Ryan Chapman | Longreads | June 2018 | 16 minutes (4,419 words)
Several of the sentences in Chelsea Hodson’s debut Tonight I’m Someone Else radiate with the epigrammatic wisdom of Kelly Link or Maggie Nelson. There’s just something about her lines — “How lovely to be young enough not to know any better” or “I once loved so hard I almost lost everything, including his life, including my own” (both from “Simple Woman”) — that demands furious underlining and exclamation points in the margins.
These essays span the writer’s life in Tuscon, Los Angeles, and New York as she investigates what it means to have a body, to be an object, to run away, to look for answers in strangers, and to chase danger. As in, let’s tie a butcher knife to the ceiling fan and sit beneath it until someone gets hurt (“Near Miss”).
With praise from Miranda July and Amy Hempel, Tonight I’m Someone Else is a book that delights and disturbs and — in its deep dive into the performance of female identity — feels very now. Hodson is an essayist with one foot out the door, and she’s holding the keys to someone else’s car, asking if we want to drive into the ocean. Read more…
In early June 1958, 25-year-old John Leo Brady was in love. He was also in some trouble. His sweetheart, Nancy Boblit McGowan, had just told him she was pregnant, and he was the father. But she was only 19, married to another man. And Brady was broke.
He’d never had an easy life. He grew up poor in southern Maryland. His young parents, scraping their living from a small tobacco farm, couldn’t cope with a fussy baby. They gave him to his paternal grandparents and his Aunt Celeste, who raised him. From infancy through his late teens he suffered from serious otitis media, and his ears regularly oozed a thick, vile-smelling pus. At school, his classmates called him “stinkears.”
Brady gladly dropped out during the eighth grade to work full-time on his uncle’s farm. At 19, in 1951, he enlisted in the Air Force and served as a military policeman at bases in Washington state and Greenland. Then, over the space of four years, his otitis stopped, he got married, left the service, earned his high school equivalency, got divorced and returned home to Maryland.
In March of 1958, Brady met Nancy and her brother, Donald Boblit, because their parents were good friends with his aunt. Donald was 25, gawky, lonely and barely literate. Nancy was “just a dumb, good-looking blonde,” according to a friend, in the pre-feminist jargon of the ‘50s. Although both she and her husband, Slim, were living with her parents, they hardly spoke, and she let everyone know she intended to do whatever she wanted. Brady and the two siblings soon became close, and he and Nancy fell in love. Then Nancy got pregnant.
Brady didn’t know what to do. He was working at a local tobacco packing company for $1.50 an hour. He had recently bought a maroon 1947 Ford and was behind on his bills. But he wanted Nancy to know how much he was committed to her. She had planned a trip to New York to visit family for a week, leaving on Monday, June 23. That Sunday, when they were together, on an impulse he wrote her a check for $35,000, post-dated to July 6.
It was a dream sum—a huge number just pulled out of the air that he guessed could solve all their troubles, if he could only make it real. Nancy asked no questions; she put the check in her purse. Brady reminded her to wait. “Somehow,” he said, “in two weeks it’ll be in the bank.” Read more…
Tim Russert during a live taping of 'Meet the Press.' (Photo by Brendan Smialowski/Getty)
“When I run for president,” Tim Russert would tell candidates who tried to turn his interviews back on him, “I’ll answer all your questions.”
If Russert was anything, he was skeptical. As the longtime moderator of NBC’s Meet the Press, Russert gave viewers the impression that he’d both heard everything before and that this kind of thing — no matter how unique any new movement may have seemed — had already happened. Every event had a historical precedent, and so did every tactic and every lie and every political sidestep. Russert had a long memory, and he knew what questions to ask.
Russert died ten years ago today, on June 13, 2008. A decade on, journalists and moderators are still trying to live up to his legacy for asking the right questions. Whenever I try to think of who is carrying his baton today, with the same rigor and acuity, I’m overwhelmed by the memory of how much we trusted him.
Fans of Meet the Press feel Russert’s absence daily, perhaps never more so than throughout the 2016 election. Russert was a walking fact-checker, with the ability to recall just the right detail to rebut false statements immediately with truthful, well-sourced evidence to the contrary.
So many of us wish Russert could interview Trump today — that he was still alive to ask him serious questions, to surround all of Trump’s responses with truthful context, and to guide so many political discussions that have gone so far off the rails.
Watching their October 24, 1999 interview, I have so many questions of my own. How did Russert take a Trump presidency this seriously in 1999 when, more than one year into his first term, much of the electorate still hasn’t? How is it that, nearly twenty years later, Trump is saying so many of the same things? When did American audiences lose respect for asking any of these questions, let alone for the people who insist on asking them?
If Russert could interview Trump today, would this interview change at all?
RUSSERT: Let me show you what you said about women in your book and give you a chance to respond. This is helpful.
TRUMP: All right.
RUSSERT: “Women have one of the great acts of all time. The smart ones act very feminine and needy, but inside they’re real killers. I’ve seen women manipulate men with just the twitch of their eye — or perhaps another body part.”
TRUMP: Well, you know that. I mean, you’re married to an incredible woman. And I’m sure she manipulates you beautifully.
RUSSERT: When women see or hear that on the screen, however, don’t they say, “Donald. Donald Trump. Isn’t that a little bit over the line?”
TRUMP: I think they respect it. I’m saying women may be beyond us, you and I. I mean, they’re smart, they’re cunning.
RUSSERT: “They’re killers.”
TRUMP: They’re killers in many respects.
RUSSERT: That’s what you said.
TRUMP: Absolutely. I’m not saying all, but I’m saying in many respects. And I’ve seen women that are so tough they make us wince.
RUSSERT: Let me move on to some issues. But first —
TRUMP: You haven’t met any of those women?
RUSSERT: When I run for president, I’ll answer all your questions.
TRUMP: Okay.
RUSSERT: One of your former wives — Marla — had this to say and let me put it on the screen, give you a chance to respond: “If Trump is really serious about being president and runs in the general election next year, I will not be silent. I will feel it is my duty as an American citizen to tell the people what he is really like. But I can’t imagine that they would really elect him, would they? … His drug is attention.”
One day in 1913, a housewife named Pearl Curran sat down with her friend Emily Grant Hutchings at a Ouija board. Curran’s father had died the year before, and Hutchings was hoping to contact him. While they’d had some success with earlier sessions, Curran had grown tired of the game and had to be coaxed to play. This time, a message came over the board. It said: “Many moons ago I lived. Again I come — Patience Worth my name.”
This moment was the start of a national phenomenon that would turn Curran into a celebrity. Patience Worth, the ghost who’d contacted them, said she was a Puritan who immigrated to America in the late 1600s. Through Curran, she would dictate an astounding 4 million words between 1913 and 1937, including six novels, two poetry collections, several plays, and volumes of witty repartee.
The work attracted national headlines, serious reviews, and a movie deal. Patience Worth’s poetry was published in the esteemed Braithwaite’s anthologies alongside writers like Edna St. Vincent Millay. In 1918, she was named an outstanding author by the Joint Committee of Literary Arts of New York. Her novel, The Sorry Tale, was a bestseller with four printings. The New York Times said her poetry was a “high level of literary quality” with “flashes of genius.” Harper’s Magazine said that the “writings attributed to Patience Worth are exceptional.” The New Republic added: “That she is sensitive, witty, keenly metaphorical in her poetry and finely graphic in her drama, no one can deny.”
Literary Digest summed up the critical interest by writing: “It is difficult not to take Patience Worth seriously.” Read more…
The ’90s Are Oldis a Longreads series by Rebecca Schuman, wherein she unpacks the cultural legacy of a decade that refuses to age gracefully.
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The most appropriate single epithet for MTV’s unscripted housemate drama The Real World is pioneering. Granted, given what the show and the oeuvre it birthed have since become — an indistinguishable procession of aggressively vapid ab models who take turns getting alcohol poisoning in a hot tub, no matter the show’s setting or purpose — the positive connotations of that word make it painful to use.
But alas, pioneering is accurate. Before producers Mary-Ellis Bunim and Jonathan Murray had the idea in 1992 to choose seven strangers at random, deposit them in a New York City loft, have their lives “taped” at a totally grungified 42-degree angle, and find out what happens, the very thought of someone going on television for no other reason than to live in an apartment with a bunch of randos was extremely novel.
What we so easily forget now, in an age where the country’s only housewives are Housewives, is that The Real World‘s early seasons were beloved by young adults precisely because they showed the largely-unremarkable exploits of largely-unremarkable (if mildly telegenic) young people. By “early seasons” I mean 1992-1996 — the 1997 season, shot in Boston, would mark the show’s transition from unscripted soap opera to unapologetic grotesque, a.k.a. what we now consider the reality-television standard. This transformation is one of the most notable — possibly most ignominious? — legacies of the ’90s, perhaps even more so than the mushroom cuts, black chokers, and off-kilter camera work.
Garrett M. Graff | Longreads | June 2018 | 20 minutes (5,086 words)
Razhden Shulaya maintained a diverse business empire, like a Warren Buffet of crime. By age 40, from his base in Brighton Beach, Brooklyn, he had a cigarette smuggling operation, a drug ring, a counterfeit credit card scheme, an extortion racket, an illegal gambling establishment, and teams devoted to hacking slot machines. According to prosecutors who have been building a case against him, Shulaya’s associates provided gun-running, kidnap-for-hire, and the fencing of stolen jewelry. Plans were in place for what authorities came to call the “romance scam”: use an attractive woman to lure a target down to Atlantic City, knock him out with chloroform, and steal his money. They’d take his Rolex, too.
El Faro rolled farther into the wind, exhausted by the fight, until her deck edge dipped into the brine. Superheated Caribbean waters beckoned her in. The ship’s floors turned to the sky and became walls, her walls became ceilings. She was going gently into the eternal night of the deep ocean.
Two people remained on the bridge as she sank.
“Captain,” Frank Hamm pleaded. “Captain. Captain.”
Davidson braced himself on the high side of the bridge, looking down what was now the steep ramp of the floor. At the end of it, the heavy seaman was pinned to the corner by gravity and fear. He couldn’t climb up to the starboard side of the bridge to get out. The angle of the floor was too steep.
“Come on, Frank,” Davidson said. “We gotta move. You gotta get up. You gotta snap out of it. And we gotta get out.”
— from Into The Raging Sea: Thirty-Three Mariners, One Megastorm, and The Sinking of El Faro
Rachel Slade has never lived more than five miles from the Atlantic — she lives in Massachusetts and Maine — and her admiration for the ocean ripples through Into the Raging Sea. The poetic gaze of a boat-lover, sailor, rower and coxswain is apparent on every page.
Slade’s book is a comprehensive account of what led to the mysterious October 2015 sinking of the shipping vessel El Faro. While on an oft-charted path delivering goods from Jacksonville, Florida, to Puerto Rico, El Faro sailed directly into Hurricane Joaquin. It was the deadliest American maritime event in more than three decades.
More than the story of how a ship was overcome by a storm, Into The Raging Sea is an allegory for what it means to be a part of the nation’s largely invisible working and middle class. Mariners are literally set adrift and set apart from the rest of us for many weeks and months at a time, out of view and, apparently, out of the reach of the rules and regulations that should protect them. Read more…
Lost Empress addresses the injustice of mass incarceration, plays with the possibility of parallel universes, and uses arena football as a metaphor for how the revolution is unforeseeable. Welcome to the world — or should I say worlds — of Sergio De La Pava, whose fiction certainly doesn’t lack for a sense of scope.
His debut, A Naked Singularity, followed a young, incredibly successful public defender through a personal and professional collapse, weaving in a heist narrative and moments of absurdist comedy, moving from harrowing scenes of inequality to suspenseful setpieces and back again. Initially self-published before being reissued by the University of Chicago Press (which also released his second novel, Personae), A Naked Singluarity would go on to win the prestigious PEN/Robert W. Bingham Prize — an award also won by Jonathan Safran Foer’s Everything is Illuminated and Paul Harding’s Tinkers.
In De La Pava’s fiction, grand ideas and societal tragedies coexist with a brisk narrative voice and an irreverent worldview. Lost Empress alternates betweentwo seemingly unconnected stories: Nina Gill, a genius football strategist, suddenly becomes the owner of an indoor football team in Paterson, New Jersey, during an unexpected pause in the NFL season; meanwhile, Nuno DeAngeles, imprisoned at Rikers Island, ponders his earlier crimes and romantic connections, and his plans for the future. Within this sprawling narrative, De La Pava tells the secret history of a Salvador Dalí painting, discusses Cambodian politics in the late 20th century, and muses about why the NFL’s labor market is uniquely exploitative of American athletes.
Improbably in our age of hyper-specialization, De La Pava, like the hero of A Naked Singularity, is a public defender in Manhattan, where he handles 70 to 80 cases at a time. He recently wrote an impassioned op-ed calling for reform of New York’s discovery laws. His interests are obviously wide-ranging, and our conversation touched on the cultural history of Paterson, what we hate about rich people, the multiverse, and more.
Jose Luis Magana / AP Photo, Photo illustration by Katie Kosma
Jacob Silverman | Longreads | May 2018 | 9 minutes (2,206 words)
For the better part of two decades, an important set of assumptions has underwritten our use of the internet. In exchange for being monitored — to what degree, many people still have no idea — we would receive free digital services. We would give up our privacy, but our data and our rights, unarticulated though they might be, would be respected. This is the simple bargain that drove the development of the social web and rewarded its pioneers — Facebook, Google, and the many apps and services they’ve swallowed up — with global user bases and multi-billion-dollar fortunes. Read more…
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Candace Newmaker was 10 years old when she died in 2000. There are only a few pictures of her, and even fewer biographical details. Here is what we do know: she had dark brown hair and eyes, she liked dogs and horses, and she enjoyed arts and crafts. Candace had been a ward of the state of North Carolina since she was about 5 the daughter of a very young mother who hadn’t been able to hold her own life together, and who had lost her very young children to the Department of Children and Family Services. Jeane Newmaker, a kindly nurse-practitioner who was single and in her early 40s, found Candace in the system when she was 6 and adopted her in 1996. It’s not clear exactly when things got difficult between Newmaker and her adopted daughter. Maybe things were difficult from the start. (Newmaker declined to comment for this article; this account is based on contemporaneous press reports in the Denver Post and the Rocky Mountain News.) Candace, one of the girl’s therapists later said, could be sweet, but she could also be “mean.” One therapist said it just seemed like Candace had a “defense mechanism for being through so many places” — that “it was like having the average 18-year-old adolescent in your house,” one who was trapped in a 10-year-old’s body. Read more…
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