This book examines the struggle between President Obama and the United States Congress to manage federal spending and tax policy for the three and one half years between 2009 and the summer of 2012. More than half the book focuses on the intense 44-day crisis in June and July 2011 when the United States came to the brink of a potentially catastrophic default on its debt."--Note to readers.
From the bestselling author of Lily and the Octopus comes a novel about a struggling writer who gets his big break, with a little help from the most famous woman in America. After years of trying to make it as a writer in 1990s New York City, James Smale finally sells his novel to an editor at a major publishing house: none other than Jacqueline Kennedy Onassis. Jackie--or Mrs. Onassis, as she's known in the office--has fallen in love with James's candidly autobiographical novel, one that exposes his own dysfunctional family. But when the book's forthcoming publication threatens to unravel already fragile relationships, both within his family and with his partner, James finds that he can't bring himself to finish the manuscript. Jackie and James develop an unexpected friendship, and she pushes him to write an authentic ending, encouraging him to head home to confront the truth about his relationship with his mother. Then a long-held family secret is revealed, and he realizes his editor may have had a larger plan that goes beyond the page... From the bestselling author of Lily and the Octopus comes a funny, poignant, and highly original novel about an author whose relationship with his very famous book editor will change him forever--both as a writer and a son.
A seminal work and examination of the psychopathology of journalism. Using a strange and unprecedented lawsuit by a convicted murder againt the journalist who wrote a book about his crime, Malcolm delves into the always uneasy, sometimes tragic relationship that exists between journalist and subject. Featuring the real-life lawsuit of Jeffrey MacDonald, a convicted murderer, against Joe McGinniss, the author of Fatal Vision. In Malcolm's view, neither journalist nor subject can avoid the moral impasse that is built into the journalistic situation. When the text first appeared, as a two-part article in The New Yorker, its thesis seemed so radical and its irony so pitiless that journalists across the country reacted as if stung. 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.
Whether it's the rule-defying lifer, the sharp-witted female newshound, or the irascible editor in chief, journalists in popular culture have shaped our views of the press and its role in a free society since mass culture arose over a century ago. Drawing on portrayals of journalists in television, film, radio, novels, comics, plays, and other media, Matthew C. Ehrlich and Joe Saltzman survey how popular media has depicted the profession across time. Their creative use of media artifacts provides thought-provoking forays into such fundamental issues as how pop culture mythologizes and demythologizes key events in journalism history and how it confronts issues of race, gender, and sexual orientation on the job. From Network to The Wire, from Lois Lane to Mikael Blomkvist, Heroes and Scoundrels reveals how portrayals of journalism's relationship to history, professionalism, power, image, and war influence our thinking and the very practice of democracy.
Was journalist Dorothy Kilgallen murdered for writing a tell-all book about the JFK assassination? Or was her death from an overdose of barbiturates combined with alcohol, as reported? Shaw believes Kilgallen's death has always been suspect, and unfolds a list of suspects ranging from Frank Sinatra to a Mafia don, while speculating on the possibilities of reopening the case.
An intimate profile of the legendary Washington Post editor whose life and career encompassed Watergate, the Pentagon Papers, and the Kennedys—as portrayed by Tom Hanks in the Steven Spielberg film The Post “A fairly complete and rare portrait of this last of the lion-king newspaper editors.”—The New York Times Book Review Ben Bradlee was a fixture on the American scene for nearly half a century—a close friend to John F. Kennedy; the center of D.C. social life; and a crusty, charismatic editor whose decisions at the helm of the Post during Watergate changed the course of history. Granted unprecedented access to Bradlee and his colleagues, friends, and private files, Jeff Himmelman draws on never-before-seen internal Post memos, correspondence, personal photographs, and private interviews to trace the full arc of Bradlee’s forty-five-year career—from his early days as a press attaché in postwar Paris through the Pentagon Papers, Richard Nixon’s resignation, the Janet Cooke fabrication scandal, and beyond. Along the way, Himmelman also unearths a series of surprises—about Watergate, and about Bradlee’s private relationships with Post owner Katharine Graham, reporters Bob Woodward and Carl Bernstein, and President Kennedy and his wife, Jackie. “Don’t feel that you have to protect me,” Bradlee told Himmelman whenever the reporting started to strike close to home. “Follow your nose.” Those instructions, familiar to any Post reporter, have resulted in this thoughtfully constructed and beautifully written account of a magnetic man whose career has come to define the golden age of newspapers in America, when the press battled for its freedom—and won. Praise for Yours in Truth “The absolute best nonfiction book of the year . . . a work of journalistic art . . . history straight and true . . . should be required reading at the Columbia School of Journalism.”—Chicago Tribune “Surprising and compulsively readable . . . Himmelman’s chapters on Watergate are especially masterful, untangling that web in a fresh and comprehensible way.”—Minneapolis Star Tribune “A sparkling, revealing, definitely controversial, and very readable book . . . highly amusing, particularly for any connoisseur of juicy modern American politics.”—Pittsburgh Post-Gazette “Embedded in Yours in Truth there are fundamental insights about journalism and the role of a dynamic press.”—The Atlantic
"A reminder that even the smallest newspapers can hold the most powerful among us accountable."—The New York Times Book Review Watch the documentary Storm Lake on PBS. Iowa plays an outsize role in national politics. Iowa introduced Barack Obama and voted bigly for Donald Trump. But is it a bellwether for America, a harbinger of its future? Art Cullen’s answer is complicated and honest. In truth, Iowa is losing ground. The Trump trade wars are hammering farmers and manufacturers. Health insurance premiums and drug prices are soaring. That’s what Iowans are dealing with, and the problems they face are the problems of the heartland. In this candid and timely book, Art Cullen—the Storm Lake Times newspaperman who won a Pulitzer Prize for taking on big corporate agri-industry and its poisoning of local rivers—describes how the heartland has changed dramatically over his career. In a story where politics, agriculture, the environment, and immigration all converge, Cullen offers an unsentimental ode to rural America and to the resilient people of a vibrant community of fifteen thousand in Northwest Iowa, as much survivors as their town.
"Reporter is just wonderful. Truly a great life, and what shines out of the book, amid the low cunning and tireless legwork, is Hersh's warmth and humanity. This book is essential reading for every journalist and aspiring journalist the world over." —John le Carré From the Pulitzer Prize-winning, best-selling author and preeminent investigative journalist of our time—a heartfelt, hugely revealing memoir of a decades-long career breaking some of the most impactful stories of the last half-century, from Washington to Vietnam to the Middle East. Seymour Hersh's fearless reporting has earned him fame, front-page bylines in virtually every major newspaper in the free world, honors galore, and no small amount of controversy. Now in this memoir he describes what drove him and how he worked as an independent outsider, even at the nation's most prestigious publications. He tells the stories behind the stories—riveting in their own right—as he chases leads, cultivates sources, and grapples with the weight of what he uncovers, daring to challenge official narratives handed down from the powers that be. In telling these stories, Hersh divulges previously unreported information about some of his biggest scoops, including the My Lai massacre and the horrors at Abu Ghraib. There are also illuminating recollections of some of the giants of American politics and journalism: Ben Bradlee, A. M. Rosenthal, David Remnick, and Henry Kissinger among them. This is essential reading on the power of the printed word at a time when good journalism is under fire as never before.
For nearly twenty years Robert H. Phelps ran interference for, cheered on, and sometimes scolded star reporters and top editors at the New York Times. Starting his editing career at the desk of the Providence Journal-Bulletin, Phelps joined the New York Times as a copy editor, eventually serving as the Times news editor for the Washington bureau. Along the way he struggled with balancing his moral ideals and his personal ambition. In this compelling memoir, Phelps interweaves his personal and professional experiences with some of the most powerful stories of the era. With candor and keen observation, Phelps chronicles both the triumphant and the tragic events at the Times. He explains the missed lessons of the Pentagon Papers, why the Times played catchup with the Washington Post on the Watergate scandal but eventually surpassed it on covering that seminal story, and how the Times failed to report a key element of the riots at the 1968 Democratic convention. Phelps offers mixed appraisals of such luminaries as A. M. Rosenthal, James B. Reston, E. Clifton Daniel, and Max Frankel, and expresses great admiration for Seymour Hersh, Neil Sheehan, and Bill Beecher, three unlikely scoop artists. As Phelps settled in at the New York Times, journalism became the religion he had searched for since his adolescence. Over his tenure of nearly two decades, however, Phelps found that journalism’s stark emphasis on fact was insufficient to address many of life’s dilemmas and failed to provide the sustaining guidance he envied in his wife’s Catholic faith.
