Showing 25 articles matching fk33.cc_Good Quality Magnesium Sulfate in China.
On the history and study of pica:
Indeed, we have long defined ourselves and others by what we do and do not eat, from kashrut dietary restrictions described in Leviticus to the naming of Comanche bands (Kotsoteka—buffalo eaters, Penateka—honey eaters, Tekapwai—no meat) to insults—French frogs, English limeys, German krauts. But poya seemed to beg a different question: what was one to make of people who ate food that wasn’t food at all?
William Finnegan is a New Yorker staff writer and the author of Barbarian Days: A Surfing Life.
“I suppose in retrospect I was just trying to find out what the world held that nobody could tell me about until I got there. I was a big reader and had a couple of degrees by that point, but there was something out well over the horizon that I wanted to get near and record and understand, and I even felt like it would transform me.”
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“My Vassar College Faculty ID affords me free smoothies, free printing paper, paid leave, and access to one of the most beautiful libraries on Earth. It guarantees that I have really good health care and more disposable income than anyone in my Mississippi family. But way more than I want to admit, I’m wondering what price we pay for these kinds of ID’s, and what that price has to do with the extrajudicial disciplining and killing of young black human beings.”
“She has no theories, for example, to explain why she, of all people, felt unburdened by the unspoken rules marking certain subjects off limits for children, or why, for that matter, she has that particular gift, that ability to recall the emotional experiences of adolescence, the confusion, the longing, the rivalries — the memories, in other words, that most of us try to bury as quickly and deeply as we can.”
The phrase “knew how to wear clothes” is a loaded one. To “know how to wear clothes” is another way of saying that Cary Grant embodied class, which is to say high class: Grant wore well-tailored clothes, and he knew how to hold himself in them. But he came from nothing, and the way he wore clothes was just as much of a performance as his refined trans-Atlantic accent, his acrobatic slapstick routines, and his masterful flirtation skills.
A profile.
When we're introduced, I spend a long moment trying to conjugate the reality of James Brown's face, one I've contemplated as an album-cover totem since I was thirteen or fourteen: that impossible slant of jaw and cheekbone, that Pop Art slash of teeth, the unmistakable rage of impatience lurking in the eyes. It's a face drawn by Jack Kirby or Milton Caniff, that's for sure, a visage engineered for maximum impact at great distances, from back rows of auditoriums.
The sewer hunters, or “toshers,” of 19th century London.
Knowing where to find the most valuable pieces of detritus was vital, and most toshers worked in gangs of three or four, led by a veteran who was frequently somewhere between 60 and 80 years old. These men knew the secret locations of the cracks that lay submerged beneath the surface of the sewer-waters, and it was there that cash frequently lodged.
John Francis Anthony “Jaco” Pastorius III lay comatose in the intensive-care unit of a Fort Lauderdale hospital for nine days, unrecognized until he was spotted by the doctor who had delivered his children. Once he had been identified, local newspapers ran photographs to accompany stories headlined “DARK DAYS FOR A JAZZ GENIUS” and “JAZZ PERFORMER’S LIFE STRIKES A TRAGIC CHORD” and “THE LONG, SAD SLIDE OF A GIFTED MUSIClAN.” The various photographs seemed to be of different men.
She calls claiming to be Amy Pascal, Kathleen Kennedy, or some other powerful woman in entertainment. She knows personal details about her mark as well as the woman she is impersonating.
She offers work, then sends them—photographers, make-up artists, soldiers—around the world to bilk them out of modest amounts of cash.
In the early 1960s, the paranoid Hoffa asked Chuckie to buy thousands of copies of George Orwell’s 1984 and distribute them to union locals around the country. “Some of these poor guys, the only thing they knew was how to drive a truck or work at a warehouse,” Chuckie told me. “They didn’t have the knowledge of the electronic shit. Mr. Hoffa wanted them to read that book and said that this is what’s going to happen to not only us but to everybody—and exactly what he’s predicted has happened.”
Joshua Yaffa is a Moscow correspondent for The New Yorker. His first book is Between Two Fires: Truth, Ambition, and Compromise in Putin's Russia.
“Especially in a place like Russia, where there’s a lot of sensitivity around what people might tell you—when they do open up to you, there’s a lot of trust there. And you better not abuse it or mishandle it, because you could put people in danger. Just being a decent person, and demonstrating that decency, goes a long way.”
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Philip Montgomery is a photojournalist.
“The photographers that I grew up on all sort of had their moment… I sort of had, in this weird way, this feeling of envy that they had their moment with this story that was all-encompassing. Looking at it now, this is the story of my time, and it’s a little more than I perhaps bargained for.”
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Watching Florida government on the state and local level is like watching two parents bring an alcoholic home after he got kicked out of rehab and deciding that the best course of action is leaving him with $5,000 in an apartment up the street from a dive bar and then going to Cancun for the week. It was on the calendar already, there wasn’t any choice, he looked very healthy at the time!
Alexandra Lange is a design critic whose work has appeared in The New Yorker, The New York Times, and many other publications. Her new book is Meet Me by the Fountain: An Inside History of the Mall.
“I really like to write about things that I can hold and experience. I'm not that interested in biography, but I am very interested in the biography of an object. ... Like I feel about the objects, I think, how most people feel about people. So what I'm always trying to do is communicate that enthusiasm and that understanding to my reader, because these objects really have a lot of speaking to do.”
Rosecrans Baldwin is a writer and regular contributor to GQ. His latest novel is The Last Kid Left.
“It requires a lot of preparation in order to just have lunch with Roger Federer. Being a person who tends toward anxiety and also a former Boy Scout—put those two things together and I will exhaustively prepare so that I can come across like a complete idiot. The idea of sitting down with someone like that is that you should know everything about their life and their career so that you can go in with 12 questions in the back of your mind.”
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Laura June is author of Now My Heart Is Full.
“Parenting wasn’t considered literary fodder for a long time. I think women in particular are raised not to complain. Which is not what I was doing. If you have to boil it down, it’s base emotion. Then you’re complaining about how hard it is. Or, the opposite end, you’re bragging. There’s no in between. Most of my writing is in between.”
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Aaron Lammer is a co-host of the Longform Podcast and the host of the podcast Exit Scam: The Death and Afterlife of Gerald Cotten.
“Something I got from a number of reporters that I’ve interviewed on the Longform Podcast is letting the story guide you, and ultimately that led me to an ambiguous ending. Early on, I was like, the pinnacle achievement is to solve this case. But ultimately, I felt like an ambiguous ending was the most honest to what I actually experienced in reporting it.”
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Jen Percy is the author of Demon Camp: A Soldier's Exorcism.
"As is the nature of obsession, you just start gathering materials, hoarding documents and taking notes in a way that’s totally chaotic and overwhelming. You don’t even care yet because you’re so excited by what you’re gathering. If you start trying to make a narrative out of it too soon it will be false or fall apart."
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Edith Zimmerman is the founding editor of The Hairpin and a contributing writer to The New York Times Magazine.
"I never wrote anything myself or ran anything from other people that was needlessly negative. It wasn't some false grin plastered all over it — we addressed dark things too, and poked fun at things. But I didn't want there to ever be a tone of yeah, let's really just deflate this. Because ultimately you're just stabbing at a ghost among friends. And then at the end you've all just fallen on the floor and the ghost is gone. You're not really doing anything constructive."
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Dan Rather is a journalist, author, and the former anchor of CBS Evening News.
”I knew that being named to succeed Walter Cronkite would put me in a position of inhaling—every day—a kind of NASA-grade rocket fuel for the ego. And that could be dangerous…. In the end, when the red light goes on, it's just you. You're by yourself.… And the longer you're in that role, the more difficult it is to stay true to yourself and to remember who you are and who you want to be.”
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Sabrina Rubin Erdely, a contributing editor at Rolling Stone, has also written for GQ, Philadelphia and SELF.
"I think that people are, by their nature, good and want to act rightly. So I'm very interested in why people do these things that result in really bad actions. My lack of outrage actually is one of the things that probably helps me in my reporting because I really am propelled by this pure curiosity. ... I just want to know, 'Where did that come from?'"
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Nicholas Schmidle is a staff writer for The New Yorker. His latest article is "Virgin Galactic's Rocket Man."
“I think there’s a lot more pressure that I’ve put on myself to make sure that the next [article] is better than the last one. To make sure there are sourcing standards and expectations I have for myself now that I might not have had earlier. I’m putting even more priority on building long-term relationships in which I trust an individual. ... I feel like the pieces coming in are tighter in terms of sourcing, but story selection becomes a lot more difficult. You want to do a different story.”
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“If I’m writing a thing based on something that happened, it often starts to become fun for me when I see there’s an opportunity to make myself look even more of a jerk than I am in real life.”
From the Longform archive: George Orwell, Maya Angelou, Haruki Murakami and 25 more writers on writing.
"Serial systems and their permutations function as a narrative that has to be understood. People still see things as visual objects without understanding what they are. They don’t understand that the visual part may be boring but it’s the narrative that’s interesting. It can be read as a story, just as music can be heard as form in time. The narrative of serial art works more like music than like literature."
Ten years ago, a man moved to Marsing, Idaho. He had a strange accent and didn't know much about cattle. The folks in Marsing were a little skeptical at first, but when he built a house and started a family, he earned his neighbors' acceptance. Last February, while buying hay, he was cornered by federal agents and arrested for violent crimes tied to the Boston Mob. And the town wondered: Who the hell is Jay Shaw?
