Search Results for: poison

A Once and Future Beef

Still-life illustration of a plate containing a knighted cut of beef surrounded by Yorkshire pudding and a boat of gravy. (Illustration by Henry Stahlhut/Condé Nast via Getty Images)

Will Meyer |  Longreads | July 2019 | 10 minutes (2,501 words)

 

This year beef has become yet another proxy in the never ending culture wars. Such foot-soldiers as Sebastian Gorka and Ted Cruz have stoked the flames, claiming that Democrats are going to take hamburgers away and kill cows, replacing summer barbecues with Stalinism. Of course, Democrats have no such plans, at least not yet; at this point, the Green New Deal (GND) is merely a pipe dream and hardly an actionable reality. Still, the idea that beef could become contested is what provoked reactions. A fact-sheet about the GND mentioned the carbon emissions from the meat industry, and last year’s International Panel on Climate Change (IPCC) report specifically named animal emissions and land use as issues that need addressing in order to save the planet within its twelve-year timetable.

“The forecast is bleak,” Troy Vettese writes of the IPCC report in Boston Review: “[over] the course of the twenty-first century, as the global population balloons past ten billion, the Earth simply will not have enough land to expand production for crops, meat, dairy, forestry, biofuels, as well as for various schemes to reduce carbon dioxide, while simultaneously preserving biodiversity and safeguarding the food security of the world’s poorest people.” Half of the world’s habitable landmass, he notes, is used for agriculture. Of this, just more than two-thirds is used for grazing. Of the remaining third, a third of that is used for animal feed, and a fifth for biofuels. In short, a downright incredible amount of the world’s land is used for animal agriculture. And the market for cheap beef is rapidly expanding to include the growing middle class in places like India, China, and South America, further exacerbating the problem.

As the human species faces a fork in the road of epic proportions — with survival hanging in the balance — chances are we will have to confront not only the engines of industrial capitalism, but also the diet it has subsisted on. To do that, historian Joshua Specht has turned his attention to the making of what he dubs the “cattle-beef complex,” the industrial mechanism that birthed a Red Meat Republic; or so asserts the title of his new book recently out from Princeton University Press. The book follows the development of the modern beef machine from the second half of the 19th century until the first decade or so of the 20th. From frontier settlements and the dispossession of Indigenous land to the development of transportation technology and the rise of monopolistic “Beef Trusts,” Specht chronicles what amounted to a “democratization of beef” — wherein cheap and accessible beef for the many became a signal of American progress. Read more…

The Big Sick

Illustration by Homestead

Soraya Roberts | Longreads | July 2019 |  7 minutes ( 1,978 words)

 

“The sickness rolled through me in great waves.” Whenever I’m sick, I read The Bell Jar. I know, ironic, but there’s a chapter where Sylvia Plath describes her central character having food poisoning and it always makes me feel better — her ability to capture how urgent it feels, how relentless, how it reduces you to a vehicle for vomit and diarrhea. How cleansed you are afterwards just for you to do it all over again, eventually. It’s comforting that someone writing two decades before I was even born not only experienced this exact feeling, but could reproduce it so clearly. “There is nothing like puking with somebody to make you into old friends.”

Nostalgia is a kind of vomiting. It’s not like you re-watch your favorite parts of Heathers because bile compels you to. But there’s the same idea of deconstructed repetition, although in nostalgia’s case, it’s so you can climb back into your memories, where you can lock yourself into a space untroubled by reality. It’s a thing that keeps coming up (sorry) because of how we manufacture culture now — not just online but in a world owned by big media. There has always been significant reworking of past cultures, but I don’t think popular culture was ever the commodity it is now, where Mickey Mouse isn’t just a drawing but an intellectual property (IP). At no other time has mainstream culture felt like such an opiate, so tied to appealing to mass comfort. Out of this comes the new season of the bingeable Netflix series Stranger Things, which is less its own story than a collection of its creators’ pop culture memories; Disney churns out live-action remakes of every one of its films until the elephants come home; and then there are the countless stories in the press celebrating the anniversaries of every movie/show/album ever made.

I guess you can’t really blame anyone for wanting to keep puking up the past when the present is so insufferable. Except anyone is not everyone, and the relief is a ruse. Read more…

The Ugly History of Beautiful Things: Mirrors

Illustration by Jacob Stead

Katy Kelleher | Longreads | July 2019 | 21 minutes (5,409 words)

In The Ugly History of Beautiful Things, Katy Kelleher lays bare the dark underbellies of the objects and substances we adorn ourselves with.

Previously: the grisly sides of perfume, angora, and pearls.

* * *

Eight thousand years ago, a craftsperson sat inside their mud-brick house in Turkey and rubbed a piece of obsidian with their hands, smoothing the surface carefully, polishing the stone until it shone darkly in the hot sun, burning a piece of volcanic rock into something miraculous. In this piece of black stone, they could see their reflection, surrounded by the walls of their dwelling, built on the bones of their ancestors, the painted plaster walls rendered colorless by the obsidian’s deep gloss. But they weren’t done. They took white plaster and applied it to one side of this stone disk in a conical shape. Eventually this stone came to rest in a grave, alongside a woman from the early agricultural society. There it stayed until archeologists found it in the 1960s. It is, as far as we know, one of humankind’s first mirrors.

According to archeologist Ian Hodder, who oversees the hilly, 34-acre archeological site at Çatalhöyük in central Turkey, there have been “five or six” obsidian mirrors found there, all located in the northeast corners of tombs belonging to women. “They are beautiful things,” he says of the Neolithic mirrors. “Nobody really expected there would be things like mirrors in those early days. These are the first sort of settlements after people have been living as hunters and gathers. In many ways, these were quite simple societies, so it is odd.” Yet these early proto-urban people clearly wanted to look at themselves — or at something. It’s possible they were used in rituals by shamans or other religious figures. “One of the most commonly suggested for the time period is that they’re something to do with predicting the future or understanding the spirit world through reading images in the mirrors,” says Hodder. We just don’t know. We’ll probably never know.

With a name taken from the Latin mirare and mirari (“to look at” and “to wonder at, admire,” respectively), a mirror can be any reflective surface created for the purpose of seeing oneself. They can be made of stone, metal, glass, plastic, or even water. Throughout history, we’ve constructed mirrors from all those substances, to a varying degree of efficacy, for various reasons. Some were used as ceremonial items, others were used to repel malevolent spirits, and still others were used for the simple pleasure of examining one’s countenance.

But no matter what they’re made of, mirrors are objects of mystery, obsession, and fear. They’re simple yet complex. They’ve been used for purposes both sacred and profane. We love them, yet we’re loath to admit it. Even their creation has been shrouded in secrecy and aided by willful ignorance and sometimes outright violence; mirror making was once a toxic affair, and its secrets were guarded by laws and punishable by death. Long reserved for the wealthy few, we now walk around with compact mirrors in our pockets, and even if you left yours at home, there’s always a cell phone screen that can function, if you want it to, if the light is right, as a mirror.

Often, when objects become mundane, they lose some of their luster. But mirrors retain their ability to hold our attention, and they retain a certain amount of power over us. We’re still interested in seeing our reflections, and we still want to know what the future holds. Yet we’ve lost the reverence we once had for them. We no longer bury our dead with hand mirrors, and we don’t often speak of the control a mirror can exert over a person. Instead, we allow this force to alter our perceptions, to diminish our happiness, while denying its power. Looking in a mirror is just something you do — just something women do. We’re so used to seeing this impulse as vanity that most of us have forgotten the innate sense of awe that comes with looking. We’ve forgotten how to face our reflections not with judgment or fear, but with a sense of joyful discovery, a sense of hope. We can see our reflections anywhere, yet still face the mirror with a certain amount of suspicion, as though desiring knowledge of how the world sees you is somehow wrong. Read more…

The Brazilian Healer and the Patron Saint of Impossible Causes

Illustration by Aimee Flom

Leigh Hopkins | Longreads | July 2019 | 25 minutes (6,131 words)

 

The roosters started at 4:30 in the pasture behind the inn. On the second crow, I rolled onto my back and blinked at the jalousie window’s slatted light, considering my first day at The Casa. We were allowed to ask three questions, no more. A visit with the world’s most famous spiritual surgeon was like going to see the wizard.

Mariana was silent in the bed next to me, the sleep falling in loose spirals across her face. I pulled back the sheets and slipped inside. “Bom dia.”

“Bom dia, meu amor.” A soft sound from a distant place.

Seven and a half years later, I receive a text from a friend in Rio: “Did you see the news?” She links to a New York Times article: “Celebrity Healer in Brazil Is Accused of Sexually Abusing Followers.”

***

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Why Bugs Deserve Our Respect

Insect hotel with male Osmia bicornis wild bees. (Getty Images)

Jessica Gross | Longreads | July 2019 | 14 minutes (3,842 words)

The ants arrived with the heat in May, streaming into my bedroom through my air conditioner. My roommate had covered hers in tape earlier that week, and I used her supplies to block any and all points of entry. Me: in. Insects: out. I can imagine the disgusted grimace I wore on my face as I taped and taped. One of the ants got caught underneath, and I remember feeling a perverse sense of retribution.

I thought about this stance a lot while reading ecologist Anne Sverdrup-Thygeson’s new book, Buzz, Sting, Bite: Why We Need Insects, which first came out in her native Norway last year. With a combination of delight and passion, Sverdrup-Thygeson makes the case that, first, insects are fascinating creatures who deserve our curiosity, and, second, they are essential to our survival and deserve our protection. As I considered the multitude of impressive and strange facts she presents (there’s a species of swallowtail butterfly with eyes on its penis, and spiders’ silk is, on a per-weight basis, six times as strong as steel!), I was transported back to childhood. I remembered how, when my parents lay new sod in the backyard, my brother and I peeled it back to find the worms slithering underneath. I remembered plucking cicada shells off trees and storing them in a shoebox, which I kept in my closet for years. Back then, bugs didn’t disgust me — they filled me with a sense of wonder.

When we spoke over the phone in early June, Sverdrup-Thygeson suggested that the disdain for insects that I and so many others have grown into isn’t natural or necessary, but a learned response. Witnessing her awe, as she put it, for these tiny creatures, it was hard not to feel that she was right. I haven’t stripped the tape from my air conditioner, but when I saw a little bug crawling up the wall of my shower a few weeks ago, I let it be, and took a moment to marvel at the way it moved with such delicate grace.

You describe in the book how, when your children were in elementary school, you would turn brown mud over with a metal sieve for them to see all the bugs, and get excited about them. So I wondered if you could start by talking about your own childhood relationship with insects. Was that something your parents instilled in you? When did this fascination begin?

Yes, I think it started when I was a kid. My family spent a lot of time in the outdoors — we picked berries and mushrooms in the fall, and we went skiing and slept out in a snow cave in the winter. We did all these things together. We also had this very simple cabin on a tiny forested island in a lake. There were no other houses on this island, and there was no electricity, so no television, of course. You pretty much had to play with whatever was there, which was nature.

So I got used to having bugs around me. Even if I sat reading, I would still sit in nature: bugs would crawl over me or fly past. When we put fire on the firewood, which was how we kept warm if it was cold, there would always be bugs in these pieces of wood. It was part of life to have bugs around, and it never occurred to me it was supposed to be annoying, or something to fear.

I also had a grandfather who was really good at showing me not insects, really, but other things in nature. He told me the names of flowers; he taught me birdcalls so I could recognize them. And I think that meant something. If someone you love shows you that nature means something to them, that transfers and has a lot of impact on a small kid. Read more…

‘TV Has This Really Fraught Relationship with the Audience.’

Tom Kelley/Getty Images

Jonny Auping | Longreads | June 2019 | 20 minutes (5,447 words)

Until very recently in its relatively young life, television was considered to have the same creative merit as any other household appliance — perhaps less, since the device itself was referred to as the “Idiot Box” and “chewing gum for the eyes.” Having a passionate debate about television would have been like having a passionate debate about the microwave.

But in her new book, I Like to Watch, Emily Nussbaum, the New Yorker’s Pulitzer Prize-winning television critic, makes the same argument she’s been making, consciously and unconsciously, for 20 years: Television is worth thinking and talking about.

I Like to Watch is a collection of essays that Nussbaum has written, most of them originally for New York magazine and the New Yorker, about television shows that served as cultural touchstones in their time as well as short-lived programs that had more to say than anybody but their loyal fan bases ever realized.

Taken as one, Nussbaum’s essays represent her perspectives and experiences traveling through decades of TV shows that were intentionally and unintentionally commenting on the moments they were being created in. Her writing doesn’t necessarily demand that you take her point of view as much as it brings to focus how clearly you could form your own point of view through a deeper examination of the characters, plots, and themes of the shows you love. I Like to Watch is, fundamentally, an argument for television as art. Read more…

On Truth and Lying in the Extra German Sense

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Rebecca Schuman | Longreads | June 2019 | 15 minutes (3,962 words)

Would you like to know if you’ve gained weight? If you’re annoying, or too talkative, or not as smart as you think? If you’re doing something, literally anything, the wrong way? Just ask a German and they will tell you immediately. Germans do not do this to hurt your feelings. There isn’t even a single long word in German for “hurt feelings,” they just translate the English directly (verletzte Gefühle), and everyone knows that direct translation from the English is how Germans demonstrate their disdain. There is, however, a common and beloved expression for an individual who makes a big show of having hurt feelings, and that is beleidigte Leberwurst, or a perennially “insulted liver sausage,” because hurt fee-fees are for weak non-German babies.

After all, Germans are just being direct: unmittelbar, or literally translated, “unmediated.” Their assertions are simply unverblümt, or “not putting a flower on it.” They’re not mean, they’re freimütig, or “free-hearted.” They’re just being forthright: offen, “open,” which is a good thing, ja? Germans couldn’t even begin to imagine why being brutally honest would hurt someone in the first place! If the truth hurts you, isn’t that more your fault than the truth’s?

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True Roots

Daniel Berehulak/Getty Images

Ronnie Citron-Fink | True Roots | Island Press | June 2019 | 34 minutes (5.655 words)

 

How’d You do it? Are you doing that on purpose? Are you okay? Ever since I stopped coloring my silver hair, I’ve gotten a lot of questions. One of the most common during my hair transition was Why are you letting it go gray? While my roots didn’t ask permission before they stopped growing in dark brown, it was a complex mix of fear and determination that rearranged my beauty priorities. The question of why — why, after twenty-five years of using chemical dyes, I gave them up-is something I’ve thought about a lot.

My world began to shift four years ago. I was sitting in a meeting about toxics reform in Washington, DC, when an environmental scientist began to describe the buildup of chemicals in our bodies. As she rattled off a list of ingredients in personal care products-toluene, benzophenone, stearates, triclosan — my scalp started to tingle. “We’re just beginning to understand how these chemicals compromise long-term health,” she concluded.

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I’ve Done a Lot of Forgetting

Getty / Illustration by Homestead

Jordan Michael Smith | Longreads | May 2019 | 10 minutes (2,744 words)

If someone spits bigotry at you while you’re a kid, you’re unlikely to forget it. You’ll remember it not because it’s traumatic, though it can be. You’ll remember it not even because it’s degrading and excruciating, though it is certainly those things, too. No, you’ll remember it because it instills in you an understanding that people are capable of motiveless evil. That humans can be moved to hate because they are hateful. You aren’t given a reason for why people hate you, because they don’t need a reason. You’re you, through no fault of your own, even if you want desperately to be anyone else. And that’s enough.

I am a Canadian. I was born in Markham, which is a small city about 30 kilometers northeast of Toronto. That distance meant a great deal. Markham was a large town of middle- and working-class families when my newlywed parents moved there, in the late 1970s, with a population that hovered around 60,000. It was pretty mixed demographically, I recall, though containing a white majority. My older sister and I were the only Jews in our elementary school, except for one other family who arrived after we did and seemed not to attract much ire; I imagined it was because they were beautiful and popular (we were neither).

We were one of the minority of Canadian Jewish families living outside Toronto or Montreal. More than 71% of all Canadian Jews reside in these two cities, according to Allan Levine’s serviceable but unexceptional new book on the history of Jewish Canada, Seeking the Fabled City. Levine describes a familiar story of an immigrant group gradually gaining acceptance (and some power) in a once-largely white Christian country. For the first half of the 20th century, Jews in Canada were arguably detested to a greater degree than in America. By the 21st century, Canadian Jews felt as safe as Jews anywhere felt safe. Levine quotes a Toronto rabbi as saying, “Living in Toronto, my children don’t know that Jews are a minority.” Read more…

Confessions of a Lapsed Catholic Dancer

Getty, Stephen Arnold, Illustration by Homestead

Kate Branca | Longreads | May 2019 | 22 minutes (5,497 words)

 

You hear the drums before you see us, a circle of figures facing inward, our arms rigid, our feet pounding the stage in an even, rhythmic, side-stepping march. The circle bobs up and down with our forcefulness. Our costumes are geometric bodysuits, designed not to contour to our human bodies, but to transform them into something more angular, hardened, like a shell. They have V-neck fronts and stiff cap sleeves and straight pant legs that stop suddenly at the shin, transforming our bodies into great Xs of yellow, purple, and black. We wear strips of black tape on our cheeks, like war paint. Our costumes make us look like ancient Aztecs or alien warriors — beings of a past or future time.

When I am wearing that costume and bound to that ring, I am transported back nine years; suddenly I am a 19-year-old performing the choreography of Robert Battle with my college dance company — and also none of those things. It feels like I am nothing, or that we are collectively something else, emptied, but electric, maybe capable of boring a hole in space or time. During a performance, when I catch sight of something mundane among us, like a wisp of hair sprung from Brittany’s bun, or a nervous twitch in Erin’s fingers, my chest blooms with love for the moment: for the startling gift of feeling like I am many people, in many places, traversing many times all at once.

We twist and extend our arms into wide, heavenward Vs and beckon the stage lights with flicks of our hands. We tuck and splay and smack our thighs. Then the pace of the drumming quickens with a RAPAPAPAPAP! and one in our company enters the center of the circle where a spotlight appears. She spins wildly in one direction, then the other, her feet stamping the ground as fast as the mallets hitting the drums. Meanwhile, those of us around her shoot our arms into the air like crops hit by a sudden gust of wind. She rejoins the circle so that only the light remains inside the ring made up of our bodies, and now that it’s there, finally there, we are frenzied by it. Hopping, slamming, jumping, falling, flinging ourselves in patterns around its edges. With a final pound, the drums stop, leaving us standing around the light’s rim with our feet wide, arch to arch with one another, arms by our sides, chests heaving, but open to the sky, our necks craned toward whatever bulb or star gave us this brightness. We lower our chins as the stage fades to black.

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