Home is a Cup of Tea

Candace Rose Rardon | Longreads | July 2017 | 10 minutes (2,882 words)

Candace Rose Rardon | Longreads | July 2017 | 10 minutes (2,882 words)

Cody Delistraty | Longreads | June 2017 | 11 minutes (2787 words)
Holly Maniatty is moving faster than anyone in the Wu-Tang Clan. She bounces up and down, her whole body undulates, her hands fly as she signs, her eyes flare precisely, her mouth articulates the lyrics. She is in the front row at the Bonnaroo music festival in Manchester, Tennessee, where she’s interpreting the concert for Deaf fans. The other American Sign Language (ASL) interpreter at the show looks at her in awe. Maniatty doesn’t pause.
Maniatty, who grew up in rural Vermont and holds degrees in interpreting and ASL linguistics, is a sensation in the Deaf community and among hip-hop fans. When she interpreted a Killer Mike concert, also at Bonnaroo, the rapper was so impressed with her rapid movements and visible passion that he jumped off the stage and began dancing with her. With a smile, he rapped a series of nasty words and phrases. Maniatty kept up; the crowd went wild.
Maniatty is an in-demand ASL concert interpreter and has grown in fame, appearing on late night shows from Jimmy Kimmel to Jimmy Fallon. Her skill is hard-won; for a single concert, she often prepares for up to 40 hours, to understand every aspect of the musical group she’ll sign for. She wants to provide near-perfect information to her Deaf patrons, so she learns everything: the group’s entire backlist, where they grew up, what charities they give to. By knowing the group she’s interpreting, she can more precisely — and more quickly — interpret their performance.
Maniatty wants to use her profile to bring greater equality to Deaf people. “There’s this whole population of culture in America that sometimes is easily overlooked and not served,” she tells me. Likewise, she wants attention turned not toward her but toward the Deaf performers who are breaking stereotypes of what it means to be a performing artist and what it means to be Deaf. She mentions her great respect for Deaf performers like Sean Forbes, Dack Virnig, and Peter Cook.
Maniatty and I discussed the boundaries of language, the complexities of interpreting, and raising awareness for the Deaf community. Throughout it all, she was upbeat and energetic, stressing how grateful she is to get to do what she does. Deaf or hearing, it’s hard not to look forward to her next concert.
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How did you become interested in ASL?
I had ideas about going to art school and I really felt like I wanted to be an interpreter and I went for it wholeheartedly. I was very fortunate to be accepted to RIT (Rochester Institute of Technology). The National Technical Institute for the Deaf is there so they have a large population of Deaf students. I lived in a dorm with Deaf people and interacted with Deaf people, and most of my friends were Deaf, so I was really lucky to have that immersive experience, and because of that, I gained the language quickly. Since then, it’s really been one of the fulfilling things I could ever think of in life, really.
I worked for a short time as a staff interpreter at RIT and as a freelance interpreter, and just randomly was asked to do a concert. They were having a hard time finding an interpreter for it. I jumped in and found that I really loved the work because of the preparatory process: going through the music and analyzing the lyrics, and doing what an interpreter would call “text analysis” of the intent of the speaker and, hopefully, the received message of the person you’re interpreting for. I fell in love with that process.
That was in between my two degrees, and I went back to school to get a degree in ASL Linguistics because I felt like there was so much more that I needed to know about the language before I could really do this at the highest level. The University of Rochester has a fabulous program that includes linguistics classes, brain, and science classes, but also a lot of Deaf history, and Deaf folklore, and Deaf poetry. I was able to take those classes, and it really helped build my skill. From there, I just started doing shows and patrons liked the interpreting that I was able to offer, and they requested me to do shows.
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Was that your big break?
After I moved to Portland, ME, I got involved in Bonnaroo and interpreted there, and, again, that was patron-driven: someone that I had interpreted for before asked if I was able to go to Bonnaroo, and I contacted the accessibility department there.
Starting at Bonnaroo was a big step for me because it wasn’t just one show a night. Over the course of a weekend, an interpreter at a festival can do fifteen to twenty shows in just three to four days. That was a big step for me and brought me to another level of being able to do a variety of music throughout one day. You could go from something that was more lyrical and folk all the way to something that someone would refer to as a hardcore rap show. It definitely stretched my skills, and I think built me up to be a better interpreter every single year that I did it. I just really enjoyed that.
There’s a fabulous team of interpreters that come from all over the country to do Bonnaroo so it was a great opportunity to learn from other professionals, and we had this great, little brain trust going on — learning from each other and working together and supporting each other through that process. It was one of the pivotal interpreting opportunities I had.
Where does your particular skill set lie?
That’s such an astute question. No one has ever asked me that. I think the things that most prepares me for this work is my ability to look at communication as a whole entity — almost this global package. I try to use as many different possible ways to communicate a message as possible. Obviously the sign language, but then there’s the poetic aspect of music that you’re always trying to relay and put that experience out there for a person that’s at a show.
I always go back to what I would term as “the old Deaf masters,” like Clayton Valli and Patrick Graybill and The National Theater for the Deaf and all those old things we watched on VHS tapes when I was in college — that’s how old I am. Going back to them and seeing how they creatively used their language and then incorporated that into the way you communicate as a human being. So accessing people’s visual representations of things — like if they’re talking about a political movement, what was the picture that went along with that political movement? Or what was the striking Pulitzer image that goes along with that, and trying to access that through the interpretation. I research how the performer moves, and I think that speaks a lot to how they feel about one particular song or album. You see the way they shift their body posture and even the way they’re projecting their voice can be different based on the album, which goes back to a time in their life.
The more you look at communication as a global thing — a global delivery as opposed to just looking at the language itself — you’re able to communicate things a lot more efficiently and a lot more effectively than if you were just kind of thinking, How can I translate this instrument to sign language? Music is about so many more things than that, and if you’re going from very rich and lush movement to ASL, which is also a very rich and lush medium, you want to take advantage of everything you have.
…the most important thing is that they’re experiencing the same thing as somebody else is. They’re dropping with the beat at the same time; they’re having that emotional moment. I’ve interpreted shows before and almost everyone in the crowd is tearing up, and you want that for the patron that you’re interpreting for.
Is there something we can learn about translation from how you interpret ASL?
I do think that there are implications with any language — cultural implications. In Taiwan, February 14th is not Valentine’s Day; it was their February 14 Massacre so you couldn’t go from English to Taiwanese or whatever dialect you were using there and not understand the implication when somebody mentions February 14th. I think that in any language, you have to understand the cultural implications, and ASL is so deeply tied with American cultural experience.
I’ve learned, obviously, from my Deaf professors that you have to understand that cultural implication. I grew up near Canada in Northern Vermont, and on Quebec license plates, it says, “I will remember.” I never really understood that, and then I had a professor who was from France who explained to me the whole cultural implication of “I will remember,” as in Quebec will always remember their relationship as being kind of separate from Canada. So it’s interesting. If you delve into the culture of the language, you’ll have a more complete translation and one that moves people in the appropriate way.
What’s the most important part of interpreting music for Deaf patrons?
I think the most important thing is that they’re experiencing the same thing as somebody else is. They’re dropping with the beat at the same time; they’re having that emotional moment. I’ve interpreted shows before and almost everyone in the crowd is tearing up, and you want that for the patron that you’re interpreting for. Ultimately the goal is that they’re feeling the exact same thing as everybody else. When you hit that interpreting sweet spot, there’s nothing else like it. You’re just like, “Yes! Mission accomplished!”
Tell us about the connection you make with Deaf patrons.
I did a Beastie Boys concert, and the patrons were really excited about it, and I worked really hard to make sure the cultural references in Beastie Boys songs and the funny puns were tangible. There are moments when everyone’s like, “Oh no. He just didn’t say that” all at the same time, including the Deaf patrons. That’s what you go for. Those are the moments when the twenty to forty hours of preparation for the ninety-minute show are absolutely worth it.
I don’t know about you, but I definitely had experiences where I’m at a concert and I think a song means one thing, and then I’m in a crowd of people and we’re all kind of feeling the same thing, and then I see the performer and I’m like, “Oh, that’s what they meant?” I think people have those a-ha moments, and you want to provide an opportunity for someone to have that a-ha moment. They will never forget the moment they really understood what that song meant, or what it meant to the person that wrote it. That’s really the challenge. You’re just setting an opportunity before somebody, and they grasp it just like everybody else.
I think people have those a-ha moments, and you want to provide an opportunity for someone to have that a-ha moment. They will never forget the moment they really understood what that song meant, or what it meant to the person that wrote it.
Why hip-hop?
It just became my thing over the last ten years of interpreting. The Beastie Boys concert was a huge education for me because I was like, “Yeah, I can do that.” And then I was like, “Wait a minute. What is this song about? Wait, who and what are they referencing?” I didn’t grow up in metro New York City so I didn’t know about the Pelham train so I had to look that up and I read all of that. And I mean that whole song has like seventeen different historical references about Manhattan in it and for someone who didn’t grow up there, that’s huge.
I ended up falling in love with the simplicity of hip-hop. It’s this really lush and diverse use of language. Everyone’s really excited about Hamilton because it’s telling a story in a more modern way, but hip-hop’s been doing that for a long time. They broke barriers. They broke social barriers, racial barriers standing for a long time. I think the masterful way that people use language in hip-hop songs is just amazing. It just fascinates me. I read everything I can about hip-hop culture. Every single time, in the same way that I feel like I learned something new about American Sign Language on a weekly basis, I’m learning something new about hip-hop on a weekly basis.

Holly shakes hands with Method Man from the Wu-Tang Clan while interpreting their concert at the Bonnaroo Music and Arts Festival in Manchester, Tennessee.
Hip-hop is often the place where the vernacular of American English is first stretched. Are you likewise trying to expand the possibilities of ASL?
I’m a second-language learner, so I will never use ASL to one hundred percent of its potential like a native user. I understand and respect that. ASL is so complex and has so many beautiful nuances. It really is a perfect medium to translate any kind of hip-hop, just the way in which you can communicate so many concepts very, very quickly. Many of the aspects of ASL are spatial. We use first-person perspective and storytelling mode. It’s literally the perfect medium to make this accessible in a different language.
To what extent is the body a vital interpreting tool?
I think it’s super important. In preparation for a show, you have to think about the lyrical story and the story of the person who wrote it, but you have to think about the musical story too. Jay Z, in 99 Problems, uses this really awesome technique where there’s this weird static noise behind the lyrics where he’s “becoming” the cop that pulls him over. The way in which people are mixing and DJs are mixing their songs with these acoustic effects is really relayed in your body and the way you’re positioning your body in interpreting, and I think that — as much as the words — is important. The context is important, and the beat is just as important. There are some songs you know in just the first three seconds, like It’s Tricky from Run DMC. And that’s really important. If you can make your body movements equally as iconic as the music that’s written, it just enhances the access to the concert and to the musician.
What’s the most creative you’ve ever had to be when signing a lyric?
I think one challenge was when we were doing a back-to-back concert with Eminem and Jay Z. They’re very different performers, with very different approaches to the way they deliver the same genre of music. You have to be able to show that. Eminem had done a lot of sampling of other R&B like Rihanna, so that was a big challenge — to be really visceral like him and then kind of emotional like her in the same song and just kind of switch back and forth between that based on the lyrics and the hook.
I think, too, ideally as an interpreter, you’re making yourself vulnerable to whatever emotion the music is about. So there are some songs that are emotional and you have to go there, and it’s a risk. You really go the whole way and try to make the interpretation as accessible as possible even if it’s emotionally risky for you and other people there.
What do you see as your contribution to the Deaf community at large?
I hope my contribution to the Deaf community is bringing a greater spotlight to their need for access to interpreting. Not just concert interpreting — any kind of interpreting. The Americans with Disabilities Act just had its birthday; it’s twenty years old and people still struggle on a daily basis to get interpreting services for basic things like doctor’s appointments and surgeries.
I hope that somebody hears about this crazy person doing whatever concert and then looks at my page and sees maybe something about a Deaf performer like Sean Forbes or Dack Virnig and then they check out Deaf performers and then they go to their page and say, “Oh wow, this Deaf person is posting that the EDHI law is up for renewal in the United States House and that’s for early detection of hearing loss in children so that there can be ASL services and early intervention services.” There’s this whole population in America that sometimes is easily overlooked and not served.
Interpreters have an inside look on people’s lives. It’s a huge privilege being in a partnership with the Deaf community and Deaf culture. I will continue interpreting. and I will continue trying to be an advocate for access for Deaf people.
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This interview has been edited for length and clarity.
Cody Delistraty is a writer based in Paris. Follow him on Twitter: @delistraty.

Spenser Mestel | Longreads | June 2017 | 16 minutes (4,021 words)
June 26th, 2015 starts out as a regular Friday. At my summer internship at a financial fraud firm in Midtown East, Manhattan, I try to finish my work early so I can leave by 3 p.m., as I’ve done for five of the past six Fridays, but all I can manage is to listen to the fluorescent lights hum. I’m hungover. With a heavy sigh and a hand on my forehead, I go to open my project for the day. Just then, a friend texts me: “We won.” It takes a minute to register. I’d had a feeling the decision might come today, but I shrug, stand up, and walk to the office kitchen to make tea. My head hurts.
I walk back to my desk, a small cubicle, and sit down inside the wall with my name (misspelled) on a temporary laminated sign. I stare at the icon under my cursor, “Anti-Money Laundering,” and decide to check the news instead. I scroll past the soaring rhetoric and indignant vitriol — nothing I haven’t read before. The other summer intern walks past my desk. “We won,” I say without inflection. “It was five to four.” She smiles and sits down at her computer. Then, I see Nic, an analyst, and the news starts to feel more urgent. “You and I can finally get married,” I yell to him from across the room. He shifts in place, his eyes darting between the rows of people seated between us. “Yeah, let’s go right now,” he says with a forced laugh. No one looks up from their screens, and I sit back down at my desk. The fluorescent lights hum.
Still a little groggy, I check Facebook on my phone and watch a video of the spectators waiting to hear the decision outside the Supreme Court. “I’m so scared,” a voice says off camera, “I’m shaking.” Then the crowd erupts around two women, who start hugging. The one facing the camera has her eyes shut tight behind rectangular glasses, her left hand pressing her partner’s head against her own, the other holding a sign: Be Proud. A demonstrator with a rainbow bandana around her neck smiles and speaks into a microphone: “We weren’t sure. We weren’t at all sure, but how could you not be here for this?”

For Interview magazine, singer-songwriter Liz Phair talks with author Elizabeth Wurtzel, whose first book, Prozac Nation: Young and Depressed in America, originally published in 1997, has just been re-released with a new afterword by the author.
The two touch on a variety of topics, from taking risks in your 20s, writing memoir vs. writing fiction (Phair herself is at work on a novel and a book of linked essays), music, motherhood, and the rise in sexism ostensibly ushered in with last year’s presidential election.
PHAIR: I think what we’re seeing politically is the result of people having developed atmospheres around them that make them untouchable, to the point where they don’t feel empathy for people who are in a more vulnerable state.
WURTZEL: I see sexism everywhere, and I think it has to do with that. I’ve begun to blame sexism for everything. I’ve become so overwhelmed by it that, even though I love Bob Dylan, I don’t want to listen to Bob Dylan, because I don’t want to listen to men anymore. I don’t care what men have to say about anything. I only want to pay attention to what women do. I only want to read women. I’ll tell you how intense my feelings about this are: You know The Handmaid’s Tale, the show, which is feminist in its nature? Because men are behind it, I don’t want to watch it. That is the extent to which I am so truly horrified by what is going on.
PHAIR: I have felt that same wave coming through. I’ll try to rent a movie, and every single title is for men, by men, about men, and I’m just like, “Where’s my world? Where’s my zone? Where has it gone?”
Singer-songwriter Liz Phair interviews author Elizabeth Wurtzel on the occasion of the 20-year reissuing of Prozac Nation: Young and Depressed in America, originally published in 1997. The two discuss writing memoir vs. writing fiction (Phair herself is at work on a novel and a book of linked essays), feminism, motherhood, and music.

Before assisted suicide was legal in Canada, there was a secret society devoted to helping Canadians end their lives on their own terms. As Nicholas Hune-Brown reports at Toronto Life, even though medically assisted death has been legal in Canada for a year, it remains controversial. Although some palliative care doctors — who believe in providing physical and psychological comforts to patients, but not in hastening death — are vehemently opposed to what they view as an immoral act, other doctors are slowly coming to terms with the patient’s new right to die in cases where death is “reasonably foreseeable.”
In April 2016, four months after his diagnosis, Jack went to the hospital with pneumonia. When he got out two weeks later, he needed a feeding tube and a suction machine for his saliva. He could no longer look after himself, so he moved in with April, her partner, Robert, and their two-year-old daughter, in Smiths Falls, Ontario. The man who had always been a blur of activity suddenly needed his daughter to help him out of bed. The professional smooth talker had trouble speaking, a single sentence sometimes stretching out over excruciating minutes as he struggled for breath. On more than one night, he’d begin to choke, and April would have to call an ambulance to help clear the mucus building up in his throat, watching helplessly as a look of utter horror spread across her father’s face. When she took him to the bathroom each morning, he would say the same thing: “I want to die.”
Since Jack Poelstra, Gerald Ashe has overseen nine more deaths. He’s been there as Canadian families have invented new rituals for a new way of dying—reading poetry and listening to favourite pieces of music, watching as family members have taken turns giving their final hugs and kisses. When I asked Ashe if he was ever upset by the process, if it ever felt like a burden, he thought for a moment. “You know, I think I’m a pretty sensitive guy,” he began. “But I don’t feel upset about it.” The patients had been so sure, so appreciative. The families were so relieved. To Ashe, it was clear that it was something that needed to be done, and he was glad that he was able to do it with care and empathy.

J.M. Servín| For Love of the Dollar: A Portrait of the Artist as An Undocumented Immigrant | Unnamed Press | translated by Anthony Seidman | March 2017 | 18 minutes (4,894 words)
The excerpt below is adapted from For Love of the Dollar, in which Mexican novelist and journalist J.M. Servín recalls the 10 years he spent living and working illegally in the United States (with a brief interlude in Ireland). This story is recommended by Longreads contributing editor Dana Snitzky.
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No one would investigate anyone else’s experience because they were all identical.
The average wage for undocumented workers was six dollars an hour. With a Social Security card, even if it was fake, nobody could avoid paying taxes, unless they paid you under the table. I asked questions of other day laborers, who were often hostile or suspicious, as to how they got hired. Almost all of them were recommended by a family member or someone from their hometown. Those with most experience said that after two years of work, things would improve. The trick was to grin and bear it. Bosses liked inexhaustible workers who kept their mouths shut. No one would investigate anyone else’s experience because they were all identical. And for each poor soul who had a tragedy to share, there was someone else with an even more gruesome Calvary. I lived surrounded by tough types, in a religious sense: Jesuit-like, ready for the most absurd sacrifices as long as they could get a pot to piss in.
I worked my ass off just like them and I never complained because they were the first ones to test me. Working alongside them, each task proved to be a lonely and tough affair, until I proved my mettle and that I wasn’t going to desert my job. They were bent on destroying anyone who threatened their jobs with scheming and other tricks.
Parrot had given me my fake papers, but with my birthdate making me seven years younger. The signatures on the work permit and Social Security card looked as if they had been scrawled by a second grader. All in all, though, the papers seemed passable.
That same Tuesday night, the chef stopped serving a couple of hours earlier than usual; it was around two in the morning on a rather slow shift. I had finished washing a battery of enormous aluminum pots and had hooked them above the stoves. It was the least they expected of me. Nobody complained, but everyone else seemed to work harder. They were oiled up with pride itself. All the while I worked there I barely had the opportunity to size up the dimensions of the kitchen. We were able to move about with ease, but nobody stepped over the boundaries of his workstation. Each to his own, ignoring what was going on elsewhere. Waiters and busboys came down for their orders, and they shouted some praise at us if only to hurry us on, as their tips were at risk.
I remembered when I worked as a butcher at an expensive restaurant in Mexico City, how the waiters would toss us a few bones gathered from their tips. Here, hell no. We should be grateful that they even spoke to us. There was a red-haired waiter of Greek origin who would rush down the stairs each night, get down on one knee, throw us kisses, extending his arms, as if he were on the Broadway stage, all while shouting: “Thank you!” He would respond to our catcalls by inviting us to go out with him. He was always in a good mood, and he called all of us Pepes. One of the cooks gave him the nickname Puputo. It was the only word in Spanish that he understood.
Upon finishing my job, I went to the changing area. The Puerto Rican was there asking if anyone wanted to wash the shelves in the refrigerator the size of a guestroom on the rooftop, in order to place the meat, vegetables, and rest of the food that they had used during the day. Afterward, the volunteer would have to gather all the work uniforms, separate them, and then bring them up to the truck for linen service. The guy in charge of this hadn’t shown up. He started his shift when Parrot did. No one answered. They continued to quickly change, ready to get home. I raised my hand, and without glancing around to see if anyone else would do it, I received the extra pay, and I went to the restaurant to get to work.
I had to go up the stairs. The kitchen was in the basement of a twenty-three-story building. I finished almost three hours later, drugged from exhaustion. Read more…

June 19, also known as Juneteenth, marks the day when, more than two years after the Emancipation Proclamation was enacted, slaves in Texas were informed of their freedom. As the National Museum of African-American History and Culture notes in a Tumblr post, it could — and arguably should — be celebrated as a “second independence day.” But as the museum writes, “Though it has long been celebrated among the African American community it is a history that has been marginalized and still remains largely unknown to the wider public.”
This morning, the White House issued a statement on Juneteenth that didn’t land well. USA Today compared his statement to that of President Barack Obama, highlighting, as a commentator at the Independent Journal Review also noted, that Trump chose to praise a white person where Obama focused on the freed slaves. For more on Juneteenth, we’ve collected stories that explain the fraught history of the holiday, and the need for celebration.

Dear old Dad. To hear retailers tell the story, he’s a transparent creature, someone who is pleased by the simple things: a shirt, a book, a steak, a new gadget. But the dads most of us grew up with — and without — are a more inscrutable lot. They’re people, after all, whose past lives, present concerns, and future legacies can vex, perplex, and frustrate their children. Can we ever really know these men? Some of the best writing about dads embraces that mystery, confronting the hard questions of what it truly means to know one’s father.

Is dying alone the worst possible thing that can happen? At The Baffler, Ann Neumann reports that with the onset of death doulas, you need not impose on friends and relatives in your inevitable decline or suffer the shame of kodokushi, the Japanese term for ‘“lonely death,” meaning the quiet but messy end of a solitary life.’
Need someone to “be present” for your final hours? Need music, aromatherapy, reiki? A death doula will, for a fee, swoop into your home and help you navigate the end of your life, from your spiritual needs to the arrangement of the furniture in your sickroom. Awkward, Americanized, consumer-focused forms of Buddhism have long since taken over our exercise (yoga), our offices (mindfulness), and our homes (feng shui). Now, with doula programs popping up like mantras in the mind, they’ve come for our deaths.
Which is, we’re told, a good thing, since a death without warm bodies is practically taboo. On my trips to various end-of-life care facilities as a reporter or a volunteer, I have heard the same belief over and over again, breathed into my ear by the cooing, pastel-wearing do-gooders who have taken on grieving as their life’s salvational work. What they say is, “No one should have to die alone.” What they mean is that dying alone is a character flaw—an imperfection growing somewhere deep inside of you that, provided it is caught in time, can be rooted out or zapped away.
A doula-assisted death is a bespoke affair. Through made-to-order rituals, your death can be propelled into the realm of the unique, just like everyone else’s.
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