Search Results for: recession

The Story of Memory: An Interview with Paula Hawkins

Author photo by Alisa Connan.

Cody Delistraty | Longreads | May 2017 | 8 minutes (2,228 words)

 

Born in Zimbabwe on August 28, 1972, Paula Hawkins’ family moved to London when she was a teenager. Although writing fiction interested her in her younger years, her stories generally remained unfinished. After graduating from Keble College, Oxford, she took the practical route and entered the newsroom at The Times of London, where she became a well-respected financial journalist.

In her thirties, she wrote romantic comedy novels with titles like Confessions of a Reluctant Recessionista, All I Want for Christmas, One Minute to Midnight, and The Reunion under the pseudonym Amy Silver, but this never proved a perfect match for her talents. Increasingly tight on money and disenchanted with writing lighter fare, she sent a partial draft of a new novel to her agent. It was unlike anything she had ever published: dark, twisted, and page-turning. Her agent went gaga. The rest is literary history.

The Girl on the Train
has sold about twenty million copies worldwide since January 2015, according to her publisher, and last year’s film adaptation grossed $173 million. Into the Water (out from Riverhead on May 2, 2017), is already destined to be a bestseller and DreamWorks recently purchased the film rights.

Like The Girl on the Train, Into the Water also concerns memory, unreliable narrators, and an obsession with the dark and macabre, but the novel is more complex, with interweaving narratives, narrative perspective shifts, and a cast of characters so complicated it surely deserves a front-of-book family tree for clarity.

I recently spoke with Hawkins about faulty memory, her rise to fame, her desire to be more literary, and the way her novels reflect the contemporary political climate.

Read more…

Are Regular Russians Ready to Take On Vladimir Putin?

Protesters wave a national flag as they crowd in downtown Moscow on March 26, 2017. (AP Photo/Ivan Sekretarev)

The Russian presidential election is a year away, but protests have already begun. Last week, images of Russians being carried and even dragged from Moscow’s Red Square spread throughout the Western media. Then came the crackdown—blocked access to web pages and social media showing the photos, and a criminal case against the protesters. Earlier this week, the square was nearly empty despite another planned action.

The protests demanded the resignation of Prime Minister Dmitri Medvedev and objected to widespread corruption, but they also served as a rare moment of rebellion in a country that rarely dares defy its leader, President Vladimir Putin.

Read more…

Woman of Color in Wide Open Spaces

Illustration by Kjell Reigstad

Minda Honey | Longreads | March 2017 | 12 minutes (2,986 words)

“And sometimes you meet yourself back where you started, but stronger.”
—Yrsa Daley-Ward

I sat alone at a picnic table sipping a hot can of beer in Sequoia National Park under the stingy shade of a nearby tree. I was surrounded by families. White families. Sequoia was the first of four national parks I had planned to visit on my summer road trip from Southern California to a writer’s retreat in Lake Tahoe, and from Lake Tahoe to my hometown, Louisville, Kentucky. I needed to get out and away. I’d just completed two years as a POC in an MFA program. Two years in classrooms at long tables surrounded by faces as white as the paper we printed our work on. I felt like the black text on that paper, forcefully marching across the landscape of my peers’ white lives.

I’d decided to spend four weeks as a woman of color in wide-open spaces detoxing from whiteness. But when I pitched my tent, I hadn’t known that about 80% of National Parks visitors and employees are white. Essentially, I’d leapt from the Ivory Tower into a snowbank. I should have known that Black folks weren’t the target audience for all those memes about the cleansing, revitalizing effects of the Great Outdoors. I should have known from the people in the images. Always white people in zip-up North Face fleeces, stretchy yoga pants, and hiking boots. But I didn’t know, and I gassed up my car and went.

It was July, the busiest time of year for the National Park Services. A narrow road ran past my campsite and the gravel grumbled in protest at the occasional passing car. No one bothered me. No one acknowledged me. I was just a lone Black woman day-drinking at a picnic table. I’d drained three cans with no buzz before realizing it was only 3% alcohol. It would do nothing to calm my anxiety about spending my first night in a tent alone.

The only other Black person I’d seen at the park was with his white wife and their children. As they ushered their brood onto the path that led to the giant sequoias, I heard him speak and suspected he was African. I’m not sure if he saw me, if he was tallying Black bodies like I was. Read more…

How the ‘Girls’ Cast Came to Be

There was always something distinctly Obama Era about Girls — the post-recession angst, the clunky conversations around race and diversity, the ability to worry about money, art, and love, rather than the looming end of constitutional democracy. So it makes sense that the sixth and final season of the show is about to start right as a new administration rolls in. Before it does, though, Lacey Rose at The Hollywood Reporter gives the show’s cast and creators (from Lena Dunham to Judd Apatow and Jenni Konner) the full oral-history treatment.

JENNIFER EUSTON, CASTING DIRECTOR It was 2010, and I’d done one or two network shows and did not have good experiences. Then Kathleen McCaffrey called and said: “I have this script. It’s Lena Dunham, and Judd’s attached.” I’d seen Tiny Furniture, and I’d worked with Judd, but I told her, “I’m not doing TV.” She kept hassling me; she had me sit down with Lena, and eventually she just wore me down.

APATOW We used a few people from Tiny Furniture. I was always a big proponent of Alex Karpovsky [the nebbishy Ray] as my personal way in, and Lena wanted to have [her childhood friend] Jemima Kirke play Jessa.

JEMIMA KIRKE (JESSA) I said no a couple of times. I was working as a painter at the time. Honestly, it was the money [that convinced me]. I was 24 and about to have a baby, so I was vulnerable, and the contract was very long. (Laughs.)

ALLISON WILLIAMS (MARNIE) I had just moved to L.A. from New York very dramatically after I graduated from college. I came in to audition, and we improvised a scene where I braided Lena’s hair, which was … dirty.

DUNHAM I called Allison before we cast her, and I asked her how she felt about nudity. She said, “I don’t want to do nudity.” I was like, “We have to get back to you. I’m gonna be naked, people are gonna be naked — that’s a big part of what this show is.” She told us she wasn’t scared of sex, she just didn’t want to show her vagina, her nipples or her butt — and she never did.

Read the story

Girlhood Gone: Notes from the New Nashville

Susannah Felts | Longreads | September 2016 | 18 minutes (4,439 words)

At 18, I knew only that I wanted out.

Out of Nashville, Tennessee, out of the whole Southeast. Free from region. If you’d asked, I could have told you why, but I didn’t yet know how deep a print the South had left on me, only the urge to reject its further touch.

* * *

Back then, the Nashville I knew was defined mainly by the limited spheres of a middle-class adolescence: home, school, and a 20-mile stretch of I-40 that I drove many hundreds if not thousands of times, back and forth, east and west, repeat. My family lived on one side of the city, my friends and classmates on the other, hitched together by a private school that sat roughly in between.

To a lesser degree I knew my hometown to be a place defined by country music and Christianity, home of the Grand Ole Opry and Buckle of the Bible Belt. This identity seemed distinct but remote: I did not listen to country, did not go to church. Music City? To a kid who was rock-n-roll crazy pretty much from birth, the nickname seemed almost a cruel joke. This was not my Music City. Read more…

A Dead Superhero Is a Marvelous Corpse

Ramzi Fawaz | The New Mutants: Superheroes and the Radical Imagination of American Comics | New York University Press| January 2016 | 25 minutes (6,662 words)

 

The excerpt below is adapted from The New Mutants, by Ramzi Fawaz, which examines “the relationship between comic book fantasy and radical politics in the modern United States.” This story is recommended by Longreads contributing editor Dana Snitzky

* * *

We’ve changed! All of us! We’re more than just human!

—THE FANTASTIC FOUR #1 (November 1961)

We might try to claim that we must first know the fundamentals of the human in order to preserve and promote human life as we know it. But… have we ever yet known the human?

—JUDITH BUTLER, Undoing Gender (2004)

*

Who might legitimately represent the human race?

In November 1992 Superman died. The Man of Steel would fall at the hands of the alien villain Doomsday, a thorny-skinned colossus who single-mindedly destroys life throughout the cosmos. Arriving on Earth seeking his next conquest, Doomsday meets his match in the planet’s longtime guardian, known to few in his civilian garb as the meek journalist Clark Kent but beloved by all as the caped hero Superman. After an agonizing battle in the streets of Metropolis, Superman’s urban home, Superman and Doomsday each land a final fatal blow, their last moments of life caught on camera and broadcast to devastated viewers around the world. The fictional media firestorm surrounding Superman’s death mirrored real-world responses to DC Comics’ announcement of their decision to end the life of America’s first superhero earlier that year. Months before the story was even scripted, national print and television media hailed Superman’s death as an event of extraordinary cultural significance, propelling what initially appeared as an isolated creative decision into the realm of public debate.

Public opinion ranged widely, from those who interpreted Superman’s downfall as a righteous critique of America’s moral bankruptcy to those who recognized it as a marketing stunt to boost comic book sales. In an editorial for the Comics Buyer’s Guide years later, leading comic book retailer Chuck Rozanski claimed that upon hearing about the decision, he had called DC Comics editor Paul Levitz, pleading with him that “since Superman was such a recognized icon within America’s overall popular culture . . . DC had no more right to ‘kill’ him than Disney had the right to ‘kill’ Mickey Mouse.” According to Rozanski, by choosing to kill Superman for sensational purposes, DC would be breaking an implicit promise to the American people to preserve the hero’s legacy as a “trustee of a sacred national image.” Read more…

What Ever Happened to Planet Vulcan?

An orrery, or mechanical model of the solar system. Via Wikimedia Commons.

Thomas Leveson | The Hunt for Vulcan: … And How Albert Einstein Destroyed a Planet, Discovered Relativity, and Deciphered the Universe | Random House | November 2015 | 27 minutes (7,305 words)

 

The excerpt below is adapted from The Hunt for Vulcan, by Thomas Leveson. In light of recent theorizing about a mysterious new Planet X, this story is recommended by Longreads contributing editor Dana Snitzky.

* * *

Not everyone follows a straight course to the person they might become.

In the 1830s (and still) number 63 Quai d’Orsay turned an attractive face toward the river. In the guidebooks already being read by that novel nineteenth-century species, the tourist, number 63 is described as a “handsome house”—one, the writers warned, that concealed a much more plebeian reality. Visitors—by appointment only, no more than two at a time, welcome only on Thursdays—would be ushered into a courtyard, and then on to the rooms where workers, mostly women, took bales of raw tobacco through every stage needed to produce the finished stuff of habit: hand-rolled cigars, spun strands of chew that became “the solace of the Havre marin,” gentlemen’s snuff. Most of the campus was turned over to laborers serving the machines—choppers, oscillating funnels, snuff mills, rollers, sifters, cutters, and more. By the latter half of the nineteenth century, the works at the Quai d’Orsay would turn out more than 5,600 tons of finished tobacco per year, and was, according to the ubiquitous Baedeker, “worthy of a visit”—though indulging one’s curiosity carried a price: “the pungent smell of the tobacco saturates the clothes and is not easily got rid of.”

A spectacle, certainly, and as an early palace of industry clearly worthy of the guidebooks (themselves novelties). By any stretch of the imagination, though, the Manufacture des Tabacs was an odd place to look for someone who would become the most celebrated mathematical astronomer of his day—but not everyone follows a straight course to the person they might become. Thus it was that in 1833 a young man, freshly minted as a graduate of the celebrated École polytechnique, could be found every working day at the Quai d’Orsay, reporting for duty at the research arm of the factory, France’s École des Tabacs.

No one ever doubted that Urbain-Jean-Joseph Le Verrier had potential: he had been a star student in secondary school, winner of second prize in a national mathematics competition, eighth in his class at the polytechnique. But his early career offered no hints to what would follow. Funneled into the tobacco engineering section in university, he was more or less shunted directly toward the Quai d’Orsay and the task of solving French big tobacco’s problems.

It’s not clear whether Le Verrier actively enjoyed the life of a tobacco engineer—or merely tolerated it. Nothing in his later career remotely suggests he was a born chemist. But he was consistent: if given a task, he got down to it. Never mind all that early training in abstract mathematics; if required, he could be as practical as the next man, and so turned himself into a student of the combustion of phosphorus. That was useful research—tobacco monopolists care about matches. But whether or not he relished his job, he certainly got out as soon as he could. A position back at the École polytechnique opened up in 1836 for a répétiteur— assistant—to the professor of chemistry. Le Verrier applied, and as an until-then almost uniformly successful prodigy, had every hope. . . until the post went to someone else.

Le Verrier would prove to be a man who catalogued slights, tallied enemies, and held his grudges close. But he never accepted a check as a measure of his true worth. A second assistantship became available, this time in astronomy. He applied for that too. Never mind his seven years among the tobacco plants; Le Verrier seems to have believed that he could simply ramp up his math chops to the standard required at the highest level of French quantitative science. As he wrote to his father, “I must not only accept but seek out opportunities to extend my knowledge. [. . . ] I have already ascended many ranks, why should I not continue to rise further?” Thus it was that Le Verrier came into orbit around the great body of work left by that giant of French astronomy, Pierre-Simon Laplace. Read more…

Well-Aimed and Powerful

John C. Houbolt at blackboard, showing his space rendezvous concept for lunar landings. // NASA // Wikimedia Commons

Margaret Lazarus Dean | Leaving Orbit | Graywolf Press | May 2015 | 21 minutes (5,246 words)

 

The following is an excerpt from Leaving Orbit by Margaret Dean Lazarus, winner of the Graywolf Press Nonfiction Prize, appearing courtesy of Graywolf Press.

* * *

The astronauts walked with the easy saunter of athletes. . . . Once they sat down, however, the mood shifted. Now they were there to answer questions about a phenomenon which even ten years ago would have been considered material unfit for serious discussion. Grown men, perfectly normal-looking, were now going to talk about their trip to the moon. It made everyone uncomfortable.
—Norman Mailer, Of a Fire on the Moon

Southern Festival of Books: Nashville, Tennessee, October 10, 2009

Maybe you’ve seen it. Many people have—at least 800,000 have clicked on various YouTube iterations of the same moment. It looks like nothing at first. The video is fuzzy, amateur, handheld. We hear the muffled verité sound of wind against the microphone, of the excited breath of the camera operator. People are standing around, their postures reflecting boredom, their faces and movements obscured by the shaky camera work and low resolution.

On YouTube, of course, this poor video quality, combined with a high hit count, contains an inverse promise: something is about to happen.

We can make out a white-haired man in a blue blazer, partially obscured by a sign. He seems to be talking to another man, in a black jacket, whose back is to the camera. Out of any context, the white-haired man would be unrecognizable because of the bad video quality, but if you know to look for him—and you do, because of the title on the YouTube page—the man is recognizable as astronaut Buzz Aldrin, lunar module pilot of Apollo 11, one of the first two men to walk on the moon.

The muffled audio obscures the voice of the black-jacketed man, who is speaking now. Passion or nervousness makes his voice waver.

“You’re the one who said you walked on the moon when you didn’t,” the man says. He is holding an object out to Buzz. A subsequent Google search reveals that it’s a Bible—he is trying to make Buzz swear upon it.

Overlapping him, Buzz Aldrin’s voice says, clearly and unwaveringly,
“Get away from me.”

“—calling the kettle black. You’re a coward and a liar and a thief—”

At that moment Buzz’s arm comes up and cracks the black-jacketed
man in the jaw. Even with the poor video, we can see that it’s an impressive punch, well-aimed and powerful. We can’t see the punched man’s face, but we see his head recoil backward. The camera recoils too, as if in sympathy. Something has changed in the scene, you can sense it. One public figure’s image has been complicated, another person now has a story to tell, a video to put on YouTube. Read more…

Celebrating Singlehood and Reclaiming the Word ‘Spinster’

Photo: Willy Somma

Jessica Gross | Longreads | April 2015 | 19 minutes (4,797 words)

 

In 2011, Kate Bolick charted the sea change in our cultural attitudes toward marriage in her Atlantic piece, “All the Single Ladies.” Interweaving personal experience—she was 39 and single at the time—with reporting, Bolick posited that we are marrying later or not at all, with many women exercising their ability to have children without partners or, again, not at all.

The piece generated a huge response. In Bolick’s new book, Spinster: Making a Life of One’s Own, she approaches single adulthood from a slightly different angle. The book is part memoir: Bolick describes breaking away from a serious, cohabitating relationship in her late twenties, exploring her ambivalence about partnership, and wholly reconsidering her view of marriage. Along the way, she presents the stories of her five “awakeners,” the historical single women who shaped her thinking. These were the essayist Maeve Brennan, the poet Edna St. Vincent Millay, the columnist Neith Boyce, the novelist Edith Wharton, and the writer and activist Charlotte Perkins Gilman. By considering these women’s biographies and cultural contexts, Bolick began to better understand her own.

I’ve been single for most of my twenties—I’m almost thirty now—and I’ve tended to think of it as some kind of flaw. Reading Spinster, I not only saw clearly this underlying belief, which wasn’t totally conscious, but also realized that being single was actually a choice I had made. Does that ring true to you as the heart of what this book is about?

Yes, without a doubt. The book started for me when I was in my late twenties and living with my boyfriend and we moved from Boston to New York so that I could go to graduate school. I started wondering, what does a life look like if you’re not married? I was really struck to realize that there were no positive depictions of single women in popular culture. At that moment in time, in 2000, it was either Carrie Bradshaw or Bridget Jones. You were either frivolous and fabulous or desperate. And either way, you were definitely trying to get yourself coupled. Sex and the City was in a way celebrating singlehood, but it was also singlehood as long as it’s a way station to something else. And so it began that way, with becoming interested in at least learning more about a different way of being that I wasn’t seeing reflected around me anywhere. Yet I knew that culture had given us positive examples in the past, particularly during the second wave of the women’s movement. So where did that go?

It was during that sort of amorphous period of wondering that I came across Neith Boyce, who felt like a profound discovery: I hadn’t even known people were talking about this in the late 1800s. The clarity of her voice at a time that I thought of as being so repressive for women made me see how much we’re shaped by the time in which we live and the assumptions that we grow up with.

So that’s a long way of saying yes, but it was more this kind of internal questioning, and then smacking up against this external example from history. Read more…

Why the Porn Industry Can’t Beat the Pirates

Photo by Pixabay

Keeping porn from getting ripped and posted is impossible. After having free pornography clips easily accessible for years, nobody expects that customers will ever buy DVDs in the numbers they once did. The porn industry’s sales figures are disputed; estimates range from a few billion to as high as $14 billion, a widely cited figure from a 1998 Forrester Research report that Forbes easily dismantled. But no one disputes that the percentage of revenues from DVDs has shrunk dramatically, and that piracy on the Internet shot up after the early 2000s. Takedown Piracy, which Glass founded in 2009, focuses on containing the damage.

Glass, who is dressed like an accountant, talks about the 2007 adult film financial crisis in terms of the broader recession. “It was really kind of a perfect storm of events there,” he tells me. “There was always piracy in general. But at least for adult, it went from being something in the back-shadowy corners of the Internet, or something that required a certain level of technical knowledge to acquire … [to] ‘push the little triangle button and the movie plays.’” With the accessibility came the assumption that porn should be accessible — that it wasn’t worth paying for. “People might have a certain guilt about pirating Guardians of the Galaxy or whatever, but porn — ‘ah, that’s porn,’” Glass says. “It’s considered ‘less than.’ And porn doesn’t have the revenue channels that a Guardians of the Galaxy might have. We’re not doing theatrical release. There’s not really merchandise.” Other barriers to marketing and fighting piracy are particular to porn. PayPal won’t do porn transactions, and Apple doesn’t allow any porn apps. Lawmakers are unlikely to support pornographers, and it’s difficult to legislate against piracy because many of the major tube sites are located outside the U.S.

Molly Lambert writing in Grantland about the Adult Video News awards.