The aftermath of the war brought in sweeping military presence and restrictions in the north and east, even as the country opened up access to the north for war tourism in 2014. Since then, simple acts of remembrance like cooking and serving kanji have become a dangerous form of resistance, often inviting police surveillance and action.

We sat in a lofted seating area, looking down on the man forming kebabs with one hand, lining the patties on the edge of a plate for another cook to fry. Eating them, I felt a tingling heat I’d never experienced. The chile mellowed beneath the other spices, all of them building and building until I felt my consciousness lift three inches past my brow, like the last time I’d successfully smoked a joint. My cousin and I were giddy, sweeping up the kebab with roomali roti and washing it down with Limca, barely able to form sentences but in complete agreement this was a meal we’d remember forever. My grandfather beamed, I’m not sure whether for himself or for us.

Like any in-joke among a marginalized group, “not too sweet” is a defiant shorthand, and one that in its construction necessitates a binary: “too sweet” compared to what? Often, in the Asian American usage, it’s a contrast to Western desserts filled with milk chocolate, sticky caramel, and corn syrup. To say “not too sweet” is to say actually, I don’t want your frosted red velvet cupcakes or your sticky toffee pudding; I long for the subtlety of red bean, the freshness of mango over sticky rice. It’s to say that Asian dessert traditions and flavors — matcha, black sesame, jellies laced with lychee — are superior to flavors associated with whiteness. It’s to proclaim that my culture has given me different tastes, better ones, and no amount of soft power can take that away.

This is what got my hackles up every time I saw a blanket “Asian” or “Asian American’’ descriptor around this supposed preference. Estimates put Asia as encompassing about 50 countries, and 4.7 billion people. Do you hear how silly it sounds to describe a cuisine, a behavior, literally anything as “Asian”? How dare you speak for everyone! I called my Bengali grandmother and asked her about desserts, just for extra proof, and she waxed about the roshogulla in her hometown outside Kolkata, the kalakand she ate at college in Lucknow, her mother’s kheer. “I love sweets,” she told me, even though at 93 she now limits her intake. Still, this was proof that the preference for “not too sweet” is not universal among Asians, and that “Asian” and “Asian American” cease to be useful frameworks when we start talking about the nuances of culture.

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I came to this topic as an eater first. My partner and I fell in love through food. We met during the pandemic and got to know each other through long walks and home-cooked meals. On an early date, she put a glistening mound of pasta in front of me and I thought how lucky I was to have fallen for an Italian. (She was born and raised in Rome.)

Most Italians have a strident pride in their cuisine; a passion which occasionally verges on the maniacal. The food and beverage industry makes up a quarter of Italy’s GDP and a substantial portion of its tourist draw. Food is tightly bound with ideas of national identity and politicians often rely on a kind of gastronationalism. (When running for election, current Italian Prime Minister Giorgia Meloni posted a video of herself making tortellini with a stereotypical Italian nonna.)

And it’s not just Italians who hold this enthusiasm—Italian cuisine is one of the most popular in the world. Home cooks love to prepare Italy’s dishes, and about one-eighth of restaurants in the U.S. serve Italian food. Shows like Stanley Tucci’s Searching for Italy and the Netflix series From Scratch highlight just how ravenous audiences are for luscious, almost erotic depictions of Italian food.

But in researching this list, I’ve learned that beneath the promotional language and tired clichés, Italian food has a complex and often contradictory history. Academics question the true origin of classic dishes like carbonara; migration from Italy to the U.S. makes it almost impossible to disentangle the two gastronomic traditions. 

Italians often obsess over this cultural purity. When Italian chef Gino D’Acampo appeared on morning television in the UK a decade ago, he was horrified by the suggestion that you could substitute ham in carbonara. “If my grandmother had wheels, she would have been a bike,” D’Acampo responded incredulously. The clip went viral, bolstering the stereotype that Italians can be fussy about their food. But the history of Italian cuisine—like the food of any nation—is a melting pot of influences.  

But what of the future? Migration patterns, together with demographic trends and climate change, mean that the cuisine must adapt. Since 2003, Europe has experienced an unprecedented number of heatwaves, prompting Italy’s largest farmers’ union to estimate that almost a third of national agricultural production is now threatened by climate change. Italian food—so rooted in tradition and adamant in its authenticity—will have to change. 

But for now, I’m excited to visit Rome for the holidays and soak up the city’s culinary delights: creamy cacio e pepe, indulgent layers of tiramisu, and moreish slices of pizza. I’ll photograph the food, luxuriate in it, and come home with a suitcase full of olive oil and cheese. This time, I hope to enjoy the food while knowing more about the context that underpins it. Like the best Italian dishes, this topic is rich with complexity and nuance. So please devour this collection of articles that complicate the understanding of Italian food and what it means both within Italy’s borders and beyond.

Everything I, an Italian, Thought I Knew About Italian Food is Wrong (Marianna Giusti, Financial Times, March 2023)

In this fascinating piece, Italian journalist Marianna Giusti aims to uncover the truth about classic Italian dishes like carbonara, tiramisu, and panettone—which are celebrated for their authenticity despite being relatively recent inventions. She speaks with older family members and friends from across Southern Italy, asking about the food they ate as children (lots of beans and potatoes) and how it contrasts with the food on menus today.

Inaccuracies about the origins of Italian food may be considered harmless—if it wasn’t for how gastronationalism influences Italian politics and culture. She cites the example of the archbishop of Bologna, Matteo Zuppi, suggesting that pork-free “welcome tortellini” be added to the menu for the San Petronio feast. What was intended as a gesture of inclusion to communities that don’t eat pork, was slammed by far-right Lega party leader Matteo Salvini. “They’re trying to erase our history, our culture,” he said. To me, food is one of life’s great unifiers. I love to bring people together around food, but just as often, food is used to divide people. This piece made me reconsider what I thought I understood about Italian food and think critically about who and what is welcome at the table.

It’s all about identity,” Grandi tells me between mouthfuls of osso buco bottoncini. He is a devotee of Eric Hobsbawm, the British Marxist historian who wrote about what he called the invention of tradition. “When a community finds itself deprived of its sense of identity, because of whatever historical shock or fracture with its past, it invents traditions to act as founding myths,” Grandi says. 

There Is No Such Thing As Italian Food (John Last, Noema, December 2022)

In this provocatively-titled piece, journalist John Last examines how climate change and immigration patterns are changing food in Italy. It examines how ingredients from abroad and the labor of migrants were used to build one of the world’s most loved cuisines. It also cites a study that found that the role of immigrants in Italy’s farming and culinary sectors has been systematically ignored. Italian food is often celebrated for connecting eaters with unadulterated, authentic cuisine. The reality is much more complicated. I enjoyed how this deeply-reported essay challenges ideas of culinary purity and questions who that narrative excludes. I was interested to read how Italy’s microclimates produce regional specialities, and how they will be forced to adapt due to climate change. If you’re curious about the future of Italian cuisine, this is the essay for you! It has also been anthologized in Best American Food Writing 2023 for its examination of how food shapes our culture.

It’s this obsessive focus on the intersection of food and local identity that defines Italy’s culinary culture, one that is at once prized the world over and insular in the extreme. After all, campanilismo might be less charitably translated as “provincialism” — a kind of defensive small-mindedness hostile to outside influence and change.

What the Hole Is Going On? The Very Real, Totally Bizarre Bucatini Shortage of 2020 (Rachel Handler, Grub Street, December 2020)

The early months of the pandemic were characterized by lockdowns, widespread anxiety, and a national pasta shortage. In this funny, engaging piece written by the self-described “Bernstein of Bucatini,” I learned why some pasta shapes were especially difficult to find due to production challenges. This piece is an enjoyable, twisty romp that points to the sensual delight of pasta during a dark time. 

I’d like to go a step further and praise its innate bounciness and personality. If you boil bucatini for 50 percent of the time the box tells you to, cooking it perfectly al dente, you will experience a textural experience like nothing else you have encountered in your natural life. When cooked correctly, bucatini bites back. It is a responsive noodle. It is a self-aware noodle. In these times, when human social interaction carries with it the possible price of illness, bucatini offers an alternative: a social interaction with a pasta.

America, Pizza Hut, and Me (Jaya Saxena, Eater, March 2016)

I really enjoyed this thoughtful personal essay about a young girl’s obsession with Pizza Hut and the influence of food on her identity. The author questions her intersecting heritage: she’s a mixed kid with an Indian father and a white mother, a New Yorker who craves stuffed crusts in Pizza Hut rather than an “authentic” dollar slice, and a pre-teen who wants to eat “white food” while her family enjoys soupy dal and potatoes flavored with cumin and turmeric. This piece is also a useful primer on the history of Italians in America, tracing the path from “other” to mainstream acceptability. 

I was half Indian, half white, and all New Yorker. In simple assimilation calculus, going to Pizza Hut with my Indian grandparents in Fort Lee should have earned me points for eating in real life what the cool kids were eating in commercials. And yet, I was still a New Yorker: My ideal sense of self was white, but worldly, opinionated, and judgmental.

Finding Comfort and Escape in Marcella Hazan’s Essentials of Classic Italian Cooking (A. Cerisse Cohen, Lit Hub, November 2022)

I loved this essay about how the author learned to cook during the pandemic and the comfort she found in the reassuring, authoritative voice of Marcella Hazan. The piece vividly describes the flavors of Italian food (“mellow, gentle, comfortable”) and the solace found in cookbooks at a time of unprecedented uncertainty. Before learning to cook, the author considered it a domestic task inextricably linked with traditional notions of femininity and heterosexual marriage. But Hazan, who is widely considered to be the doyenne of Italian cuisine, teaches her that cooking for herself and her chosen family is an essential element of survival, not only literally but existentially. This essay brought me back to the early days of 2020. As the pandemic spiraled out of control, I found my equilibrium through brisk morning walks and the comfort of a pot bubbling on the stove. I still cook most days. Sometimes, it’s a pleasure. More often, it’s a chore. For me, this beautiful essay evoked the visceral, bodily demands of appetite and how satiating them can provide not just culinary satisfaction, but a feeling of peace and wellbeing.

Hazan helped me see that nourishing oneself, and sharing a family meal, is simply foundational. To privilege invention and labor outside the kitchen, but not inside it, is to play into patriarchal distinctions of value.

Hazan herself was a cook, an educator, and an incredible creative success. She remains influential for many contemporary cooks. Her adoration of the anchovy—“Of all the ingredients used in Italian cooking, none produces headier flavor than anchovies. It is an exceptionally adaptable flavor”—foreshadows the long reign of Alison Roman. Her careful ideas about layering flavors and her scientific approach to the kitchen find their echoes in the methodologies of Samin Nosrat (who, in her blurb for the new book, also credits Hazan with beginning her obsession with the bay leaf).

Eating the Arab Roots of Sicilian Cuisine (Adam Leith Gollner, Saveur, March 2016)

My partner and I recently returned from a holiday in Sicily. The island is considered to be a melting pot of North African, Arab, French, Spanish, and other cultures—which for me, was best understood through the food. We enjoyed regional delicacies like deep-fried lasagne, cookies made with beef and chocolate, and cremolata, a sherbet-like dessert that originated in Arab cuisine. It was a delight to remember the trip while reading this mouth-watering travel essay which aims to disentangle how Italian and Arab culinary history mixes on the island. What begins as an academic question quickly becomes a catalog of exquisite meals as the author explores the island’s rich, colonial past through its food. He traces the ingredients that are core to Italian cuisine—including the durum wheat used to make pasta—to migrants who arrived on Sicily’s shores and “gifted this land with what’s sometimes known as Cucina Arabo-Siculo.”

Sicily has had so many conquerors, and there’s simply no way to pull apart all the intermingling strands of culture in order to ascertain what is precisely “Italian” and what’s “Arab” and what’s not anything of the kind. At a certain point—ideally sometime after having a homemade seafood couscous lunch in Ortigia and sampling the life-changing pistachio ice cream at Caffetteria Luca in Bronte—you have to give up trying to isolate the various influences and accept that countless aspects of life in Sicily have been informed by Arab culture in some way. It’s deep and apparent and meaningful, but it’s also a cloud of influence as dense and intangible as the lemon gelato sky that greeted me upon my arrival.

Clare Egan is a queer freelance writer based in Dublin. She writes about food (among other things) for her newsletter and is working on her first book.

Editor: Carolyn Wells

Copyeditor: Krista Stevens

The dark side of the seafood industry. The morality of mortality. Memory versus belief. The flying cowboys lighting up the skies of the West. The food-service secrets of a tableside firestarter. All that (and more!) in this week’s edition.

1. The Crimes Behind the Seafood You Eat

Ian Urbina | The New Yorker | October 9, 2023 | 9,573 words

Where does your seafood come from? Who caught and handled it? The more I read about overfishing, illegal industry practices, and horrific work conditions, the more it stinks. Each year, China catches more than five billion pounds of seafood, much of it squid, through its distant-water fleet. These ships roam all over the world, often in unauthorized areas; analysts believe the country disguises some of them as fishing vessels when they’re in fact part of a “maritime militia” surveilling the sea, looking to expand control over contested waters. Onboard, workers are abused and held against their will. Ian Urbina, who runs The Outlaw Ocean Project, spent four years visiting the fleet’s ships and investigating their conditions. (To communicate with fishermen on ships that prohibited him on board, he tossed up plastic bottles, “weighed down with rice, containing a pen, cigarettes, hard candy, and interview questions.”) He also tracked where squid caught irresponsibly would end up: first to plants in China, some employing Xinjiang labor, and then continuing on to the very places we buy our seafood, like Costco and Safeway. This is a massive report on how China has become a fishing superpower, but Urbina also weaves within it an emotional, devastating story of an Indonesian worker who joined one of these ships in order to give his family a better life. Extraordinary reporting that’ll make you reconsider your next plate of calamari. —CLR

2. We’re More Ghosts Than People

Hanif Abdurraqib | The Paris Review | October 16, 2023 | 3,922 words

Looking back at the last few months of my selections for this newsletter, I realize that I prize writing that escapes the presuppositions of its genre—or, rather, writing that escapes your presuppositions of its genre. Take this essay from the great Hanif Abdurraqib. When you first find your way to it in The Paris Review, you might notice the rubric “On Games” and see a screenshot from the video game Red Dead Redemption 2, and decide then and there to keep browsing. Would I begrudge you that decision? Probably not. But I’d also know that you were unwittingly denying yourself something marvelous. From the very first sentence—”I don’t find myself investing much in the kingdom of heaven”—the piece thrums with a keen melancholy that never tips into sorrow or indulgence. When Abdurraqib writes about the futility and powerlessness of playing to save the doomed, he’s of course writing about something larger, and he has no hesitation in drawing the line for you: this is about real redemption. About the sins of youth and the circumstances that absolve them, or don’t. About the love we extend to others but not ourselves. About how we face our own ever-shortening lives. The word “spiritual” is a slippery one, used as it is to mediate our own discomfort with the unknowable, but there’s no better word to apply to this essay. Abdurraqib’s spirit shimmers here, its full spectrum diffracted through his 19th-century avatar; that it does so in the service of what some might flatten to “game writing” only proves my point. This is something special. —PR

3. Mere Belief

Sallie Tisdale | Harper’s Magazine | October 16, 2023 | 6,222 words

In my earliest memory, I’m peering under my uncle Raymond’s bedroom door. He lives with me and my parents in the second bedroom of the duplex we all share. My mom’s given me his mail and I’m flicking the envelopes under the door, watching them spin over the parquet floor and disappear from view after crossing a patch of bright sunlight. I am not yet 5 years old. This is an autobiographical memory, according to Sallie Tisdale and her fascinating piece on memoir and memory for Harper’s Magazine. As a memoirist, Tisdale trades in remembering, but this is no romanticized account of an unlimited well of perfect recall that fuels her writing. She looks at the science behind what we remember and how memories morph, shifting in shape and color in the liminal spaces of our brain, while she wrestles with the conundrum of her own evolving identity, and how what seems like fact can become blurred. “It is tempting to substitute today’s psychological truth for history. Memory is wet sand,” she writes. “This is what I want to interrogate: the slipperiness, the uncertainty.” Is there nothing more beautiful—and more human—than searching for truth in the blurry spaces of our memory? —KS

4. Winging It with the New Backcountry Barnstormers

Brad Rassler | Outside | October 18, 2023 | 10,300 words

Off-airport pilots. Strip baggers. Flyboys. The recreational bush pilots in this piece sport many names. But are these social media-savvy flyers bringing new people into an exciting sport or just “boys with pricey toys” who clog up the skies and take reckless risks? Brad Rassler is dedicated to his discovery mission—even braving some terrifying maneuvers while in the passenger seat of planes that weigh no more than a golf cart. I love meeting big characters, and this piece is jam-packed with them, all sporting varying amounts of facial hair, from “a thick soul patch ornamenting [a] chin” to “a ginger-brown beard that doesn’t quite attach to the mustache part.” (One lucky exception has a “handsome face smooth of whiskers but strong of jaw.”) You cannot fail to be impressed by such a range of beard-related eloquence. Culminating in a chaotic rally in the evocatively named Dead Cow Lakebed, Nevada, this feature is quite the ride. —CW

5. Confessions of a Tableside Flambéur

Adam Reiner | Eater | October 11, 2023 | 1,553 words

Adam Reiner’s short but sweet Eater piece on food as entertainment is perfectly satisfying. For three years Reiner worked as a captain at a Manhattan chophouse called The Grill, where he prepared food tableside, including Dover sole and Bananas Foster, the flaming pièce de résistance. Reiner serves more than stories of boorish patrons as seen from behind the gueridon. (The fancy trolley containing cooking ingredients and utensils.) He gives us a taste of food-as-performance at his restaurant and others, such as Papi Steak, where the $1,000 wagyu ribeye’s reveal is meat theater—complete with special effects that could rival Taylor Swift in concert. “The steak even has its own designated entrance music that blares in the dining room to announce its arrival,” he writes. Reiner also reveals the perils of performance, and the very real anxieties that go along with it. For every Bananas Foster or cherries jubilee, there’s always the potential that the flambé is a flop, “like striking a book of matches in the rain.” Steak entrances and fancy flaming bananas aside, it’s Reiner’s writing that will keep you coming back for more in a story that’s less about the food and more about his uneasy relationship with the distastefulness of restaurant showmanship. —KS

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Eventually, that night at the Grill, I put my game face on and roll the gueridon over to the woman who hates bananas. “Be careful,” I say, measuring out the rum. “I’ve never made one of these before.” All waiters have their secret arsenal of stale humor to deploy when they need to butter up the crowd. As the caramel sauce begins to bubble, I pour the rum over it, gently tipping the rim of the saute pan forward to allow the fire to contact the liquid. Flames shoot skyward, casting a soft, amber glow around the table. The woman is so engrossed in my performance that she forgets to take a video. She fumbles around with her purse, but the alcohol burns off by the time she finally gets her phone out. “Oh no, I missed it! Can you do it again?” she asks, expecting a mulligan. “Of course, I can,” I answer politely, spooning the molten bananas over ice cream and sprinkling the bowl with an almond crumble. “But you’ll have to order another one.”

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A glimpse into what it’s like to have aphantasia. An account of escaping wildfire in Yellowknife. A profile of an NBA-reporting phenomenon. An essay about taking control of one’s own story. And a read on meat and the English language.

1. My Brain Doesn’t Picture Things

Marco Giancotti | Nautilus | October 4, 2023 | 3,644 words

Marco Giancotti has aphantasia, which means “the absence of images” in Greek. Ask him to picture a top hat or recall a sound or a smell and he can’t imagine it. He has trouble remembering events unless he can deduce their timing by assembling facts such as where he was living and the people in his circle at the time. For Nautilus, Giancotti does a terrific job breaking down his lived experiences and the studies he’s participating in so that science, society, and the lay reader can begin to understand more about this fascinating condition. “As soon as I close my eyes, what I see are not everyday objects, animals, and vehicles, but the dark underside of my eyelids. I can’t willingly form the faintest of images in my mind,” he writes. “I also can’t conjure sounds, smells, or any other kind of sensory stimulation inside my head.” What’s most beautiful and poignant about this piece is how, by learning more about aphantasia and contributing to its study, Giancotti comes to appreciate his condition as an example of what makes humanity so beautifully diverse. “The question I started with—what’s wrong with me?—was both rhetorical and itself wrong. The better question is one we all ask ourselves at some point: ‘What makes me who I am?’” Can you imagine how much better our world would be, if we all dared to do so? —KS

2. I Evacuated From Yellowknife This Summer. Coming Home Was The Hardest Part.

Jessica Davey-Quantick | Maclean’s | October 5, 2023 | 3,842 words

This September, I saw flames licking up the side of a hill near my house. The smoke spiraled above in thick, sinister plumes while the taste of bonfire invaded the once-crisp air. I was lucky: my local wildfire was controlled before evacuation was necessary. Many in Canada were not so fortunate. Nearly 200,000 Canadians were under evacuation orders this summer, Canada’s worst wildfire season since records began. Jessica Davey-Quantick was one of them, fleeing her home in Yellowknife as the area burning across the Northwest Territories reached roughly the size of Denmark. She left reluctantly, boarding one of the last evacuation flights with her cats—Allen and Bruce—squeezed in beside her. Her account is one of both fear and the mundane logistics of evacuation travel, a mixture that makes this piece incredibly relatable. When she finally reaches her destination, the wait begins. She waits to see how long before she can go home. She waits to see if she has a home. When she finally does return, the sky is still smoke-filled. I know how that feels—days on end of murky light, filtered through a hazy lens, air that clings hot and heavy as claustrophobia creeps up to envelop you. This apocalyptic atmosphere brings reality home, as it does for Davey-Quantick, who ends her piece with a desperate plea: Climate change is screaming at us. We have to listen. —CW

3. Shams Charania’s Scoop Dreams

Reeves Wiedeman | Intelligencer | October 11, 2023 | 6,695 words

In The New Yorker this week, Choire Sicha tells Kyle Chayka that he pegs 2014 as the beginning of the end of social media. Coincidentally, that’s the same year that a young sports journalist named Shams Charania landed his first big NBA scoop. As it turns out, tweeting first about an impending trade wouldn’t just turn him into a first-name-only phenomenon among basketball fans; it would eventually place him at the dead center of sportswriting’s current existential crisis. Reeves Wiedeman isn’t the first to profile Charania, as he did this week for New York’s Intelligencer vertical. He is, however, the first to do so in a way that lays bare the larger forces set in motion by Charania’s ascendancy: chiefly, The New York Times’ decision to disband its sports department in favor of The Athletic, its $550 million acquisition that just happens to be Charania’s current home. Wiedeman has written stories far more cinematic—2021’s “The Spine Collector” and 2018’s “The Watcher” come to mind—but there’s something undeniably pleasing about how this acts as both unflinching profile and business story. As much as Charania’s indefatigable M.O. is the stuff of legend (and no shortage of resentment from his competitors), it happens to be a prime example of how journalism has been subsumed by that formless extrusion known as “content.” Yes, during the offseason a good #ShamsBomb delivers a frisson. But as a representation of how we consume and share information, it might also be laying waste to its surroundings. —PR

4. The Protagonist Is Never in Control

Emily Fox Kaplan | Guernica | October 2, 2023 | 6,552 words

Spellbound. This isn’t a word I use often. But rarely does a piece mesmerize me like this one. Emily Fox Kaplan recounts growing up with an emotionally abusive and manipulative stepfather (who is also a prestigious surgeon). Smartly written in second person, Kaplan uses the power of voice and narration to take back control of her story, shifting effortlessly between her perspective as a child to self-assured present-day narrator. “And you’ll realize, too, that a person can tell a story any way she likes; that the same story — a little girl who loves to read — can be told as a horror story or a fairy tale, depending on the choices of the author.” It’s a tense read, likely triggering for some people, about the power of “bad men” and the effects of toxic family dynamics. But it’s also a brave piece, and I’m glad Kaplan could tell it. —CLR

5. Who’s Afraid of Spatchcocked Chicken?

C Pam Zhang | Eater | October 3, 2023 | 1,300 words

I love words. (I know, shocking.) I am also a vegetarian. So it was with delight and horror that I read C Pam Zhang’s piece all about the English language—and meat. Have you ever considered why most animals are shielded by a fancy term once they hit a plate? Why is it a beef bourguignon, not a cow casserole? Zhang muses extensively on this prissiness—while spatchcocking a chicken, as a student at Cambridge, no less. It turns out (like many things in England) it has to do with the French. And class. Zhang explains: “The names of the living animals have Anglo roots, whereas the names of the ingredients came from the French—a trademark of Norman conquerors who, in the 11th century, hoped to subjugate the ‘savage’ Natives of the British Isles.” (The humble chicken managed to keep its name by being considered peasant food, not worthy of a new anointment.) Zhang compares this coyness with words in Mandarin, where pork can literally be labeled “pig flesh.” It’s a fascinating and fun essay, with the added pleasure of imagining the smell of baked chicken guts wafting down the hallowed halls of Cambridge and into the nostrils of disgruntled young lords who like their veal marinated. (Helped by the marvelous illustration of a chicken running down said halls.) While a little shorter than our usual Longreads offerings, you can’t say “spatchcocked” without encountering some joy, so I hope you will forgive me. —CW

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Our most-read editor’s pick this week:

I lost weight my first few months at Cambridge, in part because my meals were no longer subsidized. Back at my American university, my need-based scholarship had covered on-campus food, as well as tuition and housing; in Cambridge, I faced the unpleasant discovery that food was not considered a financial need. Each dish of pudding or squash I placed on my dining hall tray increased my credit card debt. The price-to-calorie ratio of each bite I took in that gorgeous, centuries-old dining hall was sharper than my own hunger. It came to feel of a piece: that an empire unwilling to connect a piece of meat to the living animal from which it came would also refuse to connect the education of a mind to the needs of a body; would serve, with exemplary manners, each course over my left shoulder while ignoring, on the other side, centuries of colonial hypocrisies at home and abroad.

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How two incarcerated men bonded over Dungeons & Dragons. The wonders of parasitic fungus. Greenwashing egg yolks, the Arctic search for Sir John Franklin’s tomb, and the hunks of hip-hop.

1. When Wizards and Orcs Came to Death Row

Keri Blakinger | The Marshall Project | August 31, 2023 | 4,584 words

A great longread educates, and in doing so, offers an unexpected poignancy. Keri Blakinger’s profile of Tony Ford and Billy Wardlow, two men who bonded over games of Dungeons & Dragons while incarcerated in Texas, does just that. She gives us a glimpse into death row, where there are no educational or social programs because the men will never return to society, where the isolation is so extreme that the United Nations has condemned these conditions as torture. For Ford and Wardlow, Dungeons & Dragons gave them purpose. The men were incarcerated as teens, well before they had to earn a paycheck or pay rent, and D&D helped them learn to manage money. But most of all, as Blakinger so deftly reveals, Dungeons & Dragons gave them something to look forward to, a simple yet necessary form of hope. Ford and Wardlow built not just a friendship, but a deep connection in a place where the only human contact comes when the guards handcuff you. In a stroke of journalistic brilliance, Blakinger uses details from Wardlow’s D&D character Arthaxx d’Cannith, a magical prodigy, to deepen our understanding of Wardlow and his true character. “Every day, Arthaxx used his gifts to help the higher-ups of House Cannith perfect the invention they hoped would end a century of war. At night, he came home to his wife, his childhood sweetheart,” she writes. If only this Dungeons & Dragons dream could have come true. —KS

2. The Last of the Fungus

Zhengyang Wang | Nautilus | August 30, 2023 | 4,497 words

Molecular phylogenies and caterpillar fungus are not topics I expected to find riveting until I read Zhengyang Wang’s essay. His story bounces along like a thriller: Mountaintop expeditions, dodgy deals, and even death are part of this fungal world. However, the most gripping thread is Wang’s PhD. Yes, that’s right: He makes his PhD research project on parasitic fungus sound fascinating. The parasite in question is reminiscent of Alien, invading ghost moth caterpillars and taking over their brains until stroma blasts out of their heads and sticks up from the soil. (Wang describes this much more eerily and beautifully.) In China, this stroma is celebrated for helping with a different kind of protrusion and is known as “Himalayan Viagra.” The attributed medical and aphrodisiacal powers (by no means proven) mean the sale of this fungus equates to a massive tenth of Tibet’s gross domestic product. Inevitably, people are attempting industrial farming, and mountain vistas are being devastated as caterpillars are collected to sell to fungus breeders. But it isn’t working. Spraying caterpillars with spores of the parasite O. sinensis does not infect them. Wang’s PhD explains why these centers are failing: The complicated, intricate ecosystems where these hosts and parasites evolve together are impossible to replicate. His research proves the decimation of delicate montane habitats is pointless, but not enough people are reading it. You can. —CW

3. Orange Is the New Yolk

Marian Bull | Eater | August 17, 2023 | 5,025 words

Free-range! Cage-free! Pasture-raised! Certified humane! I’ve felt a slight sense of relief in buying eggs with any of these promises stamped on the carton. But what do these terms really mean when it comes to living conditions for laying hens? For Eater, Marian Bull examines our current food fetish, an ongoing quest for “shockingly orange yolks” that denote hen health and somehow help us to feel better about the food we’re eating. Bull isn’t chicken about pecking into the truth, scratching well beyond the surface to help us lay readers understand what these terms mean and how our love-and-sometimes-hate relationship with egg yolks has brought us to this quest for the perfect egg, both in color and cooked consistency. What’s more, Bull does it with style and a sharp wit. “We want it over easy, its yolk sploojing across the plate,” she writes. “And we want its color to convince us that it was not hatched in some animal welfare hellscape.” You didn’t know you needed 5,000-plus words on the state of egg farming in America, but with Bull, you get a much-needed education, and that’s no yolk. —KS

4. Seeking To Solve The Arctic’s Biggest Mystery, They Ended Up Trapped In Ice At The Top Of The World

Mark Synnott | National Geographic | July 25, 2023 | 5,835 words

Do you love stories about historical mysteries, extreme adventures, or scientific expeditions? Or do you, like me, love all those things as well as season one of the AMC show The Terror? If you answered yes—and honestly, even if you didn’t—this feature is for you. In 1847, Sir John Franklin and his crew of 128 men disappeared while searching for the fabled Northwest Passage. In the decades since, there have been rumors and ghost stories but no conclusive evidence about their fate. Recently, a National Geographic team sought to find that evidence, namely Franklin’s tomb. But as the headline of this story states, “the Arctic doesn’t give up its secrets easily.” That isn’t merely a reference to the terrain, which at one point threatens to lock the team’s sailboat in winter ice—which, as it happens, is the last thing that we know for sure happened to Franklin’s ships. Superstition also hangs heavy in this compelling narrative. “I’m convinced that the Inuit may have once known where Franklin’s tomb is located,” one of the story’s main subjects says, “but they didn’t want it to be found because it was cursed.” —SD

5. The Evolution of the Hip-Hop Hunk

Clover Hope | Pitchfork | September 6, 2023 | 2,781 words

My wife’s in love with Method Man. Why shouldn’t she be? Dude is … very attractive. I mean, that’s just science. Besides, we’re all afforded celebrity crushes, especially those that took root in our younger years. Clover Hope was in love with Method Man too, but she was also in love with LL Cool J, DMX, Ja Rule, and Nelly, just to name a few—and in plotting her own life of crushes against the arc of hip-hop’s evolution, she elucidates how sexuality became an indispensable marketing ploy for male artists. Sometimes that entered problematic waters, as when Tupac grew into sex symbol. But times change, and when Hope surveys the present landscape, she sees little that gets her heart racing. Some of that is age, maybe, but much of it is archetype: When you’re the dominant cultural aesthetic on Planet Earth, the commercial behemoths need to flatten and trope-ify you any way possible. So we don’t have Andre 3000s anymore; instead, we have Drakes and Jack Harlows. Besides, female artists have come along and cornered the market on sexual fantasy, and queer artists have spun and subverted the the gaze as well. (“A single second of a Megan Thee Stallion Instagram workout video is worth a million and one Drake gym mirror selfies,” she writes.) This piece trades on looking backward, but Hope’s genius is in nudging our expectations—and our appetites—forward. —PR

Audience Award

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Poetry as a salve. What grief can teach. Dinner and theatrics in Branson, Missouri. The pleasures of learning a musical instrument and a behind-the-scenes look at The Fugitive.

1. Ahead of Time

Kamran Javadizadeh | The Yale Review | June 12, 2023 | 3,285 words

Writer Kamran Javadizadeh’s sister, Bita, died a slow, agonizing death from cancer. Here, he writes about losing her through the lens of poetry he encountered during the experience: a volume of Langston Hughes he located in their shared childhood bedroom; a copy of The Dead and the Living by Sharon Olds, filled with Bita’s notes from her reading of it in college; a Hafez verse that Bita herself texted to him one day. I adored this essay, a mix of personal history and literary analysis, and I also found it achingly familiar. Exactly 17 years ago this week, when I witnessed the sudden death of someone I loved, I was thrust into a private hell, a netherworld of despair. I struggled to connect with friends and family, and they with me. It was like I was trapped underwater, screaming, and they were looking down at me, unable to hear, much less help. Poetry, though, could breach the surface, offering me what I so desperately needed: a sense of empathy. I analyzed poems about death and mourning, pondering the words, meaning, and mechanics that made me feel the verses so deeply. Poems, as Javadizadeh reminds us in his essay about Bita, can be portals—to other people, to other planes, and even to ourselves. —SD

2. Mount Fear Diary

Joshua Hunt | The Believer | July 26, 2023 | 7,388 words

Struggling with how to grieve his Uncle Bill while on assignment in Japan, Joshua Hunt travels to Mount Fear, a place where the human and spirit world meet and one can go to console, pacify, and communicate with the dead. On the journey, Hunt begins to process his deep love and respect for the man who helped him navigate the trauma of his extended Tlingit family, a family Hunt distanced himself from while pursuing his writing career. Hunt’s faith and conviction in working through loss in words gives this piece life. He gives shape to the amorphous, ethereal, ever-shifting complexity of grief and grasps what it offers him: A chance to embrace his extended family in a new way. “Damp with sweat and rain, I wondered if the bus passengers could perceive the spirit walking with me,” he writes. “It had been there for eighty-five days, mute, but so real to me that I addressed it aloud. So real to me that the following week, while caught in a sudden downpour on the streets of Tokyo, I would burst into tears and thank it for the last gift it gave me: a sorrow deep enough to draw me back for the next funeral, and the next birthday, and all those other occasions when being together is more important than being free from pain.” At its core, this beautiful essay is not just about what grief takes, but what more importantly, what it can give. —KS

3. Dinner Theater and Loathing in Baptist Vegas

Amy McCarthy | Eater | August 2, 2023 | 3,258 words

I had never heard of Branson, Missouri, but after Amy McCarthy describes it as “either the Live Music Capital of the World or Baptist Vegas,” I wanted to know all about it. In Branson, “dinner theater” thrives, a phrase that for me conjures up shoveling down pasta at 5 p.m. before running to catch a show. But not in Branson. In Branson, show tunes come alongside your carbonara. McCarthy throws herself into this world, slurping soup in a 35,000-square-foot arena while watching “Dolly Parton’s Stampede,” complete with flashy costumes adorned with rhinestones, beautiful horses, and some problematic depictions of Native Americans. McCarthy is brilliant at conjuring the sights (and smells) that confront her, and I enjoyed her tepid reviews of the shows and food (particularly a desert that tasted “like the inside of a refrigerator”). But the essay really shines by analyzing what Branson actually is. Selling itself as a place for wholesome entertainment, this pretense of a “white, Christian, conservative utopia” is as thin as the cheerful veneer of the serving staff. Underneath Branson is a “huckster’s paradise” that sells God, guns, and country. I have now heard of Branson, but I don’t think I’ll go. —CW

4. What My Musical Instruments Have Taught Me

Jaron Lanier | The New Yorker | July 22, 2023 | 3,794 words

In the opening of this essay, Jaron Laniers sketches a scene of deep intimacy: His mother teaching him to play piano with her hands above his on the keys. I can imagine the touch of her hands on his, the pure and clear tones of the piano, and the joy that these moments of closeness, learning, and beauty must have brought him as a child before she was taken from him, killed in a car accident. These experiences formed a man with an insatiable appetite for musical instruments and the study of music itself, enjoyed in brief respites from other tasks throughout his day. “Holding an oud is a little like holding a baby,” he writes. “While cradling an infant, I feel pretensions drop away: here is the only future we truly have—a sacred moment. Playing the oud, I am exposed. The instrument is confessional to me.” As Lanier surveys his large instrument collection, he delights in the singular joy each invokes, recalling the muscles involved and the physical sensations that translate into their individual music. What I loved most about this piece is how Lanier thrills at moments of discovery in learning to make sounds, unshackled from expectation. “When I played my ‘U’/’V”’ xiao for the first time, I made the futile blowing sound familiar to beginning flutists,” he writes. “Eventually, though, I managed a few weird, false notes. I was surprised but also delighted. Some of my favorite moments in musical life come when I can’t yet play an instrument. It’s in the fleeting period of playing without skill that you can hear sounds beyond imagination.” You need not be a musician or rare instrument aficionado to love this story. Your heart will tell you it’s a piece that hits all the right notes. —KS

5. ‘I Didn’t Kill My Wife!’ — An Oral History of ‘The Fugitive’

Andy Greene | Rolling Stone | July 29, 2023 | 12,243 words

If you’ve watched The Fugitive more times than you can count—and let’s face it, you have—you probably think of the 1993 movie as a perfectly crafted thriller. Not so much, it turns out! As Andy Greene’s oral history makes clear, the classic result belies the seat-of-the-pants execution. A star who was convinced the film would tank his career. A screenplay that never got finished. An ensemble actor who constantly found ways to maximize his screen time. A cast member who fell out after most of the movie had already been shot (and, consequently, a janky fake beard). A climax that was plotted on set. Dialogue that, seemingly more often than not, came straight from the ever-fizzing brain of Tommy Lee Jones. As much as I usually despise the word, this story officially qualifies as “rollicking.” Harrison Ford may not have participated, but Greene’s reporting ensures that his presence is still felt, whether laughing over the movie’s impending dud status or inviting Sela Ward to improv their scenes together on the fly. At this rate, every movie is going to get an oral history on every major anniversary, and I regret to inform you that next year marks 30 years since Ernest Goes to School and 3 Ninjas Kick Back. Then again, as long as those inevitable pieces aim to replicate the good vibes and rich details of this one, there’s no such thing as too many. —PR

Audience Award

Here’s the piece our readers could not resist this week: