Posts Tagged ‘reporting’
July 13, 2016 | by Dan Piepenbring
- Rukmini Callimachi reports on ISIS for the New York Times—a demoralizing, tormenting, dangerous beat. She constructs her pieces like poems: “My formation as a writer was as a poet. I tried very early on to be a poet and I published about a dozen poems in America and in American journals before I realized that this was a totally dead-end street as a career. In terms of poetry, one of the people who really marked me was Ezra Pound, who was a modernist poet and talks about the importance of distilling an image. The idea is that you have an image that you want to convey. Beginning and even intermediate writers will end up drowning that image in prose. The idea is that you look at the prose almost like a tree. You have to pare it down. You have to take out all of the extra limbs, all of the extra shrubbery so that you can really see the form. That idea, which I tried to practice in poetry, is one that I very much try to practice in journalism: to try to distill the language. I pick my adjectives carefully. I try to build stories around images because I think that’s the way that the human brain works when you are reading a story.”
- A new wave of memoirs aim to advance feminism through confessional-style sexual candor, but Rafia Zakaria argues that they’re merely vehicles for white female entitlement: “We are now in a time where the avowal of nakedness (both physical and emotional) is key, where the publicly exposed woman is truly courageous. The line between titillation and transgression is a fine one and in a voyeuristic world that expects women to all be coquettish exhibitionists, titillation does feminists no favors. To borrow Bitch Media founder Andi Zeisler’s argument in We Were Feminists Once, what we are seeing now is feminism used as a brand; dislocated and disconnected from any collective political project. Sex has always sold well—but feminist sex sells even better … There is a lesson for all women here: declaring a woman’s sovereignty over body and mind must not be reduced to a willingness to be naked, to prurient confessions or anecdotes of despair and self-doubt.”
- In 2004, Gavin Pretor-Pinney launched the Cloud Appreciation Society, which involves spending a lot of time supine on the grass, gazing at the sky. It’s the latest in a long line of projects to endorse idleness, that most underappreciated of art forms. Colette Shade spoke to him about the politics of loafing: “Aristophanes, the ancient Greek playwright, described the clouds as ‘the patron goddesses of idle fellows’ … He was talking about the way that lying back and finding shapes in the clouds is an aimless activity, and it’s one that’s not going to get you anywhere in life … I always say that cloudspotting is an excuse. It legitimizes doing nothing, and I think that’s valuable these days.”
- Because today’s true-crime stories are only half as lurid as yesterday’s, let us revisit the events of July 17th, 1895, when, in East London, a thirteen-year-old boy named Robert Coombes stabbed his mom to death. Kate Summerscale writes, “Walker, the medical officer of Holloway gaol, talked to Robert that day about the forthcoming trial. The boy at first seemed gleeful at the prospect of going to the Old Bailey, telling the doctor that it would be a ‘splendid sight’ and he was looking forward to it. He would wear his best clothes, he said, and have his boots well polished. He started to talk about his cats, and then suddenly fell silent. A moment later he burst into tears. Dr. Walker asked him why he was crying. ‘Because I want my cats,’ said Robert, ‘and my mandolin.’ ”
- A new biography of Diane Arbus prompts Alex Mar to remind us: Diane Arbus is not Diane Arbus’s photographs. “The legend of Diane Arbus has as much to do with a prurient fascination with her personal life as it does with her images. Which makes sense—the line between her life and her work is blurred in the extreme; in a conservative time, she did what few women of her background dared, pushing her personal boundaries, seeking out new territory. But while she’s present in the close encounters that produced her photographs, in every face that stares back at the camera, to confuse the woman with her work is to sell her short. She wrestled with being both a photographer and a mother; she struggled with depression; she put herself in danger over and over again. But as an artist, she was deliberate, calculating, and in control, prepared to do almost anything to grab the image she wanted.”
October 27, 2014 | by Dan Piepenbring
Today is the centenary of Dylan Thomas’s birth. Paul Ferris’s “Ink Is Wanted by Raving Brother: Dylan Thomas’s Swansea Years”—an oral history of the poet’s youth and early years in Wales—appeared in our Spring 2004 issue. The excerpt below explores Thomas’s brief, unhappy stint as a reporter.
In 1931, probably after the summer term, Dylan Thomas left school and went to work for the local newspaper, the South Wales Daily Post. He was sixteen years old. The paper was in fact an evening title, part of a London-based chain, and changed its name to Evening Post soon after. Its early editions circulated throughout southwest Wales, but the core readership was in the Swansea area. Local commerce and politics were featured to a degree unheard of in today’s vacuous local tabloids. The editor, J. D. Williams, assumed that his readers (some of them, at least) cared about music, theater, and poetry.
CHARLES FISHER (A lifelong friend of Thomas’s, and a fellow reporter.): His father probably got the job on the paper for him through J. D. Williams, as my father got me mine—he was head machinist there, he ran the rotary press. And since I had some talent for writing simple sentences, it was thought I could become a reporter. No one challenged that idea. I followed Dylan as a reader’s boy, a copyholder, and took that vacancy created when he moved on to be a junior reporter. I copyheld for about six months, then I was promoted to the newsroom. We wrote everything up in a strange, constricting, old-fashioned prose that really belonged to reporting at the start of the century. No one thought of treating news any other way. But our image of ourselves was a Chicago newsroom, the black hat turned down, the knowing look, the cigarette never removed once lit—which was a habit Dylan kept to the end.
ERIC HUGHES (A journalist, older than Thomas, and never very fond of his younger colleague.): I think Dylan was on the Post less than a year. I was a sub-editor, and when you saw his copy, it was appalling, with many lacunae. Nor was he reliable. To my knowledge, he wrote a crit of the Messiah at one of the St. Thomas chapels, to which he didn’t bother to go. Half his time was spent in the David Evans Café where they gave you a free State Express cigarette with your coffee. Read More »
July 7, 2014 | by Damian Fowler
The varying temperaments of British and American storytelling.
In 1890, a thirty-seven-year-old Scot named James F. Muirhead arrived in America with the intention of carrying out an extensive survey of the republic for the “Baedeker’s Handbook to the United States.” Muirhead spent the next three years traveling to almost every state and territory in the Union, approaching his vast subject matter with none of the condescension often expressed by Victorian Englishmen of the era. In 1898 he published The Land of Contrasts—A Briton’s View of His American Kin, which he considered to be a “tribute of admiration and gratitude.” His colorful chapter headings show the range of his interests: “An Appreciation of the American Woman,” “Sports and Amusements,” “American Journalism—A Mixed Blessing,” and “Some Literary Straws.”
In that last chapter, Muirhead attempts to throw some light upon the “respective literary tastes of the Englishman and the American.” While he notes the grammatical wrongness of the American idiom—at least to his ear—in phrases such as “a long ways off” or “In a voice neither could scare hear,” he is most interested in “the tone, the temper, the method, the ideals” of an American writer. He singles out William Dean Howells—who challenged American authors to choose American subjects—as “purely and exclusively American, in his style as in his subject, in his main themes as in his incidental illustrations, in his spirit, his temperament, his point of view.”
But what does it mean to have an American point of view? Muirhead keeps trying to put his finger on this elusive quality: “Mr. Howells … possesses a bonhomie, a geniality, a good-nature veiled by a slight mask of cynicism, that may be personal, but which strikes one as also a characteristic American trait.” And then: “To me Mr. Howells, even when in his most realistic and sordid vein, always suggests the ideal and the noble.” Read More »
April 25, 2014 | by Silvana Paternostro
In our Summer 2003 issue, The Paris Review published Silvana Paternostro’s oral biography of Gabriel García Márquez, which she has recently expanded into a book. In celebration of García Márquez’s life, we’re delighted to present the piece online for the first time—this is the last of five excerpts we’ve run this week. Read the complete text here.
ROSE STYRON: Somehow, everyone on Martha’s Vineyard seemed to know that he was coming to visit us. Everyone wanted to meet him. Harvey Weinstein, spotting me in Vineyard Haven, hurried over to say, “Please invite me—he’s my favorite author—I’ll sweep the floors.” President Clinton, whom Gabo admired and hoped to talk with, wanted Chelsea to meet him. We decided a large cocktail gathering on our lawn would be prudent, to be followed by a very small seated dinner so the president and Gabo and our Mexican guests, the Carlos Fuenteses and Bernardo Sepulvedas (he was the former foreign minister), could chat in relative quiet. At dinner Gabo’s goddaughter, our friend Patricia Cepeda, translated ably. Our Vineyard neighbors, the Vernon Jordans and the William Luers, and Hillary Clinton completed the table. We all remember that President Clinton’s sweater sported an Elvis crossword puzzle.
WILLIAM STYRON: Although I wasn’t listening closely, I could tell—I have enough Spanish to know—that Gabo and Carlos were engaging him in a talk about the Cuban embargo. They were both at that time passionate about the embargo. Clinton was resisting this conversation, I presume because his mind was already made up. He wasn’t about to be budged even by people that he admired as much as Gabo. So Bill Luers, sitting closer, seeing Clinton’s eyes glaze over, as an ex-diplomat spoke out firmly enough to change the tone of the conversation from politics in Cuba to literary matters. It changed the entire tone at the table. Someone, Bill Luers or perhaps Clinton, asked everyone at the table to give the name of their favorite novel. Clinton’s eyes lit up rather pleasurably. We had a sort of literary parlor game. I recall that Carlos said his favorite novel was Don Quixote. Gabo said The Count of Monte Cristo, and later described why. He said it was the perfect novel. It was spellbinding, not just a costumed melodrama, really a universal masterpiece. I said Huckleberry Finn just off the top of my head. Finally, Clinton said The Sound and the Fury. Immediately, to everyone’s amazement he began to quote verbatim a long, long passage from the book. It was quite spellbinding to see him do that because he then began to give a little interesting lecture on the power of Faulkner and how much Faulkner had influenced him. He then had this kind of two-way conversation with Gabo, in which Gabo said that without Faulkner he would never have been able to write a single word, that Faulkner was his direct inspiration as a writer when he was just beginning to read world literature in Colombia. He made a pilgrimage to Oxford, Mississippi. I remember him mentioning this to Clinton. So the evening was a great success, though a total failure as far as politics went. Read More »
April 24, 2014 | by Silvana Paternostro
In our Summer 2003 issue, The Paris Review published Silvana Paternostro’s oral biography of Gabriel García Márquez, which she has recently expanded into a book. In celebration of García Márquez’s life, we’re delighted to present the piece online for the first time—this is the fourth of five excerpts. Read the complete text here.
MARÍA LUISA ELÍO: I got a call from Spain about 4 a.m. that Gabo had been awarded the Nobel Prize. I put on a pair of pants and a sweater and left for his house, and there was Mercedes with all the phones off the hook. There was a big sign on the door of their house that said Congratulations. He had these big eyes wide open as if he were hallucinating.
JUANCHO JINETE: Obregon went to visit Gabito in Mexico. The address he had for the house was where rich people live, like Mexican soap stars. The day he went to visit was the day Gabo got the Nobel Prize. So when he got to the address, there were flowers everywhere, and he thought, Oh my! He’s dead!
HECTOR ROJAS HERAZO: When the Nobel came around, Colombia went crazy. Everybody was talking about Gabito. That must’ve changed him. The moment comes that he has to be faithful to the success he has achieved. Read More »
April 23, 2014 | by Silvana Paternostro
In our Summer 2003 issue, The Paris Review published Silvana Paternostro’s oral biography of Gabriel García Márquez, which she has recently expanded into a book. In celebration of García Márquez’s life, we’re delighted to present the piece online for the first time—this is the third of five excerpts. Read the complete text here.
MARÍA LUISA ELÍO: After a lecture, a group of us went to Álvaro Mutis’s house. On our way there, I had Gabriel next to me, and he started talking. When we got to Alvaro’s house—he had a tiny apartment—everyone had heard Gabo’s story so they scattered in various directions. I was so moved by what he was telling me that I latched on to him and said, “Tell me more. What happens next?” He told me the entire story of One Hundred Years of Solitude. From the very beginning. I remember he told me about a priest who levitates, and I believed him. I said to myself, Why can’t a priest levitate? After he told me the entire book, I said to him, If you write this, you will be writing the Bible. He said, Do you like it? And I said, It’s amazing. And he said, Well, it’s for you. I guess he saw me listening with such innocence that he thought, I’m going to dedicate my book to this fool. At that point he hadn’t started writing the novel. He had written notes but nothing else. I know because the room that Mercedes had built for him so that he could write all day hadn’t been built. They lived in a small house on La Loma, and in their living room Mercedes had someone build a wall up to the ceiling to avoid the noise, with a door. She put a pine table and a typewriter in the room. The room was very, very small. There was room for his table, a chair, and some sort of little easychair. Those were the only things that could fit. Above the easychair there was kind of a picture, something that resembled a calendar, a very tacky calendar that Gabo had hung there. Gabo went in that room and wrote all day. She built that room because Gabo had said, “I have to withdraw for a year, and I’m not going to work. See what you can do to manage.” She managed the best she could. She got credit at the butcher’s shop—later on when Gabo was famous he went back to the butcher to thank him. We started visiting them every night, one night with a bottle of whiskey, another night with a piece of ham. Read More »