understanding of humanity is lacking any more than yours or mine. It’s more that his project is immense and requires a lot of hubris. He’s studying, measuring, and trying to replicate something that remains pretty intangible: the human presence, which the Japanese call sonzai-kan. The ineffable thing that signals to us that we’re sitting across from a living, breathing, thinking, feeling person. Plenty of people would call that a soul — something that, by definition, is impossible to replicate. So I think the bigger question here is: Do you think that human-ness is something that we can measure and weigh and build from scratch? Hiroshi’s answer to that, at least in public, is a resounding yes. But in private, I think that Hiroshi is conflicted. Personally, he seems to be struggling with his own deep desire for human connection — he spoke to me repeatedly of his feelings of loneliness — and I don’t know if he’ll ever be able to reconcile that with his work.

When did you suspect you would have to be a part of this story? How did you decide how much of yourself to put in?

I consider myself a “literary” non-fiction writer, but not a particularly confessional one. I believe in using the first person sparingly in journalism; in my longform stories I’ve tended to use it more as a light-handed framing device. But with my first book, Witches of America, about the present-day witchcraft movement around the country, I was surprised and a little bit horrified when I realized I needed to go all-in and insert myself as a character. I needed to be honest with myself and the reader about my curiosity about witchcraft, and to be frank about how subjective my experience of these Pagan rituals was — there’s no “objective” way to take part in a religious ceremony. My approach to the book became very personal and immersive, and any other approach would have felt dishonest.

When I returned from my first reporting trip to Japan, I had that feeling again: The subject of the story required a writer who was also a stand-in for the audience. I had to be able to describe in a very immediate way the experience of being around those androids, of being immersed in Hiroshi’s world and his way of thinking about humanity. When events in my personal life began to get all tangled up with the ideas I was absorbing in Hiroshi’s labs, I felt the only honest way to write this story was to weave that in.

Do you think that inventors who work at the edge of what is technically possible — with artificial intelligence, virtual reality, and so on — lose sight of what humans actually want, what we actually need? It seems like much of what Silicon Valley provides serves the interests of a narrow subset of people in the name of helping humanity.

It seems to me that the goal of a lot of research and development is to anticipate a need, or perhaps to create a desire where previously there was none. Android development is less about a concrete need — a robot doesn’t have to have a human face to perform surgery, or rescue someone from a war zone — but it does seem like an extension of the parts of our lives technology has already colonized. So many of our relationships are already virtual or text-based: entire friendships with people we almost never see in person, interactions with avatars people have created to stand in for themselves online. I’m willing to bet that internet porn, for those who are more or less addicted to it, is rewiring their sexual instincts and, to a degree, eliminating the need for actual human contact. And what about the constant need for affirmation that Instagram or Facebook satisfies? Are we really interacting with humans when we’re interacting on social media, or would that shot of cortisol to the brain be just as satisfying coming from a bot? If you go down this rabbit hole, it becomes possible to imagine a market for android companions, whether platonic or sexual, that goes beyond a “narrow subset” of people.

But putting that longer-term apocalyptic talk aside, here’s something else to consider: AI, android science, VR, etc. — these are clearly male-dominated fields, whether we’re talking about Japan or the U.S. Therefore the needs and desires research and development is addressing are, for the most part, the needs and desires of men — the fantasies of men projected onto the not-so-distant future. When I learned that Hiroshi had produced some two dozen attractive female androids, I thought, of course they were female, young-looking, and pretty. He may be a radical, independent thinker, but he’s ultimately following the dictates of an industry built by men.

This is one of the longest features Wired has ever run in print, over 12,000 words. Was having that kind of length helpful for this subject, or was it unwieldy at times to tell a story of that length?

My very first draft of the story was close to this length, and it felt natural. I’m very grateful that Wired was willing to give it that space, about twice their typical feature length. I think there was a consensus that this story needed that kind of room because of how it continues to evolve all the way to the last page. Hiroshi’s work has a breadth of scope that requires that much space if you’re going to push beyond “man who creates good-looking androids” terrain to get to something deeper. My editor Mark Robinson was a real believer in the piece and wanted to avoid any cuts that might subtract from what he thought made it different and strange and intimate.

There’s also the fact that, for whatever reason, 12,000 words is a sweet spot for me with magazine features. I like to hurl myself into the subject and write my way out of it, and it seems to land at that length nearly every time. But I believe that every story has a length that it naturally wants to land at, once you’re plugged into the writing process. That’s why it’s so valuable to have magazines that are willing to take this kind of risk and go long. This kind of freedom is the greatest gift an editor can give you.

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