Michael Lewis creates a fresh, character-driven narrative brimming with indignation and dark humor, a fitting sequel to his #1 bestseller Liar's Poker. Out of a handful of unlikely-really unlikely-heroes, Lewis fashions a story as compelling and unusual as any of his earlier bestsellers, proving yet again that he is the finest and funniest chronicler of our time.
Now a major motion picture from Universal, directed by Terry Gilliam and starring Johnny Depp and Benicio del Toro.
From the author of The Blind Side and Moneyball, The Big Short tells the story of four outsiders in the world of high-finance who predict the credit and housing bubble collapse before anyone else. The film adaptation by Adam McKay (Anchorman I and II, The Other Guys) features Academy Award® winners Christian Bale, Brad Pitt, Melissa Leo and Marisa Tomei; Academy Award® nominees Steve Carell and Ryan Gosling.
When the crash of the U.S. stock market became public knowledge in the fall of 2008, it was already old news. The real crash, the silent crash, had taken place over the previous year, in bizarre feeder markets where the sun doesn’t shine and the SEC doesn’t dare, or bother, to tread. Who understood the risk inherent in the assumption of ever-rising real estate prices, a risk compounded daily by the creation of those arcane, artificial securities loosely based on piles of doubtful mortgages? In this fitting sequel to Liar’s Poker, Michael Lewis answers that question in a narrative brimming with indignation and dark humor.
“Rich in dexterous innuendo, laugh-out-loud humor and illuminating fact. It’s compulsively readable.” —Los Angeles Times Book Review In ?Bonk, ?the best-selling author of Stiff turns her outrageous curiosity and insight on the most alluring scientific subject of all: sex. Can a person think herself to orgasm? Why doesn't Viagra help women-or, for that matter, pandas? Can a dead man get an erection? Is vaginal orgasm a myth? Mary Roach shows us how and why sexual arousal and orgasm-two of the most complex, delightful, and amazing scientific phenomena on earth-can be so hard to achieve and what science is doing to make the bedroom a more satisfying place.
Americans are at the mercy of powerful figures in business and government who are virtually unaccountable. The Obama Administration in particular has broken new ground in its monitoring of journalists, intimidation and harassment of opposition groups, and surveillance of private citizens.
Sharyl Attkisson has been a journalist for more than thirty years. During that time she has exposed scandals and covered controversies under both Republican and Democratic administrations. She has also seen the opponents of transparency go to ever greater lengths to discourage and obstruct legitimate reporting.
Attkisson herself has been subjected to “opposition research” efforts and spin campaigns. These tactics increased their intensity as she relentlessly pursued stories that the Obama Administration dismissed. Stonewalled is the story of how her news reports were met with a barrage of PR warfare tactics, including online criticism, as well as emails and phone calls up the network chain of command in an effort to intimidate and discourage the next story. In Stonewalled, Attkisson recounts her personal tale, setting it against the larger story of the decline of investigative journalism and unbiased truth telling in America today.
The most devastating political detective story of the century: the inside account of the two Washington Post reporters who broke the Watergate scandal, now with a 40th anniversary Afterword on the legacies of Watergate and Richard Nixon.
One of Time magazine's All-Time 100 Best Nonfiction Books, this is the book that changed America. Published just months before President Nixon’s resignation, All the President’s Men revealed the full scope of the scandal and introduced for the first time the mysterious “Deep Throat.” Beginning with the story of a simple burglary at Democratic headquarters and then continuing through headline after headline, Bernstein and Woodward deliver a riveting firsthand account of their reporting. Their explosive reports won a Pulitzer Prize for The Washington Post, toppled the president, and have since inspired generations of reporters.
All the President’s Men is a riveting detective story, capturing the exhilarating rush of the biggest presidential scandal in US history as it unfolded in real time.
Ever wonder how politics turned into a take-no-prisoners blood sport? The New York Times bestselling author of Stonewalled pulls back the curtain on the shady world of opposition research and reveals the dirty tricks those in power use to influence your opinions.
Behind most major political stories in the modern era, there is an agenda; an effort by opposition researchers, spin doctors, and outside interests to destroy an idea or a person. The tactic they use is the Smear. Every day, Americans are influenced by the Smear without knowing it. Paid forces cleverly shape virtually every image you cross. Maybe you read that Donald Trump is a racist misogynist, or saw someone on the news mocking the Bernie Sanders campaign. The trick of the Smear is that it is often based on some shred of truth, but these media-driven "hit pieces" are designed to obscure the truth. Success hinges on the Smear artist’s ability to remain invisible; to make it seem as if their work is neither calculated nor scripted. It must appear to be precisely what it is not.
Veteran journalist Sharyl Attkisson has witnessed this practice firsthand. After years of being pitched hit jobs and puff pieces, she’s an expert at detecting Smear campaigns. Now, the hard-hitting investigative reporter shares her inside knowledge, revealing how the Smear takes shape and who its perpetrators are—including Clinton confidant Sidney Blumenthal and, most influential of all, "right-wing assassin turned left-wing assassin" (National Review) political operative David Brock and his Media Matters for America empire.
Attkisson exposes the diabolical tactics of Smear artists, and their outrageous access to the biggest names in political media—operatives who are corrupting the political process, and discouraging widespread citizen involvement in our democracy.
“What this book does better than any single book on media history, ethics, or practice is
weave . . . [together] why media audiences have fled and why new technology and megacorporate ownership are putting good journalism at risk.” —Rasmi Simhan, Boston Globe
“Kovach and Rosenstiel’s essays on each [element] are concise gems, filled with insights worthy of becoming axiomatic. . . . The book should become essential reading for journalism professionals and students and for the citizens they aim to serve.” —Carl Sessions Stepp, American Journalism Review
“If you think journalists have no idea what you want . . . here is a book that agrees with you. Better—it has solutions. The Elements of Journalism is written for journalists, but any citizen who wonders why the news seems trivial or uninspiring should read it.” —Marta Salij, Detroit Free Press
The elements of journalism are:
* Journalism’s first obligation is to the truth.
* Its first loyalty is to citizens.
* Its essence is a discipline of verification.
* Its practitioners must maintain an independence from those they cover.
* It must serve as an independent monitor of power.
* It must provide a forum for public criticism and compromise.
* It must strive to make the significant interesting and relevant.
* It must keep the news comprehensive and proportional.
* Its practitioners must be allowed to exercise their personal conscience.
In this riveting work of narrative nonfiction, award-winning journalist and best-selling author Jeff Benedict chronicles the events surrounding the biggest food-poisoning epidemic in US history and how this unprecedented crisis sparked public awareness about unsanitary practices in the fast food industry. Poisoned draws on access to confidential documents and exclusive interviews with the real-life characters at the center of the drama.
Jeff Benedict is considered one of America's top nonfiction writers. He is the author of nine books including bestsellers Little Pink House, Without Reservation, and Pros and Cons. His reporting has been the basis of feature segments on 60 Minutes, ABC's 20/20, Dateline NBC, HBO's Real Sports with Bryant Gumbel, and the Discovery Channel. He is a contributor to Sports Illustrated and the Deseret News, and his articles have been published in The New York Times, Los Angeles Times, Newsweek, and the Hartford Courant. He has a law degree and is a distinguished professor of English at Southern Virginia University.
On August 7, 1942, eleven thousand US Marines landed on Tulagi and Guadalcanal Islands in the South Pacific. It was the first major Allied offensive against Japanese forces; the first time in history that a combined air, land, and sea assault had ever been attempted; and, after six months of vicious fighting, a crushing defeat for the Empire of Japan and a major turning point in the Pacific War.
Volunteer combat correspondent Richard Tregaskis was one of only two journalists on hand to witness the invasion of Guadalcanal. He risked life and limb to give American readers a soldier’s experience of the war in the Pacific, from the suffocating heat and humidity to the unique terror of fighting in tall, razor-sharp grass and in crocodile-infested jungle streams against a concealed enemy. In understated yet graceful prose, Tregaskis details the first two months of the campaign and describes the courage and camaraderie of young marines who prepared for battle knowing that one in four of them wouldn’t make it home.
An instant bestseller when it was first published in 1943 and the basis for a popular film of the same name, Guadalcanal Diary set the standard for World War II reportage. Hailed by the New York Times as “one of the literary events of its time,” it is a masterpiece of war journalism whose influence can be found in classic works such as John Hersey’s Hiroshima, Michael Herr’s Dispatches, and Dexter Filkins’s The Forever War.
This ebook features an illustrated biography of Richard Tregaskis including rare images from the American Heritage Center at the University of Wyoming.
There were many reasons for the public's growing lack of trust. On television, there were the ads that looked like news shows and programs that presented gossip and press releases as if they were news. There were the "docudramas," television movies that were an uneasy blend of fact and fiction and which purported to show viewers how events had "really" happened. At newspapers and magazines, celebrity was replacing news, newsroom budgets were being slashed, and editors were pushing journalists for more "edge" and "attitude" in place of reporting. And, on the radio, powerful talk personalities led their listeners from sensation to sensation, from fact to fantasy, while deriding traditional journalism. Fact was blending with fiction, news with entertainment, journalism with rumor.
Calling themselves the Committee of Concerned Journalists, the twenty-five determined to find how the news had found itself in this state. Drawn from the committee's years of intensive research, dozens of surveys of readers, listeners, viewers, editors, and journalists, and more than one hundred intensive interviews with journalists and editors, The Elements of Journalism is the first book ever to spell out — both for those who create and those who consume the news — the principles and responsibilities of journalism. Written by Bill Kovach and Tom Rosenstiel, two of the nation's preeminent press critics, this is one of the most provocative books about the role of information in society in more than a generation and one of the most important ever written about news. By offering in turn each of the principles that should govern reporting, Kovach and Rosenstiel show how some of the most common conceptions about the press, such as neutrality, fairness, and balance, are actually modern misconceptions. They also spell out how the news should be gathered, written, and reported even as they demonstrate why the First Amendment is on the brink of becoming a commercial right rather than something any American citizen can enjoy.
The Elements of Journalism is already igniting a national dialogue on issues vital to us all. This book will be the starting point for discussions by journalists and members of the public about the nature of journalism and the access that we all enjoy to information for years to come.
From the Hardcover edition.
When New York Times reporter Michael Finkel meets accused killer Christian Longo–who has taken on Finkel's identity–his investigation morphs into an unforgettable game of cat and mouse. True Story weaves a spellbinding tale of murder, love, deceit, and redemption, following Finkel's relentless pursuit of the shocking truth.
Kim Barker is not your typical, impassive foreign correspondent—she is candid, self-deprecating, laugh-out-loud funny. At first an awkward newbie in Afghanistan, she grows into a wisecracking, seasoned reporter with grave concerns about our ability to win hearts and minds in the region. In The Taliban Shuffle, Barker offers an insider’s account of the “forgotten war” in Afghanistan and Pakistan, chronicling the years after America’s initial routing of the Taliban, when we failed to finish the job.
When Barker arrives in Kabul, foreign aid is at a record low, electricity is a pipe dream, and of the few remaining foreign troops, some aren’t allowed out after dark. Meanwhile, in the vacuum left by the U.S. and NATO, the Taliban is regrouping as the Afghan and Pakistani governments flounder. Barker watches Afghan police recruits make a travesty of practice drills and observes the disorienting turnover of diplomatic staff. She is pursued romantically by the former prime minister of Pakistan and sees adrenaline-fueled colleagues disappear into the clutches of the Taliban. And as her love for these hapless countries grows, her hopes for their stability and security fade.
Swift, funny, and wholly original, The Taliban Shuffle unforgettably captures the absurdities and tragedies of life in a war zone.
From the Hardcover edition.
“News That Matters does matter, because it demonstrates conclusively that television newscasts powerfully affect opinion. . . . All that follows, whether it supports, modifies, or challenges their conclusions, will have to begin here.”—The Public Interest
Marie Colvin held a profound belief in the pursuit of truth, and the courage and humanity of her work was deeply admired. On the Front Line includes her various interviews with Yasser Arafat and Colonel Gadaffi; reports from East Timor in 1999 where she shamed the UN into protecting its refugees; accounts of her terrifying escape from the Russian army in Chechnya; and reports from the strongholds of the Sri Lankan Tamil Tigers where she was hit by shrapnel, leaving her blind in one eye.
Typically, however, her new eye-patch only reinforced Colvin’s sense of humour and selfless conviction. She returned quickly to the front line, reporting on 9/11, Afghanistan, Iraq, Gaza and, lately, the Arab Spring.
Immediate and compelling, On the Front Line is a street-view of the historic events that have shaped the last 25 years, from an award-winning foreign correspondent and the outstanding journalist of her generation.
"Martha Gellhorn was so fearless in a male way, and yet utterly capable of making men melt," writes New Yorker literary editor Bill Buford. As a journalist, Gellhorn covered every military conflict from the Spanish Civil War to Vietnam and Nicaragua. She also bewitched Eleanor Roosevelt's secret love and enraptured Ernest Hemingway with her courage as they dodged shell fire together.
Hemingway is, of course, the unnamed "other" in the title of this tart memoir, first published in 1979, in which Gellhorn describes her globe-spanning adventures, both accompanied and alone. With razor-sharp humor and exceptional insight into place and character, she tells of a tense week spent among dissidents in Moscow; long days whiled away in a disused water tank with hippies clustered at Eilat on the Red Sea; and her journeys by sampan and horse to the interior of China during the Sino-Japanese War.
First called The Black Panther Community News Service and then The Black Panther Intercommunal News Service (BPINS), the weekly periodical was nationally and internationally distributed. It was "sold in small stores in black communities, through subscriptions, and, mostly, on the streets by dedicated Party members," writes Brown, a party leader and author of A Taste of Power, in this edition.
In its heyday, the Party sold several hundred thousand copies of the newspaper per week and was highly regarded for the quality of its content by media professionals and its legion of readers alike. It ultimately became the most influential independent black newspaper in the United States, known not only for its fearless reportage and analysis but its stunning photographs and illustrations, including provocative and humorous political cartoons.
Published in time to mark the 40th anniversary of the BPINS, this book is, at once, an invaluable document of a little-known aspect of American history and a celebration of one of the most stunning accomplishments of a cultural and political movement that changed the nation. The original DVD, included in the back of the book, makes this a multimedia package that readers across generations can appreciate, documenting events and leaders of the past who still resonate and influence culture and politics today.
Information is the lifeblood of a healthy democracy. Public opinion and debate suffer when citizens are misinformed about current affairs, as is increasingly the case. Though the failures of today’s communication system cannot be blamed solely on the news media, they are part of the problem, and the best hope for something better.
Patterson proposes “knowledge-based journalism” as a corrective. Unless journalists are more deeply informed about the subjects they cover, they will continue to misinterpret them and to be vulnerable to manipulation by their sources. In this book, derived from a multi-year initiative of the Carnegie Corporation and the Knight Foundation, Patterson calls for nothing less than a major overhaul of journalism practice and education. The book speaks not only to journalists but to all who are concerned about the integrity of the information on which America’s democracy depends.
They were the DeMeo gang—the most deadly hit men in organized crime. Their Mafia higher-ups came to know, use, and ultimately fear them as the Murder Machine. They killed for profit and for pleasure, following cold-blooded plans and wild whims, from the mean streets of New York to the Florida Gold Coast, and from coast to coast.
Now complete with personal revelations of one of the key players, this is the savage story that leaves no corpse unturned in its terrifying telling.
From the Paperback edition.
"A deeply honest and brave portrait of of an individual sensibility reckoning with her country's violent role in the world." —Hisham Matar, The New York Times Book Review
In the wake of the September 11 attacks and the U.S.-led invasion of Iraq, Suzy Hansen, who grew up in an insular conservative town in New Jersey, was enjoying early success as a journalist for a high-profile New York newspaper. Increasingly, though, the disconnect between the chaos of world events and the response at home took on pressing urgency for her. Seeking to understand the Muslim world that had been reduced to scaremongering headlines, she moved to Istanbul.
Hansen arrived in Istanbul with romantic ideas about a mythical city perched between East and West, and with a naïve sense of the Islamic world beyond. Over the course of her many years of living in Turkey and traveling in Greece, Egypt, Afghanistan, and Iran, she learned a great deal about these countries and their cultures and histories and politics. But the greatest, most unsettling surprise would be what she learned about her own country—and herself, an American abroad in the era of American decline. It would take leaving her home to discover what she came to think of as the two Americas: the country and its people, and the experience of American power around the world. She came to understand that anti-Americanism is not a violent pathology. It is, Hansen writes, “a broken heart . . . A one-hundred-year-old relationship.”
Blending memoir, journalism, and history, and deeply attuned to the voices of those she met on her travels, Notes on a Foreign Country is a moving reflection on America’s place in the world. It is a powerful journey of self-discovery and revelation—a profound reckoning with what it means to be American in a moment of grave national and global turmoil.
On July 22, 2011, Anders Behring Breivik detonated a bomb outside government buildings in central Oslo, killing eight people. He then proceeded to a youth camp on the island of Utøya, where he killed sixty-nine more, most of them teenage members of Norway's governing Labour Party. In One of Us, the journalist Åsne Seierstad tells the story of this terrible day and what led up to it. What made Breivik, a gifted child from an affluent neighborhood in Oslo, become a terrorist?
As in her bestseller The Bookseller of Kabul, Seierstad excels at the vivid portraiture of lives under stress. She delves deep into Breivik's troubled childhood, showing how a hip-hop and graffiti aficionado became a right-wing activist and Internet game addict, and then an entrepreneur, Freemason, and self-styled master warrior who sought to "save Norway" from the threat of Islam and multiculturalism. She writes with equal intimacy about Breivik's victims, tracing their political awakenings, aspirations to improve their country, and ill-fated journeys to the island. By the time Seierstad reaches Utøya, we know both the killer and those he will kill. We have also gotten to know an entire country—famously peaceful and prosperous, and utterly incapable of protecting its youth.
For twenty five years, Mary Mapes has been an award-winning television producer and reporter -- the last fifteen of them for CBS News, principally for the CBS Evening News with Dan Rather and 60 Minutes. She had the bedrock of respect of her peers -- in 2003 alone, she broke the story of the Abu Ghraib prison tortures (which won CBS The Peabody Award) and the existence of Strom Thurmond's illegitimate bi-racial daughter Essie Mae Washington.
But it was Dan Rather's lightning rod of a story on George W. Bush's National Guard Service that brought Mapes into an unwanted limelight. The firestorm that followed the broadcast led not only to Mapes' firing and Rather's stepping down from his anchor chair a year early, but to an unprecedented "internal" inquiry into the story -- chaired by former Reagan Attorney General Richard Thornburgh.
Peopled with an historic and colorful cast of characters—from Karl Rove to Summer Redstone to John Kerry to Col. Bobby Hodges -- this groundbreaking book about how the television news is made (and unmade) made headlines itself when first published. But this, it turns out, is only part of the story. Mapes talks for the first time about the riveting behind-the-scenes action at CBS during this frenzied period and exposes some of the largest political and social controversies that have broken in this new age of dissonance.
Truth and Duty was made into the 2015 film Truth, starring Cate Blanchett, Robert Redford, Topher Grace and Elizabeth Moss.
Starting in 1965 and spanning a ten-year period, a group of writers including Tom Wolfe, Jimmy Breslin, Gay Talese, Hunter S. Thompson, Joan Didion, John Sack, and Michael Herr emerged and joined a few of their pioneering elders, including Truman Capote and Norman Mailer, to remake American letters. The perfect chroniclers of an age of frenzied cultural change, they were blessed with the insight that traditional tools of reporting would prove inadequate to tell the story of a nation manically hopscotching from hope to doom and back again—from war to rock, assassination to drugs, hippies to Yippies, Kennedy to the dark lord Nixon. Traditional just-the-facts reporting simply couldn’t provide a neat and symmetrical order to this chaos.
Marc Weingarten has interviewed many of the major players to provide a startling behind-the-scenes account of the rise and fall of the most revolutionary literary outpouring of the postwar era, set against the backdrop of some of the most turbulent—and significant—years in contemporary American life. These are the stories behind those stories, from Tom Wolfe’s white-suited adventures in the counterculture to Hunter S. Thompson’s drug-addled invention of gonzo to Michael Herr’s redefinition of war reporting in the hell of Vietnam. Weingarten also tells the deeper backstory, recounting the rich and surprising history of the editors and the magazines who made the movement possible, notably the three greatest editors of the era—Harold Hayes at Esquire, Clay Felker at New York, and Jann Wenner at Rolling Stone. And finally Weingarten takes us through the demise of the New Journalists, a tragedy of hubris, miscalculation, and corporate menacing.
This is the story of perhaps the last great good time in American journalism, a time when writers didn’t just cover stories but immersed themselves in them, and when journalism didn’t just report America but reshaped it.
“Within a seven-year period, a group of writers emerged, seemingly out of nowhere—Tom Wolfe, Jimmy Breslin, Gay Talese, Hunter S. Thompson, Joan Didion, John Sack, Michael Herr—to impose some order on all of this American mayhem, each in his or her own distinctive manner (a few old hands, like Truman Capote and Norman Mailer, chipped in, as well). They came to tell us stories about ourselves in ways that we couldn’t, stories about the way life was being lived in the sixties and seventies and what it all meant to us. The stakes were high; deep fissures were rending the social fabric, the world was out of order. So they became our master explainers, our town criers, even our moral conscience—the New Journalists.” —from the Introduction
From the Hardcover edition.
After killing a bank teller in a moment of panic during a botched robbery, Wilbert Rideau was sentenced to death at the age of nineteen. He spent several years on death row at Angola before his sentence was commuted to life, where, as editor of the prison newsmagazine The Angolite, he undertook a mission to expose and reform Louisiana's iniquitous justice system from the inside. Vivid, incisive, and compassionate, this is a detailed account of prison life and a man who accepted responsibility for his actions and worked to redeem himself. It is a story about not giving up; finding love in unexpected places; the power of kindness; and the ability to do good, no matter where you are.
Fearless and unsparing, the interviews detail some of the most storied episodes of Thompson's life: a savage beating at the hands of the Hells Angels, talking football with Nixon on the 1972 Campaign Trail (“the only time in 20 years of listening to the treacherous bastard that I knew he wasn't lying”), and his unlikely run for sheriff of Aspen. Elsewhere, passionate tirades about journalism, culture, guns, drugs, and the law showcase Thompson's voice at its fiercest.
Arranged chronologically, and prefaced with Anita Thompson's moving account of her husband's last years, the interviews present Hunter in all his fractured brilliance and provide an exceptional portrait of his times.
The authors identify four distinct yet overlapping roles for the media: the monitorial role of a vigilant informer collecting and publishing information of potential interest to the public; the facilitative role that not only reports on but also seeks to support and strengthen civil society; the radical role that challenges authority and voices support for reform; and the collaborative role that creates partnerships between journalists and centers of power in society, notably the state, to advance mutually acceptable interests. Demonstrating the value of a reconsideration of media roles, Normative Theories of the Media provides a sturdy foundation for subsequent discussions of the changing media landscape and what it portends for democratic ideals.
Andy Rooney: 60 Years of Wisdom and Wit brings together the best of more than a half-century of work (including long-out-of-print pieces from his early years) in an unforgettable celebration of one of America's funniest men. Like Mark Twain, Finley Peter Dunne (Mister Dooley) and Will Rogers, Andy Rooney is a classic chronicler of America, a writer for the ages.
A Times Literary Supplement Book of the Year, 2014
On the evening of 4 September 2005, Father’s Day, Robert Farquharson, a separated husband, was driving his three sons home to their mother, Cindy, when his car left the road and plunged into a dam. The boys, aged ten, seven and two, drowned. Was this an act of revenge or a tragic accident? The court case became Helen Garner’s obsession. She followed it on its protracted course until the final verdict.
In this utterly compelling book, Helen Garner tells the story of a man and his broken life. She presents the theatre of the courtroom with its actors and audience, all gathered for the purpose of bearing witness to the truth, players in the extraordinary and unpredictable drama of the quest for justice.
This House of Grief is a heartbreaking and unputdownable book by one of Australia’s most admired writers.
Helen Garner’s first novel, Monkey Grip won the 1978 National Book Council Award, and was adapted for film in 1981. Since then she has published novels, short stories, essays, and feature journalism. In 1995 she published The First Stone, a controversial account of a Melbourne University sexual harassment case. Joe Cinque's Consolation (2004) was a non-fiction study of two murder trials in Canberra. In 2006 Helen Garner received the inaugural Melbourne Prize for Literature. Her most recent novel, The Spare Room (2008), won the Victorian Premier’s Literary Award for Fiction, the Queensland Premier’s Award for Fiction and the Barbara Jefferis Award, and has been translated into many languages. Helen Garner lives in Melbourne.
‘This House of Grief (Text) is a gripping account of a murder trial in which few of the participants act and react in ways we might predict. It’s an examination not just of what happened, but also of what we prefer to believe and what we cannot face believing.’ Julian Barnes, Books of the Year, TLS
‘This House of Grief makes its complexity out of an honest vulnerability...Garner’s book is superbly alive to the narrative dynamics of the case; she tells a grim story of unhappy marriage, limited social opportunity, bitter divorce, and spousal grievance. Again, as in The First Stone, what consumes her are the difficult questions that seem to lie beyond the reach of formal narration: the deepest assumptions of class and gender and power; the problem of how well we ever understand someone else’s motives...Attracted and repelled, Garner circles around the unspeakable abysmal horror. Can any story “explain” why a man might murder his children? She doesn’t pretend to possess the explosive answer, and frequently confesses stupefaction, but her book walks us along an engrossing and plausible narrative fuse...Her narrative is lit by lightning.’ James Wood, New Yorker
‘Helen Garner’s account of the trial is a non-literary variation of Truman Capote’s In Cold Blood (1966).’ Eileen Battersby, Books of the Year, Irish Times
‘Helen Garner is an invaluable guide into harrowing territory and offers powerful and unforgettable insights. This House of Grief, in its restraint and control, bears comparison with In Cold Blood.’ Kate Atkinson
‘As involving, heart-rending and unsettling a read as you could possibly find, a true-life account of three deaths and a trial that leaves you with a profound sense of unease as its drama unfolds, and disturbing questions about how we judge guilt and innocence.’ The Times
‘This House of Grief is a magnificent book about the majesty of the law and the terrible matter of the human heart...If you read nothing else this year, read this story of the sorrow and pity of innocents drowned and the spectres and enigmas of guilt.’ Peter Craven, Weekend Australian
‘[Garner] has turned a courtroom drama into something deeply human.’ Jennifer Byrne, Australian Women’s Weekly
‘It grabbed me by the throat in the same way that the podcast series “Serial” did. Ms. Garner brilliantly and compassionately recounts the harrowing, real-life trial of Robert Farquharson.’ Gillian Anderson, Wall Street Journal, Books of the Year 2015
In this comprehensive, up-to-date introduction to magazine writing, students will learn everything from the initial story pitch all the way through to the final production, taking with them the essential tools and skills they will need for today’s rapidly changing media landscape.
Written by a team of experienced writers and editors, Magazine Writing teaches the time-tested rules for good writing alongside the modern tools for digital storytelling. From service pieces to profiles, entertainment stories and travel articles, it provides expert guidance on topics such as:
developing saleable ideas;
appealing to specific segments of the market;
navigating a successful pitch;
writing and editing content for a variety of areas, including service, profiles, entertainment, travel, human interest and enterprise
Chock full of examples of published works, conversations with successful magazine contributors and bloggers, and interviews with working editors, Magazine Writing gives students all the practical and necessary insights they need to jumpstart a successful magazine writing career.
When the Danish newspaper Jyllands-Posten published the cartoons of the prophet Muhammad nine years ago, Denmark found itself at the center of a global battle about the freedom of speech. The paper's culture editor, Flemming Rose, defended the decision to print the 12 drawings, and he quickly came to play a central part in the debate about the limitations to freedom of speech in the 21st century. In The Tyranny of Silence, Flemming Rose writes about the people and experiences that have influenced his understanding of the crisis, including meetings with dissidents from the former Soviet Union and ex-Muslims living in Europe. He provides a personal account of an event that has shaped the debate about what it means to be a citizen in a democracy and how to coexist in a world that is increasingly multicultural, multireligious, and multiethnic.
Through a series of innovative experiments, Kevin Arceneaux and Martin Johnson show that such criticism is unfounded. Americans who watch cable news are already polarized, and their exposure to partisan programming of their choice has little influence on their political positions. In fact, the opposite is true: viewers become more polarized when forced to watch programming that opposes their beliefs. A much more troubling consequence of the ever-expanding media environment, the authors show, is that it has allowed people to tune out the news: the four top-rated partisan news programs draw a mere three percent of the total number of people watching television.
Overturning much of the conventional wisdom, Changing Minds or Changing Channels? demonstrate that the strong effects of media exposure found in past research are simply not applicable in today’s more saturated media landscape.
recent graduates. But how many of them land that crucial first job and
go on to build a career in print journalism?
This book gives you all you need to plan and build your career in
journalism, including sections on: - Analysis of the industry: sectors
and structures - Types of print journalism: newspapers, national and
regional; magazines; consumer handouts; voluntary sector publishing;
web journalism; agency work; photojournalism - Range of job
opportunities; freelance/salaried; in-house/in the field - Routes into
journalism: getting in and getting on - Training and education;
First-ever chapters on Big Data and the Internet of Things
Updated user data in every chapter
Projections of what each technology will become by 2031
Suggestions on how to get a job working with the technologies discussed
The companion website, www.tfi.com/ctu, offers updated information on the technologies covered in this text, as well as links to other resources
Simply the best storyteller around, Weingarten describes the world as you think it is before revealing how it actually is—in narratives that are by turns hilarious, heartwarming, and provocative, but always memorable.
Millions of people know the title piece about violinist Joshua Bell, which originally began as a stunt: What would happen if you put a world-class musician outside a Washington, D.C., subway station to play for spare change? Would anyone even notice? The answer was no. Weingarten’s story went viral, becoming a widely referenced lesson about life lived too quickly. Other classic stories—the one about “The Great Zucchini,” a wildly popular but personally flawed children’s entertainer; the search for the official “Armpit of America”; a profile of the typical American nonvoter—all of them reveal as much about their readers as they do their subjects.
Mark Twain Media Publishing Company specializes in providing captivating, supplemental books and decorative resources to complement middle- and upper-grade classrooms. Designed by leading educators, the product line covers a range of subjects including mathematics, sciences, language arts, social studies, history, government, fine arts, and character.
Top editors, writers, art directors, and publishers from such magazines as Gourmet, The New Yorker, The New Republic, Elle, and Harper’s speak on developing great talent; obtaining an entry level position that can be parlayed into a masthead title; managing the interests (and potential conflicts) of various departments; and handling the requests of advertisers. They explore the creative strategies and practical mechanics of writing for magazines and the role of opinion in shaping or enhancing editorial content. One essay directly confronts the inherent strengths and weaknesses of women’s magazines, while Felix Dennis recounts creating Maxim. In other essays, Barbara Wallraff speaks about the famed copyediting department at The Atlantic while Ruth Reichl and Tina Brown speculate on the many changes the magazine industry has undergone in the past two decades. An anthology full of intimate reflections and surprising revelations, this volume holds immense value for current editors and practicing journalists, as well as for students of culture and journalism, and it holds wide appeal for anyone hoping to peek between the lines of their favorite magazines.
Included in this volume are Maximillian Potter’s “The Body Farm” from GQ, a portrait of Murray Marks, who collects dead bodies and strews them around two acres of the University of Tennessee campus to study their decomposition in order to help solve crime; Jay Kirk’s
“My Undertaker, My Pimp,” from Harper’s, in which Mack Moore and his wife, Angel, switch from run-ning crooked funeral parlors to establishing a brothel; Skip Hollandsworth’s “The Day Treva Throneberry Disappeared” from Texas Monthly, about the sudden disappearence of a teenager and the strange place she turned up; Lawrence Wright’s “The Counterterrorist” from The New Yorker, the story of John O’Neill, the FBI agent who tracked Osama bin Laden for a decade—until he was killed when the World Trade Center collapsed. Intriguing, entertaining, and compelling reading, Best American Crime Writing has established itself as a much-anticipated annual.
From the Trade Paperback edition.
Updated and expanded to discuss many of the changes in the field of journalism and in college newspapers, with two new chapters to enhance the focus on online journalism and technology Emphasis on Web-first publishing and covering breaking news as it happens, including a new section on mobile journalism Guides student journalists through the intricate, multi-step process of producing a student newspaper including the challenges of reporting, writing, editing, designing, and publishing campus newspapers and websites Chapters include discussion questions, exercises, sample projects, checklists, tips from professionals, sample forms, story ideas, and scenarios for discussion Fresh, new, full color examples from award winning college newspapers around North America Essential reading for student reporters, editors, page designers, photographers, webmasters, and advertising sales representatives
The New New Journalists are first and foremost brilliant reporters who immerse themselves completely in their subjects. Jon Krakauer accompanies a mountaineering expedition to Everest. Ted Conover works for nearly a year as a prison guard. Susan Orlean follows orchid fanciers to reveal an obsessive subculture few knew existed. Adrian Nicole LeBlanc spends nearly a decade reporting on a family in the South Bronx. And like their muckraking early twentieth-century precursors, they are drawn to the most pressing issues of the day: Alex Kotlowitz, Leon Dash, and William Finnegan to race and class; Ron Rosenbaum to the problem of evil; Michael Lewis to boom-and-bust economies; Richard Ben Cramer to the nitty gritty of politics. How do they do it? In these interviews, they reveal the techniques and inspirations behind their acclaimed works, from their felt-tip pens, tape recorders, long car rides, and assumed identities; to their intimate understanding of the way a truly great story unfolds.
Richard Ben Cramer
Adrian Nicole LeBlanc
Her book is a work of journalism as well as an essay on journalism: it at once exemplifies and dissects its subject. In her interviews with the leading and subsidiary characters in the MacDonald-McGinniss case -- the principals, their lawyers, the members of the jury, and the various persons who testified as expert witnesses at the trial -- Malcolm is always aware of herself as a player in a game that, as she points out, she cannot lose. The journalist-subject encounter has always troubled journalists, but never before has it been looked at so unflinchingly and so ruefully. Hovering over the narrative -- and always on the edge of the reader's consciousness -- is the MacDonald murder case itself, which imparts to the book an atmosphere of anxiety and uncanniness. The Journalist and the Murderer derives from and reflects many of the dominant intellectual concerns of our time, and it will have a particular appeal for those who cherish the odd, the off-center, and the unsolved.
"Except for a few drinks, nothing is free in Charlie LeDuff's blunt and touching Work and Other Sins. The laughter and wisdom are hard won, the lessons are often painful... the sad tales and wit from the bar rail are endless and timeless." --The New York Times Book Review
Charlie LeDuff is that rare breed of news reporter—one who can cover hard-to-get-at stories in a unique and deeply personal style. In Work and Other Sins, he gives his incomparable take on New York City and its denizens—the bars, the workingmen, the gamblers, the eccentrics, the lonesome, and the wise. Whether writing about a racetrack gambler, a firefighter with a broken heart, or a pair of bickering brothers and their Coney Island bar, LeDuff takes the reader into the lives of his subjects to explore their fears, faults, and fantasies as well as their own small niches of the globe. The result is an at turns riotous, dirt-under-the-nails, contemplative, salty, joyous, whiskey-tinged, and utterly unique vision of life in the Big Apple.
For the countless readers who have admired Philip Caputo's classic memoir of Vietnam, A Rumor of War, here is his powerful recounting of his life and adventures, updated with a foreword that assesses the state of the world and the journalist's art.
As a journalist, Caputo has covered many of the world's troubles, and in Means of Escape, he tells the reader in moving and clear-eyed prose how he made himself into a writer, traveler, and observer with the nerve to put himself at the center of the world's conflicts. As a young reporter he investigated the Mafia in Chicago, earning acclaim as well as threats against his safety. Later, he rode camels through the desert and enjoyed Bedouin hospitality, was kidnapped and held captive by Islamic extremists, and was targeted and hit by sniper fire in Beirut, with memories of Vietnam never far from the surface. And after it all, he went into Afghanistan. Caputo's goal has always been to bear witness to the crimes, ambitions, fears, ferocities, and hopes of humanity. With Means of Escape, he has done so.
Now Trillin selects the best of his funny stuff and organizes it into topics like high finance (“My long-term investment strategy has been criticized as being entirely too dependent on Publishers Clearing House Sweepstakes”) and the literary life (“The average shelf life of a book is somewhere between milk and yogurt.”)
In Quite Enough of Calvin Trillin, the author deals with such subjects as the horrors of witnessing a voodoo economics ceremony and the mystery of how his mother managed for thirty years to feed her family nothing but leftovers (“We have a team of anthropologists in there now looking for the original meal”) and the true story behind the Shoe Bomber: “The one terrorist in England with a sense of humor, a man known as Khalid the Droll, had said to the cell, ‘I bet I can get them all to take off their shoes in airports.’ ” He remembers Sarah Palin with a poem called “On a Clear Day, I See Vladivostok” and John Edwards with one called “Yes, I Know He’s a Mill Worker’s Son, but There’s Hollywood in That Hair.”
In this, the definitive collection of his humor, Calvin Trillin is prescient, insightful, and invariably hilarious.
From the Hardcover edition.