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Archive for the 'Nieman' Category

The best 20th century narrative reporting

Friday, August 9th, 2013

A while back I posted about a class I taught on the origins of narrative journalism in the U.S. I said W.E.B. DuBois’s The Souls of Black Folk was the best example of narrative reporting amongst the great journalistic works of that decade.

I’ve put together a semester-long course I’ll teach this fall at Harvard Extension School, looking decade by decade at the rise of narrative techniques in nonfiction, that is, applying fictional storytelling techniques in writing about real people and events.

I wanted to combine great journalism and great writing. Happily, I could follow New York University’s Top 100 Works of Journalism pretty closely. Of the 10 books I picked, six were on the list, and 13 readings overall. Where I deviated was mostly in the thinly represented 1920s and 1930s, and to reflect major cultural trends that weren’t overtly political, like sports and technology.


That’s Sever Hall, site of the class [image from Collegeprowler.com]

Here’s the reading list:

1900-1910

Ida Tarbell, The History of the Standard Oil Company (selected chapters)

W.E.B. DuBois, The Souls of Black Folk

1911-1920John Reed, Ten Days that Shook the World

1921-1930

Ben Hecht, 1001 Afternoons in Chicago [selections]

Edmund Wilson, The Follies [selections, collected in American Earthquake]

Grantland Rice, “The Four Horsemen”
1931-1940

Dorothy Thompson, I Saw Hitler! [class handout]

Edmund Wilson, American Jitters, [selections, collected in American Earthquake]

Joseph Mitchell, McSorley’s Wonderful Saloon [Selections, collected in Up in The Old Hotel]

1941-1950

John Hersey, Hiroshima

Joseph Mitchell, McSorley’s Wonderful Saloon [Selections, collected in Up in The Old Hotel]

1951-1960

Lillian Ross, Picture

Joseph Mitchell, The Bottom of the Harbor, [Selection, collected in Up in The Old Hotel]

1961-1970

Joseph Mitchell, Joe Gould’s Secret [collected in Up in The Old Hotel]

Joan Didion, Slouching Towards Bethlehem

Tom Wolfe, The Kandy-Kolored Tangerine Flake Streamline Baby [article]

1971-1980

Tom Wolfe, The Right Stuff

Hunter S. Thompson, Fear and Loathing on the Campaign Trail [selections]

1981-1990Tracy Kidder, The Soul of a New Machine

1991-2000

Adrian Nicole LeBlanc, “Trina and Trina” [article]

Sebastian Junger, The Perfect Storm

H.G. Bissinger, Friday Night Lights

Tom Junod, “The Abortionist” [article]Hat tips: This class draws from as far back as my Introduction to the Humanities course at the University of Chicago, taught by the great Wayne Booth, may he rest in peace. I would not be teaching it if not for my Nieman year, where I looked at the Harvard course catalog and wondered why there were zero classes on reported narrative as a literary form. It percolated without my knowing in classes taught by Paige Williams and Philip Fisher, and benefited from a generous e-mail encouragement from Jill Lepore after she came to share her talents with the Niemans. My indefatigable research assistant Tamara Turse was instrumental to the development of this reading list, and my syllabus.

Can I get a mulligan?

Saturday, April 20th, 2013

One of this year’s Nieman Fellows asked me if there were things I wish I’d done differently as a Nieman. I told her that I have asked myself these questions in the last two years:

Why didn’t I make time to read some of the books I’d been dragging around with me for the last umpteen years? I didn’t have to take so many classes.
Why didn’t I go pick professors and see if I could develop relationships with them? I could have chosen the five mentioned most often in the New York Times, the five youngest, the five oldest, the five most recently tenured, the five in disciplines I’m least familiar with, the five with new books, whatever.

Why didn’t I spend some time in social pursuits, join a choir, actually go to table tennis practice, spend part of every day at the gym?

Probably because I had other things on my mind at the time.

I don’t really need a mulligan (a Niemangan?). I had a great year. I did perhaps take my Nieman academic opportunities too seriously.

Where today’s nonfiction greats got their start

Saturday, January 26th, 2013

During my Nieman year (2010-2011) I was surprised to see that there was not a single Harvard course on the literature of the real – narrative nonfiction. The English department had scores of classes about various aspects of novels, plays, musicals and so on, but nothing on the art form as expressed in long-form nonfiction.

Perhaps the medium is seen as entirely derivative, a lesser art than that practiced by novelists. But I was perplexed, and e-mailed Jill Lepore, who teaches history and literature at Harvard and still manages to write for The New Yorker, this question:

I had meant to ask you why Harvard doesn’t seem to offer courses built around narrative non-fiction. One can take plenty of classes on the great fiction of various eras, on poetry, and on creative nonfiction writing. But there doesn’t seem to be a course on oh, from Riis to Junger or some such thing. This kind of powerful nonfiction story-telling seems uniquely American and certainly since the Modernists has taken the mantle of American story-telling from novelists. That was happening when you and I were in college and it’s only gotten more pronounced. It puzzles me that the novel remains ascendant in the academy.

She graciously wrote back and said it was a fantastic question, and maybe she should develop such a course. She asked me what five books I’d pick.

Five books!?

Goodness. I was stymied in part because I didn’t know where to start. I hadn’t read Riis, or Ida Tarbell or Lincoln Steffens or any of the early giants of journalism. So I started reading.

Late last year, I had lunch with Daniel Gross, a Harvard student I’d met in class and remained in touch with. Daniel asked me if I I’d be interested in teaching a Wintersession class on some aspect of journalism. “How about the beginnings of narrative non-fiction?”  I replied.

That turned into The Roots of Narrative Nonfiction, a course I led last week with 10 undergraduates. We read four works from the first decade of the 20th century, Tarbell’s History of Standard Oil (the shorter edition, about a quarter of the 900-page original), Steffens’ The Shame of the Cities, DuBois’s The Souls of Black Folk, and Upton Sinclair’s The Jungle, a reported novel. I picked Sinclair as a stylistic contrast, someone deliberately writing a story that combined reporting with fictional techniques. The other three I picked because of their legendary status and their presence in the top 13 most important works in the history of  20th century journalism, as established by New York University.

I told the class that I believed these works would ground them in some of the best journalistic writing at the beginning of the 20th century, and in some of the highest-impact reporting of all time. From these works, I asserted, nonfiction, reporting-driven narratives grew into an art form on par with the novel, and can be studied as such. Why did they all emerge in this period?

Many factors drove the rise of great journalism, not least need. It was a period of huge change in the U.S., one where the national identity was changing. By 1900, America had the highest standard of living in the world, and the biggest economy – producing nearly 24 percent of the world’s industrial output. For all that, three in five Americans still lived in “Our Town,” places with less than 2,500 people, and few had electricity, plumbing or high school educations. Media was, as it had been for hundreds of years, limited to paper. There were 8,000 cars across a population of 76 million. But society was expectant. People were migrating to cities, and thought they would get electricity and plumbing and the like, very soon. [Some facts and figures from the list at this link]
Society is turbulent, our capitalism claw-and-tooth, rapid technological change all around, and a growing middle class plus the promise of better life brought scores of people to the U.S., 1 to 2 million immigrants a year throughout the first decade of the 20th century. Many of them find disappointment – something like one-third of the people who immigrate to the U.S. end up leaving and going back to their home countries. Before they fail, many of them are involved in strikes and protests against the Trusts, large cartels that dominate American industry. Society is restless, and changing – the U.S. has the world’s highest divorce rate, a scandalous 1 in 7.

Politics filled with bitterness — the Populist movement had crested, and William Jennings Bryan again lost the Presidency to William McKinley, who would be shot a year later, putting Theodore Roosevelt into the White House. Darwinian evolution has gained prominence in social discourse, forty-one years after The Origin of Species was published, and the human genius (or weakness) for analogous reasoning means Darwin’s ideas have mutated into Social Darwinism.

The rise of new technologies, industrial success and evolutionary theory also created a new approach to writing, Modernism. The stark prose of Jack London and other writers break with the Victorian ideals of storytelling – people no longer wrestle against themselves and others, but against unseen forces against which we often have no real chance.

Against this backdrop, we examined our four authors. All of them helped define what America should be. All of them present certain challenges for the modern reader.

Tarbell deliberately did not try to write stories that emulated fiction. She did not consider herself a good enough writer to be a novelist (and at least one of her biographers, Steve Weinberg, author of Taking on the Trust, agrees with her). I drew on Steve’s book, a dual biography of Tarbell and John D. Rockefeller, in teaching. Steve bemoaned that so few people today read Tarbell. There’s a reason why: she’s hard to read. Her prose is stuffed with references to documents and court cases and a bewildering array of people – there is a central villain, but no similar person against him. She’s also writing a Victorian morality play; her prose represents a holdover from the earlier era.

I told the class to remember that she started out writing a three-part series, and was such a sensation that her employer, McClure’s magazine, spun it into its ultimate elephantine 19 parts. I also told them to pay attention to how she built a damning case against a widely admired man who was Steve Jobs, Warren Buffett and Bill Gates rolled into one, and did it after 30 years of other people failing to do so. To do so, especially as someone whose family had been affected by Standard Oil’s predatory practices, she needed to adopt a deliberately dispassionate voice. (we also read her character study of Rockefeller, published after her articles had been organized into a best-selling book, and discussed the power of the piece abut how it also undermined her credibility through its personal attacks on Rockefeller). I can only speculate on how she might have done this piece had she been forced to stick to three chapters.

Steffens might have been the Hendrik Hertzberg of his day, but his prose does not flow nearly so well to the modern reader. It’s frustrating – he has a powerful voice, uses sly asides to build rapport with his audience and clearly is a keen observer of politicians and political life. He also appears to have done the reporting he needs to do to spin in dialogue and scenes that would drive us through his narrative. But he almost never uses dialogue and when he does it often feels made up. I told the students to pay special attention to his audacity in telling his readers that politicians are only corrupt when they can get away with it. They reflect us. That kind of bold framing rips apart stereotypes in a way that any journalist should strive for.

Incidentally, both Tarbell and Steffens are publishing their works in McClure’s a magazine juggernaut of the day. I gave the students as background a draft chapter of Dean Starkman’s forthcoming The Watchdog That Didn’t Bark, putting McClure’s and its new-fangled investigative journalism in context. Based on their reaction to this chapter, his book is going to be a valuable one to read.

Tarbell and Steffens remain in print only through Dover. Sinclair and DuBois are still in print from multiple publishers. Their writing is a big reason why.
Upton Sinclair sets out to write a novel based on seven weeks of immersion reporting – he embedded himself in Chicago’s Stockyards, working in the factories there. His writing moves us, not from his skill as much as the power of his reporting. The class didn’t think it agreed with me that the main character, Jurgis Rudkus, represents an idealized pre-Socialist version of Sinclair, but they found him compelling at the start. Sinclair loses his authority, his way, and our interest as he gets further from his reporting. It’s gripping work for 15 chapters, but then descends into a common serialized soap opera for the next 17 or so, and in the last four becomes a kind of Socialist utopian propaganda tract. A writer with the gifts of Fitzgerald or Nabokov can be read simply for the beauty of their prose; Sinclair could not. His work depended on his reporting. He complained that he aimed for people’s hearts and hit them in their stomachs. Some of it had to do with what he reported, and what he couldn’t. Some of it had to do with his ultimate aim — people’s heads. It gave us a powerful lesson in the value of reporting, no matter what genre you work in.

W.E.B. DuBois uses Biblical references and classical allusions in a way that meant something to readers of his day but is lost on modern readers. Otherwise, he is surprisingly modern. He has a clear story arc. He uses a variety of narrative techniques, including scenes, analysis, vignettes, and even allegory. He combines it all to create a compelling narrative. He, of the four authors we examined, breaks the mold of what came before, and points the way to where nonfiction is going. Thus I have the beginnings of an answer for Jill Lepore: start with DuBois.

Though they don’t always use them, the elements of modern immersive reporting exist in all four of these works. These writers point the way towards the richly detailed, wildly varied approaches to nonfiction narrative we are blessed with today.

A coda: I told the class that while America on the surface looks very different than it did in 1900, similar forces are at play. They are living through massive technological change. Where our ancestors looked forward to electricity, plumbing and cars, we will soon have our DNA in our wallets, micro-arrays that will automatically balance our brain chemistry for optimal performance in school and work and houses that will combine simple robots and digital technology to provide us with residential servants. We also have our maverick political ideology, not Populism driven from the heartlands but a techno-determinist Libertarianism that comes from secondary cities on the coasts.

Perhaps these students will help define our new America, in stories that push the boundaries of reported narrative.

Chris Jones, interviewed on writing

Friday, December 2nd, 2011

Paige Williams, a helluva good writer I’m thrilled to have as a friend, did a terrific long interview with Chris Jones, who hopped up from his life as a hotshot Esquire writer to talk to this year’s Niemans.

The interview brims with vivid stories and insights into what it takes to become a writer like Chris Jones (hint: be obsessed and be super lucky). It gives a dash of hope to writers everywhere.
Two things jumped out at me:

I don’t think you can take a bad writer and make them great. I think you can make a bad writer passable and a passable writer good and a good writer great, but you can’t make massive jumps. It sounds harsh, but, excluding me from the conversation, there’s kind of an “it,” or whatever, that [good writers] just have. Like music. I’m tone deaf. You can never make me a great pianist. It would never happen. Writing is a similar kind of thing.

If you’re pitching magazines, you can’t pitch a story that’s happened and that everyone’s writing about, or that’s happening in two months. For me, I get most of my ideas from newspapers, where the reporter I used to be – some poor dude only had three hours and 400 words to tell a story and you can see – [the bigger story]

I disagree with the first — I think great writing gets driven by great reporting, and by good story conceiving. The rest is just revision.

The second interested me because it testifies to how the headlines obscure the stories that matter.

Would love to hear some other thoughts on these two points…

Anecdotes from a troubled healthcare system

Wednesday, November 9th, 2011

One of the real pleasures of being a Nieman Fellow came after I discovered the morning prayer service at Memorial Chapel at Harvard. In 15 minutes I got beautiful singing, a hymn and a homily that almost always opened my mind to something new. I went at least once a week, and continue to do so.

This morning’s speaker was Ted Kennedy’s former chief of staff, Nick Littlefield, who made his points and then made them again, and again (he went on a bit too long). But he seems correct in arguing that the fee-for-service model that now dominates U.S. health care works poorly. To wit: one of my fellow Fellows had a daughter prone to falling. She fell here and she fell in Italy. Both times, she needed four stitches. Here, she went to Children’s Hospital. She was seen by multiple doctors, including a plastic surgeon, who wanted to make sure she got no scars. She received a special numbing treatment, administered by her mom, so she wouldn’t feel any pain while being stitched up. Her stitches were the kind that are invisible and dissolve on their own. She played with an iPad application while she was being stitched up. It took a few hours, but she felt no trauma.  The cost: $5,000, or $1,250 a stitch.

In Italy, she went to a rural doctor. He took a needle and blue thread and went to work. The daughter screamed and cried and felt embarrassed at the blue threads on her forehead, so took to wearing hats until the stitches were removed. It wasn’t pretty, but it only took a few minutes. The cost: free, or $0 per stitch. Not only was it cheaper and faster, but all those experts at Children’s Hospital left a more visible scar than the rural Italian doctor.

Another Fellow, also based in Europe, didn’t take his anti-malarial medicine when in an African country where malaria is rampant. He came back to Cambridge and began displaying all the symptoms of malaria. He didn’t go to the doctor until he was so sick he needed an ambulance to make it the two blocks to the hospital ($1,200). He told them he probably had malaria. They tested him for everything they could think of. Then they tested him for malaria, and treated him. The cost: $8,000, much of it for all the unnecessary tests.

That’s what fee-for-service gets. It works in smaller, insidious ways as well. When my family went to Ecuador, we needed to go to a travel clinic to get some shots. While there, a doctor sat down for 10 or 15 minutes and talked with the four of us. Our insurance initially refused to pay the bills, so we got them. I looked and saw that we were charged for four consultations with that doctor, at $150 each. I called the Mt. Auburn Hospital, where the travel clinic is based, and had a lengthy discussion with a manager in accounting. He refused to tell me why we were billed jitney style for this doctor’s advice. He just kept saying they would submit it to our insurer with a different code, and we would have to pay nothing. This seems to have been true. But our insurer was effectively defrauded of $450.

The speaker this morning made a big point of telling us that the U.S. spends twice as much on health care as any other industrialized nation, with poorer results for the bulk of the population. That point can be argued. But $1,250 stitches, needless tests and jitney charges for consultations should embarrass us.

A journalist’s environment

Friday, April 22nd, 2011

A shout out to my friend and Nieman colleague Richard Lister, who was profiled in today’s Harvard Crimson.

A friend like this…

Thursday, March 31st, 2011

Edmund Wilson (photo to left), the great 20th century critic and writer, was close friends with F. Scott Fitzgerald. Yet of his close friend he said, in 1922, when Fitzgerald was only 26:

Fitzgerald has been left with a jewel which he doesn’t know quite what to do with. For he has been given imagination without intellectual control of it; he has been given the desire for beauty without an aesthetic ideal; and he has been given a gift for expression without very many ideas to express.

(for the full essay, see F. Scott Fitzgerald, by Edmund Wilson).

I wonder if this line from Tender is the Night is a gentle jab from Fitzgerald at Wilson: “Like so many men he had found that he only had one or two ideas…” [book two, part xi, Tender Is the Night, page 165 of the 2003 Scribner trade paperback edition].

What to make of Hamlet’s sparrow?

Thursday, March 31st, 2011

Shakespeare’s use of language is so beautiful, his scope so fraught with meaning that we miss the brutality of his tragedies. Hamlet, for instance, is a highbrow slasher flick. If Hamlet isn’t inflicting death on somebody, he’s thinking about it. Perhaps strangely, in Stephen Greenblatt’s course last term, we got into the issue of whether Hamlet’s actions at the end of the play suggest something about Elizabethan attitudes towards God’s role in life. Hamlet is a man of faith who has faith in nothing, least of all himself. He prefers murder to turning the other cheek, and suicide to hope. We discussed in class what the idea of ’special providence’ meant to Shakespeare, based on these lines from Act V, Scene ii, where Horatio is trying to talk his friend Hamlet out of a duel meant to leave Hamlet dead.

Hamlet replies:
[T]here’s a special providence in
the fall of a sparrow. If it be now, ’tis not to come; if it be
not to come, it will be now; if it be not now, yet it will come:
the readiness is all. Since no man knows aught of what he leaves,
what is’t to leave betimes? Let be.

First, a word on providence. Providence is God’s pre-ordaining, setting the course, of the way the world works, as opposed to predestination, which is God’s pre-ordaining whether a human will be saved. Providence comes in two forms: general providence is God’s ordinary way of working — crops growing, for instance. Special providence is God doing something special (it may or may not look like a miracle), setting up a chance meeting that changes a life, for instance. [Thanks to Ward Holder for this discussion of providence and predestination]
In class we discussed this scene and what it may have said about Elizabethan religious attitudes. Shakespeare was born in 1564 (the year John Calvin died). While England had not only broken away from the Catholic Church but banned the practice of Catholicism, religious tension was rife in the country. Was Hamlet’s sparrow Shakespeare expressing something about his own ideas of predestination? Hamlet does seem to be saying his fate was predetermined and he should not avoid the duel, even though it looked like a set-up. To Hamlet, either God had determined he would live despite the set-up, or it was his time to go, and he should be ready.

One site I found sees Horatio’s reaction as a sign of truest friendship and Hamlet as noble in his readiness, instead of holding a death wish. A different site offers a religious interpretation of Hamlet’s sparrow, arguing that he merely accepts Providence for what it is, making him an acolyte of Christ, in the sense of Matthew 10:39 and Mark 8:35, “Whoever loses his life for my sake will find it.”

I think John Calvin would disagree, for reasons worth thinking about.
Calvin makes two specific references to the sparrow as part of his discussion of God’s general providence in The Institutes of the Christian Religion (Book I chapter xvi 1 and 5, in the final 1559 edition). It isn’t merely sparrows that attract God’s attention, either. Calvin cites David in I xvi 5 that God gives food to the young of the ravens. Calvin goes on to say “Surely if the flight of birds is governed by God’s definite plan, we must confess with the prophet that he so dwells on high as to humble himself to behold whatever happens in heaven and in earth.”

In Book I ch. xvii 3 of The Institutes, Calvin says believers “will not, as if carried off by the fates, out of desperation cast themselves to destruction  like that youth of Plautus: ‘Unstable is the loss of things, the fates drive men according to their own pleasure. I will betake myself to the precipice, that there I may lose my goods with my life.’ And they will not ….cover up their own evil deeds with the name “God.”
Calvin then attacks a sect of “profane men” known as Libertines, who apparently said that all crimes are virtues, because they are subject to God’s ordinance. Calvin says that God sets our limits but also trusts us to care for ourselves, to take precautions, to foresee dangers, to use remedies God has given. In particular, God does not want us to suffer fatal acts, Calvin says.
It is a subtle argument on Calvin’s part. But it strongly suggests that Horatio, not Hamlet, followed the truer path according to Calvin. Calvin would likely argue that Hamlet was obviously not among the remnant predestinated to salvation (I found no references to sparrows in Calvin’s discussion of predestination). He would certainly be appalled at those who supported Hamlet’s foolishness in accepting the duel. There are many reasons to disagree with Calvin on predestination, not least the twisting of his words into instruments of judgment by many Puritan sects, including historically my own Presbyterians. But his view on Hamlet suggests that if Shakespeare wanted us to see Hamlet as something other than a Stoic taking his medicine in due course.
An aside:

Shakespeare would have known of the life and death of Sir (and Catholic Saint) Thomas More, martyred in 1535 for his belief that Henry VIII should not get a divorce. I read “A Man For All Seasons” this term and Robert Bolt’s More represents a truer Catholic than Hamlet.  In Bolt’s play, Thomas More takes every precaution he can to adhere to his principles without having to die for them. He dies because Henry cheats. In the end, though Bolt leaves this unspoken, More seems to go to his death with readiness.
Here’s the only version of Hamlet Act V Scene 2 I could find on Youtube:

Time, gravity and the modern physicist

Tuesday, March 29th, 2011

I took a class with Peter Galison last term, in which we studied the writing of Thomas Pynchon, particularly “Gravity’s Rainbow.” The book inspires many reactions at once. I found it obscene and sublime and beautiful and disgusting and engrossing and boring. The New York Times review in 1973 far outstripped me. It said:

“Gravity’s Rainbow” is bonecrushingly dense, compulsively elaborate, silly, obscene, funny, tragic, pastoral, historical, philosophical, poetic, grindingly dull, inspired, horrific, cold, bloated, beached and blasted.

Despite that, it won the National Book Award in 1973. It continues to amaze people. The artist Zak Smith was inspired in 2004 to make an illustration for every single page. Here is his take on Slothrop’s beach wear:

I don’t claim to get all of what’s going on in GR, and I don’t actually recommend it to people unless they’re willing to put a lot of work into it, including buying one of the guides to the novel, which run close to as long as the book itself. In my naive way, I don’t agree with some of Pynchon’s narrative choices. I think the book would not have suffered a bit if he’d axed certain scenes, or left them unsaid. But postmodern narrative is about as far from journalistic narrative as you can get, so who cares what I think?

The novel surfaced again in a class on the Bible in literature that I’m taking this term, which is focused on “Paradise Lost,” “Moby Dick” and “King Lear.” That last is there because the course actually covers the books the professor considers the most tremendous works in the English language, only he didn’t want to give the course that name. The professor, Gordon Teskey, made the comment in the first class that the other candidate for the reading list was “Gravity’s Rainbow.” (Teskey pointedly said that he was not calling these ‘the best’ works in the English language, but ‘the most tremendous’). You can certainly see Melville’s influence on Pynchon. Funnily enough to the modern reader, many reviewers in Melville’s day found Moby Dick a shocking and even obscene novel.

Galison came to speak to the Niemans not long ago, and he’s not unlike GR in his individual complexity (I should clarify that I find him neither disgusting nor openly obscene). He’s a physicist and historian of science who writes about fundamental practices of science. He also makes documentaries about visually challenging topics like storing nuclear waste and secrets. Here’s a lengthy piece profiling his work (and his somewhat legendary ability to go without sleep).

She said You said

Friday, March 25th, 2011

My Nieman colleague and friend Philippa Thomas has been in the news herself for the Tweet that felled a government spokesperson.  She just gave her first interview on the subject, to Brian Lehrer’s Web video site (see The BBC’s Philippa Thomas on P.J. Crowley).

Lehrer did a straight piece, not delving into the criticism she’s received, which has mostly focused on why she double-checked with the spokesperson, P.J. Crowley, whether he was on the record. The comments highlight a tension within journalism, especially news reporting in all its forms. On the one hand, we present an ‘official’ record of events, thus establishing ourselves as part of the status quo. We want people to say things on the record, as a sign of its truth-with-a-small-t. On the other hand, the record often hides that truth-with-a-small-t. It can prevent us from carrying out one of the essential functions of journalism, preventing those in power and prominence from abusing their positions.

Why would a journalist check to make sure something was on the record? Not all journalists do. But there is a sense of fairness that governs journalism and our reaction to it. Had Philippa not asked, someone would have taken her to task for ambushing this poor Crowley fellow and causing him to be fired. Snarky things would have been said about the press’s insatiable and indecent lust for something sensational, the way it callously destroys lives in pursuit of gossip. Media has power.  We see that when someone uses clandestine videotaping to entrap an NPR executive (I won’t call that activism - activism combats perceived societal ills). Some journalists, perhaps most, but by no means all, do not want to entrap people. So you identify yourself as a journalist and you may go further and warn people that you plan to report what they say. A journalist may reasonably and ethically think it important that in the context of an informal discussion, it is not enough to identify yourself as a journalist. You must also ensure that someone who has said something newsworthy recognizes that you intend to report it.

There will still be people who think it is absurd not to report the comment regardless. On the other hand, a beat reporter might actually wish that it was off the record. After all, Crowley is just a spokesperson, and almost certainly is saying what someone in actual power thinks. That story might be harder to get at now.

Of course, Philippa was not in a position where she would need to interact with Crowley again on stories, nor could she report on dissension at State. She had little incentive to protect him from himself.  I’m taking a behavioral economics course, and economists would say what she did was thus not rational. But economists and psychologists note that in the Ultimatum game, some 15 percent to 20 percent of players still contribute money in the last round of the game, exactly the opposite of behavior economists would think ‘rational.’ Please note that economists call ‘rational’ what everyone else calls ’selfish.’ (That may say more about economists than it does about the rest of the world.) Such people model a better side of human nature.

But while I take Philippa’s request as a sign that she is modeling a better side of journalistic nature, I can’t avoid the critic who accused her of being a typical media suck-up. That gets us back to the tension of journalism: to be the ‘official’ voice for a community means not getting cut out by the various groups within the community, including its government. That creates a tension of, at the least, familiarity. It does challenge journalists and news organizations. It always will, and we who practice journalism must be on guard against giving favor to the powerful and prominent in order for them to speak to us. Happily, I was earlier this year a screener for a major journalism prize, the Worth Bingham Award for investigative reporting in newspapers. In a time when newspapers are widely acknowledged to be in decline, the depth of the submissions was incredible. It was agonizing to have to winnow down the field for the final round of judging. There was no sucking-up going on in those stories. There were more than 100 submissions, most of them with multiple parts. Looks like sucking-up isn’t so typical, after all.