In 2017 Estella was throwing out some old papers when she came upon that 27-year-old envelope. Inside was the certificate. She called out to Johnny: “This is what I got for putting an innocent person in jail for life.” 

She was 75 now. For a generation she had suppressed the shame, the guilt. She had gone through a lot in that time. She’d become more engaged in the world around her. She had seen her children and grandchildren become active citizens. Most important, she’d become more assertive. “I found that you have more power if you talk,” she said. “There’s nothing wrong if you say what you think.” 

She knew how hard it was to take a stand. She knew how hard it was to do the right thing. And now she was going to do it. 

Get the Longreads Top 5 Email

Kickstart your weekend by getting the week’s very best reads, hand-picked and introduced by Longreads editors, delivered to your inbox every Friday morning—and keep up with all our picks by subscribing to our daily update.

• Longreads Newsletters
• Daily Updates

This edition features stories about:

• U.S. Supreme Court Justice Clarence Thomas and his GOP-donor-funded fancy travel.
• One man’s obsession with profiling Robert Johnson, blues genius.
• What you should know before you allow your dog off-leash at the beach.
• Life as a woman working as a long-haul trucker.
• A love letter to kitschy cookie jars.

1. Clarence Thomas and the Billionaire

Joshua Kaplan, Justin Elliott, and Alex Mierjeski | ProPublica | April 6, 2023 | 2,936 words

No matter where you get your news, you’ve likely seen this story sometime in the last 24 hours. It’s a bombshell investigation that reveals how Supreme Court Justice Clarence Thomas has received lavish gifts from a billionaire Republican donor named Harlan Crow, likely in violation of federal law. Said gifts include international cruises on a staffed superyacht, a Bible that once belonged to Frederick Douglass, flights on a private jet, and annual vacations to Crow’s luxury compound in upstate New York. Anyone with an iota of respect for democracy should be appalled — albeit unsurprised, given everything we already know about Thomas’s associates, including his wife. Read it and rage. But also read it and admire the craft that went into telling the story. It is rich in detail, yet precise. Its tone is finely tuned. The selection and placement of quotes are [chef’s kiss]. The writers dole out gobsmacking information throughout the piece, right down to the kicker. This is top-notch reporting and delivery. A+ all around. —SD

2. Hellhounds on His Trail: Mack McCormick’s Long, Tortured Quest to Find the Real Robert Johnson

Michael Hall | Texas Monthly | April 4, 2023 | 8,672 words

The legend of Robert Johnson dwarfs the man himself in many ways. Johnson wasn’t the first recorded blues musician, nor the most prolific of his era. Yet, his brief career and early death shrouded him in mystery and mythology, ultimately influencing the evolution of popular music itself — and confounding would-be biographer Mack McCormick. McCormick, who spent much of his life chasing down the stories and music of men like Johnson, is the focus of this remarkable story, but he’s by no means a hero. He may have been once, when Texas Monthly executive editor Michael Hall first profiled him 20 years ago; that was before his obsession overwhelmed his clarity, and his remarkable research into Johnson’s life turned into something far more toxic. Now, Hall revisits McCormick’s life after his death, teasing the truth from hagiography and telling the long, twisting tale of a man crushed by his own masterwork. Having helped titans like Lightnin’ Hopkins find the spotlight, McCormick long ago achieved his own legendary status. The question that persists is whether a legacy like his can be tainted by a flawed final act. —PR

3. Gone to the Dogs

Ben Goldfarb | Hakai Magazine | April 4, 2023 | 2,400 words

A reported essay on the intricacies of dog-leashing rules could have felt like a real slog. But Ben Goldfarb’s piece lifts off the page. In the opening paragraphs, we meet Kit, Goldfarb’s dog, as she runs along the beach with the wind flying through her floppy ears. It’s an image I could instantly relate to: Like all dog owners, I love watching my own dog dash around off-leash. (Well, meander around. She isn’t the speediest.) But, sometimes, there can be an environmental cost. Goldfarb meticulously takes us through the problems of letting dogs off-leash on a beach, raising some concerns I had never considered. I felt for the shorebirds trying to rest after a long migration; as a contributor eloquently puts it, “Imagine you’ve just gotten home from work and want nothing more than to chill on the couch with a beer — and then a pack of barking dogs tears into the house and chases you outside, over and over again.” Combined with some horrific facts about little blue penguin deaths, this piece will make you think about when to unclip that leash. —CW

4. Highway Star

Meg Bernhard | n+1 | March 2, 2023 | 3,367 words

This week, Meg Bernhard’s piece hit the sweet spot for me as a reader, offering insight into a world I know nothing about: what it’s like to be a female long-haul truck driver. I’m fascinated by the minutia of others’ jobs and this piece delivered. You’ll meet members of REAL Women in Trucking, a rights advocacy group for women drivers, and get to know Jess, age 39, who escaped an abusive relationship to see America behind the wheel of her rig dubbed “The Black Widow.” “Jess kept a secret credit card,” Bernhard writes, “and left their home only with the clothes she was wearing. She went to her stepdad’s, applied for a trucking job, and was on a bus to a training facility in Indiana four days later. Halima spent fifth grade on the road. They solved math problems with dry erase markers on the truck’s windows and played catch in warehouse parking lots.” —KS

5. How Cookie Jars Capture American Kitsch

Angela Burke | Eater | March 24, 2023 | 1,533 words

At an early age, I had mastered a critical skill in our house: lifting the lid on our humongous cookie jar to pilfer a treat, then replacing that lid in complete silence. As a cookie burglar, I was an apple that hadn’t fallen far from its tree. My Dad was always there first. And when my mom complained about dwindling stock, dad pointed the finger directly at me and my brother. (The nerve!) That cookie jar (a brown ceramic wooden stump with a creepy, grinning gray squirrel on top) sits on their kitchen counter to this day. At Eater, in this love letter to the kooky cookie jar, Angela Burke introduces us to artist and vintage ceramic cookie jar maker Hazy Mae. Her custom jars, in homage to Dolly Parton, Andy Warhol, Elvis, and Madonna (among others), can run $800 or more. That may feel steep, but can you really put a price on a vessel that could eventually contain fond memories, too? —KS

Audience Award

This is the piece our audience loved most.

On April 4, Mack’s manuscript, Biography of a Phantom, was finally published, more than five decades after he started it. But it’s very different from the pages I held in my hands back in 2016. In parts of the book, Mack’s presence outweighs Johnson’s—and not to Mack’s benefit. By the last page, Mack has become the villain of his own life’s work.

Mack’s favorite Dickinson poem begins, “This is my letter to the World that never wrote to me.” If you’re familiar with the poem, you know that it ends, “Judge tenderly—of Me.” As Mack’s friend, I’m going to try to do that for him. Though he made it really hard, because a lot of what I thought I knew about Mack was all wrong.

Jessica Lynne
Jessica Lynne is a writer and art critic. She is co-editor of ARTS.BLACK, an online journal of art criticism from Black perspectives.

For Magicians Who Die On Stage (jayy dodd., Gay Magazine)

Benjamin Moser and the Smallest Woman in the World (Magdalena Edwards, Los Angeles Review of Books)

As 2019 comes to a close, I would like to offer up two essays, disparate in conceit, but both worth the return.

First, there is jay dodd’s “For Magicians Who Die on Stage” published by GAY Mag. It is a beautiful meditation on the body, pain and fear, the specters of habit that might loom over our presence in the world, and the material reality of/for Black Trans Women. Using magic as structural metaphor, dodd moves us through her relationship to sobriety and the desires of self-imaging. Here is a line that stays with me: “I don’t believe I am attempting an illusion just by being alive and hurting and outside. Part of being able to be anywhere is crafting a self that feels desirable to me.” In truth though, it might be better to say that every line of this essay has stayed with me. dodd’s sentences are seared with undeniable beauty and clarity.

Secondly, I remain struck by Magdalena Edwards’ essay for the Los Angeles Review of Books, “Benjamin Moser and the Smallest Woman in the World,” in which Edwards recounts her experience working with the writer, editor, and Clarice Lispector translator Moser. Edwards, also a Lispector translator, vulnerably details the terms of a book translation project that, begun in deep admiration of Moser, leads to a reckoning with the ethics (or lack thereof) that guide Moser’s engagement with the work of one of the most important writers of the 20^th century. Most importantly, in mining the politics of translation, Edwards centers a necessary question that remains critical for my own relationship to lineages of writing and research: “Who gets thanked for their devotion?” Edwards asks. “Who gets credit for their work?”

Jillian Steinhauer
Jillian Steinhauer is a journalist and editor whose writing appears in the New York Times, The New Republic, The Nation, The Art Newspaper, and other publications. She’s a recipient of a 2019 Arts Writers grant from the Andy Warhol Foundation and Creative Capital.

The Tear Gas Biennial (Hannah Black, Ciarán Finlayson, and Tobi Haslett, Artforum)

Psycho Analysis (Andrea Long Chu, Bookforum)

Within the world of writing, criticism gets short shrift. Sure, maybe I’m just saying that because I’m a critic, but I do believe it’s true, both financially and in terms of how our society assigns value. Despite the ongoing journalism layoffs and consolidation bloodbath, a lot of great arts and culture writing was published this year. I don’t know if these two pieces were the best — I find myself utterly unable to make such judgments — but both are excellent examples of criticism at its best. And both have stuck with me.

The first is technically an opinion piece, but it does the work of criticism by helping readers better see and understand something in the culture — in this case, the debate over how artists in the 2019 Whitney Biennial should respond to protests against the Whitney Museum’s vice chairman Warren Kanders. The situation was pretty specific and probably lost on you if you don’t participate in the contemporary art world, but that doesn’t matter. In “The Tear Gas Biennial,” Hannah Black, Ciarán Finlayson, and Tobi Haslett break down the entanglement of art and politics with incredible clarity and moral force.

The same can be said of “Psycho Analysis,” Andrea Long Chu’s review of Bret Easton Ellis’s new book White. For better or worse, takedowns — let alone good ones — are hard to find these days. This piece reminds me why they’re so delicious when done right. Chu refuses to take Ellis’s bait and get angry. Instead, with equal parts rigor and wit, she entertainingly eviscerates his “deeply needless book.”

Soraya Roberts
Soraya Roberts is a culture columnist at Longreads.

The Artist Who Gave Up Her Daughter (Sasha Bonét, Topic)

Few of the multitude of articles I read each year stick, and the ones that do tend to hail from magazines like The New Yorker, The New York Times, The Atlantic, The Guardian. It makes sense: Those are places that not only have the resources to nurture the best writers, but also to carve their work into its greatest form. Which is why I didn’t want to pick anything from those places. I realize that Topic magazine isn’t the biggest underdog of all, but it’s a start. And I had never heard of Sasha Bonét before I read The Artist Who Gave Up Her Daughter. But that’s a story that I remember. It’s a story I sent people. Even just seeing the short description in my Twitter feed — the black artist Camille Billops abandoned her 4-year-old child in the ’60s to pursue her art — I knew it was for me. I, as I’m sure a lot of women artists do, have a particular affinity for stories about women who choose their art first, when they are always expected to do the opposite.

Bonét traces how Billops becomes self actualized as an artist by shedding her past — what she had been taught about black womanhood and its attendant motherhood — including her own daughter. If she hadn’t given up her daughter, the artist says, “I would have died, and if I would have died, she would have died.” In contrast, the piece offers up Billops’ partner, a white man who not only contradicted societal norms of the time, but also provided her the emotional support for her art that she couldn’t provide her own child. Bonét illustrates how Billops, following the initial rejection of her own family, adopts a community of artists as her chosen relatives.

“Her memory collided with the new world she had carefully and meticulously molded,” she writes. The eventual fraught rapprochement of mother and daughter, itself becomes a confluence of emotion and creation. Bonét doesn’t shy away from Billops’ fundamental paradox, which is that she could only nurture that which she chose to create: “Christa had said that meeting her birth mother and her biological family saved her life, but some may argue that it led to her demise.” A devastating but beautiful piece of art about a devastating but beautiful artist.

Danielle A. Jackson
Danielle A. Jackson is a contributing editor at Longreads.

Forgotten: The Things We Lost in Kanye’s Gospel Year (Ashon Crawley, NPR Music)

For Black Women, Love Is a Dangerous Thing—“Bitter” Showed Me How to Do It Anyway (Tari Ngangura, Catapult)

Like most people I know, I read a lot of articles and books and listened to a lot of music in 2019, for learning, for practice, for work. When it got to be too much, when work overwhelmed, or the world did, by way of the news or simply duty, I spent a fair amount of time reconnecting to pleasure. I needed to re-learn how to experience the art I love for the sake of sensation, for how it vibrated in my body, rearranged my cells, made me change. I never want to be too busy or too much in despair to remember that my work should be infused with pleasure, too, that what I place on the page, how I think and engage in the world must be infused with heart and feeling. These two pieces immediately struck me and stayed, guiding me through my attempts at staying connected.

First, Ashon Crawley’s examination of Kanye West’s Sunday services and their culmination, the very popular Jesus is King album, is a moving meditation on remembering, or rather, how, in the deluge of so much sensory input and so much hype, we forget precedents, echoes, entire people and eras. We lose the substance, Crawley insists, when we lose the memory. And so, we are so easily deluded, so easily bought. Crawley threads together stories of Zora Neale Hurston, who told us a century ago about the political underpinnings of Black American religious ritual, the author Hans Christian Andersen, and William Seymour, the founder of the American Pentecostal movement, to help us think through the sad, hollow spirit-lessness of Kanye’s endeavor into gospel. More importantly, Crawley proposes that failing to remember costs us in imagination and progress. In his words, “Gospel performance at its inception was the announcement of the practice of different worlds, the fact that alternatives are available, the sounding out of the here and now breaking with the normative and violent world. Sounds of otherwise possibility.”

Tari Ngangura’s Catapult piece “For Black Women, Love is a Dangerous Thing —“Bitter” Showed Me How to Do It Anyway” is a story and analysis of bassist and vocalist Meshell Ndegeocello’s album Bitter, but also of Ngangura’s first encounter with it, and how the album allowed her to verbalize and move through the feelings and aftermath of an early romantic relationship. I love Ngangura’s insistence on hope through disappointment, her gentle pleas with herself to stay open. I love that a piece of art can help us do that.

Monica Castillo
Monica Castillo is a New York City-based film critic and writer whose work has appeared in The New York Times, The Washington Post, NBC News, RogerEbert.com, Remezcla, The Wrap, Hyperallergic and elsewhere.

Why Do the Oscars Keep Falling for Racial Reconciliation Fantasies? (Wesley Morris, New York Times)

Earlier this year, while many critics and moviegoers were scratching their heads over the outpouring of love for the uncomfortable interracial buddy movie from Peter Farrelly, Green Book, Wesley Morris made sense of the ordeal by examining the way certain feel-good movies about race like Bruce Beresford’s Driving Miss Daisy tend to win awards over more challenging and honest works like Spike Lee’s Do the Right Thing. The year Lee’s electric film broke out, it wasn’t even up for the Best Picture category at the Oscars. Instead, the award would eventually go to the much more saccharine movie in which Morgan Freeman played a happy-go-lucky driver hired for a racist client played by Jessica Tandy. Through his piece “Why Do the Oscars Keep Falling for Racial Reconciliation Fantasies” and a few episodes of his podcast with Jenna Wortham, “Still Processing,” Morris explores the various shortcomings of the form and why its persistence does more harm than good. For starters, these types of movies always prioritize the character arc of the white character who’s maybe a little bit racist but not explicitly so, and over the course of the film, they learn the error of their ways. Unfortunately, that journey comes at the expense of the Black character who must endure the white character’s racist nonsense as they play second fiddle to the white protagonist’s story. Morris finds a through-line in Driving Miss Daisy and to other movies before and after it like Green Book that offers an easy out for white audiences because they’re not as bad as the worst racist villains in the movie. It was the incisive reading I needed — and still need to some extent, as there are still people who want to relitigate my opinion — to back up my own misgivings on the movie. Green Book won the Oscar for Best Picture that night (and picked up a few extra awards as well), so Morris’ piece will likely continue to resonate for many more awards seasons to come.

Krista Stevens
Krista Stevens is a senior editor at Longreads.

Trigger (Michael Hall Texas Monthly)

More than anything, I love music and and I love writing that transcends time. For me, music is fifty percent art and fifty percent magic. During this most trying of years it’s been a salve I turn to (or perhaps tune in to?) every day to find solace as the planet collapses and the news cycle brings to mind Yeats’ center that cannot hold. Of all the pieces I’ve read this year as part of my curation work for Longreads, there’s one that particularly resonated with me as a keen student of guitar and bass. Back in the January 21st edition of Texas Monthly in 2013, Michael Hall wrote a lengthy ode to Trigger, Willy Nelsen’s faithful musical sidekick.

Wille’s been playing that same Martin N-20 classical for 50 years. In it, Hall chronicles Nelsen’s career through the battle scars literally etched into Trigger’s worn neck and battered body as well as the careful tending and regular repair the guitar has undergone in the span of five decades.

Reading the piece, my own small instrument family suddenly meant even more to me and it made me happier about the countless hours I’ve spent studying music. For is there anything more worthwhile than to make a bit of magic?

* * *

This week, we’re sharing stories from Lakeidra Chavis, Jodi S. Cohen, Jennifer Smith Richards, Heidi Blake, Zandria F. Robinson, Michael Hall, and Eve Peyser.

Sign up to receive this list free every Friday in your inbox.

* * *

1. The Quiet Rooms

Lakeidra Chavis, Jodi S. Cohen, Jennifer Smith Richards | Chicago Tribune | November 19, 2019 | 30 minutes (7,726 words)

Schools across Illinois have been punishing students by locking them into “seclusion rooms” — essentially putting them into solitary confinement. Schools say the isolated timeouts are a necessary tool to dealing with students who pose a safety threat to themselves or others, but many of the students put in these rooms have disabilities and receive no therapeutic value from being locked away. Not long after this Tribune/ProPublica investigation was published, Illinois took emergency action to end this practice.

2. How The Kremlin’s Assassins Sowed Terror Through The Streets Of London While British Authorities Scrambled To Stop Them

Heidi Blake | BuzzFeed | November 19, 2019 | 21 minutes (5,384 words)

In this adaptation from her new book, From Russia with Blood: The Kremlin’s Ruthless Assassination Program and Vladimir Putin’s Secret War on the West, Heidi Blake reports on Scotland Yard’s attempts to maintain the safety of Boris Berezovsky, a Russian oligarch living in Britain. From a poison factory, to a multitude of hired assassins, it seems Vladimir Putin will stop at nothing to silence his most vocal critics.

3. Sing Across the Ocean

Zandria F. Robinson | Oxford American | October 31, 2019 | 26 minutes (6,636 words)

“Ranky Tanky is an ancestral funk band. Their members are variously jazz and gospel trained, but as a collective, ancestral funk is their genre. I know because they start Ranky Tanky, their first album, with horns on the three and four, but Good Time, their second one, released in July, with bass on the one.”

4. Trigger

Michael Hall | Texas Monthly | January 21, 2013 | 25 minutes (6,257 words)

Willie Nelson’s been playing the same guitar — a Martin N-20 classical — for 50 years. In this fantastic profile from 2013, Michael Hall chronicles not only the life and times of Willie and his trusted sidekick, Trigger, but the laborious care and tending of an instrument that is the primary tool of a living musical legend.

5. Gritty’s Reign Has Just Begun

Eve Peyser | Vice Magazine | November 18, 2019 | 8 minutes (2,100 words)

Mascots are safe to love in an era when nothing is. Gritty and Phang, Philly’s newest mascots, exemplify why.

“Generally, by the time you are Real, most of your hair has been loved off, and your eyes drop out and you get loose in the joints and very shabby. But these things don’t matter at all, because once you are Real you can’t be ugly, except to people who don’t understand.”

― Margery Williams Bianco, The Velveteen Rabbit

Willie Nelson’s been playing the same guitar — a Martin N-20 classical — since 1969. In this fantastic profile from 2013 at Texas Monthly, Michael Hall chronicles not only the life and times of Willie and his trusted sidekick, Trigger, but the laborious care and tending of a love-worn instrument that is the primary tool of a living musical legend. Trigger bears not only the marks of Willie’s playing style but also autographs from Johnny Cash, Roger Miller, and members of Willie’s staff and touring crew.

Erlewine looks forward to Trigger’s semiannual physicals. He oils the bridge and cleans the fretboard, the wood of which is so eroded it looks like waves between the frets. Then comes the lacquering. The mottled area just above the sound hole shows the effects of fifty coats of lacquer applied over 35 years. The darker parts are colored by dirt and dead skin that can’t be removed; the lighter parts are where Willie has dug deep into the spruce. Erlewine carefully rubs the gouges in the wood that run parallel to the strings between the bridge and the sound hole, a sign of the force with which Willie plays.

He inspects the wood along the curve at the top of Trigger’s body, where Willie’s right arm has rubbed for 43 years, and the scratches at the bottom of the sound hole that are left by the strap clip. He’s especially careful around the thirty or so signatures that are still legible. In the right light he can see the impressions left by others, names or parts of names fading into the wood, like faces receding into memory.

Finally he inspects Trigger’s maw, staring into its abyss. Willie has always insisted, in that Zen-like Willie way, that the hole is a good thing. “I always thought it enhanced the sound,” he says. And he may be right. Luthiers have long experimented with a second hole, and there’s a Hawaiian custom guitar company that crafts many of its acoustics with two of them. The thinning of the spruce around the hole has probably helped too. “You walk the line between strength and tone,” says Dick Boak, a longtime designer and archivist at Martin Guitars. “The wood that is missing may improve the sound. As you scratch away at the top, the diminished thickness of the membrane will most likely make the guitar sound better.”

All things considered, Erlewine says, the guitar is in pretty good shape—except for the frets. “There are certain notes that are just pffft!” he says. “Everyone around Willie knows it. They just shrug their shoulders and say, ‘He’s doing pretty well—he doesn’t want to change!’ ” Erlewine finally gave up trying to get Trigger re-fretted. “Willie’s living his life, and Trigger’s living it with him, with all the aches and pains that go along with it.” The truth is, the worn frets just force Willie to play with more force, more vibrato, more bending, more shaking, more attitude.

Read the story

This week, we’re sharing stories by Ijeoma Oluo, Michael Hall, Erika Hayasaki, Jerry Saltz, and Caren Chesler.

Sign up to receive this list free every Friday in your inbox.

* * *

1. The Heart of Whiteness

Ijeoma Oluo | The Stranger | April 19, 2017 | 17 minutes (4,300 words)

Ijeoma Oluo traveled to Spokane, Washington, to sit at a kitchen table with Rachel Dolezal, who is jobless and living in a month-to-month rental, hoping her new book will start something, anything, to get money coming in.

2. The Trouble with Innocence

Michael Hall | Texas Monthly | March 2017 | 34 minutes (8,622 words)

For nearly 40 years, Kerry Max Cook fought to clear his name after being wrongfully convicted in a murder case. So why did he ask for his conviction back? Michael Hall reports on what happened to an innocent man after spending years in prison.

3. End Pain Forever

Erika Hayasaki | Wired | Apr 18, 2017 | 19 minutes (4,961 words)

Steven Pete has a rare neurological condition that makes him unable to feel pain. Pam Costa has the opposite neurological condition — she feels pain constantly, as if her body is on fire. They both share a genetic link that has helped scientists understand why we experience pain and how to treat it.

4. My Life As a Failed Artist

Jerry Saltz | Vulture | Apr 17, 2017 | 17 minutes (4,391 words)

Jerry Saltz, New York Magazine’s senior art critic, revisits his own short career as a Dante-obsessed artist in late-seventies Chicago.

5. The Blood of the Crab

Caren Chesler | Popular Mechanics | Apr 13, 2017 | 14 minutes (3,555 words)

Horseshoe crab blood is an irreplaceable medical marvel — biomedical companies bleed 500,000 of them every year. Can this creature that’s been around since the dinosaurs be saved?

When the ACA was passed in 2010, Ana Maria Garza Cortez could hardly believe it. She’d spent decades trying to help poor people in San Antonio get health care. She knew the barriers they faced because she’d faced them too. She’d grown up in West Side housing projects, and her family never had health insurance. She and her seven siblings didn’t go to the doctor when they were sick. “That was a luxury,” Cortez says. “My mom loved us, but we were poor. She would wait to see if whatever we had would go away.” If it didn’t, she would take them to the neighborhood clinic or, more often, the emergency room. Since Cortez graduated from Our Lady of the Lake University, in 1990, she has worked with nonprofits, usually in health care. She serves as the vice president of development and marketing at CentroMed, one of the city’s sliding-scale, safety net clinics, with 23 locations in the area, many in the city’s poorer neighborhoods. She became one of the leaders of EnrollSA, along with Guajardo and Joe Ibarra, the deputy state director and operations manager at Enroll America. Among the city’s health care advocates, Cortez is admired for her energy and passion. “We call her ‘Santa Maria,’ ” Guajardo says. “She lives for the community. It’s in her bones.”

Now that President Obama had pushed through a law making health insurance available, at least in theory, to everyone, Cortez was elated. She knew Texas needed help—the state had five million uninsured residents, more than any other—and her hometown especially so. Officials figured there were 300,000 or so uninsured in the city and surrounding Bexar County. Latinos make up 60 percent of the San Antonio population, but 75 percent of the city’s uninsured. On the South Side, which has a significant Latino population, rates of diabetes, hypertension, and obesity were higher than average. For generations, says Santos Hernandez, who grew up in the Rio Grande Valley and now works as an application counselor at CentroMed, many in the poor Latino population, rural and urban, have had a three-step system for dealing with illness. “First you go to church, light a candle, and pray. Second, you see a curandero. Finally, you borrow money and take your kid to the doctor.”

In Texas Monthly, Michael Hall surveys the Texans whose health has dramatically improved after receiving medical coverage through President Obama’s Affordable Care Act, and discusses the group who labored to get them enrolled. The question that lingers now is: what will happen if the ACA gets repealed?

Read the story