Search Results for: language

Is ‘Trash Food’ a Thing? On Food, Stigma, Class, and Connection

A store clerk, an African-American man in his sixties, offered to help us. I told him I was overwhelmed, that plumbing had gotten too complicated. I tried to make a joke by saying it was a lot simpler when everyone used an outhouse. He gave me a quick sharp look of suspicion. I recognized his expression. It’s the same one John T. gave me when I mispronounced his name, the same look I gave John T. when he mentioned “trash food” and social class. The same one I unleashed on people who called me a hillbilly or a redneck.

I understood the clerk’s concern. He wondered if I was making a veiled comment about race, economics, and the lack of plumbing. I told him that back in Kentucky when the hole filled up with waste, we dug a new hole and moved the outhouse to it. Then we’d plant a fruit tree where the old outhouse had been.

“Man,” I said, “that tree would bear. Big old peaches.”

He looked at me differently then, a serious expression. His earlier suspicion was gone.

“You know some things,” he said. “Yes you do.”

“I know one thing,” I said. “When I was a kid I wouldn’t eat those peaches.”

The two of us began laughing at the same time. We stood there and laughed until the mirth trailed away, reignited, and brought forth another bout of laughter. Eventually we wound down to a final chuckle. We stood in the aisle and studied the toilet repair kits on the pegboard wall. They were like books in a foreign language.

“Well,” I said to him. “What do you think?”

“What do I think?” he said.

I nodded.

“I think I won’t eat those peaches.”

Chris Offutt writes in Oxford American on the concept of “white trash,” the seemingly immutable class boundaries that divide us, and food’s power to widen the chasm or bridge the gap.

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Tennessee Williams on His Women, His Writer’s Block, and Whether It All Mattered

Maureen Stapleton and Don Murray in The Rose Tattoo. Photo via Wikimedia Commons

James Grissom | Follies of God: Tennessee Williams and the Women of the Fog | Knopf | March 2015 | 26 minutes (7,038 words)

 

Below is an excerpt from the book Follies of God, by James Grissom, as recommended by Longreads contributing editor Dana Snitzky. Dana writes:

“James Grissom wrote a letter to Tennessee Williams in 1982, when he was only 20 years old, asking for advice. Tennessee unexpectedly responded, ‘Perhaps you can be of some help to me.’ Ultimately he tasked Grissom with seeking out each of the women (and few men) who had inspired his work—among them Maureen Stapleton, Lillian Gish, Katharine Hepburn, Bette Davis, and Marlon Brando—so that he could ask them a question: had Tennessee Williams, or his work, ever mattered? This is Grissom’s account of their intense first encounters, in which Tennessee explains his thoughts on writing, writer’s block, and the women he wrote.”

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Smearch, Fidgital, Skinjecture: Creating New Terms for the Modern World

Jessica Gross | Longreads | April 2015 | 18 minutes (4,597 words)

Lizzie Skurnick is a voracious writer, critic and, now, head of a young adult publishing imprint. She began her career as a poet, then wrote young adult novels, a longstanding litblog called “The Old Hag,” and a Jezebel column about YA books that became the memoir Shelf Discovery: The Teen Classics We Never Stopped Reading. Lizzie Skurnick Books, an imprint of Ig Publishing that launched in 2013, republishes those very books: YA classics from the 1930s through the ‘80s, by writers including Sydney Taylor (my own childhood beacon), Norma Klein, and Lois Duncan.

I met Skurnick at her apartment in Jersey City, where she served me tea and sat across from me in an armchair. The occasion for our conversation was the publication of her new book, That Should Be a Word, a compendium of imaginative neologisms—like “smearch: Google someone in hopes of finding bad news”—drawn from her New York Times Magazine column of the same name. (Disclaimer: the column was published on the Times’ now-defunct “One-Page Magazine,” for which I also wrote.) We spoke for several hours, during which Skurnick jumped up repeatedly to show me family photographs or books she’d written or reprinted (or, at one point, to grab a water bottle that approximated the size of her son, Javier, when he was born). Our conversation ranged from how she goes about creating such inventive new words to what the current backlash against YA literature is all about.

How did your New York Times Magazine column come about?

It was actually a very happy circumstance and coincidence. They asked Maud Newton, who I’ve known since 2003, from our blogging days, “Would you like to do a column on word play?” She said no, but Lizzie Skurnick can do it! [Laughs] It was good, I could really do them—I think because I’m a rhyming poet and I’m always doing loser puns. They came very naturally. It’s not like I was sitting there and being like, “How do I write these words?”

What do you mean, they came naturally? Like a new word will pop into your head as you’re walking down the street?

Yes, I do what my mother always calls “submit the query,” which means I submit the query to my brain. And then in the meantime, it’s like warm-up stuff. I’ll look at rhymes for the word. I’ll look at related words and I’ll go through the thesaurus and I’ll do those rhyming things online. But that’s never the word. It’s never usually even related to the word, but it gets my brain juiced up. And then I take a walk and it usually comes on the walk or in the shower.

I remember when the first word, “smearch,” came to me. And it was in the shower after I’d been grumping around on words that didn’t work. Because there is always the obvious word. And then there’s always the Urban Dictionary word, like “hangry.” They must be the harmonics of our language; they’re the words that everybody comes up with, but in a good way—some natural pairing that we all can find. My words never intersected with Urban Dictionary’s. Read more…

The Craft of Poetry: A Semester with Allen Ginsberg

Elissa Schappell | The Paris Review | 1995 | 63 minutes (15,685 words)

  
We’re excited to reprint Elissa Schappell‘s essay, “The Craft of Poetry: A Semester with Allen Ginsberg.” The piece was first featured on the site in 2013 as a Longreads Member Pick, and originally appeared in the Summer 1995 issue of the Paris Review. It was later anthologized in the Paris Review’s 1999 collection Beat Writers at Work. Thanks to Schappell and the Paris Review for sharing it with the Longreads community:

Of all the literature classes I have ever taken in my life Allen Ginsberg’s “Craft of Poetry” was not only the most memorable and inspiring, but the most useful to me as a writer.
First thought, best thought.
It’s 1994 and I am getting my MFA in fiction at NYU. I’m sitting in the front row of a dingy classroom with a tape recorder and a notebook. The tape recorder is to record Allen Ginsberg, the big daddy of the Beat’s “Craft of Poetry” lectures for a feature I’m writing for The Paris Review. No. Lectures is the wrong word—Ginsberg’s thought operas, his spontaneous jet streams of brilliance, his earthy Dharma Lion roars—that’s what I’m there to capture. His teaching method is, as he explains it, “to improvise to some extent and it have it real rather than just a rote thing.”
It was very real.
The education Ginsberg provided me exceeds the bounds of the classroom, and far beyond the craft of poetry. Look inward and let go, he said. Pay attention to your world, read everything. For as he put it, “If the mind is shapely the art will be shapely.”
—Elissa Schappell, 2013

 ***

The news that Allen Ginsberg was going to be teaching at New York University was passed around campus like a joint, making some people giddy and euphoric, others mildly confused, and still others paranoid—teachers and students alike. The waiting list to get into the class was extraordinary not only in length, but for the sheer number of times students eagerly checked to see if they had moved up. As a graduate student in the creative writing program I was given first dibs. I was curious to meet Ginsberg, curious to see how he would commandeer the Craft of Poetry class, which in the past had been taught by Galway Kinnell and William Matthews. The following excerpts were culled from a diary I kept during the semester. Read more…

What It’s Like to Be an FBI Agent in a Border Town

Laredo, Texas. Photo by philipbarrett2003, Flickr

Lawson moved out of his extended-stay hotel and into a house in Laredo, not far from some of the Treviños’ extended family, he says. He came to appreciate the camaraderie of working the border, a destination so low on agents’ wish lists that the bureau lets them transfer wherever they want after five years. Most of the agents were young and single, since no one with any seniority lasts, and the bosses nurtured a culture that felt more like a cop shop than a federal bureau, with a loose dress code and looser language. They played poker and went to happy hour when they could.

The FBI agents felt some kinship with those from the other federal agencies in Laredo, which all share an office. There was also competitiveness, though. They were all chasing Zetas, whose fight with the Gulf Cartel had grown so violent that agents sometimes went to the border to listen to gunfights.

Joe Tone, writing in the Dallas Observer about how the Feds took down a drug cartel’s horse-racing empire.

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The Answer Is Never

Illustration by Devon Kelley-Yurdin

Sabine Heinlein | Longreads | April 2015 | 16 minutes (3,886 words)

 

One time, when I was in my early twenties, I shared a hospital room with a mother of many. I had a skin infection that wouldn’t respond to oral medication, and the 50-something-year-old woman had severe, inexplicable hives. Our main topic of conversation revolved around neither of our ailments. It was about my not wanting to have children. She was insistent, which seemed ironic considering her hives flared up whenever her family visited her on Sundays. I eventually compromised with the woman. Okay, I said, I will put off my decision until I reach my thirties. “You are starry-eyed,” she huffed. “You young women want it all. But you can’t have it all!” Maybe, I thought, some of us don’t want it all. Read more…

Six Years of Longreads

April 17 marks six years since we started this community—growing from just a few readers to over a million, with people now sharing stories in dozens of different languages from hundreds of publishers. Christian Jørgensen put together a really nice Storify timeline of how the Twitter hashtag #longreads first evolved.

This community also has grown from sharing stories to actually funding them. Longreads Members have already helped us finance dozens of stories from outstanding writers and publisher partners. You can see them here. (We’re also celebrating our one-year anniversary being part of the Automattic / WordPress.com family, and we couldn’t be prouder to be at a company dedicated to helping independent publishers succeed.)

Thank you to everyone has helped make this community of readers so special. We’re excited for what’s next, from new originals to live events in San Francisco and New York.

‘I Would Prefer Not To’: The Origins of the White Collar Worker

Photo via simpleinsomnia

Nikil Saval | Cubed: A Secret History of the Workplace | Doubleday | April 2014 | 31 minutes (8,529 words)

 

Below is an excerpt from the book Cubed, by Nikil Saval, as recommended by Longreads contributor Dana Snitzky.

* * *

I have known the inexorable sadness of pencils…

—Theodore Roethke, “Dolor”

The torn coat sleeve to the table. The steel pen to the ink. Write! Write! Be it truth or fable. Words! Words! Clerks never think.

—Benjamin Browne Foster, Down East Diary (1849)

They labored in poorly lit, smoky single rooms, attached to merchants and lawyers, to insurance concerns and banks. They had sharp penmanship and bad eyes, extravagant clothes but shrunken, unused bodies, backs cramped from poor posture, fingers callused by constant writing. When they were not thin, angular, and sallow, they were ruddy and soft; their paunches sagged onto their thighs. Read more…

The Last Freeway

Illustration by Kjell Reigstad

Hillel Aron | Slake | July 2011 | 20 minutes (4,888 words)

Hillel Aron’s “The Last Freeway” was published in Slake in 2011 and appeared as a Longreads Member Pick in September 2013. It’s a story about a city (Los Angeles), a freeway interchange (where the 105 meets the 110), and a man (Judge Harry Pregerson). Aron explains:

“Well, my friends Joe Donnelly and Laurie Ochoa had this great quarterly called Slake, and I wanted to write something for them, so we sat down and talked about it… I think maybe I pitched it to them, I can’t remember. I’d was just always fascinated by freeways, growing up in Los Angeles, and I loved that Reyner Banham book, The Architecture of the Four Ecologies. When I was kid, I was completely enchanted by that 105 / 110 interchange, the carpool lane one, which towers above the city. It’s basically like a rollercoaster. Actually it kind of sucks—since I wrote the piece, they’ve turned that carpool lane into a “toll lane,” so normal carpoolers can’t use it anymore without one of those fast pass things. At any rate, I did some research and it turned out that (a) the 105 was the last freeway built in Los Angeles—the end of an era, really. And it was so tough to build that it basically set a precedent of not building freeways anymore. And (b), there was this nutty judge who turned the whole thing into a New Deal-style public works program to benefit the communities that were being bisected by this massive beast of a freeway. And he also ordered them to stick a train in the middle of it, which didn’t quite go to the airport, but that’s a different story…”

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How to Friend Request Your Way Into a Cyber Posse of Unwitting Informants

The set-up was like something out of a movie—Four California Highway Patrol officers with little to no undercover experience decide to pose as Vegas players to take down motorcycle thieves in LA. Southern California’s street bike culture had made motorcycle theft a major problem in recent years, and so the officers would need to infiltrate the scene in order to pull off their sting. This is where things got tricky. Writing about the operation in Los Angeles Magazine, Greg Nichols details the creative way one of the officers gained credibility in the biker community:

With the team members in place, they set to work finding a second suspect. Scores of thieves were scooping up sport bikes around Los Angeles, but that didn’t make them easy to locate. Combing through Craigslist and eBay, the investigators scanned for ads containing suspicious language. Watson asked insurance companies to provide bike parts. Looking for leads, he and Clifford wrapped their inventory in cellophane, stepped into character, and went around to local motorcycle shops offering tidbits for sale or trade. Watson, always animated, did most of the talking. Clifford was younger, a good kid from a small town in Northern California. He was stiff at first, and cusswords tumbled out of his mouth with the overenunciated eagerness of a parent using slang. Incredulous shop owners sized up the short-haired white boys bearing gift-wrapped parts and said no thanks. The CHP had sprung for fake business cards, which the investigators passed out all over town, but nobody seemed eager to follow up with them.

Then Watson realized he had a teenager’s gift for social media. His humor and goofiness played well online. Watson joined motorcycle forums and set up a Facebook account to get close to club members. Men were slow to respond, but women seemed happy to accept his friend requests. The more female friends he acquired, the more the male bikers warmed to him. Soon he had a cyberposse of unwitting informants. Using those contacts, and cross-referencing frequent posters on Craigslist and eBay, the team discovered a likely suspect. When Clifford called about a Suzuki GSXR posted on Craigslist, the man introduced himself as Biscuit.

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