What North Americans refer to as the Panama Hat is actually a hat that is made in Ecuador. But the hats that are actually worn throughout the country of Panama, known as sombreros pintados, are quite different. On a recent journey to Panama to replace his worn-out Panamanian-made sombrero, travel writer Darrin DuFord met with one of the country’s most renowned hat makers to discover the origins of the infamous controversy and to find out that sombreros pintados are more than merely a simple fashion accessory for rural Panamanians — they are both a symbol of victory over foreign influence and a device for communicating one’s mood.
The Longreads Blog
I recently finished an advance reader’s copy of Perfect Little World by Kevin Wilson, which debuts in January 2017. Perfect Little World is the story of Isabelle Poole, a fierce but desperate single mom who applies, with success, to be a part of a utopian parenting project in which children will be raised communally by their parents and a team of educators and scientists in near seclusion. I was expecting Perfect Little World to transform from a utopia to a dystopia by its end—and there were certainly disturbing, sad moments throughout the novel—but Wilson resisted sensationalism and apocalyptic tropes. Instead, he’s written something quite genuine and powerful. Unexpectedly, I was moved. I realized my recent exposure to planned societies has been books like The Heart Goes Last and Children of the New World—stories devoted to satire, technology and dark prophesy. In other words, more dystopian than utopian.
Maybe that’s why Perfect Little World moved me. There’s so much evil in the world—racism meets unchecked authority meets gun, say, or a dangerous, dangerous man running for president of the United States—that any degree of optimism feels hard-won. At this point, hopelessness feels easy, logical, intelligent, but I am finding more and more power in a well-crafted happy ending, a redemptive final note. With that in mind, here are five stories about utopian societies. Read more…
Michael Brick | Longreads | September 2016 | 16 minutes (4,136 words)
In December, two months before cancer killed him, our friend Michael Brick sent a few pals an email.
“I’m entrusting to your care these two unpublished works,” he wrote. “I’m proud of them both. My great hope, of course, is to share them with the world someday.”
One was a manuscript for a fantastical picture book called “Natalie Had a Bicycle” that he had written with his son, John-Henry. He said it had been roundly rejected by every agent in America. That’s a damn shame.
The other was a word doc called, simply, “Ruback.”
It’s a long-in-the-making memoir of the failings of newspaper journalism. Or a newspaper journalist. Or, really, of one tiny story: a “Portraits of Grief” dispatch on the life of a New York firefighter. What Brick had written in 123 words, in an effort to efficiently encapsulate the life of a 50-year-old man who died on Sept. 11, came to haunt him. This piece is his effort to correct the record, and maybe find peace.
“All lives end unfinished,” he writes in the story. How true.
“I don’t have any specific instructions for you,” he wrote to his friends. “You may read them, of course.”
Originally slated for Harper’s September issue, the piece never ran. We’re pleased to share it with the world here.
Cody Delistraty | Longreads | September 2016 | 16 minutes (4,104 words)
If the contemporary art world seems like a place of pretension, status-seeking, and giant checks being paid through Larry Gagosian and David Zwirner, then it’s the critic Jerry Saltz who may be the last hope of bringing us all back down to earth. As Saltz once wrote: although contemporary art may not be of everyone’s taste, it’s still for everyone.
Born in Oak Park, Illinois, Saltz went to the Chicago Art Institute wanting to be a painter but dropped out; he soon became a long-distance truck driver, but after a decade of driving, he decided life couldn’t get any worse and that he might as well go back to his truest passion. So in the early-1980s, with no formal degree, he moved to New York and entered the art criticism scene, writing mostly for the Village Voice. Fast-forward to today and he’s now the senior art critic at New York magazine and has twice been named a finalist for the Pulitzer Prize in Criticism.
Howard Halle, the chief art critic at Time Out New York, calls the 65-year-old “America’s art critic.” And yet, Saltz, although perhaps an American icon, has hardly become a universally beloved one.
A few years ago, Saltz was briefly banned from Facebook for posting what Zuckerberg and co. determined, initially, to be pornography (Saltz maintains that posting ancient and medieval artworks depicting fellatio, cunnilingus, and circumcisions hardly constitutes pornography, and he continues to post these images on his re-activated Facebook page, Twitter, and Instagram accounts, all of which boast, on aggregate, hundreds of thousands of followers). He also recently tried to pull the veil on the economics of the art scene—not everyone is making the big bucks—by posting a photograph showing his Chase checking account balance to be $3,832.16.
Although one wonders how much of his “everyman” appearance is an act (he maintains that it’s not), Saltz’s lack of pretension has been a burst of fresh air in the often-stodgy art criticism scene. Who else but Jerry would compliment Morley Safer’s painting of a hotel room after Safer unconvincingly tried to tear apart the contemporary art scene in two 60 Minutes segments? Or, even more surprisingly, who might say of George W. Bush’s paintings—in which the former president depicted his view of himself in the bathtub and while taking a shower, his back turned, only his face reflected in a small mirror—“I love these two bather paintings. They are ‘simple’ and ‘awkward,’ but in wonderful, unself-conscious, intense ways”?
Not everyone is on board with the Saltz movement. The Dean of the Yale School of Art Robert Storr called Saltz “the class clown” in an interview with Yale Radio, adding, “the idea that he should be running around being the conscience of the art world… all of these things are about Jerry. And it’s too bad.” Storr even clumped in Saltz’s wife—Roberta Smith, the co-chief art critic of The New York Times—saying, “They are punchy writers and again, they draw interest because of the contrariness but there are no principles, and they’re not fighting long term battles for anything and never have.”
But Saltz doesn’t mind it. He’s endlessly quotable and his optimism and energy for art has led to an engagement with the art world from the most surprising of sorts—irritable Twitter users, suburban teenagers, essentially anyone with an opinion. Saltz has, in effect, de-localized art criticism, taking it from students at the Courtauld, writers at Artforum, the galleries and museums in New York and London, and instead placing it online, where anyone with even a modicum of interest in art can share their thoughts with both Saltz and one another.
Saltz and I recently spoke over the telephone, and we discussed, among other topics, where the art world is heading, how it can reorient itself, the current trends (good and bad) in contemporary art, and what the roles of critic, artist, and viewer are and could one day be. Read more…
Below, our favorite stories of the week.
Some people think the film I co-directed, “Fall Seven Times, Get Up Eight: The Japanese War Brides,” is a paean to loving Japanese mothers. When one interviewer suggested as much to me and fellow director Karen Kasmauski, we exchanged a look that said, “Shall we tell him the truth?” The film, titled after a Japanese proverb, is about strong women, for sure. Warm and loving mothers? No.
They either tried, or were pressured, to give up their Japanese identities to become more fully American. A first step was often adopting the American nicknames given them when their Japanese names were deemed too hard to pronounce or remember. Chikako became Peggy; Kiyoko became Barbara. Not too much thought went into those choices, names sometimes imposed in an instant by a U.S. officer organizing his pool of typists. My mother, Hiroko Furukawa, became Susie.
Clara Bingham | Witness to the Revolution: Radicals, Resisters, Vets, Hippies, and the Year America Lost Its Mind and Found Its Soul | Random House | May 2016 | 30 minutes (8,161 words)
Below is an excerpt from Witness to the Revolution, an oral history of the political and cultural movements of the 1960s and early ’70s. In this excerpt, witnesses recall the month when everything seemed to fall apart. This story is recommended by Longreads contributing editor Dana Snitzky.
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You can jail the revolutionaries, but you can’t jail the revolution.
—FRED HAMPTON, SPEECH, 1969
December 1969 was plagued by violence and despair. As bloodshed in Vietnam escalated, so did violence at home. The ranks of Americans who considered themselves “revolutionaries” swelled to as many as a million, and militant resistance threatened nearly all government institutions related to the war effort. Nonviolent civil disobedience of just months earlier, with the October and November Moratoriums, had evolved into violent clashes with police, rioting, arson, and bombings. In the fifteen-month period between January 1969 and April 1970, an average of fifty politically motivated bombings occurred each day.
At the vanguard of this domestic rebellion was the Black Panther Party, which, in reaction to police brutality and FBI harassment, publicly declared war against the police. Two dozen Black Panther chapters had opened across the country, and in 1969 the police killed 27 Panthers and arrested or jailed 749. J. Edgar Hoover announced that the Black Panther Party was “the greatest threat to [the] internal security of the country,” and he assigned two thousand full-time FBI agents to “expose, disrupt, misdirect, discredit, and otherwise neutralize” the Panthers and other New Left organizations. In a 1969 speech to Congress, Hoover declared that the New Left was a “firmly established subversive force dedicated to the complete destruction of our traditional democratic values and the principles of free government.”
Meanwhile, the Vietnam War raged on. From 1961 until 1971, the U.S. military dropped more than 19 million gallons of toxic chemicals— defoliants or herbicides, including Agent Orange—on 4.8 million Vietnamese. In 1969, 11,780 American troops were killed, bringing the death toll to 48,736. It was not a festive Christmas for those in the peace movement. John Lennon and Yoko Ono displayed huge billboards in Los Angeles, London, and other cities that read: “War is over! If you want it. Happy Christmas from John & Yoko.” On New York City’s Fifth Avenue during the holiday shopping rush, a woman blocked the street with a sign that read, “How Many Shopping Days Until Peace?” Read more…
Atlanta chef and culinary teacher Tim Patridge says there is a difference between reunion and funeral chicken. Reunion chicken, he explains, is fried fast and hot, in a hurry to get to the park and the party. It has a crust that is consequently crisper than the more tender crust of funeral chicken. Funeral chicken is fried slowly. Reluctant for the day to progress, the cook takes her time, turning the burner lower, braising as well as frying. As she stands at the stove, turning the pieces, raising and lowering the heat, she is lost in the act of remembering the person who has gone before. That memory, Tim suggests, may also flavor funeral chicken.