Search Results for: language

Sci-Fi Is for Everyone: Six Stories About Marginalized Groups in Science Fiction

Genre literature has power. Mainstream science fiction, historically, has a representation problem. (Why are there no black people in the future? Or, better yet, why is there only one black person in the future?! Did LGBTQ people disappear, too?) Where does that leave us? When I see a white-dominated cast in a sci-fi movie, or read a novel laced with not-so-subtle homophobia, it’s hard for me to believe that our imaginations cannot see beyond the basic power structures influencing our lives today and create something new. That’s why I’m intrigued by African sci-fi and Afrofuturism. I’ve included essays about women in sci-fi, as well as queer representation in the genre, because it’s a thrill to see traditionally marginalized groups take on a genre that has so much to offer them. Sci-fi should be for everyone.

1. “Women Rise in Sci Fi (Again).” (Rose Eveleth, The Atlantic, November 2014)

Women have been writing sci-fi for hundreds of years. Maybe you haven’t been paying attention.

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The Secret Life of Passwords

Longreads Pick

Urbina talks to a range of people to reveal a little bit about how we come up with passwords. “Humans like, even need, to imbue things with meaning, I suggested. We’re prone to organizing symbols into language.”

Author: IAN URBINA
Published: Nov 19, 2014
Length: 21 minutes (5,252 words)

Why One ‘Big Idea’ Won’t Save the World

In the late ’90s, an MIT economics professor named Michael Kremer wanted to find out if school kids in Kenya were better served by being given free textbooks or medicine that would eradicate stomach worms. Reports Michael Hobbes in The New Republic:

The deworming pills made the kids noticeably better off. Absence rates fell by 25 percent, the kids got taller, even their friends and families got healthier. By interrupting the chain of infection, the treatments had reduced worm infections in entire villages. Even more striking, when they tested the same kids nearly a decade later, they had more education and earned higher salaries. The female participants were less likely to be employed in domestic services.

And compared with Kremer’s first trial, deworming was a bargain. Textbooks cost $2 to $3 each. Deworming pills were as little as 49 cents. When Kremer calculated the kids’ bump in lifetime wages compared with the cost of treatment, it was a 60-to-1 ratio.

These findings led to the founding of an NGO called “Deworm the World” which went on to help 40 million children in 27 countries. But there has been little evidence that giving school children deworming pills in other countries have had similar effects. Hobbes writes:

In the 1980s and early ’90s, a series of meta-analyses found that textbooks were actually effective at improving school performance in places where the language issues weren’t as complex. In his own paper reporting the Kenya results, Kremer noted that, in Nicaragua and the Philippines, giving kids textbooks did improve their test scores.

But the point of all this is not to talk shit on Kremer—who has bettered the world more with his career than I ever have with mine—or to dismantle his deworming charity, or to advocate that we should all go back to giving out free textbooks. What I want to talk shit on is the paradigm of the Big Idea—that once we identify the correct one, we can simply unfurl it on the entire developing world like a picnic blanket.

There are villages where deworming will be the most meaningful education project possible. There are others where free textbooks will. In other places, it will be new school buildings, more teachers, lower fees, better transport, tutors, uniforms. There’s probably a village out there where a PlayPump would beat all these approaches combined. The point is, we don’t know what works, where, or why. The only way to find out is to test these models—not just before their initial success but afterward, and constantly.

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Related: Michael Hobbes talks about writing the story on his blog.

Photo: Susana Secretariat

For the Public Good: The Shameful History of Forced Sterilization in the U.S.

Belle Boggs | The New New South | August 2013 | 62 minutes (15,377 words)

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We’re proud to present, for the first time online, “For the Public Good,” Belle Boggs‘s story for The New New South about the shocking history of forced sterilizations that occurred in the United States, and the story of victims in North Carolina, with original video by Olympia Stone.

As Boggs explained to us last year: 

“Last summer I met Willis Lynch, a man who was sterilized by the state of North Carolina more than 65 years earlier, when he was only 14 years old and living in an institution for delinquent children. Willis was one of 7,600 victims of North Carolina’s eugenics program, and one of the more outspoken and persistent advocates for compensation.

“At the time I was struggling with my own inability to conceive, and the debate within my state—how much is the ability to have children worth?—was something I thought about a lot. It’s hard to quantify, the value of people who don’t exist. It gets even more complicated when you factor in public discomfort over a shameful past, and a present-day political climate that marginalizes the poor.”

Thanks to Boggs and The New New South for sharing this story with the Longreads Community, and thanks to Longreads Members for your helping us bring these stories to you. Join us.

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Escape from Jonestown

Julia Scheeres | A Thousand Lives | 26 minutes (6,304 words)

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For our latest Longreads Exclusive, we’re proud to share Julia Scheeres’ adaptation of her book, A Thousand Lives: The Untold Story of Jonestown, which tells the story of five people who lived in Jonestown at the time of the infamous massacre, which occurred 36 years ago, on Nov. 18, 1978.

This story also includes home movies—never before released publicly—from inside Jonestown. The footage, discovered after the massacre, includes tours of the compound by Jim Jones and interviews with many of those who lived and died there. You can view the entire series of clips at YouTube.com/Longreads. Read more…

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…

Untangling the Knot: My Search for Democracy in the Modern Family

Sabine Heinlein | Longreads | October 28, 2014 | 16 minutes (3,966 words)

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‘Spanglish Is Not Random’

Spanglish is not random. It is not simply a piecemeal cobbling-together, a collecting of scraps of random vocabulary into a raggedy orphan of a sentence. It has logic and rules, and more interestingly and importantly, it embodies a constantly shifting and intimate morphology of miscegenation. It is the mix of my husband’s innate Mexicanness and my innate Americanness, of my adaptive Mexicanness and his adaptive Americanness, in Spanish and English morphemes that come neatly together and apart like so many Legos into new and ever-changing constructions.

Linguist Richard Skiba breaks down the average usage of Spanglish into percentages: 84 percent of the time, Spanglish speakers employ single word switches; 10 percent of the time, phrase switches; and 6 percent of the time, clause switches. The vast majority of the time, to use Spanglish is to slip in a Spanish word for an English one, or vice versa: Estábamos llendo por el highway cuando de repente vimos un deer. Spanglish also involves affixation and suffixation: applying the morphological characteristics of one language to another. This could mean tacking on Spanish’s beloved diminutives (a little sock becomes sockito), assigning gender (the dog becomes el dogo), or modifying verb endings (takeando un bath; mopeando el piso). Finally, it includes calques (this term itself a French loan word in English, which originally means “trace” or “echo”): direct or literal translations that impose one language’s syntax on the other. For example, one might say te hablo p’atrás—I’ll call you back—as opposed to te devuelvo la llamada, which is the typical phrasing in Spanish. Or perhaps tener un buen tiempo—to have a good time—as opposed to pasarla bien, which is more correct. This is not random; it is not haphazard. Rather, to mold phrases in this way requires a firm grasp on the morphology of two languages, not to mention an instinctive creativity and openness in slipping and sliding between the two.

— Sarah Menkedick, in The Oxford American, in an essay about the origins and use of Spanglish among “middle-class and second-generation Latinos; artists, scholars, and writers; educated Mexican-American immigrants; Mexican immigrants who’ve returned to Mexico from the U.S.; and gringos who’ve somehow wound up straddling the border.”

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Photo: Beatrice Murch

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: 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.

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