Search Results for: twitter

Queens of Infamy: Josephine Bonaparte, from Martinique to Merveilleuse

Illustration by Louise Pomeroy

Anne Thériault | Longreads | March 2019 | 22 minutes (5,569 words)

From the notorious to the half-forgotten, Queens of Infamy, a Longreads series by Anne Thériault, focuses on badass world-historical women of centuries past.

* * *

Looking for a Queens of Infamy t-shirt or tote bag? Choose yours here.

In 1768, a 15-year-old girl traveled to the hills near her family home in Martinique to visit a local wise woman. Desperately curious to know what her future held, the girl handed a few coins to the Afro-Caribbean obeah, Euphémie David, in exchange for a palm reading. Euphémie obligingly delivered an impressive-sounding prediction: the girl would marry twice — first, unhappily, to a family connection in France, and later to a “dark man of little fortune.” This second husband would achieve undreamed of glory and triumph, rendering her “greater than a queen.” But before the girl had time to gloat over her thrilling fate, Euphémie delivered a parting blow: in spite of her incredible success, the girl would die miserable, filled with regret, pining for the “easy, pleasant life” of her childhood. This prophecy would stay with the girl for the rest of her life, and she would think of it often — sometimes with fervent hope, sometimes with despair, always with unwavering belief that it would come true.

That girl was the future Empress Josephine Bonaparte. Everything Euphémie predicted would come to pass, but young Josephine could not have imagined the events that would propel her to her zenith: the rise through Paris society, the cataclysm of the French Revolution, the brutal imprisonment during the Reign of Terror, the transformation into an infamous Merveilleuse, the pivotal dinner at her lover’s house where she would meet her second husband.

She wouldn’t even have recognized the name Josephine — that sobriquet would be bestowed by Napoleon some 18 years hence. The wide-eyed teenager who asked Euphémie to tell her fortune still went by her childhood nickname, Yeyette.

Read more…

Welcome to Sinaloa, Home of Chiltepín

Photo by Jose Nicdao via Flickr (CC BY-SA 2.0)

Aguachile is all over Mexican restaurant menus, a ceviche-adjacent seafood dish. But “aguachile” literally means “chile water,” and the oldest version of the dish had nothing to do with shrimp and everything to do with chiltepín: a small, round chile that grows wild in Sinaloa state. For Eater, Michael Snyder travels through Sinaloa with Mexico City chef Luis Valle in search of the “original-original” aguachile.

Really, aguachile is a roadmap to Sinaloa, a state whose name is often tied to the drug war and the larger-than-life dons who have become its bombastic, public face. Aguachile, Valle explained to me on my first visit to Don Vergas, began in the hills, where chiltepín still grows wild between plantations of poppy and cannabis, then drifted west toward the sea. Along the way, it touched Sinaloa’s disappearing indigenous traditions, centuries of mestizaje, cultural and economic ties to the United States, and two of the major industries — shrimp and agriculture — that drive the Sinaloan economy.

On my first visit to Don Vergas, in April 2018, Valle told me that if I wanted to try the “original-original” aguachile, we could go look for it together in Sinaloa — on what he would later call our “super mega mission.” I told him I would love to go, only half expecting it to happen, as he slid a plate of aguachile across the counter. Crystals of Maldon salt cracked between my molars. The chiltepín blazed a trail of heat across my tongue. I’d eaten plenty of aguachile before, I told him, but nothing quite like this.

“Verga,” he exhaled with a Cheshire smile, using the word that gives his restaurant its name. Translated literally, it means “mast” (as in a boat). In this context, it meant something more like “dude” or “no way”’ Sometimes, it means “cool” or “good;” sometimes it means “shitty.” Mostly, though, verga means “dick.”

“That’s because you’ve never been to Sinaloa.”

Read the story

The Leaves, They Never Stop Falling

iStock / Getty Images Plus

Colin Dickey | Longreads | March 2019 | 15 minutes (3,788 words)

 

A month after we bought our first house in 2009, our friend Vanessa came over for her first and only visit. She was moving with great difficulty by then, and the three steps up to our front door were treacherous. When she made it to the chair closest to the door she sat down with visible relief. Scleroderma is a perverse disease where the body manically over-produces collagen: it gets in your joints, making moving painful, and at its worst overtakes the body’s organs themselves. It makes one’s movements slow and measured, as though suffering from advanced age or arthritis — and yet, as Vanessa was fond of pointing out, it also makes one’s skin smooth and radiant. It is as though one is simultaneously aging forwards and backwards at once.

“Is that a linden tree?” she asked, looking out the window. Now having sat down again, her eyes were flashing around the room — she was still very much alert and alive, still very much a moving part of this world.

I told her I didn’t know — I’ve never been good at identifying or remembering trees. I couldn’t tell you the difference between an oak and an elm, a maple or a poplar.

“I’m pretty sure,” she said, “that it’s a linden.”

She died a few weeks later. In the months that followed, I spent a good deal of time looking out the window at the linden tree.

Read more…

The Terror of Being Awake

Photo by Pfree2014 via Wikimedia Commons (CC BY-SA 2.0)

When you’re under general anaesthesia, a good anaesthesiologist uses a combo of consciousness-dulling agents and neuromuscular blockers — one to put you to sleep and block pain sensations, one to paralyze you. What if the latter works but the former doesn’t? The stuff of horror movies. At Mosaic, David Robson explores research suggesting that up to 5 percent of surgical patients could experience pain during their procedures but be unable to communicate that to hospital staff, or even to remember the experience afterward.

This all makes anaesthesia as much art as science, and in the vast majority of cases, it works astonishingly well. More than 170 years after Morton’s public demonstration, anaesthetists across the world plunge millions of people each year into comas and then bring them out safely. This doesn’t just reduce patients’ immediate suffering; many of the most invasive lifesaving procedures would simply not be possible without good general anaesthesia.

But as with any medical procedure, there can be complicating factors. Some people may have a naturally higher threshold for anaesthesia, meaning that the drugs don’t reduce the brain’s activity enough to dim the light of consciousness.

In some cases, such as injuries involving heavy bleeding, an anaesthetist may be forced to use a lower dose of the anaesthetic for the patient’s own safety.

It may also be difficult to time the effects of the different drugs, to ensure that the so-called induction dose – which gets you to sleep – doesn’t fade before the maintenance dose – to keep you unconscious – kicks in.

In some situations, you might be able to raise or lower your limb, or even speak, to show the anaesthetic is not working before the surgeon picks up their scalpel. But if you have also been given neuromuscular blockers, that won’t be possible. The unfortunate result is that a small proportion of people may lie awake for part or all of their surgery without any ability to signal their distress.

Read the story

‘Imagine Us, Because We’re Here’: An Interview with Mira Jacob

Mira Jacob / One World

Naomi Elias | Longreads | March 2019 | 18 minutes (4,793 words)

Nearly five years after the release of her award-winning debut novel The Sleepwalker’s Guide to Dancing, Mira Jacob returns with a graphic memoir, Good Talk: A Memoir In Conversations (One World, 2019). Jacob tells the story of her life in a series of conversations between illustrated figures of the author and her constant companion, her son, who is six-years-old at the beginning of the book and is referred to as Z throughout. Z’s hyper-observant nature leads him to ask complicated questions about race and politics the likes of which Jacob first illustrated for BuzzFeed in a 2015 graphic article entitled “37 Difficult Questions From My Mixed Race Son” that quickly went viral. The resulting memoir is a stunning achievement — it’s already being developed into a TV series — that offers a look at America through the eyes of three generations of Jacob’s family: herself, her Syrian Christian immigrant parents, and her mixed race son whom she is raising in Brooklyn with her husband Jed Rothstein, a white Jewish documentary filmmaker.

Jacob’s tracing of her family’s history in this country — from the start of her parents’ immigration story, to meeting and falling for her husband, to the present day where she is raising a brown son in Trump’s America — is a resonant testimony to how difficult but necessary it is to find and fight for your place in the world. In a heartfelt address delivered to her son in Good Talk, Jacob neatly condenses the existential dilemma that is the crux of the memoir: “I can’t protect you from spending a lifetime caught between the beautiful dream of a diverse nation and the complicated reality of one.”

While framed by Jacob’s conversations with her son, the book spans several different pivotal periods in the Indian-American author’s life. Jacob takes us time-traveling through her early years growing up in New Mexico as the daughter of immigrant parents, invites us to relive her dating foibles, walks us through the highs and lows of her early career as a writer in New York, and lets us overhear intimate conversations she’s had with her husband about how to nurture and protect their interracial family. Each period we revisit is filled with revealing snapshots — sometimes literally when Jacob shares actual family photos — of the type of life she lived and the people and experiences that shaped who she has become. Like any good conversation, the book is generously punctuated by humor, has an effortless flow, and is more concerned with thoughtfully exploring questions than in arriving at definitive answers. Read more…

And They Do Not Stop Until Dusk

"Rats" (Ildikó Regényi / the György Román Estate)

Daisy Alioto | Longreads | March 2019 | 14 minutes (3,722 words)


“I beheld thee rich in sorrow,
Graceful in the bloom of youth,
Where, like gold within the mountain
In the heart lies faith and truth,
On the Danube,
On the Danube, bright and blue.”
—Karl Isidor Beck, “On the Danube”

“At last I penetrate into the distance, into the soundproof blue of nostalgias.” —Jean Arp

*

I have an adolescent memory of walking along a lake near my Massachusetts home and finding a child’s blackened shoe caught in the murky inch of water at the shore. I knew that not long ago a pilot had died crashing a single-seat Cessna into this same lake, and I had lately been looking at piles of shoes as part of the school’s Holocaust curriculum. The combination of these two facts — totally unrelated — filled me with deep dread, and I turned around and hurried back to my family.

Artist György Román’s childhood was characterized by such dread. The painter was born in Budapest in 1903 and suffered a bout of meningitis in 1905 which left him deaf and temporarily paralyzed in both legs. As a result, “his mind was swamped in the chaos of meanings around visual images,” writes Marianna Kolozsváry in her monograph of the artist. (Kolozsváry’s father was one of Román’s first collectors.) Although Román regained use of his legs, he was deaf for the rest of his life.

Out of vivid dreams and passive observation of the surrounding world, Román formed his own vernacular of symbols and omens. Cats, monkeys, carnivals, and men in mustaches were imbued with evil intentions and disease. The glowing red signage of shops and brothels were both indistinguishable and sinister. Toy soldiers were the protagonists of this world.

The Hungarian actor Miklós Gábor wrote of Román’s work, “He paints dreams, but he is not a surrealist. He paints naively, but he is not a naive painter. He is a clever man, but not intellectual. He sees nightmares, but he is no expressionist.” Read more…

Memoirs of a Used Car Salesman’s Daughter

Chris Ison/PA Wire

Nancy A. Nichols | True Story | January 2018 | 35 minutes (7,098 words)

 

Back in the 1920s, my father’s brother, Donny, was killed at the age of seven in an accident of some kind. Exactly what happened has never been clear.

My father told many versions of this story. He used to say that an older boy had been playing with his little brother, and there was a rope around Donny’s waist. Donny was playing the part of the pony, and the older boy was riding him. In one version of the story, the older boy pulled the rope, and the little boy crashed into the curb and died almost instantaneously. In another version, Donny broke free and ran into the street, where he was hit and killed. Sometimes the older boy was my father; sometimes it wasn’t.

Read more…

The Tyranny of Chairs

Photo by Don Harder via Flickr (CC BY-NC 2.0)

To eat in public while fat is to invite stares, judgement, and commentary — and that’s assuming you can be comfortably seated at your restaurant of choice. For larger people, picking a place to eat doesn’t just involve looking online for menus or reviews, but for pictures of the chairs. In the New York Times, Kim Severson explores the pains (often physical) and challenges of trying to spend an evening in a place that was not built to accommodate you, in an industry where even the king of hospitality has a fat-person sized blind spot.

Danny Meyer, 60, whose restaurants include the Shake Shack chain and high-end destinations like Union Square Cafe, said customers’ size is a new consideration. “I don’t believe we have ever designed a restaurant saying, ‘Let’s make sure there are two tables that can accommodate someone who is larger,’” he said.

And when you don’t? This happens.

Traci Armstrong, 46, who runs Specialty Catering in Bluffton, S.C., travels to eat at the nation’s best restaurants as a hobby. She is 5-foot-4 and about 335 pounds. She always books two airline seats.

She flew to Washington, D.C., over a holiday weekend to eat at Pineapple and Pearls, which has two Michelin stars. When she got there, her reserved seat was at a stationary bar stool at the chef’s counter. She didn’t fit. The staff offered to seat her outside or accommodate her at a sister restaurant, but she declined and left.

“I was mortified,” she said.

Read the story

The Day New York Rose Up Against the Nazis On the Hudson

A demonstration near the German ocean liner SS Bremen in New York, after Hugh Wilson, the American ambassador to Germany was recalled in the wake of Kristallnacht, 1938. (FPG/Hulton Archive/Getty Images)

Peter Duffy | An excerpt adapted from The Agitator: William Bailey and the First American Uprising Against Nazism | PublicAffairs | March 2019 | 20 minutes (5,458 words)


Hear it, boys, hear it? Hell, listen to me! Coast to coast! HELLO AMERICA!
—Clifford Odets, Waiting For Lefty

Seven million New Yorkers, few of them in possession of the luxury item known as an electric fan, woke up to the best news in three weeks on Friday, July 26, 1935. During the overnight hours, the humidity plunged by 33 points. By sunrise, the temperate air from Canada had completed its work. The heat wave was over.

“Humidity Goes Into Tailspin,” the New York Post exulted. “Rain Ushers in Cool Spell,” declared the Brooklyn Eagle.

The New York Times and Herald Tribune didn’t make much of a fuss that morning over Varian Fry’s revelations about his conversation with Ernst Hanfstaengl. “Reich Divided on Way to Treat Jews, Says Fry,” was the cautious headline on page eleven of the Tribune. One faction of the Nazi Party, the paper went on in summary of Hanfstaengl’s comments to Fry, “were the radicals, who wanted to settle the matter by blood.” The other, “the self-styled moderate group,” wanted to “segregate the Jews and settle the question by legal methods.” The Times ran its version on page eight and devoted most of the article to Fry’s retelling of the Berlin Riots. “There were literally hundreds of policemen standing around but I did not see them do anything but protect certain cafés which I was told were owned by Nazis,” Fry was quoted as saying. The paper saved its preview of the Holocaust for the ninth of eleven paragraphs. The nation’s newspaper of record didn’t see the value in highlighting the disclosure that “the radical section” of Hitler’s regime “desired to solve the Jewish question with bloodshed.”

Reached for comment in Berlin, Hanfstaengl called Fry’s account “fictions and lies from start to finish.” Read more…

The American Way

All photos by Alice Driver

Alice Driver | Longreads | March 2019 | 20 minutes (5,502 words)

Dusk is closing in. As we drive along the border in El Paso, Texas, ShiQian, a sound engineer from Beijing, sings, “Where the road is dark and the seed is sowed / Where the gun is cocked and the bullet’s cold,” as he plays his guitar sitting in the back seat of our rented van. Liu Xiaodong, the Chinese painter who has organized this eight-day 1,530-mile border trip in conjunction with Dallas Contemporary museum, sits in the passenger seat, looking out at the border wall and wondering out loud in Chinese, which his assistant for this trip, Marco Betelli, who is from Italy but lives in China, translates into English: “Is this the wall Trump says he is building?” I explain that the 18-foot-high metal fence we are viewing that separates El Paso from Juárez was built in 2008. Yang Bo, a Chinese filmmaker, documents all Xiaodong’s international projects on migration. He sits in the back seat next to ShiQian filming everything as Flavio del Monte, an Italian who serves as Xiaodong’s artist liaison at Massimo De Carlo Gallery, drives. From the back seat, ShiQian’s voice rings out with warmth, “Now I been out in the desert, just doin’ my time / Searchin’ through the dust, lookin’ for a sign / If there’s a light up ahead well brother I don’t know,” as we hug close to the border, to a wall that exists in some places and is absent in others and to the Río Bravo — the “fierce river” — which is little more than a trickle running down a concrete channel.
Read more…