Search Results for: religion

‘Every Woman Writer Feels Like She’s Starting Over Without Any Guides’

Vizerskaya / Getty

Zan Romanoff | Longreads | February 2019 | 11 minutes (2,920 words)

 

“Stories can be risky for someone like me,” the narrator observes early in The Raven Tower, which marks highly decorated science fiction author Ann Leckie’s first novel-length foray into fantasy. The speaker is an ancient god named The Strength and Patience of the Hill, who goes on to explain a cardinal rule for gods in the world of The Raven Tower: “what I say must be true, and if it cannot safely be made true — if I don’t have the power, or if what I have said is an impossibility — then I will pay the price.” That price is the god’s own life.

It makes sense that four novels, two Locus Awards, one Hugo, one Nebula, and an Arthur C. Clarke Award in, Leckie is grappling with the power and potential of narrative and language; after all, one of the hallmarks of her writing has been the way she interrogates social and political power structures. Her first three books, which comprised the Imperial Radch trilogy, are narrated by an artificial intelligence system, Breq, designed to oversee a warship and the human bodies — called ancillaries — that have been retrofitted to serve it. Breq is therefore a single consciousness who has lived a multiplicitous existence; her native language has no words for gender, and she herself (Leckie chose to use “she” as a gender-neutral pronoun in the series) has no experience of it. The reader is thus immersed into a speculative critique of gendered language and storytelling; as is often the case with Leckie’s work, the trilogy is so thoroughly and thoughtfully original that it feels one step ahead of most of the rest of the genre (or the rest of the world).

The Raven Tower’s narrator also falls somewhere complicated on the continuum between single and multiple consciousness: The Strength and Patience of the Hill is a god, whose experience of self is markedly different than the humans its second-person narration is addressed towards. This set of unusual choices around perspective and point-of-view give the narrative a kaleidoscopic, sometimes almost hallucinatory quality that is uniquely and addictively immersive. Read more…

Notes on a Shipwreck

Chris McGrath / Getty

Davide Enia | translated by Antony Shuggar | an excerpt adapted from Notes on a Shipwreck: A Story of Refugees, Borders, and Hope | Other Press | February 2019 | 16 minutes (4,334 words)

On Lampedusa, a fisherman once asked me: “You know what fish has come back? Sea bass.”

Then he’d lit a cigarette and smoked the whole thing down to the butt in silence.

“And you know why sea bass have come back to this stretch of sea? You know what they eat? That’s right.”

And he’d stubbed out his cigarette and turned to go.

There was nothing more, truly, to be said.

What had stuck with me about Lampedusa were the calluses on the hands of the fishermen; the stories they told of constantly finding dead bodies when they hauled in their nets (“What do you mean, ‘constantly’?” and they’d say, “Do you know what ‘constantly’ means? Constantly”); scattered refugee boats rusting in the sunlight, perhaps nowadays the only honest form of testimony left to us — corrosion, grime, rust — of what’s happening in this period of history; the islanders’ doubts about the meaning of it all; the word “landing,” misused for years, because by now these were all genuine rescues, with the refugee boats escorted into port and the poor devils led off to the Temporary Settlement Center; and the Lampedusans who dressed them with their own clothing in a merciful response that sought neither spotlights nor publicity, but just because it was cold out and those were bodies in need of warmth. Read more…

Alternative Reality: ‘Howard Buffett’s Border War’

Howard Buffett, laughs at his swearing-in ceremony as Macon County Sheriff, Friday, Sept. 15, 2017 at the Scovill Golf Course Banquet Facility in Decatur, Ill. Buffett will fill out the remaining term of retiring Sheriff Thomas Schneider, who confirmed earlier Friday he would step down. (Clay Jackson/Herald & Review via AP)

It’s been a rough month or so for news publications around the country, with recent layoffs at BuzzFeed, HuffPost, and Gannett, along with impending cuts at Vice and McClatchy. In mid-January, too, almost the entire editorial staff of The East Bay Express, Oakland’s alt-weekly, was laid off.

Despite the carnage, though, alternative weeklies continue to publish ambitious, informative work, performing a vital service at a moment when local newspapers are disappearing at an alarming rate. The Phoenix New Times, for instance, published an aggressively reported two-part series on Warren Buffett’s son, Howard, who has earned a reputation as something of a border cowboy.

Seven Days, Burlington’s alt-weekly, profiled Charlie Morrow, the innovative musician and composer who is pioneering a new kind of immersive sound technology. Spokane’s Inlander published an in-depth story about grizzly bears, always an intriguing topic. Alex Woodward, in the New Orleans Gambit, documented the history of redlining in the Crescent City.

In Madison’s Isthmus, Howard Hardee took a look at a new effort to house the city’s homeless population. Nicholas Dolan wrote about the abolitionist John Brown for Iowa City’s Little Village. And Gabrielle Gopinath, in Humboldt County’s North Coast Journal, wrote an engaging piece on a recently restored church mural that had been hidden from view for a century.

1. “Howard Buffett’s Border War: A Billionaire’s Son Is Spending Millions in Cochise County” (Beau Hodai, January 13, 2019, Phoenix New Times)

Warren Buffett’s sexagenarian son, Howard, is cast in the first part of this jarring exposé as an aspiring border warrior who has purchased influence along the Mexico-Arizona dividing line, where he owns land, in order to act out what seems to be a dangerous, puerile fantasy as a desert vigilante.

Buffett describes his activities on the border using the language of humanitarianism and concern for the “rule of law.” But closer inspection shows he is using the same dog-eared playbook, and walking in the same well-worn circles, as infamous border warriors and vigilantes who have preceded him along southeastern Arizona’s border with Mexico. Setting Buffett aside from some of his more notorious predecessors is his extreme wealth, and not much more.

Read the second part here.

2. “Charlie Morrow Creates Soundscapes That Mimic How We Hear” (Dan Bolles, January 23, 2019, Seven Days)

Charlie Morrow, the musician, composer, and sound artist, has always straddled the mainstream and the avant-garde. In college, he played trumpet alongside the Beat poet Allen Ginsberg and later worked in the advertising industry, perhaps most famously penning the jingle for Hefty trash bags.

Now, Morrow is knee-deep in developing his own 3D sound design technology through MorrowSound, the company he founded, creating immersive sound installations in seemingly random places such as the Kaiser Permanante health hub in Santa Monica, California. Dan Bolles, of Burlington’s Seven Days, paints a vivid portrait of this amusingly eccentric polymath.

When wearing the signature black bowler hat that often tops his round face, Morrow almost looks like a René Magritte painting come to life. And there’s a certain surrealism to what he does. Where the Belgian painter famously juxtaposed ordinary objects with extraordinary settings, Morrow uses ordinary sounds to create extraordinary environments—often, as in the case of the Santa Monica waiting room, in places where you’d least expect them.

3. “A WSU researcher lived with grizzly bears in Alaska. She came away convinced humans and grizzlies can coexist” (Wilson Criscione, January 17, 2019, Inlander)

If you know how Werner Herzog’s grim documentary Grizzly Man ends, then you might furrow your brow at this story about Joy Erlenbach, a bear biologist at Washington State University who has spent 300 days over the past four years living with grizzly bears in the remote Alaskan wilderness. She believes that, in the right environment, humans can live peacefully alongside grizzlies.

Erlenbach says she knows how to read bears’ body language. They are not much different than dogs in the way they express discomfort. She remembers once walking on a path through tall grass when she surprised a mama bear, whom Erlenbach called “Nina,” and two large cubs. Nina was almost within arm’s reach. Erlenbach took a step back, but that upset Nina. So instead, Erlenbach froze, and Nina decided to simply walk past Erlenbach.

Wilson Criscione’s profile for the Spokane Inlander doubles as an expansive look at the ways in which people are interacting with grizzlies in the lower 48 states — often violently.

4. “How ‘redlining’ shaped New Orleans neighborhoods — is it too late to be fixed?” (Alex Woodward, January 21, 2019, The Gambit)

Alex Woodward investigates the racist legacy of redlining in this vital piece, examining how the widespread practice of denying credit to African-Americans still shapes today’s housing market in New Orleans.

A 2016 report from the Center for Investigative Reporting found that people of color still are denied mortgages at higher rates than white homebuyers in 61 U.S. metro areas. And a 2018 report from National Community Reinvestment Coalition found that nearly 75 percent of redlined neighborhoods in the U.S. remain low- to moderate-income areas, and people of color live in nearly 64 percent of those neighborhoods.

Though redlining was eliminated with the passage of the Fair Housing Act in 1968, its damage was never undone.

5. “Housing Madison’s homeless” (Howard Hardee, January 10, 2019, Isthmus)

In Madison, Wisconsin’s alt-weekly, Isthmus, Howard Hardee writes about a couple of new supportive housing facilities, built to help the city’s homeless, that have been managed — somewhat shakily, it seems — by a Chicago-based company named Heartland Housing. There’s a lot riding on how well Heartland does its job, as the facilities are the first two projects in a larger plan, known as Housing First, to address homelessness in Madison.

The failure of Housing First in Madison would be, first and foremost, a tragedy for people living on the razor’s edge of poverty. It’s hard to overstate how much it means for formerly homeless people such as Melisa, 52, to have a roof and four walls after spending countless nights under bridges, on riverbanks and in the woods.

Melisa grew up on Jenifer Street, played soccer for East High School, and studied graphic design in college. Either she doesn’t understand how she became homeless or doesn’t want to talk about it. “I went through some situations,” she says vaguely. But she knows the streets were harsh. She made and lost friends. Some died. And she was highly vulnerable herself: One night, she was kidnapped and sexually assaulted. “We just survived,” she says.

6. “‘Bright Radical Star’: When John Brown came to Iowa” (Nicholas Dolan, January 15, 2019, Little Village)

Before his failed raid on Harpers Ferry, the rugged revolutionary John Brown passed through Iowa, which Nicholas Dolan describes as a “bastion of the abolitionist movement” in his informative historical essay for Little Village, the publication serving Iowa City and Cedar Rapids.

Leading up to 1859 and that ill-fated scheme, Brown and his fellow insurgents spent several months preparing in a modest Iowa community, even recruiting some soldiers from its ranks. It’s a story that speaks to America’s complicated relationship with religion and violence, and Iowa’s unsung radical history.

7. “The Hidden Palace” (Gabrielle Gopinath, January 31, 2019, North Coast Journal)

Humboldt County’s North Coast Journal published this fascinating article about a recently restored mural in Ferndale’s Church of the Assumption, painted in 1896 by the little-known artist Franz Bernau. The mural had been hidden from sight under whitewash for about a century, but now churchgoers are treated to a vibrant display that, in Gabrielle Gopinath’s telling, recalls a painting by M.C. Escher.

When you enter the Church of the Assumption today, the effect is dazzling. It can be hard to tell where architecture ends and painting begins. This impression intensifies as you approach the rear of the church, where floor-to-ceiling murals frame the altar, reaching some 50 feet above the ground. Below the chancel window, the mural depicts a sanctuary curtain hanging along four bays separated by painted columns and topped by fan ornaments, all rendered in starchy trompe l’oeil.

Gopinath’s vivid descriptions leave you with a strong desire to see the mural in person.

8. “Ilhan Omar’s improbable journey from refugee camp to Minnesota Legislature” (Cory Zurowski, November 7, 2016, City Pages)

Ilhan Omar, the newly elected Minnesota congresswoman — and, along with Michigan Democrat Rashida Tlaib, one of the first Muslim women in the House of Representatives — has been the subject of a lot of intense scrutiny since she took office at the beginning of the year.

But that’s nothing new for the 37-year-old Somali-American, who got her start in politics in 2016, when she was elected to the Minnesota House of Representatives as a member of the Democratic-Farmer-Labor Party. That same year, the writer Cory Zurowski documented Omar’s somewhat tumultuous entry into politics, along with her circuitous route from Mogadishu to a refugee camp in Kenya to Arlington, Virginia, where her family first moved when they got to the United States — and where a young Omar struggled to fit in.

Classmates stuck gum to her headscarf when they weren’t trying to yank it off. None of her peers bothered to communicate, even to say hi. They stared instead. The new kid sat solo at lunch, a loner during recess as well. Omar’s English improved.

Then came her classmates’ questions: Does it feel good to wear shoes for the first time? Do you really have hair? Do you have a pet monkey? “I’d say the kids were curiously brutal,” says Omar, “but the lunch ladies were kind to me.”

Soon after her arrival in Virginia, Omar moved with to Minneapolis, and so marked the beginning of her rapid political ascent.

***

Matthew Kassel is a freelance writer whose work has been published by The New York Times, The Wall Street Journal, and The Columbia Journalism Review.

Mothers of the Future

Corbis Historical / Getty

Thea Prieto | Longreads | February 2019 | 9 minutes (2,399 words)


“I got annihilated as a natural, as the real deal, as her truest, most important poem, her Lie Box. But she stuffed some torn-up papyrus in a crocodile; she taught me how to look for shards of a vase with a few words on it and piece together a story.”

—Sophia Shalmiyev, Mother Winter


When Anne Carson translated every tantalizingly incomplete snippet of Sappho’s poetry in If Not, Winter: Fragments of Sappho, she was continuing a centuries-long project: the excavation of our poetic fossils. In Carson’s translation, Sappo’s fragments are littered with empty brackets, which box off the blank spaces where words used to be, giving a reader the translator’s experience of “the free space of imaginal adventure… the drama of trying to read a papyrus torn in half or riddled with holes.” These ancient relics of love and longing contain voids that can nowadays only be filled in, painstakingly, by imaginative poets and scholars; or by archaeologists lucky enough to exhume new slivers of Sappho’s poetry from antique garbage: cartonnage in mummy cases, packing for vases, or stuffing in mummified crocodile carcasses. “There can be no periods at the end of Sappho’s translations,” writes Sophia Shalmiyev in her debut memoir Mother Winter, “because she is forever unfinished business to us.”

In Mother Winter (Simon & Schuster, 2019), Shalmiyev describes many women who are yet unfinished business, most poignantly her own estranged mother. In 1978, in Leningrad — once and now again called Saint Petersburg — Shalmiyev was born to a Russian mother and an Azerbaijani father. Widespread anti-Semitism drove her father to emigrate to America with his daughter, leaving Shalmiyev’s alcoholic mother, Elena, behind. From age eleven onward, Shalmiyev traveled new and unsafe worlds, navigating different cultures and subcultures, searching motherless for words to define her grief. Mother Winter is the result of her searching, a language of loss and longing that depicts in lyrical, fragmented vignettes her painful journeys, examining what it means to fill absences with words, like stuffing a crocodile with fragments of poetry. Read more…

Shelved: Sonny Rollins Live at Carnegie Hall

Bob Parent / Hulton Archives / Getty

Tom Maxwell | Longreads | February 2019 | 16 minutes (3,055 words)

 

Sonny Rollins was busy in 1957. The tenor saxophonist was present for about sixteen recording sessions, some private, most released, with his own bands as well as with groups led by Miles Davis, Max Roach, Dizzy Gillespie, and Kenny Dorham. His landmark A Night At The Village Vanguard, a live recording of two sets, one in the afternoon and one in the evening performed on November 3rd at New York’s legendary jazz club, became a standard by which other improvisers are judged. In addition, Rollins debuted at Carnegie Hall and headlined the first Monterey Jazz Festival the following year.

“When I look back, people say, ‘Oh, you did a lot of records in 1957…’ Well, I mean, I had to be told about it,” Rollins recently told an interviewer. “So, I guess it was more or less of a norm, you know.”

Read more…

‘I Spent Two Years Researching Before I Wrote a Single Line’: Geeking Out With Marlon James

Mark Seliger / Penguin Random House

Adam Morgan| Longreads | February 2019 | 8 minutes (1,962 words)

I understand why Marlon James calls his new trilogy “an African Game of Thrones” — it builds the right expectations for an epic fantasy with dozens of characters spread across warring kingdoms. However, judging by the first book in the series, Black Leopard, Red Wolf, another apt comparison, especially when it comes to style and structure, might be “an African Gormenghast.”

Mervyn Peake’s Gormenghast series (1946-1959), if you’ve never read it, is a dense literary labyrinth that makes A Game of Thrones and its sequels look downright old-fashioned. The story of a wealthy heir who lives in a vast, crumbling castle, Gormenghast has never been wildly popular thanks to its challenging style, but it does hold cult status among scholars and writers like Neil Gaiman, China Miéville, Sofia Samatar, even Harold Bloom. “Reading it at the age of 13,” Samatar has written, “I understood that fantasy, the place I was looking for, is not to be found in dragons, ghosts, or magic wands. It resides in language.”

Growing up in the suburbs of Kingston, Jamaica, Marlon James didn’t have access to many fantasy novels, but he did stumble upon Gormenghast as an adult. “It was like a blueprint for how the fantastical grows up,” he says, echoing Samatar, adding that it’s the one book that “continues to rule his life.”

Perhaps that’s why Black Leopard, Red Wolf takes so many narrative risks. It’s a sprawling series of stories within stories that fold back on themselves, a hypnotic spoken-word fable full of sex, violence, and magic. It’s not quite what you’re expecting — and it’s all the better for it. Read more…

The Pain of Loss, Through Centuries and Books

Photo by x1klima via Flickr (CC BY-ND 2.0)

In LitHub, Katharine Smyth explores the grief surrounding her father’s death with the help of Virginia Woolf — quasi-shared experiences, 112 years apart.

Virginia Woolf described the days before her mother’s funeral as a period of “astonishing intensity.” She and her siblings “lived through them in hush, in artificial light. Rooms were shut. People were creeping in and out. People were coming to the door all the time. . . .The hall reeked of flowers. They were piled on the hall table.” It was the spring of 1895 in London, but it may as well have been the winter of 2007 in Boston, a stretch of weeks I remember above all as crepuscular and silent, shot through with the cold beauty of a hundred pounds of flowers and the hollow chiming of the doorbell. I couldn’t shake that crystalline, hyperaware feeling one gets on important occasions—on birthdays, for instance, or on losing one’s virginity. My father is dead, I said to myself, my father is dead. Again and again I said it, and still I failed to grasp what it meant.

Her astute observations on the bewildering fog of mourning are resonant for anyone who has struggled to cope with loss.

I lacked the kinds of elaborate customs that governed the Stephens’ behavior, of course; thanks to my era, and to my father’s hostility to organized religion, I lacked any customs at all. But while I wouldn’t have traded the freedom to mourn as I liked for those claustrophobic, false-feeling Victorian practices, or even the comfort of a god I didn’t believe in—how gratifying, that afternoon of sitting shiva!—I did find myself longing for ritual, for structure, for some organizing principle by which to counter the awful shapelessness of loss. The conventions of sorrow may give rise to hypocrisy, but sorrow uncontained holds its own perils.

Read the essay

The Cabin

Photos courtesy of the author / Photo illustration by Katie Kosma

Lavinia Spalding | Longreads | January 2019 | 13 minutes (3,805 words)

 

The old rancher stood on the porch of my log cabin, shuffling his boots. Then he lowered the rim of his cowboy hat, squinted, and delivered the news I’d been dreading — the news that had probably been inevitable from the start.

Though I say the cabin was mine, I should confess it was really his. The rancher’s. Still, I felt possessive. I’d lived there only months, but I loved the wide covered porch where I’d hung my rope hammock, bought for 20 bucks in Mexico. I loved the woodstove and my nascent ability to make a half-decent fire on a chilly night. I loved the view from my picture window, past bright green fields and golden sandstone mesas, all the way to a distant blue triangle of mountain. A herd of deer grazed insouciantly in my yard each evening, a chorus of coyotes sang late at night. I loved everything about my cabin — especially what it represented: something that had eluded me my entire adult life. Read more…

How Diderot’s Encyclopedia Challenged the King

The encyclopedists meet at Diderot's home. Hulton Archive / Getty

Andrew Curran | an excerpt adapted from Diderot: The Art of Thinking Freely | Other Press | January 2019 | 19 minutes (5,105 words)

Denis Diderot’s incarceration at Vincennes took place exactly halfway through his seventy years on earth. Prison became the dramatic pause that gave shape and meaning to both sides of his life. Before prison, Diderot had been a journeyman translator, the editor of an unpublished encyclopedia, and a relatively unknown author of clandestine works of heterodoxy; on the day that he walked out of Vincennes, he was forever branded as one of the most dangerous evangelists of freethinking and atheism in the country.

During Diderot’s three-month imprisonment, his jailer the Count d’Argenson and the count’s brother the marquis had looked on with amusement while this “insolent” philosophe had bowed and scraped before the authority of the state. In a diary entry from October 1749, the marquis related with glee how his brother the count had supposedly broken Diderot’s will. Solitary confinement and the prospect of a cold winter had succeeded where the police’s warnings had failed; in the end, the once-cheeky writer had not only begged for forgiveness, but his “weak mind,” “damaged imagination,” and “senseless brilliance” had been subdued. Diderot’s days as a writer of “entertaining but amoral books,” it seemed, were over. Read more…

The Heartbeat of Wounded Knee

DigitalVision / Getty

David Treuer | an excerpt from The Heartbeat of Wounded Knee: Native America from 1890 to the Present | Riverhead Books| January 2019 | 24 minutes (6,491 words)

 

What follows is the prologue to David Treuer’s new book The Heartbeat of Wounded Knee, in which he explains what drove him to write it. That book is the one referenced throughout.


This book tells the story of what Indians in the United States have been up to in the 128 years that have elapsed since the 1890 massacre of at least 150 Lakota Sioux at Wounded Knee Creek in South Dakota: what we’ve done, what’s happened to us, what our lives have been like.* It is adamantly, unashamedly, about Indian life rather than Indian death. That we even have lives — that Indians have been living in, have been shaped by, and in turn have shaped the modern world — is news to most people. The usual story told about us — or rather, about “the Indian” — is one of diminution and death, beginning in untrammeled freedom and communion with the earth and ending on reservations, which are seen as nothing more than basins of perpetual suffering. Wounded Knee has come to stand in for much of that history. In the American imagination and, as a result, in the written record, the massacre at Wounded Knee almost overnight assumed a significance far beyond the sheer number of lives lost. It became a touchstone of Indian suffering, a benchmark of American brutality, and a symbol of the end of Indian life, the end of the frontier, and the beginning of modern America. Wounded Knee, in other words, stands for an end, and a beginning.

What were the actual circumstances of this event that has taken on so much symbolic weight? Read more…