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NIEMAN REPORTS THE NIEMAN FOUNDATION FOR JOURNALISM AT

VOL. 58 NO. 4 WINTER 2004 Five Dollars

Editorial Cartoons: The Impact and Issues of an Evolving Craft

Words & Reflections: ‘Can journalism survive in this era of punditry and attitude? If so, how?’ Journalists respond. “… to promote and elevate the standards of journalism”

—Agnes Wahl Nieman, the benefactor of the Nieman Foundation.

Vol. 58 No. 4 NIEMAN REPORTS Winter 2004 THE NIEMAN FOUNDATION FOR JOURNALISM AT HARVARD UNIVERSITY

Publisher Bob Giles Editor Melissa Ludtke Assistant Editor Lois Fiore Editorial Assistant Sarah Hagedorn Design Editor Deborah Smiley

Nieman Reports (USPS #430-650) is published Editorial in March, June, September and December Telephone: 617-496-6308 by the Nieman Foundation at Harvard University, E-Mail Address: One Francis Avenue, Cambridge, MA 02138-2098. [email protected]

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Please address all subscription correspondence to POSTMASTER: One Francis Avenue, Cambridge, MA 02138-2098 Send address changes to and change of address information to Nieman Reports, P.O. Box 4951, Manchester, NH 03108. P.O. Box 4951, ISSN Number 0028-9817 Manchester, NH 03108. Vol. 58 No. 4 NIEMAN REPORTS Winter 2004 THE NIEMAN FOUNDATION FOR JOURNALISM AT HARVARD UNIVERSITY

4 Journalist’s Trade Editorial Cartoons: The Impact and Issues of an Evolving Craft 6 Are We Witnessing the Dusk of a Cartooning Era? BY

8 The Evaporating Editorial BY J.P. TROSTLE

11 What Publishers Think About Editorial Cartoons BY BRUCE PLANTE

14 Interviewing for a Job Illuminates Some Critical Issues BY

16 Editorial Page Editors and : A Difficult Alliance BY JOHN ZAKARIAN

18 The Fixable Decline of Editorial Cartooning BY CHRIS LAMB

21 Freedom of Speech and the Editorial Cartoon BY

25 Why Political Cartoons are Losing Their Influence BY PATRICK OLIPHANT

28 The Red, White and Blue Palette EXCERPTS FROM A SPEECH BY

30 Where the Girls Aren’t BY

32 Debunking the Explanations Given for Lost Jobs BY

33 Martha Stewart or Genocide: The Cartoonists’ Conundrum BY STEVE KELLEY

35 Local Cartoons Can Convey Universal Significance BY MARY ANN LINDLEY

37 Understanding the Value of the Local Connection BY

38 Squeezing Originality Out of Editorial Cartoons BY

41 Animation and the BY

42 Drawing the Country’s Mood BY JEFF DANZIGER

44 An Historic Look at Political Cartoons BY HARRY KATZ

Cover cartoon: © Joel Pett. Reproduced by permission.

47 Words & Reflections Can journalism survive in this era of punditry and attitude? If so, how? 48 Journalism Mirrors the Public Mood BY TOM ASHBROOK

49 Subversive Activities BY GILBERT CRANBERG

50 Journalism Reflects Our Culture BY MELVIN MENCHER

51 Journalism’s Proper Bottom Line BY BONNIE M. ANDERSON

52 Symptoms of Underlying Stress in Journalism BY JOHN MCMANUS

53 The Inadequacy of Objectivity as a Touchstone BY GENEVA OVERHOLSER

54 The Next Journalism’s Objective Reporting BY PHILIP MEYER

55 We Define Journalism By Doing It BY MELANIE SILL

56 Punditry Flowers in the Absence of Reporting BY MARY CLAUDE FOSTER

57 Infotainment Shrinks the News BY CLARENCE PAGE

58 Experiencing the Meaning of Journalism BY MARIA HENSON

59 The Messy Transition Ahead BY DAN GILLMOR

60 Pressures Force the Emergence of a New Journalism BY EDWARD WASSERMAN

61 The Tasks in Creating a New Journalism BY MICHAEL X. DELLI CARPINI

62 Reversing the Trend Away From Journalism BY ELLEN HUME

63 Books 63 The Evolving Role and Reputation of Arab Broadcasters BY DOUG STRUCK

64 Making Visible What Is Purposely Hidden BY SUSANA BARCIELA

66 Portrait of a Courageous Guatemalan Journalist BY MAURICIO LLOREDA

3 Curator’s Corner: A New Advisory Board for the Nieman Foundation BY BOB GILES

67 Nieman Notes COMPILED BY LOIS FIORE

67 What It Took to Pull Me Through BY DAVID L. MARCUS 68 Class Notes

75 End Note: A Life’s Work Reconsidered BY JOSHUA HAMMER

2 Nieman Reports / Winter 2004 Curator’s Corner A New Advisory Board for the Nieman Foundation ‘… the staff and I needed the wise counsel that a group of advisors could provide.’

By Bob Giles

ome things are better done late than never. The advisory determination, and wrote a short narrative. board to the Nieman Foundation is an example. Narrative at whatever length is a triple win, Mark said, S Down through the years, Nieman Fellows, news expanding readership, expanding use of reporters’ talents, executives, leading journalists, and members of the Harvard and expanding coverage. faculty have served the interests of the Nieman program ef- Following Melissa’s presentation, there was enthusiastic fectively in a variety of ways. When I arrived at Lippmann discussion about the high quality of Nieman Reports and the House in August 2000, the advisory board had been dormant value it holds for the foundation. Several board members for some time. I wrote to thank its members for their service, volunteered to work on ways to expand the visibility and intending to reconstitute a new board to help me think about reach of Nieman Reports. the direction of the program and offer sound advice on the In response to a report on the foundation’s disappointment foundation’s goals. in the small number of candidates for Nieman Fellowships As things happen, as Curator of the Nieman Foundation I among journalists of color, several promising ideas for more quickly became engrossed in adding a new wing on Lippmann effective recruitment emerged, among them, seeking help House, developing a program in narrative journalism, building from Nieman alumni/ae and networking with editors and news a Web site for watchdog journalism, introducing a series of directors to reinforce the benefits of the Nieman experience conferences for journalists, and attending to the many details for journalists of color. of guiding the fellows through an enriching year at Harvard. Dolores Johnson, our development officer, outlined the Nie- Months became years and the good intent to organize an man capital campaign and its strategy for raising four million advisory board was never acted on. dollars to pay for the cost of the new Nieman wing, which is Earlier this year, it was clear that we now had a purpose and named the Knight Center. Another speaker, Donella Rapier, a mission for an advisory board; organizing one became an vice president for alumni affairs and development at Harvard, urgent reality. With some changes in place, and others being described the university’s fundraising traditions and provided considered, and with funds to raise for Nieman Fellowships a context for the Nieman capital campaign. At Harvard, she and to pay off the cost of constructing the new wing, it was noted, “we worry about reputation and independence.” evident the staff and I needed the wise counsel that a group In the discussion that followed, the question was raised of advisors could provide. whether the Nieman Foundation should accept money from On a crisp, sunny morning in early November, 16 members nonmedia corporations. Would it be a conflict of interest if of the 26 advisory board members gathered around a table there is corporate money given with no strings attached and in the Knight Center conference room to begin their work. the money is managed in the appropriate way? Some organi- [See Nieman Notes, on page 72, for a list of advisory board zations might be willing to support excellence in journalism, members.] It was a lively session with pointed questions and as is the case of corporations that sponsor programming on thoughtful comments reacting to the vision I outlined for the public radio and public television. Nieman Foundation and remarks by Barry Sussman, editor of Members of the board acknowledged that such contribu- niemanwatchdog.org, Mark Kramer, director of the Nieman tions raise a central question that needs to be argued out Program on Narrative Journalism, and Melissa Ludtke, editor and thought through: how to reach for support in a way that of Nieman Reports. provides genuine isolation from any commercial interest. Jour- Brandt Ayers of the Anniston Star said to Mark, at “our little nalism is now an enterprise that involves big corporations, so paper,” we can afford narrative journalism articles “about once if the Nieman Foundation plans to expand and needs money, a year.” But it’s “just stunning” when we can break someone it should consider whether it can receive money from certain away to “do it your [Mark’s] way.” organizations and not be contaminated. “There are lots of short-form narratives,” Mark explained. So it went throughout the day, a lively discussion among a “It’s a way of thinking” rather than a matter of time. group of advisors who are pleased to be invited to He told the story of a reporter at The Oregonian who had serve and eager to help make a difference for future genera- been asked to write a routine piece about graduation at a tions of Nieman Fellows. ■ local college. The reporter had the imagination to contact the human resources office of the college to ask if there was  [email protected] an employee graduating. He found a Mexican American who worked as a janitor, elicited his life story of hard times and

Nieman Reports / Winter 2004 3 Journalist’s Trade

Editorial Cartoons: The Impact and Issues of an Evolving Craft

Many newspapers have decided not to hire a full-time editorial cartoonist, but instead publish the readily available work of syndicated cartoonists. To explore what impact these decisions and other changing circumstances related to editorial cartoons have on journalism, Nieman Reports asked cartoonists, editorial page editors, and close observers of cartooning to write out of their experiences and share their observations about how the long-time role that cartoons have played in journalism and democracy is being affected. Matt Davies, who is staff cartoonist for The Journal News in White Plains, , the 2004 -winner for editorial cartooning, and president of the Association of American Editorial Cartoonists (AAEC), contends there is “an inherent shortsightedness to this buy-a- cartoon model” that many newspapers are turning to. There is, he argues, value in “having a good and consistent cartoonist’s voice in the paper,” and this value was well understood by earlier generations of newspaper editors and publishers. Davies writes about the “Cartoons for the Classroom” project created by AAEC to “encourage children to learn about the language of the editorial cartoon and appreciate its historic and contemporary importance in the political dialogue.” J.P. Trostle, a cartoonist and author of “Attack of the Political Cartoonists,” describes the loss of specific editorial cartoonists’ jobs and explains why they aren’t being filled. In an era of consolidation and cost cutting, Trostle writes, “… who’s more expendable than the ink-stained wretch hunched over in the corner drawing silly pictures?” Another reason, Trostle says, is the controversy that strong editorial cartoons can inspire in readers and the fear editors and publishers have of this, especially in times of decreasing circulation. Bruce Plante, editorial cartoonist for the Chattanooga Times Free Press, corresponded with several publishers to ask them about the value of having an editorial cartoonist on staff, and he reports on their replies. As one publisher wrote of his paper’s two editorial cartoonists (one in news, one in sports), “They help create an atmosphere of questioning, of laughter, of serious criticism.” Ted Rall, a syndicated cartoonist, chronicles his interviews for staff cartoonists’ jobs at three newspapers. His experiences illuminate some newsroom and management issues that make such hires difficult these days. John Zakarian, who recently retired as editorial page editor of The , shares a series of questions editors should ask when editing cartoons and writes about his long-time working relationship with his paper’s editorial cartoonist. What he’s learned in this 24 years is that “if an editor is the type of person who abhors volcanic eruptions from a cartoonist over the editing of his or her work, don’t hire one. Instead, rely on syndicated cartoonists over whom you have far more effective control through the process of choosing one from many purchased inexpensively.” What is lost, however, in doing this is “the local flavor that they must have in fully engaging audiences.”

4 Nieman Reports / Winter 2004 Chris Lamb, author of “Drawn to Extremes: The Use and Abuse of Editorial Cartoons in the ,” asserts that cartoonists “should not be government propagandists,” as happened with some in the wake of 9/11, when any criticism was labeled unpatriotic, and he explains why newspapers need independent-minded cartoonists. Doug Marlette, editorial cartoonist for the Tallahassee Democrat, writes that “cartoons are the acid test of the First Amendment” and claims that “the insidious unconsciousness of self- can be discerned in the quality of editorial cartoons today.” Political cartoonist Patrick Oliphant examines how this “once-potent galvanizer of opinion, the kick-starter of conversation and discussion, has been allowed to atrophy from disuse and is, after several centuries of successful use as a castigator and common scold of the body politic, in great jeopardy of fading away altogether.” Syndicated editorial cartoonist Ann Telnaes notes that “as a whole, American editorial cartoonists were slow to break free of flag-waving images” after 9/11, and she writes that “if in our roles as cartoonists we don’t challenge and poke the pompous and the powerful, then all we do is illustrate propaganda.” Signe Wilkinson, editorial cartoonist for the Philadelphia Daily News, explores reasons why so few women do this kind of work. “Who would like receiving a daily dose of hate mail—besides puerile little boys who love picking fights,” she writes. “In other words, who besides editorial cartoonists?” Joel Pett, editorial cartoonist for the Lexington Herald- Leader, lines up the usual suspects considered responsible for cartoonists’ job losses, then sets about debunking the validity of each. Steve Kelley, the Times-Picayune editorial cartoonist, brings us inside the debate editorial cartoonists have among themselves about the role humor should play and reveals that “our increasingly conspicuous failing is that we make obvious attempts at humor only to come up short.” Mary Ann Lindley, editorial page editor of the Tallahassee Democrat, describes why her small paper hired a prize-winning editorial cartoonist (Doug Marlette) and how his jabs at local leaders, events and issues “get the phones ringing, the e-mail popping up, and put a signature on our paper.” Scott Stantis, editorial cartoonist for The Birmingham News, constantly looks for local angels and contends that “if the role of the cartoonist is viewed as being like that of a —someone whose work truly engages readers— then local cartoons are essential.” Ed Stein, editorial cartoonist for the , sees the rise of “a depressingly homogenous American style” of cartooning, and “not just of drawing but of the way we conceive ideas,” and tells how he transformed his cartooning to create a distinct local connection with readers. Mark Fiore left a newspaper job as a political cartoonist to devote his energy to creating animated cartoons that are read on various Internet news sites. “Message comes first, humor second, and ideally both arrive at the viewer’s eye together,” he writes. Jeff Danziger, a syndicated cartoonist, reminds us how cartoonist “proved, time and again, that when the times demand, a drawing can pierce the emotional heart of a story deeper than the most gifted verbal lapidaries.” Harry Katz, former head curator of prints and photographs at the , explores cartoons’ past to discover important lessons to guide editorial cartoons’ future. ■

Nieman Reports / Winter 2004 5 Journalist’s Trade Are We Witnessing the Dusk of a Cartooning Era? What will newspapers do ‘when the last salaried cartoonist drops dead and suddenly there’s nothing to publish in that box on all these editorial pages’?

By Matt Davies

nexpectedly, I’ve found my- self—as current president of the UAssociation of American Edito- rial Cartoonists (AAEC)—becoming a public advocate for our profession. In past years, being AAEC president has meant 10 months spent trying to get a terrific speaker or two to come to our annual convention at no charge. But now, as I put our issues before the public in media interviews, I’m invari- ably asked about the demise of the editorial cartoonist. This new interest in our fate is a bit unusual, not because we haven’t lamented the lack of jobs for as long as I remember, but because people other than cartoonists now seem to be noticing our thinning ranks and wondering why it’s happening and what it means. From our vantage point, the issue isn’t that people—or even editors— don’t like editorial cartoons; it’s just that they don’t want to pay for them when they don’t have to. Brilliant and © Matt Davies/The Journal News. Reproduced by permission. pithy cartoons seem so simple and easy to produce that people approach me all the time with their ideas for a cartoon than it looks. of how a lot of cartoonists are perceived or two: “I can’t draw, but I have tons In fairness, editorial cartoonists can in many media boardrooms. They are of ideas for cartoons,” they tell me. be quite disruptive to an editorial page regarded as anathema to the culture Why pay good money for something editor’s work. An editor with the intesti- that exists to provide a “service.” that everybody seems to think they can nal fortitude to oversee a staff cartoonist No matter how hard marketing spe- do? In some ways, this dynamic is not will inevitably have to deal with angry cialists try, newspapers will never be unlike humankind’s quest for flight, readers, many of whom can be notori- only products. When newspapers report when for centuries people watched ously time-consuming. This is especially the news and provide a decent editorial birds drifting effortlessly, strapped on problematic in today’s marketplace page, they will—by their mission and some wings, gathered townsfolk, found where newspapers are sometimes re- definition—engender controversy and, a high place, and jumped. Every day, ferred to as “the product” and readers consequently, be purchased and read editorial cartoonists troll the news in are affectionately called “customers.” by people in their community. search of social and political ironies, Into this corporate environment arrives then create images that encapsulate the editorial cartoonist. Imagine if a Looking Back, Looking those metaphorical 1,000 words and Ronald McDonald character wandered Forward pour them painstakingly into a single around McDonald’s restaurants harass- picture. For most professional cartoon- ing customers by pointing out their Most American editorial pages still have ists, drawing is the easy part. Like flying, faults and berating them for the SUV in the problem of what to put in the pesky the whole process is a lot harder to do which they arrived, and you have a sense space—a decent-sized box at the top of

6 Nieman Reports / Winter 2004 Editorial Cartoons the page—traditionally given material “until a replacement the staff editorial cartoonist. is found.” Over time, this For the time being, many have temporary strategy can get to hit on the idea of buying syn- feel very comfortable, and it dicated creators—generally is cheap. I can’t help wonder- ones who are also earning ing what these newspapers a salary at another newspa- are going to do when the last per—for a very small sum. salaried cartoonist drops dead If they are adventurous with and suddenly there’s nothing to their budget, editors can buy publish in that box on all these images done by several car- editorial pages. I can imagine toonists, then perform a sort hearing words like these being of editorial triage and publish spoken: “Will someone please only the least offensive mate- hire a cartoonist so we can start rial. Doing this allows them to buying her cartoons through avoid the irritation of having the syndicate?” to depend on what a staff car- The value of having a good toonist might have produced © Matt Davies/The Journal News. Reproduced by permission. and consistent cartoonist’s that day. This is particularly voice in the paper was evident useful when it comes to some of the Even though there’s an inherent to those who edited and published stickier local issues that can really get shortsightedness to this buy-a-cartoon earlier American newspapers. There’s readers in a huff. Staff cartoonists might model, these days when a cartoonist a proud tradition of biting editorial weigh in on a local story and cause reams leaves his/her newspaper—generally cartooning, from (who of letters to be written and phones to due to editorial disagreement and/or brought us the elephant, the donkey ring incessantly—in short, to get readers death—it’s commonplace for the be- and my personal favorite, Uncle Sam) engaged with the newspaper. reaved newspaper to use syndicated in the 19th century, through ,

Cartoonists Reach Out to Educators

Using a curriculum overseen by AAEC, the late Washington Post cartoonist, will extend from kindergarten through teachers can give students “a clearer Herblock). high school. A large component of the understanding of the enduring value Our main focus will be to encourage material will call for studying cartoons of this daily newspaper art form.” children to learn about the language of drawn by the school’s “local cartoon- the editorial cartoon and appreciate its ist.” (Because of the importance of the Short of a diabolical plan to have mem- historic and contemporary importance Newspapers in Education program to bers of the Association of American in the political dialogue. We want to editors nationwide, we anticipate a few Editorial Cartoonists (AAEC) operate reinforce for them the role of the First red faces in newspaper offices when clandestinely as editors and publishers Amendment in protecting free speech, children and their teachers start ask- so newspapers will start hiring more with a particular emphasis, of course, ing why there is no local cartoonist.) editorial cartoonists, there is a limit to on its protection of parody. For more We will also encourage our cartoonist what we can do to expand our ranks of intrepid students, we’ll provide steps members to be available to speak to the employment. But that doesn’t mean we on how to become an editorial car- classes that are using this material as a aren’t trying. toonist. part of the lesson. Apart from making lots of noise in To do this, we’ve started to create a In doing this, we want to make it as many news organizations as possible series of “Cartoons in the Classroom” possible for teachers to imbue a new and publishing a book, “Attack of the lesson plans that teachers will be able generation—now wedded to television Political Cartoonists,” by J.P. Trostle to download—with no charge—from and the Internet—with a clearer under- [see Trostle’s article on page 8], AAEC the nonprofit Newspapers in Education standing of the enduring value of this has undertaken a long-term compre- Web site (www.nieonline.com). In les- daily newspaper art form. And speaking hensive project designed to raise the son plans there will be grade-specific of our art form, as cartoonists, we vow profile of editorial cartooning with some cartooning history lessons and discus- to continue giving these children—and help from a grant from the Herb Block sion of current events as seen through their parents—a reason to give newspa- Foundation (endowed by the estate of cartoons. Eventually, this curriculum pers another chance. ■ —M.D.

Nieman Reports / Winter 2004 7 Journalist’s Trade

Bill Mauldin, , good that your local daily paper and Jeff MacNelly, who respec- probably doesn’t have its own tively defined and encapsu- cartoonist either. lated the political landscape That’s the barrel that this of the 20th century. [See president of the Association of Harry Katz’s article on page American Editorial Cartoonists is 44 for a more detailed history reluctantly staring down. When of editorial cartoons in U.S. contemplating which media newspapers.] commentator working today is Now we sit at the beginning closest—in terms of influence of the 21st century, already a and reach—to our 19th century time of volatile global politi- cartooning hero Nast, the name cal change that begs for the that surfaces is Jon Stewart, the type of commentary only a crown prince of political , cartoonist can wield. Yet the whose words are broadcast, not soil that grows and nurtures drawn and published. Which cartoonists whose work can leaves me to ponder: Can Jon define our time is less fertile © Matt Davies/The Journal News. Reproduced by permission. Stewart draw? ■ than ever. Ten years ago there were best-known newspapers, still hasn’t filled Matt Davies is staff cartoon- 150 or so salaried editorial cartoonists its coveted cartooning position since the ist for The Journal News in White working at daily newspapers. There are untimely death in 2000 of staffer Mac- Plains, New York, and also serves as now about 85 of us left, and the business Nelly, who was one of cartooning’s big- the president of the Association of and media environment in which news- gest and best. The St. Louis Post-Dispatch American Editorial Cartoonists. In papers exist has changed enormously. hasn’t filled a long open vacancy. The 2004, he won the Pulitzer Prize for Newspapers are fighting for media share San Jose Mercury News and the St. Paul editorial cartooning. with broadcast TV, cable, radio and the Pioneer Press have both dispensed with Web, and are increasingly excluding us their high-profile cartooning positions.  mdavies@thejournalnews..com from their marketing plans. The hasn’t had its own Tribune, one of the nation’s biggest and cartoonist for decades, and chances are

The Evaporating Editorial Cartoonist ‘… editorial cartoon jobs are increasingly left unfilled or are eliminated entirely after a cartoonist leaves a paper.’

By J.P. Trostle

hen Jeff MacNelly, the popu- said—repeatedly—the Tribune would themselves repeatedly: They see it not lar and influential editorial like to hire a suitable permanent re- simply as an open job slot, but a symp- Wcartoonist at the Chicago Tri- placement. And while a number have tom of a larger, more serious problem. bune, died in June of 2000, cartoonists interviewed with the newspaper during If wide syndication is considered the on a listserv debated how long a period the past half decade and rumors of an gauge of success in this business, the would be considered respectful before impending hiring surface regularly, full-time staff job is the baseline from sending in their resumes. A week? A among cartoonists it has reached a where the measurement has tradition- month? Five minutes? point where the offer of staff job from ally been made—and one in increasing Turns out it wouldn’t have mattered. the Tribune has become akin to that of danger of being erased. Nearly five years after the three-time Pu- buying a certain bridge. litzer Prize-winner’s death, the Tribune How is it that one of the largest news- Vanishing Jobs has yet to hire a full-time cartoonist to papers in America can’t—or won’t—fill the staff position MacNelly left behind. such a prominent position? It is a ques- Earlier this year I edited “Attack of the Editorial page editor Bruce Dold has tion editorial cartoonists discuss among Political Cartoonists,” a compendium of

8 Nieman Reports / Winter 2004 Editorial Cartoons

Media consolidation, newspapers folding, tightening budgets—all have contributed to the erosion of viable outlets. The pressure for double-digit profits at chain-owned papers has pub- lishers looking around for expendable personnel, and who’s more expendable than the ink-stained wretch hunched over in the corner drawing silly pic- tures? When Kirk Anderson was laid off from the St. Paul Pioneer Press in April 2003, he pointed out in a farewell e-mail to coworkers that were the choice his, he’d cut the private service that tends the plants in the publisher’s office “before I’d cut a local cartoonist.” Anderson added, “Is the position of local cartoon- ist really valued less than office plants?” (Anderson’s letter, which also included a blistering condemnation of corporate ownership of newspapers, and Knight Ridder CEO Tony Ridder in particular, © J.P. Trostle. Reproduced by permission. ended up on the popular Romenesko Web site. Soon after, the Pioneer Press artists working today. Between the time filled or are eliminated entirely after a publisher killed Anderson’s final car- the book went to press and appeared cartoonist leaves a paper. Today there toon, and Ridder himself tried to quash in bookstores, four of the cartoonists are fewer than 90 cartoonists working a story about the layoff on Editor & mentioned in its pages had been forced full time for American newspapers, Publisher’s Web site.) out of their staff positions. down from a peak of nearly 200 in the Of course, payroll streamlining isn’t Frequent shakeups are not unusual in early 1980’s, when the craft benefited the only reason jobs are disappearing. the news industry but, unlike reporters, from the same influx and interest the Bottom-line mentality and a concern photographers and editors, editorial post-Watergate years brought to jour- for slipping circulation can drive pub- cartoon jobs are increasingly left un- nalism. lishers and editors to fear controversy of any sort (and if there’s one thing editorial cartoons excel at attracting …). Given today’s environment of cultural sensitivity, an increasingly polarized electorate and technology that allows swift and coordinated responses from angry readers around the planet, many editors would rather not rock the boat to begin with and quickly fold when uproar somehow manages to land on their desk. “Editors want us to be ‘fair,’ not opinionated,” says Steve Benson, car- toonist for . They say they want hard-hitting work, but “when cartoonists do hand in strong cartoons, an editor is just as likely to kill it to avoid offending readers and losing advertisers.” Far worse, at least to some cartoon- St. Paul Pioneer Press cartoonist Kirk Anderson drew a farewell cartoon when he was ists, is the editor who insists on watering laid off in 2003, which the publisher killed. © Kirk Anderson. Reproduced by down the commentary in order to be permission. equal and balanced, altering content to

Nieman Reports / Winter 2004 9 Journalist’s Trade

such a degree the point of the a career of sorts, freelancing, do- cartoon is lost. John Sherffius ing ’toons on the side, or working surprised everyone a year ago for a newspaper or magazine in when he resigned suddenly other capacities with the op- from the St. Louis Post-Dis- portunity to get in an occasional patch over what he saw as cartoon. Even if they have been an unacceptable amount of cut loose by a paper, many scrape interference from his editor. by with freelance work while According to a report in The continuing to provide material New York Times (which, by for their syndicate. A few, like the way, hasn’t had a staff Ted Rall or Pulitzer Prize-winner cartoonist since 1958), Sherf- Ann Telnaes, have never worked fius quit over a “culmination for a newspaper, instead labori- of disagreements with Ellen ously building up a full-time job Soeteber, the editor of the through syndication. newspaper, over what she But among cartoonists, syn- viewed as excessive criti- dication itself is a thorny issue. cism of President Bush and What is a solution for some, oth- Republicans.” ers see as a problem: Why should The proverbial final straw any paper hire a full-time staffer, came when Sherffius did a © Steve Benson/. Reproduced by especially given the decreasing cartoon about the GOP-con- permission. costs of syndicated material and trolled House celebrating increasingly easy access to it? after passing a pork barrel-laden appro- Post. Stahler only took the offer after The story goes that in the late 1990’s, priations bill that benefited Republicans. it was apparent that the Post (and his fired their long-time He was told to alter it by changing the job) wouldn’t be around after a Joint cartoonist because they pig pictured in the piece into a donkey Operating Agreement with The Cincin- said they could no longer afford to pay so both parties were represented. Even nati Enquirer expires in 2007. his salary—but they still wanted to run after Sherffius acquiesced and redrew Whether or not they can find a full- his cartoons and just planned to buy the cartoon, Soeteber was heard to time gig, most cartoonists still continue them from his syndicate (albeit without complain it was still “too one-sided.” to draw. The majority of people getting benefits, pension or support structure (Apparently the donkey wasn’t happy published today have cobbled together of a full-time employee). enough.) By now, the original intent was completely gutted. He redrew the cartoon a third time, handed it in and resigned the next day. “Editors ask for changes all the time,” Sherffius told The New York Times. “That’s fine. It’s part of the process …. I felt this was a little different.” Given the job market, it is the rare car- toonist indeed who resigns on principle. More often they are pushed out. One bright spot over the years has been family-owned papers that, what- ever their circulation, often had a local cartoonist on staff as a matter of civic pride. Yet even among independent papers with a long tradition of editorial cartooning, the squeeze is on, result- ing in something like musical chairs with cartoonists forced to fight over dwindling seats. In May, The Colum- bus () Dispatch unceremoniously shoved aside 22-year veteran Jim Lar- rick so they could make room to hire Jeff Stahler away from The © Jim Larrick. Reproduced by permission.

10 Nieman Reports / Winter 2004 Editorial Cartoons

Future Directions past decade, cartoonists have begun to syndicated material and occasionally ask if their fate must be tied to that of requests cartoons on specific issues If it often sounds like we are fighting a newsprint. So far, only one cartoon- from freelancers. In January 2004, they rear-guard action, well, the sentiment is ist—Mark Fiore—has left print entirely opened a permanent exhibit of Jeff part of our collective DNA. The Associa- behind and is the first person to make a MacNelly’s work on the 24th floor of the tion of American Editorial Cartoonists living creating weekly animated political Tribune Tower. A Services (AAEC), the group to which the major- cartoons for the Web. [See Fiore’s article vice president told Editor & Publisher ity of politically oriented cartoonists on page 41.] As for the rest, while the Online, “It’s a reflection of the esteem belong, formed in 1957 in reaction to Internet provides easier distribution in which Jeff was held here.” an article in The Saturday Review stat- of their work and a much wider audi- Mike Ritter, then the president of ing political cartooning was dead. “The ence, they are still—just like everyone the Association of American Editorial Rise and Fall of the Political Cartoon” else—figuring out how to make it pay. Cartoonists, responded in an interview so offended John Stampone of the Until that happens, we must depend in the Chicago Reader: “Putting up a Army Times, he and a small band of on newspapers, even as they treat the cartoon show as a permanent exhibit fellow cartoonists set out to prove the majority of us as temporary workers. but not hiring a new cartoonist comes article wrong and set up the AAEC to Not all openings gather dust. After off as a tombstone more than anything stimulate more public interest about Washington Post legend Herbert Block, else.” ■ editorial cartoons and closer contacts a.k.a. Herblock, died in October 2001, among cartoonists. the Post thought his position too im- J.P. Trostle is the editor of the Note- We’ve been battling that sense of portant to lie vacant and set out almost book, the quarterly magazine of the doom and gloom ever since. In a immediately to find his successor, even- Association of American Editorial discussion at the 2002 AAEC conven- tually wooing Pulitzer Prize-winner Tom Cartoonists and the book “Attack of tion, Steve Hess, a senior fellow at the Toles from his hometown paper, The the Political Cartoonists: Insights Brookings Institution and coauthor of Buffalo News. Many thought the News & Assaults from Today’s Editorial “Drawn & Quartered: The History of would let Toles’s old position languish, Pages.” He also draws an occasional American Political Cartoons,” said one and while it took them over two years cartoon for The Chapel Hill Herald has to try to keep things in perspec- to make a decision, in an encouraging in Chapel Hill, . tive. “For as long as I’ve been going move this past August they hired an to [newspaper industry] conventions, enthusiastic grad after his internship  [email protected] they reminded me of Buggy Whip con- with the paper. ventions.” As for the , it con- With the rise of the Internet over the tinues to fill their op-ed page with

What Publishers Think About Editorial Cartoons Unexpected benefits are found by some publishers, while others don’t even bother to ask readers about the cartoon’s impact.

By Bruce Plante

et me draw a picture. It’s not a toonists seemed so bad during my year I began to wonder why any newspaper pretty picture. The number of (September 2002-September 2003) publisher would ever invest in a full- Leditorial cartoonist staff positions as the president of the Association of time staff editorial cartoonist when it has dwindled from a high of almost 200 American Editorial Cartoonists (AAEC) would be cheaper to buy syndicated in the mid-1980’s to about 85 now. The that I received more than a few calls cartoons. future seems dim. At many newspapers, from reporters who started by saying cartoonist positions left opened by something like this, “I would like to Cartoonists’ Value death, layoffs, retirements and resigna- ask you a few questions for an article tions remain unfilled. I am doing on the demise of editorial To arrive at an answer, I recently asked The discouraging news about the cartooning in American newspapers.” I several publishers two questions: How growing number of unemployed car- heard the statement so many times even valuable has having an editorial cartoon-

Nieman Reports / Winter 2004 11 Journalist’s Trade

ist on staff been for your newspaper? And are there any unexpected ben- efits? These questions inspired many publishers to air their views about the current state of cartooning at American newspapers. What follows are e-mail responses from publishers, in their own words.

Gary Sherlock, publisher and presi- dent of The Journal News (168,668 Sun- days) in White Plains, New York writes: “Without a doubt, having an editorial cartoonist of the quality of Matt Davies on our editorial staff has been a signifi- cant competitive advantage in the mar- ketplace. Each day we compete with the much larger dailies. And having his work in our paper provides our readers with a real different reason for buying our newspaper. Whether the © Bruce Plante. Reproduced by permission. topic is local, regional or national, his work is just that much better than the tion on the picture-tells-a-thousand- and Drew Litton in sports. competition. Matt Davies’ willingness words theme. People can respond “Having an editorial cartoonist is to go out into the community and talk to our editorial words in kind, but it very valuable. I think readers love the about his work has been an unexpected really challenges them to respond to a impact of an editorial cartoon, when benefit to The Journal News. In par- masterfully executed editorial cartoon. they’re as pointed and hard-hitting as ticular, he really connects with young They certainly can’t do it in kind, but Ed’s. People don’t cut out columns and kids in a way that cannot be duplicated it’s clear that they want to respond in post them on their fridge or computer. by other staffers. He is building future some way. The best cartoonists function But they do cartoons. There’s something readers at every turn.” [See Matt Davies’ as do the best : They elicit a about a cartoon that distills so much story on page 6.] reaction—a chuckle, a groan, a gasp, a into a small space. Opinion is a critical fit of anger. And the good ones cause part of a good newspaper, and a good Tim Kelly, publisher of the Lex- people to come back to the paper on editorial cartoon is at the extreme end ington Herald-Leader in Lexington, a regular basis looking to see what (fill of opinion. Good editorial cartoons Kentucky (144,528 Sundays) writes: in the blank) drew today. have to be very uncompromising. This “Clearly, the greatest value of having “Aside from that, the fact that Joel’s makes them difficult, challenging. I an editorial cartoonist on the staff of national and world cartoons appear in think that engages people, even when a paper our size is the added dimen- papers from The New York Times to it enrages them. sion Joel Pett gives us in terms of local the Times to USA Today “The unexpected benefit in our commentary. We all know that we can gives the Lexington Herald-Leader a case has been the creation of purchase the work of the best cartoon- visibility—certainly at least in the in- Square, a locally oriented . ists in the country (Joel included) on dustry—that we would not otherwise Ed’s strip lets him explore subjects with national and world topics for a fraction have. I figure that can’t be bad for our much more ambiguity and complexity. of the cost of a staff cartoonist. But we recruiting. And when he does things Readers see themselves, their lives, in and our readers can’t get the local angle like win a Pulitzer Prize, be a Pulitzer that strip. So that’s been a big hit for anyplace else. That is why it is essential finalist, or win the Robert F. Kennedy us. Another unexpected benefit is that that local cartoonists draw locally. Not Award, among others, he brings honor editorial cartoons can be so sharp that all the time, but a considerable percent- to the newspaper.” [See Joel Pett’s story they help everyone figure out where age of the time. on page 32.] they stand, including the editorial “Are there any unexpected benefits? board. Also, newspapers thrive by hav- You mean aside from the bleating that John Temple, publisher, president ing creative people feed off each other. one can hear whenever a particularly and editor of the Rocky Mountain News There’s no question that cartoonists are ripe ox is gored? I’ve always felt that in Denver, Colorado (275,135 Mon.- among the most creative people in the cartoonists have a special place when Fri.), adds: “We have two editorial car- room. They help create an atmosphere it comes to reader reaction. It’s a varia- toonists: Ed Stein in news/commentary of questioning, of laughter, of serious

12 Nieman Reports / Winter 2004 Editorial Cartoons criticism. And they put editors on the day, and to a senior citizen group an- their newspaper had done any reader- spot, by forcing them to consider where other. This is a great opportunity to ship surveys and if they had received they draw the line. Ed gets a kick out of push the newspaper deeper into the any results. Only one cartoonist had that, and so do I. [See the story by Ed community.” received feedback from any studies. His Stein on page 38.] editor told him his cartoons had polled What Publishers Don’t See better than any other feature. When Walter E. Hussman, publisher of the the cartoonist asked what the editor Arkansas Democrat-Gazette (283,538 These publishers’ comments demon- had learned from that information, the Sundays) in Little Rock, Arkansas, strate that there is good news for edito- editor said, “It doesn’t mean anything. who has a long tradition of employing rial cartoonists. Everybody reads the cartoons.” editorial cartoonists such as John Deer- But the news should be better. As According to the Readership Insti- ing (not to mention the author tute, surveys consistently point of this article, who has worked to the fact that readers of all ages, for Hussman twice—first at the ‘The best cartoonists function especially the younger reader, Democrat-Gazette and now at the as do the best columnists: They want more visual elements, local Chattanooga Times Free Press) content, and local commentary. shares: “An editorial cartoonist is elicit a reaction—a chuckle, a Stories published in the Winter very valuable. Readership studies groan, a gasp, a fit of anger.’ 2003 issue of Nieman Reports tell consistently show that editorial us that young readers especially cartoons enjoy higher readership want commentary with an edge than editorials. A good local cartoonist cartoonists, we have never enjoyed and an attitude—exactly what cartoon- is an immense sense of pride to readers more readership. More of us are widely ists offer. (‘our cartoonist’). It communicates to syndicated. Because of the Internet, But judging by the diminishing num- readers that the newspaper is a quality millions of readers worldwide see a ber of staff cartoonists and the lack of product, especially in this day and age cartoon drawn in Chattanooga. Sites interest most publishers seem to have where more and more papers have devoted to editorial cartoons are among in learning about their readers’ perspec- eliminated their cartoonist. This builds the most popular cartoon Web sites. tive on this part of the newspaper, I’d ‘brand loyalty’ to the newspaper and Many cartoons often are reprinted in have to conclude that most publishers reduces subscriber churn.” major magazines, newspapers and tele- do not appreciate the benefit an edi- vision networks around the world. Our torial cartoonist would bring to their Burgett H. Mooney III, publisher work is fun, popular and accessible to newspapers. of the Rome (Georgia) News-Tribune all ages. We’re the Jon Stewarts of the Perhaps, someday, someone will (19,216 Sunday) responded: “Having newspaper industry. draw them a picture. ■ an editorial cartoonist is both a luxury All of this makes it difficult to under- and a necessity for small newspapers. stand why the majority of newspaper Bruce Plante is the editorial car- I believe newspapers have given up a managers can’t see that these qualities toonist for the Chattanooga Times huge part of the ‘franchise’ by letting can easily be translated into a way of at- Free Press, a former president of the the editorial page become generic. We tracting, engaging and retaining readers Association of American Editorial have a full-time editorial page editor for their newspapers. I’m beginning to Cartoonists (AAEC), and current (Pierre Noth) and assistant (Kathy Da- think some newspaper managers don’t chairman of the AAEC/Herb Block vis) along with an editorial cartoonist want to know. Committee. The committee recently (Mike Lester) on staff. I believe the During my tenure as president of received a grant from The Herb editorial page is more important for the AAEC, I contacted the Readership Block Foundation for a three-year the 20,000-circulation newspaper than Institute at ’s “Cartoons for the Classroom” effort the larger ones. If we pay attention to Media Management Center to find to encourage editorial cartooning the editorial page and drive it towards out how editorial cartoonists faired in by educating students of all ages, local issues we can be more in touch their comprehensive 100-newspaper including journalism students and with the reader, and that puts us more readership study. I was surprised to professors as well as newspaper pub- in touch with the community. A local learn that none of the 100 newspapers lishers and editors. (See page 7 for editorial cartoonist is an integral part had requested one specific question more information on this project.) of our overall strategy to push and pull to be asked about editorial cartoons. the community through as many topics That fact is curious, considering that  [email protected] as possible. virtually every newspaper in the study “Mike has reached out to all con- publishes at least a syndicated editorial stituents. He may be speaking to a third cartoon every day. grade class today, to Rotary club another I asked the members of the AAEC if

Nieman Reports / Winter 2004 13 Journalist’s Trade Interviewing for a Job Illuminates Some Critical Issues ‘Take a job under impossible conditions and you invariably get fired.’

By Ted Rall

am fortunate. The only job I’ve underwear while watching Ricki Lake ever wanted was to draw political on the TV at home. Icartoons for a living and, though it took me a lot of hard work and good Auditioning for a Staff Job luck to break into the profession, that’s what I do. My cartoons are fairly well known Today, I still follow a routine that since they are published in more than began when I was 12. Every week I a hundred papers. I’ve won two Robert rough out dozens of ideas for cartoons F. Kennedy Journalism Awards, was a based on news stories, conversations Pulitzer Prize finalist, have published and overheard nonsense, all with a more than a dozen books—a few of view towards commenting on current them successful—and attracted noto- events and trends. Unlike my earlier riety from and other Repub- efforts, now my favorite three go out lican-slanted media outlets because of to client newspapers via the Universal my work during the Bush administra- Press Syndicate. tion. As a result, I’ve been interviewed Given how many talented cartoon- three times for positions at major U.S. ists have been fired from newspa- newspapers. pers—most of them without hope of Those close hiring calls serve as landing a new job—I don’t have cause parables for the state of the industry. to complain about my lot. I am that rare In 1995, The (Harrisburg) Patriot- creature, the editorial cartoonist who News, one of my clients through syn- can make a full-time living solely from dication, flew me to the Pennsylvania “we’ve decided to go with a sports- syndication. Because most syndicated capital to meet for lunch with the writer.” artists only have a few clients, their paper’s features editor, editor in chief, I was dense. “A sportswriter is going revenue is only a small supplement to and publisher. The paper didn’t have a to draw the cartoons?” a full-time position on staff. But unlike staffer, nor had one been fired or laid off, “No, we’re hiring a sportswriter a staff cartoonist, no single editor can so it would have been a “clean hire”—no in lieu of a cartoonist. It’s a budget fire me and, by doing so, deprive me of resentment from the dearly departed’s thing.” 90 percent or more of my income. So I friends in the photo section. I liked the The Patriot-News, in the midst of enjoy a rare degree of job security. town, the people I’d be working for a multimillion-dollar upgrade of its Nonetheless, I don’t have what I re- and—most of all—the chance to wage presses at the time, already had six ally want: a job at a newspaper, where war with my pen and ink on the reliably sportswriters on staff. They’ve never I’d work with editors and journalists on corrupt politicians of the Pennsylvania hired a cartoonist from the dozens of cartoons, not just about the big national State Legislature. brilliant unemployed artists making the news stories, but on the state and local Though it’s possible that the deci- rounds, leading to a simple conclusion: issues that resonate so strongly with sion that followed was caused by my It wasn’t me. One might ask why Har- readers. As a teenager, I watched Mike salary request, personality or some risburg—not exactly a big sports town, Peters, staff cartoonist at my hometown other unknown factor, I left the meet- given its lack of professional teams, paper in Dayton, Ohio, draw in his ink- ing feeling positive about my chances colleges or universities—needs so many stained office, and since then I have at Harrisburg. Then I checked in with sportswriters. Or how a newspaper in craved what I consider a real editorial the features editor every few days; she the capital of one of the nation’s most cartooning job. Syndication is great for told me to hang tight while they came populous and politically influential the national exposure it offers, but the to a conclusion. states can do without a political car- chance to get that newsroom buzz eas- “Rather than hire an editorial car- toonist. But such are the mysterious ily trumps the benefits of inking in my toonist,” she ultimately informed me, priorities of editors and publishers.

14 Nieman Reports / Winter 2004 Editorial Cartoons

Around the same time an opening and Reno. jovial man whom I would love to work occurred at the Asbury Park Press, a When I arrived from New York, how- alongside, put it the way I prefer: bluntly. central New Jersey daily whose circula- ever, I immediately figured out that I was “When making this decision,” he said, tion was jumping thanks to increased being given a “courtesy” interview. The the fiction that I was being ad revenue from the dot-com boom. fix was already in for Rex Babin, then a seriously considered for the staff job, The previous cartoonist was in his staffer in Albany, New York, whose car- “I had to ask myself a question. Would mid-80’s; he retired. The editorial page toons not so subtly graced the walls of the good burghers of Sacramento”—the editor commissioned a weekly New two of the editors who were supposedly city’s political and business elite—“pre- Jersey-based cartoon from me as a way considering me. Babin is a good car- fer to read Rex Babin or Ted Rall in the of “trying me out” on the editorial page. toonist. He has been a Pulitzer finalist. pages of their morning paper?” Pleased with my work, he recommended But two comments made by different His primary implication that Babin to the executive editor that the paper editors leapt out at me. isn’t as “hard hitting” as I was dubious bring me aboard full time. “The perfect cartoon has no words at best. His secondary assertion—that a Naturally, I was thrilled. New Jersey at all,” one told me. “They should illus- newspaper should cater to the delicate politics, not to mention the fact that so trate the editorial page, give the reader sensibilities of the very personalities many of the state’s cities are little more a break from those oceans of text.” it should treat most harshly—sums than bedroom communities for New “Sounds like you really want an up everything that’s wrong with the York City workers, would be great inspi- editorial illustrator,” I suggested. I also media today. ration. The executive editor worked his do freelance spot , which But I still dream and wait for the way down a list of boilerplate questions: are more of the eye candy this editor phone to ring with the news that a paper “What was I hoping to accomplish?” seemed interested in. She displayed wants to talk to me—and, maybe this “How much did I expect to earn?” “Did no understanding whatsoever of what time, actually hire me. ■ I need my own office?” editorial cartoons are, or what they Everything went satisfactorily until should attempt to achieve: a clear, Ted Rall is a syndicated cartoonist his final query: “Will I ever look out strident, message or comment about with the Universal Press Syndicate. there”—he gestured over his shoulder an issue or trend—ideally delivered in His most recent book is “Generalis- down to the parking lot below—“and a unique, thought-provoking way. Great simo El Busho: Essays & Cartoons on see protesters yelling about a cartoon editorial cartoons can be wordy and the Bush Years.” that you drew?” poorly drawn; bad ones can’t be saved I told him the truth. “It’s not my in- by excellent draughtsmanship.  [email protected] tention to offend readers,” I answered, The editorial page editor, a smart, “but if an idea is worth expressing, I don’t think I should self-censor because of that possibility. Of course, I would respect your judgment if you decided not to run one of my cartoons. Anyway, I find it nearly impossible to predict what will make people angry.” His face clouded. I knew I’d blown what should have been a neat, simple, lying-through-my-teeth “no.” But what difference did it make? Take a job under impossible conditions and you invari- ably get fired. Actually, I appreciated his honesty. Many cartoonists discover their paper’s editorial cowardice after it’s too late. Most recently, I was one of four car- toonists named as interviewees for an opening, again created by retirement, at The Sacramento Bee. Sacramento is distinctly Midwestern in tone, not to mention the capital of . What I wouldn’t give to have the new gover- nor, , to kick around! And the city, while somewhat of a bore itself, is a couple hours from © Ted Rall. Reproduced by permission.

Nieman Reports / Winter 2004 15 Journalist’s Trade Editorial Page Editors and Cartoonists: A Difficult Alliance ‘A cartoonist’s world is black and white, while an editor’s universe is imbued with shades of gray.’

By John Zakarian

ver dream you were dancing on a making changes in copy, but who among 1. Would the proposed cartoon be volcano or standing with a stick of the gatekeepers is able to redraw a car- easily understood by most readers? Edynamite near a crackling camp- toon? When a suggested cartoon needs 2. Does it deal with a big subject fire? Editors who work with talented more work, it always means asking the that’s very much in the limelight editorial cartoonists are known to have creator to rethink, refine, clarify or re- instead of a footnote in one of the those nightmares. start. In other words, an editor doesn’t news-roundup pages that tickles When I hired Bob Englehart as The really edit a cartoon, he or she works the cartoonist’s fancy? Hartford Courant’s editorial cartoonist with its creator in shaping images and 24 years ago, I expected him to light the messages. Answers to these questions should fuse more often than not. I believed that What this means is that if an editor is not strain the editor. If I don’t get the our state, , affectionately the type of person who abhors volcanic point, I will not run it. known as the land of steady habits, eruptions from a cartoonist over the ed- needed stimulation from this art form. iting of his or her work, don’t hire one. 3. Does it state the obvious in ho-hum Fireworks from newspaper cartoonland Instead, rely on syndicated cartoonists fashion or introduce a provocative would add a kick to the colder medium over whom you have far more effective thought and use a powerful and of editorials. If Bob got out of hand oc- control through the process of choosing instantly recognizable metaphor or casionally, I would be able to tame his one from many purchased inexpen- allegory? wilder side, or at least to keep it on a sively. But syndicated cartoonists do not 4. Is it intended merely to draw a leash. So I thought. After all, I was his give newspapers the local flavor that laugh, as in comics, without neces- editor and had veto power. they must have in fully engaging audi- sarily making a point? Today, much older and a bit wiser, ences. They never connect directly with I confess to the sin of overconfidence. their readers as a good local cartoonist These questions are a bit more Working with a talented cartoonist is does. Bob says his favorite cartoon com- problematic. A ho-hum idea? Funny just much more complicated than giving mentaries are on state and local issues. for the sake of getting a laugh? What a simple yes or no answer to his daily He gets instant and substantial feedback, cartoonist who labored on the sketch offering. Schools teach copyediting and positive and negative. His voice mail is would cede those points without an writing, but none to my knowledge never empty. argument? instruct would-be editors on editing cartoons. It’s not just fixing syntax Questions Editors Ask 5. Does the cartoon indulge in offen- and correcting spelling in taglines and sive racial and ethnic stereotyping? balloons. In cartoons, the editor deals Editing cartoons involves mostly asking 6. Is it within the boundary (albeit with ideas expressed starkly, brutally, questions. Editors must reflect on a porous) of fairness? through an art form for the masses. series of questions instinctively and do 7. Is it in reasonably good taste or The opinion is expressed in , so in a matter of seconds after examin- does it go over the edge? relies on satire, and indulges in exag- ing the sketch. On a few occasions, an geration, sometimes wildly so. editor might sit on the proposed idea These are more subjective questions A cartoonist’s world is black and for an hour or two and even “test” the since they relate far more to the editor’s white, while an editor’s universe is sketch on a colleague in the office. core values and familiarity with com- imbued with shades of gray. The best But it’s most fair to let the cartoonist munity mores. Taking into account the cartoonists are an independent-minded know as soon as possible. Otherwise, sensibilities of loyal editorial page read- breed. Rebellious is a better description. the presumption is that the cartoon is ers, who generally are better informed They are far more likely to question a go and the creator proceeds with the and more sophisticated than other and even denounce their bosses for final drawing. newspaper readers, would be wise. Put “censoring” their masterpieces. Here are some of the questions I another way, going for the jugular is fine, Editors ordinarily are comfortable ask: but hitting below the belt is not.

16 Nieman Reports / Winter 2004 Editorial Cartoons

8. Would I be able to easily explain and patriotism for approving the “out- (DCF). Bob drew the boy standing and defend the cartoon the next rageous,” “beyond the pale,” “racist,” before an angel at the gates of heaven day? “sexist,” “incompetent,” and you name saying, “Connecticut DCF sent me.” it, cartoon. Day in, day out, nothing Social workers were furious. So was The editorial page editor’s judg- else in the newspaper draws as many former Governor John G. Rowland, ment isn’t impeccable, of course. But threats of litigation and bodily harm a regular critic as well as target of editors who cannot defend a cartoon than a cartoon on a touchy topic. the cartoonist, who accused Bob of on the day after shouldn’t have run it The editor’s biggest cartoon chal- sinking to “new depths” because the in the first place. It’s not convincing to lenge is to encourage edgy work without cartoon “made fun of the death of argue, “Well, that’s not the newspaper’s the cartoonist and his boss falling off the the boy.” opinion. It’s Englehart’s opinion. His cliff. A successful cartoonist challenges name is on the cartoon.” conventional thinking, stimulates Tough cartoons? Yes. Borderline on Local cartoonists, whose work ap- thought, skewers misbehaving figures, taste? Maybe. Defensible under the pears next to the masthead, cannot be deflates self-righteous, pompous char- circumstances? Yes. totally separated from their newspapers. acters, and flushes out hypocrites. A suc- There are editing misfires, of course. Many readers regard cartoons as quasi cessful editor coaches, indeed cheers, Early in the presidential campaign, Bob editorials expressing the newspaper’s the cartoonist—up to a point. proposed a cartoon showing a low-IQ opinions. That’s one reason publishers What follows are examples of car- type who says, “Kerry Doesn’t Have a often ask to see the cartoon before its toons that caused fireworks: Chance!” Bob attached a button on publication. the man’s shirt that read, “Morons for • At a meeting with the editorial board, Bush.” I thought the button wasn’t The Role Editors Play Hartford’s police chief complained needed because it’s obvious from the that fighting crime in the city is all that the man is a moron. Bob Editors must buffer the cartoonists from the more difficult because of a lack agreed, although reluctantly. The next readers and from the nervous publish- of cooperation between law enforc- day, many readers called to ask for a ers. So it’s an editor’s job to say no to a ers and citizens. Bob’s caricature translation of the cartoon. Keeping the cartoon when it must be said and to also was that of an uncooperative black “morons” button would have made the leave the keepers of the steel-tipped, couple telling a black officer that they cartoon clearer, although the message poison-dipped pen a wide swath to would be “acting white” if they gave that only morons are for Bush would be create great work. up the names of known criminals in harsh and fundamentally untrue. To encourage a healthy working rela- their neighborhoods. I asked Bob to tionship with the house cartoonist, a few soften the racial caricatures in his Cultural Misunderstandings ground rules would help. For example, images, but otherwise thought the Bob knew from the start of our associa- cartoon was within bounds. Not so Some of the most hurtful misfires are tion that depicting bodily functions and with many readers, especially African rooted in cultural misunderstandings. using epithets in cartoons would trigger , who let us know. Responding to the climatic churn as- my nervous twitches. I’m also skittish • One of Bob’s most celebrated/de- sociated with the warming of the Pa- about cartoons that deal with religious nounced cartoons targeted Con- cific Ocean, Bob drew a cartoon with symbols, especially when caricaturing necticut’s biggest electric power a character shouting, “Curse you, El Jesus, Mary, Muhammad or the pope provider Northeast Utilities (N.U.) Niño!” Many Hartford Latinos (at least and using the cross, the Star of David, after it asked state regulators for a one-third of the city) were shocked and or the Muslim crescent. substantial rate hike. Responding to angry because El Niño in Spanish refers But those are not ironclad rules. the request, Bob drew N.U.’s logo to the infant Jesus. They’re guideposts. Alas, sex scandals with the image of a screw next to the Years ago, when Hartford’s first-ever involving the clergy require biting car- U. Screw you? Hundreds of readers black mayor announced his intention toon commentary. So do church lobby- demanded that the editor and the to seek reelection, Bob drew him as a ing and pronouncements on abortion, cartoonist be fired for tolerating janitor sitting in city hall’s broom closet. gay marriage, birth control, and stem such “crude” and “vulgar” work in The cartoonist used the metaphor to cell research. the oldest newspaper (1764) in the show the ineffectiveness of Hartford’s Predicting how readers will react to nation. weak-mayor/strong city council govern- a tough cartoon is a hopeless exercise, • Bob went after state bureaucrats fol- ment system. The intended message: although editors try anyway. There were lowing the death of a 3-year-old boy Why does anyone want to be mayor in days when I came prepared to deal from a broken family who was choked this city? But African Americans didn’t with a deluge of denunciations and by his prospective adoptive father. see it that way. Picturing the mayor nothing happened. There were also Stories described sloppy supervi- as a janitor, they told us, reinforced red-letter days when hordes of readers sion of the boy by the Connecticut stereotypes of blacks capable only of challenged my decency, common sense, Department of Children and Families menial work.

Nieman Reports / Winter 2004 17 Journalist’s Trade

Muslims were enraged in 2002 when Israeli leaders, gun control opponents, ing between editorial page editors and a cartoon linked Islam to 9/11, the mur- people with physical handicaps, labor good cartoonists. ■ der of Daniel Pearl, and the incineration union bosses, and corporate leaders. of a trainload of Hindus. Catholics were When asked by the Courant’s reader John Zakarian, a 1969 Nieman similarly outraged when a cartoon told advocate if he is “an equal-opportunity Fellow, recently retired as editorial Pope John Paul II that he is all wrong hater,” Bob didn’t mince words: “Yes. page editor and vice president of The on stem cell research. I don’t like anybody. I think everyone Hartford Courant. Bob doesn’t believe in special dispen- is prone to corruption and foul play sation to any group or individual. His ….”  [email protected] targets have included Native Americans, There is no such thing as safe danc-

The Fixable Decline of Editorial Cartooning Editorial page editors and business decisions combine to weaken what is the strength of editorial cartoons.

By Chris Lamb

he terrorism attacks of September with a strip pointing out that President 11, 2001 profoundly changed Bush and his administration were using Tthe rules of engagement for the tragedy to move their conservative America’s editorial cartoonists, who agenda forward. One drawing shows directed their sense of outrage at a Bush’s chief political aide world that was shifting uneasily under telling the President that several of their drawing boards, leaving them the controversial items on his political struggling to convey their reactions in agenda were “justified by the war against a single image. In the days and weeks terrorism!” Bush replies: “Wow … what that followed, editorial pages were a coincidence … thanks evildoers!” strewn with images of fiery twin towers, The Bush administration insisted it weeping Statues of Liberty, snarling bald needed to increase its authority to win eagles, and resolute Uncle Sams rolling the war on terrorism. Congress quickly up their sleeves to march into hell for passed the USA Patriot Act, which pro- a heavenly cause. vided the Justice Department and other Amid the chaos of the first great crisis agencies wide latitude to disregard the of the 21st century, most Americans, Bill of Rights for purposes of surveil- including cartoonists, believed it was lance and law enforcement. inappropriate, even unpatriotic, to criti- Still, most editorial cartoonists cize President George W. Bush. Garry condemned America’s enemies but Trudeau, who draws “,” refrained from questioning the Bush canceled a series of strips critical of the administration, either willingly sup- President. Syndicated cartoonist Pat Oli- porting the President or fearful of phant, who has a well-deserved reputa- incurring the wrath of their editors or tion for merciless satire, said cartoonists readers. Editorial cartoonist Ann Teln- Cartoonists and Patriotism had to support the administration—at aes scolded those in her profession for least for the time being. being government cheerleaders. [See But what happens when First Amend- Soon after the terrorist attacks, Telnaes’ article on page 28.] She’s right. ment theory clashes with more than however, a few cartoonists returned Cartoonists should not be government 3,000 people dying in acts of atrocious to social satire, believing—contrary propagandists. As social critics, cartoon- inhumanity followed by the reality of a to many of their colleagues and read- ists should keep a vigilant eye on the war against an unseen enemy? In this fog ers—that giving our leaders a free pass democracy and those threatening it, of war, those cartoonists who criticized during times of crisis undermines our whether the threats come from outside the administration had their patriotism democracy. Trudeau ended his armistice or inside the country. questioned, their lives threatened, and

18 Nieman Reports / Winter 2004 Editorial Cartoons their livelihoods jeopardized. Using shameless nationalistic blather, then spokesman Ari Fleischer condemned a cartoon criti- cal of Bush that appeared in a small New Hampshire newspaper, resulting in the firing of the newspaper’s editor and the vilification of the cartoonist. The New York Times dropped Ted Rall from its Web site because of his harsh criticism of the Bush administration. Scott Stantis, then the president of the American Association of Editorial Cartoonists, said that cartoonists found themselves “under particular scrutiny” after September 11th. “A number of cartoonists have heard ‘You’re a traitor’ anytime they question the President,’” Stantis said. [See the article by Stantis on page 37.] But nothing is more patriotic than social criticism. Editorial cartoons are as irreverent as the Boston Tea Party and as American as the U.S. . The First Amendment doesn’t exist so we can praise our public officials; it exists so we can criticize them. Newspapers who give their cartoonists the freedom to express their views, as free as possible from editorial restraint, reinforce the message that an uninhibited exchange of opinions not only strengthens but also maintains our democracy; in fact, it is necessary for a democracy. The sad state of editorial cartooning is a result of the current economics of the newspaper industry and of editors who have little appreciation for politi- cal satire. As the newspaper industry © Used with permission. /. has declined in both readership and influence so, too, has journalistic deci- and to the point. They cut deeply and and gushing, “At last a perfect soldier!” sion-making by editors, many of whom leave a scar. No editorial on President is a timeless indictment of war. And opt for publishing generic syndicated Lyndon B. Johnson’s administration is Thomas Nast’s drawing of “Boss” Tweed cartoons over provocative, staff-drawn as memorable as ’s drawing as a bag of money remains an enduring cartoons. They do this because the of LBJ lifting up his shirt to reveal his symbol of political corruption. [See cartoons are cheaper, and they gener- gall bladder scar in the shape of Viet- cartoon on page 20.] ate fewer phone calls and e-mails from nam. Herbert Block, or Herblock as he Newspapers must believe that edito- readers. Too many editors want edito- signed his cartoons, captured the anti- rial cartoons have some value, or else rial cartoons to be objective, like news Communist hysteria of the Red Scare by why would they run them every day stories. But that’s not what editorial creating the word “McCarthyism.” Later, on their editorial and op-ed pages? cartoons are supposed to do. Herblock’s portrayal of Their readership studies tell them that climbing out of a sewer made such an editorial cartoons bring readers to the The Value of Editorial impression on Nixon that he later told editorial page. Bruce Dold, the editorial Cartoons an adviser, “I have to erase the Herblock page editor of the Chicago Tribune, says image.” Robert Minor’s searing World that the “cartoon is the best read thing When editorial cartoons are at their War I cartoon of a medical examiner on the editorial page. People think it’s best, they’re like switchblades—simple salivating over a giant headless soldier quick, it’s funny, and often it’s insight-

Nieman Reports / Winter 2004 19 Journalist’s Trade

© Used with permission. Paul Conrad/ Thomas Nast’s “Boss” Tweed drawing en- A World War I cartoon by Robert Minor Los Angeles Times. dures as a symbol of political corruption. shows a medical examiner delighting over what he calls “a perfect soldier.”

ful. It’s often the only laugh on a page Even those newspapers with staff Trudeau, Oliphant, Rall, Telnaes, and of very serious public policy.” cartoonists treat them as illustrators of Jeff Danziger—who are less affected by Dold makes a strong case for a news- their editorial line. In fact, newspaper newsroom pressures. paper having an editorial cartoonist. editors generally give writers of letters But syndication produces its own Yet the Tribune has not had a cartoon- to the editor more freedom than their problems. One measure of success ist since the death of Jeff MacNelly in editorial cartoonists. Unlike letters to in cartooning is to be syndicated. If a 2000. Dold blames economics. But after the editor, editorial cartoons gener- cartoonist yearns to have his drawings four years, this is a tired explanation. ally are not allowed to contradict the appear in more and more newspapers, Other explanations for why newspapers newspaper’s editorial policy. Rare is which translates into more money and don’t have cartoonists are weaker still. the editor who sees his cartoonist as more visibility, he or she tries to appeal Cartoonist Doug Marlette remembers a an independent contractor. The Los to as many readers as possible. For too conversation he had with former New Angeles Times respected Paul Conrad many cartoonists, this produces work York Times editor Max Frankel, when enough to do that; not coincidentally, that is long on punch line but short Marlette asked why the newspaper Conrad, at his best, represented the best on punch; as a result, we get too many didn’t have a staff cartoonist. “The prob- of editorial cartooning. He took on the drawings about Martha Stewart and not lem with editorial cartoonists,” he was high and mighty without fear or favor enough about U.S. Attorney General told, “is that you can’t edit them.” To and was not afraid to turn a mirror on John Ashcroft. which Marlette responded: “Why would us and reveal us not as we want to be Cartoonists are right to blame edi- you want to?” [See article by Marlette but as we are. On the contrary, Michael tors and publishers for not taking their on page 21.] Ramirez, Conrad’s successor at the art seriously. But why should editors Editorial cartoonists are given the Times, often acts as an apologist of the do this when cartoonists don’t take Rodney Dangerfield treatment, which Bush administration. themselves seriously? Too much of suggests that newspapers, unlike their Editorial cartoonists today are less editorial cartooning today is instantly readers, underestimate—and certainly watchdogs of the public trust than forgettable. Too many cartoonists rely underappreciate—the value of humor, lapdogs of the newspaper industry’s on their first drafts, which explains why satire and visual commentary. “The corporate establishment. This has so many cartoons are superficial or look world likes humor but treats it patroniz- been particularly true during the Bush like one another. They’ve abandoned ingly,” E.B. White wrote several decades administration’s war on terrorism when the sense of righteous indignation that ago. “It decorates its serious artists newspapers have abandoned their inspires the profession’s best instincts, with laurels and its wags with Brussels responsibilities to question the govern- or its “killer angels,” as Marlette put it. sprouts. It feels that if a thing is funny ment. Much of the most provocative Marlette was once asked what makes a it can be presumed to be something criticism of the Bush administration has good cartoon, and he answered, “Can less than great because if it were great been drawn by a relatively small num- you remember it? Did it tattoo your it would be wholly serious.” ber of syndicated cartoonists—such as soul?”

20 Nieman Reports / Winter 2004 Editorial Cartoons

Between 80 and 90 editorial car- trust, as they’re intended to do, they just the newspaper’s circulation, but it toonists presently work in full-time might find that their editorial pages also increased political activism. This staff positions for daily newspapers. give readers something to look forward could happen and, in doing so, it would Twenty-five years ago, that number was to in the morning. They can do this by serve as a daily remainder to its readers perhaps twice that size. And cartoonists hiring editorial cartoonists and letting of the importance of social criticism in with jobs feel pressured to obey their them do what editorial cartoonists are a democracy. ■ editors or risk losing their job. Earlier supposed to do: afflict the comfortable this year, John Sherffius of the St. Louis and comfort the afflicted. Chris Lamb is an associate professor Post-Dispatch quit rather than work By preserving editorial cartooning, of communication at the College of within the onerous dictates of an editor newspapers perhaps can save them- Charleston in South Carolina and who insisted that he include criticism selves. The newspaper industry, with author of “Drawn to Extremes: The of Democrats in cartoons that criticized its best days behind it, can learn from Use and Abuse of Editorial Cartoons the Bush administration. the past and do what newspapers did in the United States,” published by Newspaper editors need to quit act- 100 years ago when, as one historian Press in 2004. ing like government bureaucrats and put it, every self-respecting editor had corporate accountants. If they begin a cartoonist on staff and often put his  [email protected] acting like guardians of the public work on Page One. This increased not Freedom of Speech and the Editorial Cartoon ‘Cartoons are the acid test of the First Amendment.’

By Doug Marlette

urt Vonnegut once compared the artist to the canary in the coal Kmine, a hypersensitive creature who alerts hardier life forms to toxic gases by kindly dropping dead. Given the steady demise of editorial cartoon- ists during the past several years, news- papers might begin to wonder about the quality of the air. Cartoonists have been keeling over in startling numbers—down from almost 200 just 20 years ago to fewer than 90 today. The poisonous fumes laying us low are the byproduct of the corporate culture that has engulfed newspapering during the past two decades. It is a bot- tom-line cult of efficiency that threatens not just my own profession but the integrity of journalism and hence the unruly spirit of democracy. © Doug Marlette. Reproduced by permission. That is old news, and we’ve all heard reasons for the disappearance of the for 200 years, from the rise of the tele- without Royko?) Cartoons are the most editorial cartoon. Circulation is down graph to radio and television and now accessible window into the character and budgets are tight. Newsprint costs 24/7 cable news programming. That is of the paper and its town. Yet more soar. Editors forced to cut budgets because the newspaper’s indispens- and more publishers are convincing look around and find the expendable able function has been to shape its themselves that they don’t need a local employee, or the person least like them: community’s very identity through the pen or brush representing them on the the guy or gal who just draws pictures. distinctive voices and personalities on editorial page. Instead of having an artist Newspapers have survived challenges its pages. (Could one imagine Chicago who will continue to shape and reflect

Nieman Reports / Winter 2004 21 Journalist’s Trade

the soul of their community, they get by cherry-picking canned (and cheap) cartoons from syndicates.

Cartoons and the Bottom Line

When I started drawing editorial car- toons in the 1970’s, the profit margins on which newspapers operated were 12 to 14 percent. Today, it’s upwards of 25 percent. Most businesses—even Halliburton and Enron—have been content with five percent. We are told that newspaper operating capital in the low-to-mid-20’s—which, by the way, is on a par with that of pharmaceutical companies—is necessary because so much is required for production. By defining solvency up, the newspaper industry has switched its priorities from the public trust to the wealth of an increasingly centralized community of shareholders. The fate of the editorial cartoon- ists demonstrates how this not only disserves society but also undermines the future the bottom-line watchers are trying to safeguard. Newspapers are playing not to lose when they should be playing to win. Consider how the managers are pursuing the central mandate of their business model: to constantly expand readership. Their position is: “How can we expand readership if we make people mad? Anything that makes people think risks offending them and loses readership.” That the editorial cartoonists’ very reason for being is to provoke helps explain why they are the first to go. (From the same impulse, the old traditions of flirting, horseplay, razzing, smoking and drinking, have been filtered from the newsroom by means of human resources reeduca- tion camps.) We cartoonists represent the untidy, untamable forces that corporate suits have always waged war on. We repre- sent instinct, and we work in the most powerful, primitive and unsettling of vocabularies: images. Cave painting is not the same as hunting and gather- ing. And cartoonists reach the reading public in a place where words just © Doug Marlette. Cartoons reproduced by permission. cannot go.

22 Nieman Reports / Winter 2004 Editorial Cartoons

Cartoons and the First Amendment

But what does the obsolescence of the editorial cartoonist have to do with the health of the democracy? Cartoons are the acid test of the First Amendment. They push the boundaries of free speech by the very qualities that have endangered them: Cartoons are hard to defend. They strain reason and logic. They can’t say “on the other hand.” And for as long as cartoons exist, Americans can be assured that we still have the right and privilege to express controversial opinions and offend powerful interests. The rise of a passive generation of par- ent-pleasing perfection monkeys makes preserving that prerogative seem more urgent than ever. “Minding” is an over- rated virtue. When we don’t exercise our freedom of expression in troublesome ways, we may atrophy our best impulses. The First Amendment, the miracle of our system, is not just a passive shield of protection. In order to maintain our true, nationally defining diversity of ideas, it obligates journalists to be bold, writers to be full- throated and uninhibited, and those blunt instruments of the free press, cartoonists like me, not to self-censor. In order not to lose it, we must use it, swaggering and unapologetic. The insidious unconsciousness of self-censorship can be discerned in the quality of editorial cartoons today. Increasingly in my profession, career- ism seems to have replaced risk-taking. Proficiency stands in for talent. Too many cartoons look like art by commit- tee. Emotional distancing has replaced the raw torque of yesterday’s best. Nobody feels; nobody cares. Nothing is brought up. And the controversies that are generated seem to result as much from the cartoon’s ineptness as its challenging content. Cartoonists have become victims of our cultural irony, delivering postmodern sneers rather than true passion or outrage. Where do they stand? Nobody ever wondered that about Herblock or Conrad. When I got into the business, Ameri- can political cartooning was in the midst of a renaissance. The sixties, in all their cultural and political agitation, had © Doug Marlette. Cartoons reproduced by permission.

Nieman Reports / Winter 2004 23 Journalist’s Trade

reinvigorated the form. A generation of artists raised on television and Mad magazine was further egged on and taunted by Australian Pat Oliphant’s juicy draftsmanship and incendiary content. Bob Dylan said recently that if he were starting out in today’s sterile pop music world, he wouldn’t go into music. I know just how he feels. I’m not sure that spirit can be revived, but I’d like to think so. My immodest proposal as I peek out of the slits in my bunker is that newspapers should save themselves by following not the business model but that model of survival, Mother Nature. A newspaper is an ecosystem, the health of which depends on the fitness of its symbiotic parts. When you eliminate one species, you threaten the vitality of the whole. If only cartoonists were valued as much as snail darters. But we are only canaries. ■

Doug Marlette, a 1981 Nieman Fel- low, is the editorial cartoonist for the Tallahassee (Florida) Democrat and the author of “The Bridge.” He won the for editorial cartooning.

[email protected]

© Doug Marlette. Cartoons reproduced by permission.

24 Nieman Reports / Winter 2004 Editorial Cartoons Why Political Cartoons are Losing Their Influence ‘How did it happen that such a confrontational art form … could be allowed to fall into disregard, disuse and ultimate dismissal?’

By Patrick Oliphant

f one compares, in this time of na- tional crisis, the years of the Bush Ipresidency with those of the Nixon presidency, and if we make this compari- son from the perspective of the political cartoon, one thing becomes apparent: the influence is missing. It is only 30 years since the glory times of Bob Haldeman and and all the other stars of the support- ing Watergate cast. There was drama, detective work, skullduggery, secret files, paranoia and (bless them both for humorous relief), Martha Mitchell and Al Haig. Cartoonists need villains and, in those happy times, there were villains galore. The political cartoon responded to this wonderful circumstance by pro- ducing satire of exceptional quality—as Bill Mauldin remarked soon after, “Even the bad cartoonists were drawing good © Patrick Oliphant. Reproduced by permission. cartoons.” It is no stretch to claim that the political cartoon had a distinct influ- ence on the termination of the Nixon form (and that is what political cartoon- chains, or clueless cereal manufacturers presidency. The Nixon years were, all ing is, when properly done) could be and the like, bottom-line journalism was things considered, bloody good fun. allowed to fall into disregard, disuse born. This heralded the beginning of the Goodbye to all that. In retrospect it and ultimate dismissal? death of Controversy. Controversy, that all seems like comic opera, for what we There are manifold causes. Thirty life force behind the political cartoon, thought of as a national emergency in years ago, the idea of a country full is of course completely anathema to those days pales to an almost ghostly of one-newspaper towns was nothing those nursing the books: when you insignificance when compared with more than a rumor; papers collapsed are making 20 to 30 percent on your what we now face. The villains are here and there, certainly, but these investment annually, there’s no point all in place again, different villains, of seemed to be isolated cases and were in making waves. course, but this time both foreign and not cause for alarm. The idea of news- Those whom we could refer to, homegrown, with the latter as scary and papers becoming corporate entities with proper , as menacing as the former. that existed to serve the stockholders the graphically challenged, are firmly And where is the political cartoon rather than the public, while not an entrenched in newspapers now. A better when we need it? That once-potent unheard-of possibility, was not seriously term for them would be visual illiterates. galvanizer of opinion, the kick-starter of considered. Whatever, today they occupy the roles of conversation and discussion, has been editors and political cartoonists in too allowed to atrophy from disuse, and Demise of Cartoon many papers. To see how little attention is, after several centuries of successful Controversy these worthies give these days to the use as a castigator and common scold actual structure of a cartoon, and the of the body politic, in great jeopardy When the competition was removed disregard they display for at least some of fading away altogether. How did it and the once-proud and principled semblance of accurate caricature and happen that such a confrontational art newspaper fell into the hands of greedy the fundamentals of design and draw-

Nieman Reports / Winter 2004 25 Journalist’s Trade

ing—the vital elements in this form of newspaper of record,” and that has for for President?) and through their loss expression—one can simply turn to the long ages avoided having a cartoonist of focus continue chasing after such il- weekend editorial pages of, for instance, of its own, sees nothing odd in turning lusions as youth readership, whatever The New York Times, and study the loose a Maureen Dowd to delightfully that is, and continue to pander to the egregious collection of space-stuffers lacerate the world with what can be sinister influences of political correct- displayed there. accurately described as written politi- ness—another nail in Controversy’s cof- A cartoon graveyard, it illustrates cal cartoons. fin—or run a contentious cartoon one how the true use and purpose of a So one could say that The New York day and offer abject apologies for it the political cartoon passes out of editorial Times does, in fact, have a political car- next, their influence and the influence memory in time and eventually disap- toonist, but the dullards that be haven’t of the political cartoon will commen- pears altogether, to be replaced by a realized it yet. surately decrease, and we cartoonists frozen assemblage of sausage-fingered, So is this the future? Will political and the ship we sail in will all slowly big-nosed giggle panels that apparently cartoons be replaced by invective crafted sink giggling into the sea. ■ pass for legitimate comment in the view from words that, however brilliantly of the editor who marshals this com- done, will always lack the extra thou- Patrick Oliphant has caricatured pilation of dreck. In my imagination, sand-word perspective a picture offers? eight U.S. presidents beginning with this person, a sandwich in one hand Surely not. But I am a traditionalist who Lyndon Johnson. His cartoons have listlessly sifts through a pile of cartoons has always wanted to believe in news- been distributed by Universal Press with the other, dripping mayonnaise papers, and believe still, despite the Syndicate since 1980. He won the and tossing aside anything that might Internet and other diversions, that po- Pulitzer Prize for editorial cartoon- give offense or distress, or threaten litical cartoons belong in newspapers. ing in 1967 and has not entered his the world order with An Opinion. Par- But as long as newspapers themselves work since then. enthetically, this particular newspaper, continue to lose influence (does anyone long regarded by itself and others as “the really care any more whom they endorse

© Patrick Oliphant. Reproduced by permission.

26 Nieman Reports / Winter 2004 Editorial Cartoons

© Patrick Oliphant. Cartoons reproduced by permission.

Nieman Reports / Winter 2004 27 Journalist’s Trade The Red, White and Blue Palette What happens when cartoonists let fear and pressure soften their vigilant voices?

In October, cartoonist Ann Telnaes How did the news media react after How did they react after 9/11 and the spoke at the 2004 Festival of Cartoon 9/11 to this spreading cloud of patriotic ? Did they drink the Kool-Aid, Art at Ohio State University. The title intimidation? The overall performance too? Or were cartoonists among the of her talk was “The Red, White and of the television news was dismal. After first in the press to question the actions Blue Scare,” and edited excerpts from the terrorist attacks, then leading up to and justifications of the administra- her remarks are printed below. As her and during the Iraq War, many journal- tion? Some cartoonists did question, talk began, Telnaes had the follow- ists turned into flag-waving cheerlead- even under pressure from editors and ing words projected onto the screen ers. Publications like The Washington intense criticism from readers—but behind her: Post and The New York Times recently most didn’t. “Disgusting and lacking patrio- ran stories questioning their own pre- Being human, it was natural that tism.” war coverage. CNN reporter Christiane cartoonists had feelings of wanting to “Anti-American …” —Written com- Amanpour, when asked by CNBC band together with their fellow citizens ments in guest book for Humor’s Edge commentator Tina Brown if “we in the in times of crisis. But as a whole, Ameri- exhibition, Library of Congress, Wash- media, as much as in the administra- can editorial cartoonists were slow to ington, D.C. tion, drank the Kool-Aid when it came break free of flag-waving images, what to the war” answered that she thought I call “the red/white/blue cartoons.” hortly after 9/11 the political sati- the press was muzzled and that they’d Jingoism colored many cartoons and rist Bill Maher made a comment muzzled themselves. self-censorship, whether voluntary or Son his television show that the What about the editorial cartoonists? a reaction to editorial pressure, was terrorists were not cowards. There was an immediate public outcry, politicians denounced him, and the White House press secretary warned, “… they’re reminders to all Americans that they need to watch what they say and watch what they do.” In an appearance before the Senate Judiciary Committee, Attorney General John Ashcroft accused critics of the administration’s domestic antiterror- ism measures of aiding the terrorists. And conservative activist and columnist Phyllis Schlafly wrote, “Let’s bring back the House Committee on Un-Ameri- can Activities. We need congressional watchdogs to close the cracks in our internal security.” Even now, three years after 9/11, ac- cusations of anti-Americanism and calls for limitations on free speech continue. During the Democratic convention, a wire-link and barbed wire fence pen was constructed for antiwar protestors. The Bush campaign held invitation only “Ask President Bush” rallies where several attendees who wore anti-Bush T-shirts were forced to leave. In one instance, a mother whose son had died in Iraq was arrested after interrupting a speech by Laura Bush.

28 Nieman Reports / Winter 2004 Editorial Cartoons very evident in the work of cartoonists cartoonists we don’t challenge and poke say essential—role in this nation’s politi- after 9/11. the pompous and the powerful, then all cal dialogue during pivotal times in our Recently a colleague of mine, whose we do is illustrate propaganda. Defend- history. Instead of following the status earlier work had supported the adminis- ing the right of free speech is our first quo, they spoke out against the po- tration’s justifications for invading Iraq, responsibility; it’s that constitutional litical and social majority. And that was admitted to me that the reason he did right that enables us to do our job. It because their palette’s colors weren’t was because he wanted to trust our is our protection to express whichever limited to red, white and blue. ■ leaders and not question them in times opinion we choose without the threat of war. Once I also heard a cartoonist of beatings and arrests that face our Ann Telnaes won the 2001 Pulitzer during a panel discussion at a cartoon colleagues in other countries who lack Prize for editorial cartooning. In convention contend that we shouldn’t this protection. We do our profession a 2004, an exhibit at the Library of criticize the government in times of war. disservice if we turn a blind eye to our Congress featured 81 of her cartoons, But I believe our role as editorial car- leaders’ intimidation of dissent and as does her recent book, “Humor’s toonists is precisely that—to question disregard for the constitutional rights Edge: Cartoons by Ann Telnaes,” pub- authority and not blindly follow it. of all Americans. Legendary cartoonists lished by Pomegranate in July 2004. Each of us brings to our job an like Thomas Nast, Herblock, and Paul ideological slant. But if in our roles as Conrad each played an important—I’d  [email protected]

© Ann Telnaes cartoons courtesy of Tribune Media Services.

Nieman Reports / Winter 2004 29 Journalist’s Trade Where the Girls Aren’t Why editorial cartooning is still a boy’s sport.

By Signe Wilkinson

hile there is an acute national wiped out by a good hurricane. get older and their day-to-day demands shortage of female editorial There would be more women in the fade, I find the time I can spend on my Wcartoonists, there is no short- field if there were more jobs for car- drawings is getting longer. age of people asking why. Academics and toonists generally and more jobs with But I could still use a wife. In addi- journalists who wonder why there are editors who didn’t look at the prospec- tion to the cooking and cleaning, she so few women cartoonists outnumber tive applicant and see a woman rather could appear on cartooning panels that the women who actually draw cartoons. than a cartoonist. Whereas an editor need a woman, go to conferences about There are some simple answers. It is my might hire a woman editorial writer women in the arts and/or journalism, experience that most women don’t like with the assurance that any possible and write articles about why there are opening their e-mail to find greetings urges to write feminist screeds would so few women cartoonists. like, “You liberal cocksucker.” be mitigated within the “editorial we,” Ultimately, writing or talking on the Who would like receiving a daily dose these same editors understand that “why are there so few women” ques- of hate mail—besides puerile little boys there is no “cartoonist we.” Since I was tion just doesn’t matter. This article who love picking fights? In other words, hired at the San Jose Mercury News in will change nothing. Women of humor who besides editorial cartoonists? 1982, only one other woman has been will continue to emerge, and the really Women spend a good portion of hired as a full-time cartoonist at a major smart ones won’t bother going into their child-rearing careers breaking up daily newspaper, and that was in 1995 newspaper cartooning if there continue fights. Cartoonists spend their entire when I was hired at the Philadelphia to be so few jobs. They will go directly careers starting them. When they aren’t Daily News. If sex weren’t a factor, to the Internet or cable or wherever separating small combatants, women Ann Telnaes, the 2001 Pulitzer Prize- creative satirists are now going. are saying, “Be nice.” Cartoonists are winner, would have a staff cartooning Still, I have to be grateful to the staff never nice. As my daughter so kindly job by now. at the Nieman Foundation for asking me points out, “Mom! How can you look And there is the ideology. If conser- to write on this subject. After all, they at yourself in the mirror when all you vative commentator drew gave me my punch line: do is make fun of people?” her opinions as cartoons, she’d have a A real woman would say, “You’re job tomorrow. Possibly two jobs. Nieman Foundation right, dear. I am quitting right now to Lastly, insofar as my first editor at the at Harvard University treat AIDS victims in Africa, to teach in San Jose Mercury News was looking for the inner city, or to fight for women’s “diversity,” being a woman was a great Dear Mr. Wilkinson, rights in .” Obviously, I’m career move for me. I don’t feel guilty. Melissa Ludtke has asked me to send not a real woman. I am a cartoonist Having a wife has been a great career you this packet of the recent issues of woman. My only excuse is that my job move for many of my male colleagues, Nieman Reports. allows me to occasionally draw in de- particularly those with children. My Thank you. fense of AIDS victims, for better schools husband continues to be a profound Best regards, in the inner city, and against attacks on source of strength through the roughest women’s rights around the globe. career patches, and I am deeply grateful Nieman Reports And I’m not alone. Plenty of my male to him. Still, he doesn’t do laundry, wait counterparts draw great cartoons on for plumbers, or arrange carpooling, all Of course, being addressed as Mr. “women’s” issues. Much as I admire of which can fracture the precious time Wilkinson is the biggest complement their work, however, true liberation is one needs to think up a cartoon. Getting I could receive. I’m finally a cartoon- not having a man draw cartoons defend- in touch with your muse is harder when ist. ■ ing your rights, but being able to draw you have to be getting in touch with the your own cartoons. Fortunately, there is pediatrician, pharmacist and babysit- Signe Wilkinson is the editorial a small flock of women who choose to ter at the same time. A female writer cartoonist for the Philadelphia Daily express their politics through their art. once quoted in The New York Times News. It’s hard to tell whether it’s a growing Book Review said that raising children flock or not. It’s still so small that, like meant (and I quote from memory), “My a flock of sandhill cranes, it could be sentences got shorter.” As my children  [email protected]

30 Nieman Reports / Winter 2004 Editorial Cartoons

This cartoon is an example of the many Signe Wilkinson does on local issues, in this case gambling, which is just beginning in Pennsylvania.

© Signe Wilkinson, Philadelphia Daily News. Reproduced by permission.

Nieman Reports / Winter 2004 31 Journalist’s Trade Debunking the Explanations Given for Lost Jobs A cartoonist offers reasons why editorial page cartoons need to survive.

By Joel Pett

ost people who work in jour- nalism have gotten wind that Mthere is trouble in toontown. Newspaper jobs continue to dwindle. The industry behemoths who have long done without cartoonists, like and The New York Times, are part of a long list, including the St. Louis Post-Dispatch, the Chicago Tribune, and . The Knight Ridder corporate brass in San Jose might well wonder why any of their papers employs a cartoonist, since the hometown Mercury News gets along fine using syndicated stuff. And word of a job loss within the ranks is hardly news in the online chatroom of the Association of American Edito- rial Cartoonists. No cartoonist I know encourages young people who inquire to pursue this as a career. © Joel Pett. Reproduced by permission. So, what’s happening? Here are the usual suspects: but visual columns, strong opinion sion, an easy-to-absorb visual media 1. Money. Papers are losing readers pieces. When relegated to sideshow where opinions fly fast and furious. and ad revenue is tougher to come status, cartoons become basic filler, But what mirrors that in a newspaper by. Why pay someone full time not the type of stuff you pay some- better than an editorial cartoon? And when for a few dollars a week you one a full-time salary to produce. while it might make short-term sense can buy syndicated cartoons? 5. The One-Paper Town. In the old to let a cartoonist go, in the long run 2. Fear. A good editorial cartoon days it was fine to be opinionated a newspaper cuts its own throat by probably annoys, and might even and one-sided. But today a lot of making the paper less interesting by anger, at least half your audience editors are uneasy about bludgeon- robbing it of personality. Sacking the on any day. “Hey, these are our ing their readers with the inherent- cartoonist also deprives a paper of local customers—why make them mad?” ly unbalanced work of cartoonists. cartoons, which can get a community 3. Laziness. Good cartooning, like all 6. The Might of the Right. Although talking about your pages. Besides, it’s aspects of journalism, takes work. dozens of conservative cartoonists widely known that the news industry Finding a cartoonist is work. Work- work at papers today, most of the isn’t going broke; newspapers could ing with a cartoonist is work. Argu- big-circulation names are liberals. well afford to hire cartoonists, if it was ing with a cartoonist about their (Few good satirists are interested a priority. approach is work. Taking the phone in protecting the status quo.) In Do we anger readers? Sure we do, and calls that go along with having a today’s political climate, there’s a infuriates me, which cartoonist is work. Why bother? lot of pressure to be “fair and bal- is why I listen to him. Same with Bill 4. Ignorance. Thanks in no small anced,” and some of this pressure O’Reilly or, for that matter, President part to the editors at , an comes from the publisher’s office. Bush. If you want everyone to like entire generation of journalists has you, you’re in the wrong business. The grown into their careers blissfully None of these explanations for our charge of laziness is, I think, true. I’ve unaware that editorial cartoons demise stand up to reason. Yes, papers seen plenty of word-weary editors and aren’t just jokes about the news, are losing readers, primarily to televi- op-ed editors who just can’t be both-

32 Nieman Reports / Winter 2004 Editorial Cartoons ered when it comes to thinking about the editorial page cartoon, given the crush of their deadlines. One cartoon is as good as the next, as long as it fits the space and doesn’t cause them to take phone calls. The disservice done by the dumbing down of the craft is almost immeasur- able. Though I named Newsweek, that magazine has plenty of allies including, all too often, the Week in Review edi- tors at The New York Times. My sense is that they substitute their issue-fatigue, which sets in after years of poring over serious and often-grim news reports, for journalistic judgment. When they see something that brightens their day by giving them a chuckle, they publish it. Trouble is, the readers have plenty of entertainment-chuckle options. They turn to the editorial pages specifically © Joel Pett. Reproduced by permission. for the opposite. But try telling a big-city editor they’ve got it all wrong. Believe me, they’ve earned their reputations and originality displayed by my peers, Joel Pett is the Pulitzer Prize-winning for arrogance. even when I don’t agree with them. editorial cartoonist for the Lexington Editors in one-paper markets have As for handling pressure, here’s a Herald-Leader. He also draws for a responsibility to be fair. Applied to novel idea for editors about dealing with USA Today, and his cartoons are dis- cartooning, this means publishing a lot conservative critics, politically correct tributed by Cartoonists and Writers from many viewpoints. It’s not hard; it liberals, single-issue interest groups, Syndicate. just takes a little effort. Since I’ve been and even publishers: Stand up to them, involved with selecting cartoons for the and show a little courage of your con-  [email protected] Sunday Los Angeles Times for the past victions. Journalism isn’t just another few months, I’ve been truly impressed business, it’s critical to the conduct of at the range of imagination, creativity democracy, remember? ■ Martha Stewart or Genocide: The Cartoonists’ Conundrum The role of humor in editorial cartoons is being debated.

By Steve Kelley

It’s not funny.” With those words, It was emblematic, perhaps, of the Jeff MacNelly. One media writer might my first editor would kill my car- landscape nearly 25 years ago when I have put it best when he described “toon. The hours I’d spent digesting started my editorial cartooning career. MacNelly as “a stand-up comedian who news and constructing the cartoon’s The idea was at last taking hold among sat down in ink.” elaborate and penetrating metaphor editors that the cartoons on their edi- Fast-forward to September 19th of would evaporate. Nothing I could say, torial pages, at least to some degree, this year. In a Los Angeles Times column no logic I might invoke—“The tree is the ought to amuse readers. The dark, entitled “Cream of the Crop, or Mush?” Middle East and the beehive is the PLO heavy-stroke style of Bill Mauldin and Lexington Herald-Leader cartoonist Joel …”—could hope to reclaim the idea. It Herblock was being eclipsed by the Pett argues that too many of the politi- had been deemed “not funny.” fine-lined whimsy of Pat Oliphant and cal cartoons reprinted in prominent,

Nieman Reports / Winter 2004 33 Journalist’s Trade

national news venues might be amus- ing, but seem to lack any redeeming editorial value. Pett, whose savagely incisive cartoons won him a Pulitzer Prize, decries what he sees as the will- ful backsliding of our profession. [See Pett’s article on page 32.]

Debating Humor’s Place

Pett’s column represents the spilling over of a debate that has heretofore boiled mostly among cartoonists our- selves, a dispute on which we are as divided as the national electorate was on the presidential race. Many of my colleagues contend, as Pett does, that we often dilute our message, if not overpower it altogether, by our com- pulsion to be funny. The more humor a cartoon has, the argument goes, the more philosophically anorexic it is apt to be. Further, they insist that commen- tary about pop culture and celebrities © 2004 Steve Kelley. Reproduced by permission. violates the sanctity of our location in the paper—that seeing a cartoon about on the editorial page cartoons are a favorite staple for read- must-have toy to the baby Jesus? How is like seeing a ceiling fan in the Sistine ers. They require little time to ingest, often have we drawn a television set Chapel. which is an advantage, but that could spewing garbage on the living room Others, just as vehemently, dis- be said of department store ads, and floor? When these cartoons fall flat, we agree. everyone isn’t flocking to them. What blame what is most obvious: the lame This much is indisputable: Humor is the cartoon offers, that so little else in attempt at humor or irony on which a powerful means by which to attract the paper does, is a measure of levity. the cartoon is built. people’s attention and sell an idea. It’s To borrow somewhat from Pett’s lament seems to be less with why people enjoy being around some- (and oh, how that pains me), “It’s the the cartoonists for being funny at one who is funny, why public speakers humor, stupid.” times than with the editors at the Big are taught to begin their remarks with Quite simply, humor is a narcotic for Three—Newsweek, USA Today, and The a joke, and why so many television readers and, whether we admit it or not, New York Times—for their predilections commercials promoting products as to some degree we’re all dealers. Even toward kinder, gentler cartoons. He is hysterical as, say, nasal spray, make their cartoonists who believe funny cartoons not alone. pitch in a way that is, at least ostensibly, somehow blaspheme our profession At our convention each year, we funny. routinely exaggerate politicians’ fea- spend more time jawing about the Humor is like the “free gift” my bank tures for effect. If caricature is not meant Big Three’s cartoon selections than is forever offering new customers. It to amuse, then why do it? any other topic. I suspect most of our helps create a relationship in a world The problem really isn’t that cartoon- grousing is motivated more by pettiness competing for consumers’ attention. ists are trying to produce work that is than any exalted journalistic principle. Humor encourages readers to add the funny. Our increasingly conspicuous At least mine is. cartoonist to their subconscious list of failing is that we make obvious attempts We surrender to the impulse to must-reads. In that way, the humor in at humor only to come up short. Some produce “lite” cartoons occasionally, a cartoon on Tuesday actually increases of these cartoons are painfully predict- in part because it’s good to vary our the impact of Wednesday’s cartoon able, some are poorly written, and many, pitches, but also because we periodi- by inducing readers to return to their many employ tired, hackneyed ideas cally weaken and give the people what source of amusement. that we merely retread with updated they want. Every day we walk into a Despite the internal fisticuffs, the in- news. How many incarnations of the cafeteria of possible cartoon subjects, fusion of humor has proven profoundly CBS “black eye” have we produced? and somewhere in the course of look- beneficial to us collectively. Newspaper How many times have we depicted ing around, we put a topic on our tray. surveys routinely reveal that editorial the three wise men bringing this year’s Are we all expected to make the same

34 Nieman Reports / Winter 2004 Editorial Cartoons selection each day? Is it not possible that republish cartoons about fad diets and doggedly independent as political car- a story foregone today can be selected Martha Stewart instead of famine and toonists, who seethe at nothing as much tomorrow? genocide. as being told by an editor what to draw What matters most is that over time While many cartoonists note that or not to draw, would labor so intently each of us addresses a variety of sub- job opportunities at newspapers are to impose constraints on one another. jects and remains true to our individual shrinking, and indeed they are, we can Certainly it is not productive. principles and ideals. Some of us will hardly lay the blame on humor. Our The thought that there is a right and instinctively highlight the clownishness numbers increased considerably in the a wrong way to approach what we do of , while others will feel 1970’s and 1980’s because of humor, overlooks that there are infinite means obliged to remind readers of the grav- during a metamorphosis from blunt by which to assail a blowhard politician ity of the situation. And the national and serious cartoons to sharp and witty or to deconstruct a boneheaded piece media can and will republish whatever ones. Call it our “humor-boom genera- of legislation. If William Safire can share they see fit. tion.” As political cartoons became less space on the page with Dave Barry, then dour and ominous, they became more why not Ted Rall and ? Can’t The Content of Cartoons popular, and papers created positions we all just get along? for more of us. What separates us from reporters Are there subjects simply too frivolous The contractions we are enduring and editors is the range we’re given to to warrant an editorial cartoonist’s at- now are in part the consequence of exceed propriety. That’s the beauty of tention? Most editors and cartoonists our (borrowing from Bush this time) our job. We’re handed a huge bag of would agree there are, although as “catastrophic success.” With the influx implements—from scalpel to chain saw, with matters of taste, it’s difficult to of so many talented cartoonists came Louisville Slugger to cream pie—and determine where to draw the line. Yes, the ready availability of their work each of us gets to choose what’s ap- Michael Jackson is just a pop star, but through syndication. In a sense, we of- propriate on any given day. Instead of child abuse matters, right? Cartoons fer newspapers the means by which to pointing fingers at each other, maybe we about how fat kids have become seem outsource each other for a few dollars should be thanking our lucky stars that beside the point at first, but obesity is a week. Does it really surprise any of us we don’t have to sit at the adult table an epidemic of sorts. that in thin economic times newspaper with the rest of the journalists. ■ I published two collections of car- bean counters would do the math? toons and divided each into sections In the face of disappearing jobs, Steve Kelley is editorial cartoon- entitled “Politics” and “Stuff People cartoonists are understandably looking ist with The Times-Picayune in New Actually Care About.” Maybe that sums for ways to improve what we produce. Orleans. His work has won numer- up our collective conundrum and ex- Still, second-guessing the work of our ous awards, including the National plains why national newspapers and colleagues or the judgment of editors Headliner Award in 2001. magazines, intent on attracting readers seems contrary to our nature. It is at rather than challenging them, so often least ironic that members of a group as  [email protected] Local Cartoons Can Convey Universal Significance Our cartoonist called Florida the place where ‘America is working out its fate.’ By Mary Ann Lindley

hen in the summer of 2003 litical place where President George W. seem to supply him with a stimulating the Tallahassee Democrat Bush’s brother, Jeb, presides as gover- outlet for his work. [See Marlette’s Whired Doug Marlette, a Pulit- nor. When criticism comes our way it’s article on page 21.] When he took the zer Prize-winning cartoonist, to be our usually because people don’t think we job, Doug called Florida the nation’s editorial page cartoonist, the decision provide the firepower of papers much, “petri dish,” where America is work- drew much attention within and outside much larger than ours, a complaint that ing out its fate. From hanging chads of our newsroom. I call us “The Little I hear as a variation on a compliment. and voting machine fraud to , Editorial Department That Can” because Hiring Marlette was a kind of antidote from the conservative Hispanic culture while we’re a small paper—with circu- to that complaint. in the southern part of the state to the lation around 65,000 on Sundays—we Though we don’t pay him enough, or more traditionally black culture in the publish in the capital of the fourth even keep Doug’s art-supply cabinets as northern part—with the hurricanes, largest state, a lively academic and po- full as we should, our newspaper does sharks, alligators and Disney sprinkled

Nieman Reports / Winter 2004 35 Journalist’s Trade

in—our unpredictable state clearly does lives, I want editorial cartoons to catch ists I’ve been privileged to meet, Doug have a certain cachet. Nearly everyone for us—in some unexpected way—im- Marlette is a brilliant and perceptive in the country has either visited Florida portant slices from our daily lives and man. But as with any writer, the artist or intends to, or knows a retiree liv- circumstances. That’s why there is such benefits from appropriate care and ing somewhere near our coasts. For joy in receiving a Marlette cartoon that feeding. Though I don’t do this nearly an editorial cartoonist with a national is tailor-made for our audience—a sharp as well as I should, I know he appreci- syndication audience (as Marlette has), putdown of a state attorney’s silly deci- ates it when I take time to brainstorm his principal location means that when sion, or the outrage of liberal academ- and offer up some mental images from he lampoons issues and people at the ics over the invitation to the local parade of horrors or remind local level, he is working from a recog- to give a commencement address, or him of what is the talk at the local coffee nizable touchstone. some faux pas by football coach Bobby shop. A well-placed word to the artist Not many newspapers is sufficient. are hiring editorial car- As with the best es- toonists these days. The But while many newspaper editors sayists and columnists, exceptionally good artists realize they need to move aggressively an editorial cartoonist are syndicated and cheaply can often make a uni- available to papers whose to bring more and better local reporting versal point with a local editorial page editors ap- and images to news coverage, they angle and give readers an pear to be content to let consider hiring an artist for editorial original perspective. I’d their op-ed and editorial encourage more news- pages reflect primarily cartoons about hometown topics to be a papers to take a leap national or international is- luxury for all but the largest papers. Even and hire an editorial sues. Perhaps they assume, some of the larger papers are now opting cartoonist. Especially in not inaccurately, that letters this time-short world to the editor about these out of this tradition. where younger readers cartoons will provide the and ultra-busy readers local comic relief. But while tend to look for a quick many newspaper editors “read” and fast “got it” bit realize they need to move aggressively Bowden at . of information, there is nothing better to bring more and better local report- These cartoons get the phones ring- than the laconic editorial cartoon to ing and images to news coverage, they ing, the e-mail popping up, and put a juice up an editorial page. ■ consider hiring an artist for editorial signature on our paper. cartoons about hometown topics to be Responding to the irate reader is all Mary Ann Lindley has been editorial a luxury for all but the largest papers. in a day’s work for an editorial page page editor of the Tallahassee Demo- Even some of the larger papers are now editor, and I handle most of the calls crat for six years. She was previ- opting out of this tradition. we receive. It is undeniably more com- ously a columnist with the Democrat Cartoonists bear some blame for this plicated, however, to explain how a and Knight Ridder newspapers and decline. As an editor, I get tired of seeing drawing is another form of opinion, too, worked as a political writer and edi- a homogenized stream of cartoons pour and why an unflattering nose and goofy tor for The New York Times Affiliated in from syndicated cartoonists whose look isn’t just a form of rudeness but, Newspaper Group in Florida and for work we also purchase and publish (in in fact, a potent, deliberate putdown. The . addition to Doug’s featured cartoon). I It would be easier to help critics over can’t fully appreciate the creative and the hurdle of unkind cartoons, or past  [email protected] competitive pressures that must be on the fact that they don’t see their posi- them to produce these quick visual hits. tion represented often, if we had more Yet with an editor’s eyes, what I see on points of view in cartooning. In fact, as a given day is a desktop full of cartoons editors we don’t enjoy a wide range of about Christopher Reeve’s death, or artistic philosophies to choose from, as Martha Stewart going to jail, or John we do in our selection of columnists. Kerry’s flip-flops, and this singularity The cartooning industry is low on of focus is not helpful to producing an conservative editorial cartoonists and unexpected and compelling editorial on minority cartoonists; the female product. editorial cartoonist might be described Just as editorial page editors work as an endangered species, except that hard to have op-ed pages reflect not historically there never have been very just predictable public policy debates many. but other aspects of our culture and As with most of the editorial cartoon-

36 Nieman Reports / Winter 2004 Editorial Cartoons Understanding the Value of the Local Connection ‘… my cartoons provide another opportunity to carry on a conversation with the people who live here.’

By Scott Stantis

ook back 23 years to the day when President was shot Lto find out why there are so many fewer staff editorial cartoonists today. When word reached cartoonists, they got to drawing so they could share the shock and outrage with readers in the next day’s newspaper. Back then, I was freelancing with the Daily Breeze, a suburban daily in the Los Angeles area, so I called to ask if they wanted a cartoon. And, of course, they did. Had they waited to use a syndicated cartoon, it wouldn’t have been published for at least two days, assuming they paid the Federal Express overnight rate. Leap many years forward to the day when terrorists flew planes into the World Trade Center, Pentagon and a field in Pennsylvania. Newspaper Scott Stantis dubbed Alabama’s former governor Fob James “Tinker Fob,” dressed him editors didn’t need a freelancer; they in a tutu, and gave him a wand. This cartoon is the first appearance of “Tinker Fob.” © didn’t even need a staff cartoonist. A Scott Stantis. Reproduced by permission. stream of editorial cartoons arrived via the Internet almost before the cartoon- ists’ ink was dry. And the editor had a staff cartoonist would far outstrip in- (Alabama) News, my cartoons provide large number of images to select from come they can make with syndication another opportunity to carry on a since newspapers often “subscribe” to and reprints. conversation with the people who live receive the syndicated work of many here. And if I don’t cartoon about the cartoonists. One thing was certain: The Local Connection foibles and squabbles over local and Whatever image was selected, the same state issues, who will? cartoon would appear the same day in Given these market-driving dynam- The late Pulitzer Prize-winning editor the cartoonist’s own newspaper and ics, editors of newspapers don’t have of the editorial pages of The Birming- potentially in other papers in which much motivation to keep an editorial ham News, Ron Casey, used to half joke, editors also decided to “buy” the right cartoonist on staff. Yet the argument “Cartoonists are expensive, and they’re to publish it. can—and should—be made that it is the a lot of trouble.” Thank goodness Ron Today, with the syndication market in newspaper’s best interest—editorially and the rest of the management of this editorial cartoons becoming saturated and commercially—to provide its read- newspaper believe the expense is worth with cheaper products, cartoonists are ers with a connection to local issues, the trouble. still pining for national exposure and not only with reporting but also with Each morning I read the newspaper going the route of syndication to achieve the cartoons it carries. No syndicated to see if there is a local story that war- it. This is understandable; they grew up cartoonist has the ability to tap into local rants a cartoon. Only when I decide seeing their role models published in issues or a community’s mindset. there isn’t do I move on to national the pages of their local newspapers as If the role of a cartoonist is viewed as and international issues. This is not to well as in the weekly round-ups. So the being like that of a columnist—some- argue that local news always trumps the lure of syndication holds strong sway one whose work truly engages read- use of national or international events. with cartoonists, even though their ers—then local cartoons are essential. As On September 12, 2001, it would have potential base salary as a newspaper’s a staff cartoonist with The Birmingham looked darn stupid if the cartoon on

Nieman Reports / Winter 2004 37 Journalist’s Trade

me the “Tinker Fob” series had much to do with James’s defeat. That is the highest praise for any editorial cartoon- ist to receive. As with so many things, there’s a middle road on which cartoonists can travel. Through the Copley News Ser- vice, my cartoons are syndicated to more than 400 newspapers, and I also do one cartoon a week for USA Today. I like to think I have something of a national reputation as an editorial cartoonist. I cherish this. But even more important to me is the reputation I have among my newspaper’s readers in Alabama. ■

Scott Stantis is editorial cartoonist for The Birmingham News, a weekly contributor to USA Today, and a syndicated cartoonist with the Cop- © Scott Stantis. Reproduced by permission. ley News Service. His new political comic strip was recently launched by Universal Press Syndi- The Birmingham News editorial page cent higher. cate. He is a past president of the was about a sewer bond issue. When our former governor, Fob Association of American Editorial At the end of each year I make two James, became more and more silly I Cartoonists. stacks of my cartoons: one contains dressed him in a tutu, gave him a wand, national issues, the other holds the local and dubbed him “Tinker Fob.” The im-  [email protected] ones. With the exception of 2001, every age resonated with readers around the year I have worked for The Birmingham state, and he lost his bid for reelection. News the local stack is at least 20 per- The next governor’s chief of staff told

Squeezing Originality Out of Editorial Cartoons ‘The resulting sameness of so much of our work has left us vulnerable.’

By Ed Stein

he Denver Post used to run a ing cinematic landscape, which would complete with weathered bait shops, daily teaser for Pat Oliphant’s completely transform the medium. rusty pickup trucks, and run-down Tcartoon, with a small cut from Because I lived in Denver, I got to railroad whistle stops, he was creating the drawing, on the front page. I was see it first. strikingly innovative cartoons. still drawing for my campus paper and Not too many years later, when I was About that time I began to notice just beginning to dream of a career as looking for work, carrying my hopeful Mike Peters, who was adding a unique an editorial cartoonist. I would try to little portfolio from paper to paper, I new comic sensibility to his work, envision Oliphant’s whole drawing spent a month in Richmond, . somehow successfully combining the from that tiny detail before opening the I couldn’t wait to open the Richmond high purpose of journalism with the paper, but my imagination was never as News Leader every morning to see what slapstick of The Three Stooges. grand as the real opus. Oliphant was new marvel Jeff MacNelly had produced. I mention these three editorial car- reinventing editorial cartooning before With his seemingly inexhaustible sup- toonists because they were such origi- my very eyes, creating a whole new ply of new visual metaphors and his nals. Looking at their work, one never graphic language, painting a breathtak- hilarious use of the Southern scenery, had the sense that they spent a lot of

38 Nieman Reports / Winter 2004 Editorial Cartoons

© Ed Stein. Reproduced by permission. time pouring over the drawings of other ists. Even if, like Oliphant, they were clipped from many newspapers and cartoonists. Yes, Oliphant borrowed nationally syndicated cartoonists who saved for future reference. from Sir David Low, and MacNelly and drew little local work, they were still Peters from Oliphant, but mostly they local phenomena—they belonged to Cartoon Look-Alikes seem to have invented themselves out of the communities whose newspapers whole cloth. We cartoonists work—or, they worked for. Hometown readers saw I don’t collect clips any more. Any time at least, we used to—in isolation; we them first and saw all of their work; the I want to, I can see everybody’s work were essentially alone with our draw- rest of us only got to see whatever our on the Internet. ing boards, our pens, and that daunting local paper printed from syndication This wonderful accessibility has a blank sheet of paper every day. It might days or weeks later. serious downside. It has given rise to have been frustrating to be the only per- To travel around the country in the a depressingly homogenous American son on a newspaper staff who did what late 1960’s and early 1970’s meant be- style, not just of drawing but of the way you did, but this isolation also led artists ing able to pick up local newspapers we conceive ideas. Anyone who logged to develop highly original styles. and find the work of wonderful but on to Daryl Cagle’s Professional Car- But unless someone lived in the relatively unknown cartoonists. They toonists Index (cagle.slate.msn.com) city where these cartoonists worked or drew cartoons about national politics, the day after actor Christopher Reeve was lucky enough to have a hometown but their bread and butter was local died would have found no fewer than paper that carried their syndicated cartooning, and their drawings evoked 11 drawings of flying from work (or haunted the newsstands for the landscape and architecture of the his wheelchair. On any given day there out-of-town newspapers), it was hard region. My files hold hundreds of yel- will be a numbingly repetitive series of to follow the work of favorite cartoon- lowing newsprint copies of their work, cartoons, all on the same subject and

© Ed Stein. Reproduced by permission.

Nieman Reports / Winter 2004 39 Journalist’s Trade

using the same metaphors and visual rethink my career. When my paper be- There are other cartoonists who have images. This is not a case of group came embroiled in a costly newspaper accomplished the same thing in some- plagiarism, but it is a suspicious case war, and its budget woes were great, I what different ways. Rob Rogers’ Sunday of groupthink. With the exception of began to fear for my job. I asked myself feature, “Brewed on Grant,” does for a handful of artists who have made a what I was doing for my newspaper that Pittsburgh what my “Denver Square” conscious effort to develop a distinctive couldn’t be duplicated for $25 a week. strip does in Denver. Dwane Powell, graphic style, our drawings, with minor And I started to draw more cartoons Bruce Plante, Scott Stantis, Matt Davies, stylistic differences, look pretty much about local subjects, but I couldn’t and a few others make a concerted effort alike, as well. build a strong enough local presence to draw local landscapes and politics. We’ve become like a huge family and feed the syndicate at the same time. ’s cartoons have always had of identical siblings; we can tell each After several false starts, I began draw- an intimate connection with Cincinnati, other apart at a glance, but nobody ing a about a fictional to an extent that he did what very few else can. of us can do—he When I came into published a book the field, it was under- of cartoons about stood that syndication Our editors and publishers might actually be his city. and the Pulitzer Prize some of the nasty things we say about them, I’m not suggest- belonged to a handful ing that if edito- of nationally known but they are not stupid. So if my editor can buy rial cartoonists just cartoonists. They were from a syndicate the same work I’m doing for a start doing more cartooning royalty; the tiny fraction of my salary, why should he keep local work, all of rest of us need not our problems will bother. Each of us had me employed? be solved. The eco- to be content with be- nomic and tech- ing our community’s nological forces cartoonist, a local institution, perhaps, Denver family and, at the same time, threatening our craft are real and are but largely invisible outside of our I cut back on the number of editorial not going away. I am arguing that car- paper’s distribution area. cartoons I did. toonists should seriously think about Today nobody is a local cartoonist. how to build a distinctive local identity I don’t mean this just in the sense that Finding a New Local in their work—the kind of presence we don’t draw local cartoons. We don’t Connection that used to make a newspaper’s own belong to our local communities, either. editorial cartoonist indispensable to Editors at newspapers throughout the What did this accomplish? It ended the its readers. country can decide to publish our possibility that I’d ever be more widely When Jeff MacNelly went from the work the same day our own newspa- syndicated than I am now and made it Richmond News Leader to the Chi- pers print it. All of us are syndicated virtually impossible that I’d ever have cago Tribune, he didn’t actually move and, as a consequence, all of us draw the time to develop a nationally syndi- to Chicago. He never really drew the cartoons primarily about national and cated comic strip. And it saved my job. most architecturally distinctive city in international issues. More than that, it rejuvenated my career America; his cartoons continued to fea- The Pulitzer Prize—a career-making while completely changing—for the ture those marvelous graphic references and life-changing award (as arbitrary better—my relationship with readers. to the rural South. What might have and capricious as its bestowal might Because my cartoons are intensely local happened, I wonder, if he had made be)—is now within reach of us all, or and deal with how people live in my the Loop and the Sears Tower and the at least that’s what we have come to be- city, my comic strip became a Denver harbor lighthouse and the water tower lieve. Why not? We all draw alike and we institution in a way my editorial cartoons landmarks in his later work? Would the all think alike; we are all equals, except never were. Tribune have been in more of a hurry at Pulitzer time, when one of us gets to I don’t pretend that I’ve accom- to replace him when he died? ■ be more equal than the others. plished anything all that special. I would The resulting sameness of so much like to claim that, like Oliphant and Ed Stein is the editorial cartoonist of our work has left us vulnerable. Our MacNelly, I’ve reinvented the medium, for the Rocky Mountain News. editors and publishers might actually be but I haven’t. I’ve just reinvented my job. some of the nasty things we say about Cartoonists complain that their editors  [email protected] them, but they are not stupid. So if my don’t treat them with the same respect editor can buy from a syndicate the they give their local columnists. Now same work I’m doing for a tiny frac- I’ve become a local columnist—one tion of my salary, why should he keep who fills the space more with drawings me employed? This worry led me to than with words.

40 Nieman Reports / Winter 2004 Editorial Cartoons Animation and the Political Cartoon These cartoons ‘can reach inside someone’s brain and grab just the right spot.’ By Mark Fiore

hen I finally got my job as a newspaper world. “What did you do in the battle to keep staff political cartoonist—the The list of news sites that ran my political cartoons alive, Daddy?” Wjob I had been working to- animated work grew, as did my enthu- “Why, I drew some swell cartoons wards for move than 15 years—I was siasm for this new cartooning medium. of Michael Jackson and Britney Spears miserable. The brass ring was nothing It wasn’t long before I stopped doing that were hilarious!” more than a rusty old pop-top. Granted, traditional print cartoons altogether. Ugh. my timing for landing the job at the While I had always looked at a staff While there are still some great San Jose Mercury News was terrible. job as a successful, stable point in my editorial cartoons appearing across the The dot-com bubble burst, the paper’s career, I soon realized that my job was country, the newspaper business does parent company, Knight Ridder, began in fact more stable when I worked for not look promising for the political making cuts, the publisher resigned in myself. Instead of having one editor in cartoonist, to say the least. The old days protest, and my editor took early re- control of my work and my income, I of opinionated cartoons that grab the tirement. I was suddenly naked, under now had multiple editors and outlets reader by the collar are quickly being the watchful eye of a large media chain that published my work. If one editor replaced with watered-down cartoons and a new publisher who arrived from thought a particular animation was too that give the declining readership a Florida wanting to see less criticism of hot to handle, that cartoon would still slight chuckle. I consider myself very President Bush on the editorial fortunate to have found an es- page. Naturally, I saw that as my cape hatch from the print world chance to go out in a glorious and to have emerged into the blazing fireball of ink, paper animated world. and word balloons. Though The business of newspapers it wasn’t quite as dramatic as and cartoons aside, animated that, let’s just say we parted political cartoons provide so ways, and I was never happier many more tools with which to working for myself. work. While I still begin each car- Cartoonists talk about the toon by following the news, tak- demise of editorial cartooning ing notes and sketching cartoon at newspapers but, for me, ideas, I now have color, motion, having a terrible experience music and sound effects all at as a staff cartoonist was the my disposal. Done correctly, an best thing that ever happened animated political cartoon can to my career. I suddenly knew reach inside someone’s brain there was no more brass ring and grab just the right spot. to grab hold of. I didn’t have “Buster the Friendly Nuke!” A frame from “Fissionary.” My goal is to get a message to apply for those mythical staff © Mark Fiore. Reproduced by permission. across in an engaging, enter- cartoonist job openings in places taining way, drawing people in I didn’t want to live! If I was going to be run in other outlets. The result: more with animation so they don’t feel like a “successful” political cartoonist, I was freedom to create better work. they’re getting hit with a message-laden going to have to do it myself. I believe a political cartoon should sledgehammer. This is the strength of Before episode, I always say something. Message comes all political cartoons, and I’ve found had built up a fairly large client list of first, humor second, and ideally both it even more effective in animation. newspapers, mostly in California, that arrive at the viewer’s eye together. So For example, rather than write a long would run my political cartoons. I had many political cartoonists waste their editorial or column decrying the insan- also started selling a weekly, animated time on pointless celebrity gags. They’re ity of capital punishment, I created an political cartoon to a few news Web simply illustrating current events and animated political cartoon featuring a sites. After the episode at the Mercury pop culture. They are as much a risk cute needle character, happily killing News, I focused my energy on the ani- to the future of political cartoons as a variety of inmates. The animation mated work, largely because I was so newspapers that eliminate the position contained many of the same facts and disillusioned with the old-style print of editorial cartoonist. figures I would have included in a col-

Nieman Reports / Winter 2004 41 Journalist’s Trade

umn, but the meat was surrounded by a I generally arrive at my ideas through I’ve received letters from people who layer of fun and dark humor. The same anger or, more recently, rage. Starting tear into me as a crazy blankety-blank message was conveyed, but it was made from the point of reading the newspa- pinko who should move to France, or more accessible with cartoons. per and online news sites, I then take another apparently God-awful place, Would Americans rather watch car- notes on stories that jump out at me then say “but I really like your work.” toons or read a long column of text? as particularly good cartoon fodder. That is what I love about animated po- While the Web might attract a younger It seems that the most troubling times litical cartoons—people can’t help but audience, that continues to change. I as a citizen can be the best times for a watch them, even if they disagree. ■ have received e-mails from 6-year-olds cartoonist. I’m an ambulance chaser, a and from 80-year-olds. I don’t skew my hyena. I soak it all in—terrorism, wars, Mark Fiore creates his cartoons in work to any demographic target and try famine, hypocrisy, genocide—then get San Francisco. His work can be seen to follow the model of the old Warner angry, have something to say, add some at MarkFiore.com, VillageVoice.com, Brothers’ creators by doing work that dark humor, and spit out a cartoon idea. AOL, MotherJones.com, SFGate.com makes me laugh and is important to me. It’s a strange combination of dark and and many other Web sites. Selfish, I know, but I have an aversion light, sadness and humor that seems to to focus groups. make the best cartoon.  mark@markfiore.com

Drawing the Country’s Mood ‘… a drawing can pierce the emotional heart of a story deeper than the most gifted verbal lapidaries.’ By Jeff Danziger

’ll take advantage of this forum to portant and self-important are making Stars and Stripes during the Second put an instructive, but slightly sad loud speeches. He had guts and wasn’t World War. He did this as an enlisted Istory, into the annuls of journalism much impressed with editors. He was, man and he had stood up, in person, and cartoondom. as most know well, a cartoonist for The to General George Patton, who wanted There is in a newspaper life very him fired. After that, your average cring- little memorabilia, things one can ing windbag editor didn’t seem like frame for the wall or make into lamps much to worry about. later on. I knew a man at The Denver My story takes place on the day in Post who retired after 30 years of daily 1963 that John Kennedy was shot. copychopping, and he said all he had Mauldin was working at the Chicago was a linotype slug of his first byline Sun Times. As the reporters and editors that one of the compositors had given stood in stunned silence, watching the him. A friend at initial reports from Dallas, Mauldin, as told me he had nicked one of Herblock’s shocked as any one of them, turned India ink bottles, and he could get me away from the broadcast and headed one, too. I passed but now I wish I had for his office and drawing table. A staff said yes. In the end everything goes member, Kay Fanning, who later hired into the paper, and the paper goes out me at The Christian Science Monitor, the door. told me this. But there is one thing I wish I could Mauldin was in the mold of cartoon- have gotten ahold of. The great cartoon- ists of his day in that he was first an ist Bill Mauldin was an early hero of artist. He had studied anatomy, physi- mine, even before I knew I wanted to do ognomy, light and shadow, architecture this for a living. His was a special sense and perspective. He had had what is of humor, one that crept up on you and now called formal art training. He had took residence in your memory. It was never developed a distinctive stylistic the kind of wit that’s traded by regular cartoon shorthand. He was simply good people, in an audience somewhere, © 1963 by Bill Mauldin. Reprinted/Displayed at drawing. in lowered voices, while the more im- courtesy of the Mauldin Estate. But like most artists he needed a

42 Nieman Reports / Winter 2004 Editorial Cartoons model. He often used himself, with that he might still have the Polaroid. If it will remind the nation of how it felt the recently developed Polaroid instant she wanted that … on that day. cameras. The cartoon he planned to Now that would be worth having. I’m no one to talk, being as great a fan draw on that black day has since become I am including this story because of the dumb joke and irrelevant silliness famous for its evocation of the national it reminds us of two things. First, that as anyone. Even so, I deeply believe that mood of shock and grief. He planned you can often do more without words the heart of political art is the kind of to draw Lincoln, seated in the throne than with. And second that an artist can drawing that kicks words aside and takes at the Lincoln Memorial, slumped in usually find the emotion he wants or over the reader’s ability to see the truth loss, his head bent forward into his needs within himself. Of course Mauldin any other way. A drawing can do this, hand. Mauldin moved his office chair proved, time and again, that when the when it is a nexus of skill, practice and in front of his Land camera and tripod, times demand, a drawing can pierce a long study of the world. But most of set the self-timer, and posed himself in the emotional heart of a story deeper all it must come from within. ■ the somber mood he felt. than the most gifted verbal lapidaries. A while later Kay Fanning asked him And even though the assassination of a Jeff Danziger is a cartoonist with The if there was any way she might buy the President is far too wrenching and rare New York Times Syndicate. His book, original drawing. Mauldin had by then to serve as an daily example, the image “Wreckage Begins with ‘W’: Cartoons become a good friend of Kay’s. He said of Bill sitting in front of the camera, act- of the Bush Administration,” was he was sorry, but the cartoon had been ing out his shock and sorrow, should published in 2004. given to someone else for a collection. keep this example in cartoonists’ minds He thought for a minute and then said as long as the drawing that came from  [email protected]

© Jeff Danziger New York Times Syndicate. Cartoons reproduced by permission.

Nieman Reports / Winter 2004 43 Journalist’s Trade An Historic Look at Political Cartoons ‘The future of editorial cartooning in America is uncertain, but the past holds lessons for us all.’

By Harry Katz

n 1754, Benjamin Franklin created example, shamelessly copied from his the first American political cartoon, brother-in-law’s sketch, portrayed Brit- Iurging the British colonies to “Join, ish soldiers as cold-hearted killers when or Die” in defense against France and in fact they had been provoked into her Indian allies. Following ratification violence by an unruly crowd. Widely of the United States Constitution and distributed throughout the colonies, the First Amendment, political cartoon- Revere’s bloody Massacre print dramati- ists in the new republic enjoyed un- cally displayed the power, immediacy precedented freedom to express their and effectiveness of political graphics. views protected by the nation’s courts Ironically, Revere and his colleagues from charges of libel or governmental modeled their crude yet potent style persecution. from the work of English satirists then Two hundred and fifty years later flourishing in . editorial cartoons remain a vital com- After the Revolution, American car- ponent of political discourse and a toonists produced precious few images cornerstone of American democracy. satirizing George Washington and John Yet today editorial cartoonists face un- Adams, reflecting collective national precedented challenges: Commercial goodwill toward the heroes of the attrition of newspapers and journals Revolution. Thomas Jefferson, however, has reduced their numbers, advertisers was not immune from controversy. He and publishers exert more influence, bore the brunt of numerous graphic while the advent of television and the invectives, signaling the vulnerability Frank Beard’s cartoon of Grover Cleveland Internet diffuse their influence amid an of American politicians from the top during the 1884 presidential campaign. overwhelming welter of images, text and down to personal attacks and the vigor- Reproduced by permission of the Library of information. Furthermore, the profes- ous good health of a democratic system Congress, Prints and Photographs Division. sion is in transition. Young cartoonists founded on the principles of free speech no longer work with crayon and paper and a free press. can political cartooning. The Southern in offices near the newsroom, rather Cartoons at the time, however, were press, what little there was, and Demo- they often work at home in isolation, relatively scarce, laboriously and expen- cratic editors in the North, published scanning computer-generated drawings sively engraved on sheets of copper or cartoons excoriating President Abraham for reproduction. The old guard, too, more crudely and cheaply on wood Lincoln, a Republican, for his views on is passing; in recent years we have lost blocks. Printers and publishers reached slavery and callous disregard of civil lib- Herbert Block and Bill Mauldin, among only a small audience of literate and erties. By contrast, the North drew from others. The future of editorial cartoon- enfranchised citizens, mostly in urban an apparently endless supply of paper, ing in America is uncertain, but the past areas. Change came quickly, however, ink and journalistic talent. Newly estab- holds lessons for us all. during the 1820’s, when rapidly increas- lished illustrated weeklies, including ing immigration and the invention of Harper’s and Frank Leslie’s, produced The Historic Timeline lithography greatly enhanced the ability thousands of cartoons during the war of publishers to expand their market years. Supported by a national thirst for Franklin’s early efforts to rouse his coun- and print cartoons quickly, cheaply news and a more literate readership, trymen inspired the Revolutionary War and in greater numbers, just in time to these weeklies reached new heights of generation, led by patriot and propagan- meet the ferocious demand for satire circulation, in excess of 200,000 read- dist Paul Revere, who used sensational created by Andrew Jackson’s polarizing ers. Thomas Nast became a household text and vivid imagery to inflame public administration. name during the war through his weekly sentiment against British rule. Revere’s The Civil War brought conflict and diatribes against Confederate perfidy, depiction of the Boston Massacre, for controversy and a golden age in Ameri- establishing his credentials as America’s

44 Nieman Reports / Winter 2004 Editorial Cartoons foremost cartoonist and foreshadowing antiwar work, in particular, his epic crusade against New York City hit home, precipitating a politico, “Boss” William Marcy Tweed, legal crisis unique in Ameri- in the 1870’s. can history. Cartoonist Art The persuasive power of political car- Young and his colleagues at tooning was now unmistakable even to The Masses, an urbane and casual observers. Cartoonists achieved influential socialist journal, unprecedented visibility and influence. were indicted for sedition President Lincoln called Nast his “best by the U.S. government. recruiting sergeant,” while “Boss” Tweed Young and the others were soon railed from jail against “them damn ultimately acquitted, a clear pictures.” Publishers quickly recognized victory for freedom of the the potential influence and attraction of press, although the U.S. political cartoons. Beginning in 1872, Postal Service did manage Cartoon by , “After the war a medal and the New York Daily Graphic featured to shut down The Masses, maybe a job,” The Masses, 1914. Reproduced by front-page large-format cartoons and, in silencing a loud though permission of the Library of Congress, Prints and Photo- 1884, Joseph Pulitzer’s The New York limited voice for peace and graphs Division. World became the first daily American progressive reform. newspaper to include cartoons. The During the Depression, dominated the American people. Senator Joseph suffrage movement gained momentum, politically by the Democrats and McCarthy’s anti-Communist assaults and women got into the act. Rose O’Neill President Franklin Delano Roosevelt, on American institutions and individu- and Edwina Dumm were among these cartoonists divided largely along party als provoked few angry protests from pioneers who broke the gender barrier lines and economic issues. World War newspaper cartoonists, with the notable and challenged typecasting that labeled II united the country and cartoon- exceptions of Herbert Block and Walt them only fit to illustrate fashion plates ists against the Axis threat. American Kelly. They openly challenged McCarthy and children’s stories. By 1900, politi- cartoonists joined the fight as Arthur with satire and caricature, complement- cal cartoons were an indelible feature Szyk, Herbert Block, and Rollin Kirby, ing the journalistic efforts of Edward R. of American newspaper and magazine among many others, stirred the nation Murrow; in fact, the term “McCarthyism” publishing. The first generation of to support the Allies and fight their appeared for the first time in a Herblock daily newspaper cartoonists, including common enemies. Bill Mauldin became cartoon satirizing the Republican Party Homer Davenport and John McCutch- a war hero bringing humor eon, became national celebrities. to the front lines, enraging Effective and compelling as their officers while entertaining work undoubtedly was, both Davenport the troops with his humor- and McCutcheon often seemed spokes- ous and human portrayals men for the views of their powerful of Willie and Joe, two foot publishers rather than independent- soldiers in the war against minded journalistic commentators. In fascism. Mauldin’s humor fact, most editorial cartoonists at the became serious after the time steered clear of controversy over war when shortages of jobs foreign or domestic affairs, choosing and housing left returning instead to promote American progress veterans in the lurch. For and prosperity. Their large numbers— him, and many of his coun- for in those years most large American trymen, the good fight con- cities and towns supported multiple tinued. In times of war and daily newspapers—were offset by a crisis, it seems, cartoonists small minority of more radical cartoon- reach their full potential. ists who took the side of labor against The , however, a management, socialism versus democ- time of conflict over ideolo- racy, pacifism over militarism. gies, did not spur American Just prior to World War I these radi- cartoonists to produce their cals, including Robert Minor, Boardman best work. Most remained Robinson, and John Sloan, reached the mired in partisan politics, height of their influence, producing unable or unwilling to highly charged drawings for socialist challenge the status quo journals as well as watered down ver- and address the larger is- “Didn’t we meet at Cassino?” © 1944 by Bill Mauld- sions for the mainstream press. Their sues facing the world and in. Reprinted/displayed courtesy of the Mauldin Estate.

Nieman Reports / Winter 2004 45 Journalist’s Trade

platform. By 1952, too, ists honed their portrayals, Herblock had identified the 9/11 attacks shattered House member Richard the world as Americans knew Nixon as a person of it and overwhelmed most interest. commentator’s abilities to With the 1960’s make sense of the madness. came President Lyn- Few cartoonists responded don Baines Johnson with courage and conviction, (LBJ), Vietnam, and seemingly stunned into si- the generation gap. A lence with the rest of us. Ann new breed of young Telnaes, the 2001 Pulitzer cartoonists came onto Prize-winner, was a notable the scene. Paul Conrad, exception, as her stylish and Pat Oliphant, Tony strong cartoons shed light Auth, , and on critical issues including many others helped the separation of church and turn the tide of popular state and threats to civil liber- sentiment against the ties emerging from the war . Their on terrorism. [See Telnaes’ passionate, pointed article on page 28.] Trudeau commentary combined took Doonesbury to Ground with televised images of Zero and the war in Iraq, death and destruction while relative newcomer to discourage LBJ from Aaron McGruder’s edgy running for reelec- comic strip The Boondocks tion and, ultimately, broke new political ground bring an end to the in the funnies. Only as the war. President Nixon, nation has emerged from preaching peace with the shadow of 9/11 have the honor in Vietnam, soon majority of American edito- dishonored the White rial cartoonists regained their House. As the Water- critical voice. gate scandal unfolded, In an age when reality is Paul Conrad achieved defined by sound bites and immortality on Nixon’s spin doctors, pandering “enemies list” with his “National Security Blanket.” From Herblock Special Report (W.W. Nor- and partisan politics, searing series of ton & Company, 1974). political cartoonists must re- portraying the Presi- main relevant and above the dent as a tragic figure fray, talking truth to power in in the Shakespearean mold. Herbert that the best political artists have always all its forms and clarifying with insight, Block, unbelievably productive with five been liberals devoted to reform. George intelligence and accuracy the difficult, decades behind him and three more H.W. Bush and Bill Clinton suffered complex issues and events shaping our to go, won a fourth Pulitzer Prize for grievously at the hands of cartoonists. daily lives. ■ his contributions to The Washington Oliphant added immeasurably to the Post’s investigation of Nixon’s Watergate elder Bush’s image as a wimp, unfor- Harry Katz is former head curator role. Collectively, American cartoonists gettably accessorizing him with a lady’s of prints and photographs at the enjoyed another golden age. purse, while Clinton’s doughy features Library of Congress and current Change came with the 1980’s when and scandalous activities were a boon curator of the Herb Block Founda- President Ronald Reagan transformed to cartoonists everywhere. tion Collection. He is the coauthor the American political landscape. The Recently, George W. Bush’s efforts of “Humor’s Edge: Cartoons by Ann Reagan years are memorable for the to remake America and fight a global Telnaes,” published by Pomegranate work of who, like Walt war against terrorism have divided Press in 2004. Kelly before him, introduced politics the nation and its cartoonists. Like the into the comics page; Pat Oliphant, one cartoons themselves, the issues have be-  [email protected] of history’s finest comic artists, and Jeff come black and white, no shades of gray. MacNelly, whose prodigious talent and In 2001, just as President Bush began conservative outlook defied the notion implementing his platform and cartoon-

46 Nieman Reports / Winter 2004 Words & Reflections

Can journalism survive in this era of punditry and attitude? If so, how?

Nieman Reports posed this question about journalism’s future to 15 journalists who work in radio and television, at newspapers or with Weblogs, or who teach the next generation of reporters, editors, producers and bloggers. The assignment: Reflect on the question and write an 800-word essay that emerges out of relevant experiences lived or observed. Surveys of journalists—such as one conducted in May by Pew Research Center and the Project for Excellence in Journalism—are finding echoes of the increasingly critical assessments that members of the public have been giving about news reporting for many years. A large majority of the 547 national and local journalists interviewed believe that profit pressures are seriously hurting news coverage. Nearly half of national journalists say the press is too timid in its reporting, and nearly two-thirds of all the journalists think there are too many cable talk shows on TV. The report cites a “crisis of confidence,” and Pew’s director, Andrew Kohut, said of the survey’s findings: “The press is an unhappy lot. They don’t feel good about our profession in many ways.” News coverage is becoming increasingly fragmented. At the same time, journalists find themselves confronting the pressures of economic constraints (with fewer resources being devoted to reporting) and the push toward entertainment (with stories of dubious news value trumping those of arguably more importance). In this climate, Nieman Reports decided to depart from its customary examination of coverage of a specific topic and widen our scope to look at the prospects for journalism’s future given where things stand today. Books

Doug Struck, who since 1990 has reported often from Iraq and the Middle East for The Washington Post, uses the book, “Al-Jazeera: The Story of the Network That is Rattling Governments and Redefining Modern Journalism,” as a point of departure as he writes about what it is like for Arab and U.S. journalists to report on the war in Iraq—and how the content of what they report and broadcast often intersect. “The squeamish secret among Western journalists in Baghdad is that these [Arab] stations are now an important part of their establishment news operations,” he writes. Susana Barciela, a member of The Miami Herald’s editorial board, describes “American Gulag: Inside U.S. Immigration Prisons,” as an “exposé of institutional cruelty” that “is a must-read for journalists covering immigration or living in immigrant-rich communities.” She observes how the author, Mark Dow, has “meticulously researched” this topic, and his “abundance of facts,” she writes, proves “that the lack of transparency and oversight has resulted in the systemic abuse of immigrants locked up from Seattle to Key West.” Mauricio Lloreda, an op-ed columnist for El Tiempo in Colombia, finds in June Carolyn Erlick’s book, “Disappeared: A Journalist Silenced: The Irma Flaquer Story,” that events from the past “can offer us much to contemplate about our present.” As Lloreda writes, “Erlick’s portrayal of this Latin American journalist’s life and death speaks to what has happened—and continues to happen—under similar circumstances in countries throughout the world and particularly in this region.” ■

Nieman Reports / Winter 2004 47 Words & Reflections Journalism Mirrors the Public Mood

By Tom Ashbrook

hat if we are leaving the Age of Reason far behind? environment matters. What if the basic cultural settings that have under- I have come to think that the correct metaphor for the Wgirded the best of American journalism—a scientific news media—not our ideal, or our best hours, but as it re- mindset and respect for the pursuit of fact-based truth—are ally is, over time—might have only intermittently to do with giving way to an era of faith and belief? illumination. Day in and day out, it might have more to do Pundits do not need to report a story to its factual roots. with reflection. It is very often not a searchlight or headlight or They begin with belief. With an ideological mission. Even torch, lighting the way ahead. It is instead a mirror. A mirror religious faith. Conclusion precedes reporting. Reporting is of society’s hopes and fears, of its obsessions and conceits ammunition, not illumination. and, even, its illusions. In a culture that prizes reason, punditry is a marginal For decades this worked, more or less. The public’s im- journalistic player, a side dish to the facts. In a culture that pulses were decent enough, and the press’s transcendent, prizes belief, punditry rules. illuminating moments were just frequent enough, that we got The economics of journalism are, of course, seduc- along. The rise of the pervasive punditocracy short-circuits tive. Maybe irresistible. I host a radio show. News, interviews this balance. Pundits relentlessly pump irate, intemperate, and listener call-in. Two hours a night, five nights a week. ideological opinion to their audiences. A vulnerable audi- To produce the show with the values of traditional journal- ence becomes colored with this poison. And the press—the ism requires a significant media mirror—reflects staff. To research issues. the corruption. To marshal facts. To Pundits relentlessly pump irate, My hometown radio find and book informed station in the rural Mid- voices and newsmakers intemperate, ideological opinion to their west used to run endless around the world. audiences. A vulnerable audience becomes local news reports, from To fill those same two colored with this poison. And the press— zoning issues and school hours every night with board votes right down the values of punditry the media mirror—reflects the corruption. to the news of whose cat requires, essentially, only was lost and who needed the pundit. Maybe a few a used pressure cooker newspapers to rattle emphatically in the background. And for canning. Now it is owned by a national chain, and Rush an Internet connection to get the daily pundit feed from Limbaugh is its premier show. Rush’s billboard looms over the ideological source of choice. Rant radio is cheap. And it the town’s main thoroughfare. When I go home, I can feel is very popular. There has always been a good appetite for the tenor of the town changing. It is angrier and is develop- punditry. Thomas Paine and all the fiery pamphleteers knew ing a taste for more anger. For punditry. that. But the appetite is clearly growing. I can imagine this changing. If serious news operations Why should that be? Maybe the popularity of punditry continue to show the way with serious journalism. If the grows as America’s fundamental confidence or economic political culture shifts to support real inquiry over partisan prospects are clouded. An expanding economic pie encour- assertion. If long-term economic fundamentals are again seen ages expansive, open thinking. A shrinking pie encourages to turn our way, or if tough reality smacks Americans awake selfish thinking and an attitude of fact avoidance. Pundits to the need to be honestly informed rather than cosseted feed both. and jollied and affirmed in fierce belief. The long glow of the Age of Reason and a growing economy But there is no guarantee of any of these things. made traditional journalism relatively easy—a kind of natural So I do my show and thank my lucky stars to work on outgrowth. An Age of Faith and uncertain economic prospects one of the serious islands in the stream. Good journalism will make it hard. Reasoning, optimistic people needed the is its own breakwater against a rising tide of blind faith over facts to act on abundant opportunity. Frightened people reason. But the water is still rising. ■ with a sense that the world is not going their way might, for a time, seek not facts but bucking up. Comfort. The solace Tom Ashbrook, a 1996 Nieman Fellow, is host and manag- of shared anger or denial. Pundits are good at those. ing editor of National Public Radio’s “On Point,” an eve- If we know all this, or suspect it might be true, why not ning news and interview show produced at WBUR Boston. simply resist it? Of course, many serious news outlets do and will. But the press does not operate in a vacuum. Its cultural  [email protected]

48 Nieman Reports / Winter 2004 Journalism’s Future Subversive Activities

By Gilbert Cranberg

would rephrase the question to be “Can democracy print press has to go in the opposite direction of electronic survive journalism as it has come to be practiced?” After journalism to distinguish itself. By doing so, it shows that Iall, accurate, trustworthy information, lots of it, is the it plays by its own rules that are good for journalism and bedrock of democracy. representative government that operates by consent of an Propagandists who pose as journalists, and corporate informed public. But in their quest for ever-harder-to-find bosses who encourage them, not only breach a public trust; readers, print seems to opt for the edgy. they are, to put it bluntly, subversive. Whether by blatant Some 60 years ago, Henry R. Luce, concerned about press lie, partial truth, or opinion masquerading as fact in news freedom in a post-war world, put some $200,000 of Time’s reports, modern-day subversion undermines the premise of money at the disposal of a Commission on Freedom of the democracy—an informed electorate. Car bombs are vivid; Press, headed by Robert M. Hutchins, president of the Uni- twisted facts are insidious, therefore more dangerous, even versity of Chicago. Its 1947 report, “A Free and Responsible lethal. Press,” stressed society’s need for a “truthful, (italics added) Ordinarily I am a stranger to talk radio. Recently I made comprehensive, and intelligent account of the day’s events in its acquaintance during a long car trip. I anticipated over- a context which gives them meaning” with “the identification the-top commentary; I did not expect the stunning amount of fact as fact and opinion as opinion, and their separation of factual misrepresentation spewing forth equally from as far as possible.” Such accounts were available then, as callers and the provocateurs who orchestrate the programs. they are now. They are not, however, what nourishes many Subversion broadcast across the radio dial in the form of Americans. myth, distortion and hearsay-as-fact. I hope fervently it is an The Hutchins Commission examined a press vastly dif- exaggeration that a reported 22 percent of Americans get ferent from today’s. Television, in its infancy, had no cable. most of their news from talk radio. It took 20 more years until the first newspaper company to My predecessor at The Des Moines Register believed firmly, go public, Dow Jones & Co., listed its stock. Consolidation and rightly, that our mission was to appeal to reason. That and public ownership have left the press in fewer and more meant relying heavily on facts to buttress our positions, and ratings-driven, profit-hungry hands. If trends continue, the we had the staff to do a great deal of legwork. Opinion was subversion of democracy will be rewarded with more lav- confined rigorously to the opinion pages. Generalizations ish compensation and higher stock prices as the political are tricky, but I’m aware that appeals to emotion are now system journalism is supposed to serve is diminished. That encouraged through more forceful commentary to boost is a tragic trade-off. readership, even as opinion leaches from editorial pages to The report of the Hutchins Commission—which had no news columns. Slimmer staffs make fact-finding more difficult. journalists as members—was generally derided when not The lead that reports what a candidate says and the motive ignored. Needed now is not an examination of freedom of for saying it are so routine, even at respected papers, that the press but a willingness to address society’s need “for a opinionated news seems no longer an oxymoron. truthful, comprehensive, and intelligent account of the day’s Several years ago I was asked to critique the editorial pages events in a context which gives them meaning.” That quest is of a major Midwest newspaper. In reading the entire paper more elusive than ever. Journalism groups and foundations for weeks, I found news pages saturated with opinion and need to join forces to pick up where the Hutchins Commis- front-page stories running side-by-side with a columnist’s sion left off. ■ hard-hitting take on events. The local columnists outshouted the more measured voice of the institution. My report’s con- Gilbert Cranberg, former editor of The Des Moines Regis- clusion: The editorial page had lost its franchise to the news ter’s opinion pages, is the University of Iowa’s George H. side, by a wide margin. Locally written opinion columns are Gallup Professor Emeritus. fine in their place—the opinion section. If the op-ed page cannot accommodate them all, nowhere is it written that  [email protected] op-ed material has to be squeezed on a single page. More space might give loudmouths an edge, but readers at least would be spared misplaced opinion. The wall separating news and opinion needs to be rebuilt and made impermeable and news reports scrubbed clean of attitude. News analysis is valuable when properly labeled and not allowed to edge into opinion. To put it another way, the

Nieman Reports / Winter 2004 49 Words & Reflections Journalism Reflects Our Culture

By Melvin Mencher

ournalism is no more in a survival mode today than it New York Times’ reporter David Cay Johnston traveled to was 52 years ago when Louis Lyons and my Nieman class- farm country to check President Bush’s assertion that “to keep Jmates worried about how a compliant and objective press farms in the family we are going to get rid of the death tax.” was helping Joe McCarthy savage the body politic. He found fearful farmers, evidence that Bush’s warning had Attitude? Anyone recall Westbrook Pegler excoriating taken root. But how many farms had been lost? “It’s a myth,” Eleanor Roosevelt and her husband? Or Colonel Robert he quoted an Iowa State University farm economist. “He had McCormick’s Chicago Tribune and the Hearst newspapers searched far and wide but had never found a case in which a on the New Deal? A colleague at Columbia University who farm was lost because of estate taxes,” Johnston wrote. worked for the Journal-American in New York told me that Juxtapose this with Jack Wilson’s frustration when he the Chief, as William Randolph Hearst was known, instructed covered ’s 1964 presidential campaign for his staffers that Roosevelt’s New Deal was to be called the The Des Moines Register and Tribune. “We could not give an Raw Deal. accurate picture of the campaign within the limits of what you Journalism survived them, as it did the partisan press, yel- might call straight news reporting,” Wilson told me. “We could low journalism, and fiction-writing journalists to whom the not, without editorializing, tell the readers that Goldwater reporter’s notebook was incentive to invention. (Leaf through was not getting a strong reaction from the crowds, that he Ben Hecht’s tribute to Chicago-style journalism in his novel, was in some cases boring them. We couldn’t say that some of “Gaily, Gaily.”) I just learned that St. Clair McKelway’s lead what he said didn’t make sense in terms of being bad logic I’d acclaimed in edition after edition of “News Reporting and expressed in sentences that didn’t say anything.” Writing,” my journalism textbook—“What price Glory? Two Are there problems? Obviously: We have a failing educa- eyes, two legs an arm—$12 a month.”—about a disabled tional system in which college freshmen work at the level of World War I veteran’s pension from an ungrateful nation yesteryear’s high-school juniors. (The ACT Assessment, which began a story that is well-written hokum. tests high school seniors, reports 22 percent are ready for If you take time to look at what journalists are doing these college-level English, mathematics and science.) Cash-hun- days—as I’ve done to gather material for my book’s 10th gry media owners find that paranoid journalism sells well. edition—you’d be encouraged. Here is a small sampling of The stream of well-prepared young men and women from what I found: journalism programs—about three-fourths of new hires are journalism graduates—is thinning, as are the ranks of news- • A nine-month investigation by Miles Moffeit and Amy room veterans who had been hired to mentor journalism Herdy of The Denver Post into how the military handles students but now cannot meet the PhD requirement. domestic violence found “sexual and domestic violence Those experienced journalists are being replaced by com- to be widespread in the armed services” and that the munications-schooled men and women who have a hard “military’s unique justice system protects abusers while time understanding why journalism students are obligated punishing the victims ….” to find kinship with the prophets, as Abraham Heschel, the • Ronnie Greene’s investigation for The Miami Herald of Old Testament historian, described them. They were, he labor contractors documented the exploitation of Mexican wrote, “intent on intensifying responsibility” and “impatient and black laborers. of excuse, contemptuous of pretense and self-pity.” They • The digging of Anna Werner and David Raziq for KHOU were people who “felt fiercely” and were “attuned to a cry in Houston exposed flawed lab tests in Harris County, imperceptible to others.” which sends more men and women to death row than The media reflect our culture. We change; it will change. any county in the nation. ■ • Eric Newhouse of the Great Falls (Montana) Tribune followed his Pulitzer Prize series on the problems al- Melvin Mencher, a 1953 Nieman Fellow, is professor emer- coholism causes in the community with a series on the itus at The Graduate School of Journalism at Columbia lack of care for troubled youths. He told me, “My job is University and author of “News Reporting and Writing,” to amplify the voices of those who often go unheard.” soon to be published in its 10th edition. • UPI reporter Mark Benjamin, now the investigations edi- tor, examined the medical treatment of soldiers returning  [email protected] from Iraq and uncovered delays—some months long—in treatment as well as problems involving mental health, including suicide linked to malaria medications.

50 Nieman Reports / Winter 2004 Journalism’s Future Journalism’s Proper Bottom Line

By Bonnie M. Anderson

n recent years, punditry, opinion and so-called infotain- Conscientious journalists must also boldly voice their ment have permeated newscasts and newspapers to concerns and help create a national discussion about the Isuch a degree that it is now difficult for the average news critical need to salvage a responsible free press. Reporters consumer to distill the news from what they read and watch. must honestly assess and report about issues in their own Can responsible journalism survive in this environment? Yes. industry, informing the public in a transparent manner about And it is our duty to ensure it does. The First Amendment the problems being faced. provides special protection for freedom of the press, but In addition, journalists need to examine their personal along with that comes the responsibility to safeguard the motives for choosing to be in the news profession. News people’s right to know. executives need to identify, keep or hire people who are First, though, we must acknowledge the root of the prob- driven by a sincere sense of public service and respect for lem. Punditry and bias are mere symptoms of a far more the First Amendment. These same news executives must be insidious malady affecting journalism: the profit motive. role models who respect news ethics, traditions and respon- While all news media have become victims of the bottom sibilities. Those who are motivated, instead, by their high line, television news organizations have capitulated most to salaries, stock options, bonuses and car allowances should the pressures of their corporate owners, who have proven be confronted by their superiors or by newsroom ombuds- willing to sacrifice standards, ethics, professionalism and the men with the authority to discipline or fire them. public trust in order to make more money. Executives and newsroom journalists together must openly These news outlets care little about journalists’ critical discuss programming imperatives. Instead of only providing role in a democracy, about their responsibility to provide fair, the public with what news managers believe people want balanced, broad and in-depth news coverage. The mega-cor- to know, put more emphasis on coverage about events and porations that devoured the major news organizations care news the public needs to know about. This doesn’t mean only about doing whatever it takes to increase readership there’s no room for pundits and opinion programming. and viewership. The infusion of bias and entertainment into Talk shows and debate programs where hosts stake out and news has been one result of this business strategy. defend positions are natural arenas for opinion brokers, but For one cable network, Fox, this strategy has resulted in no place for journalists. News anchors and reporters, by the a massive ratings hike and increased revenues. But for most same token, must never stray from the news arena or offer others, any short-term gains experienced have long since their opinions. The line between news and opinion, between dissipated. While logic would dictate a reversal of course, journalists and pundits, must be clear and unmistakable in instead they are resorting to even more entertainment and the mind of the public. opinion programming in a futile attempt to lure viewers. In Finally, it is up to those of us who care deeply about mid-October, for example, CNN launched a current events journalism’s honorable role in our society to try to renew the game to be played in 3,200 restaurants and sports bars. Called idealism of colleagues and news consumers alike who have “Anderson Cooper 360° Challenge,” the network’s prime-time grown complacent or cynical. We must share our abiding news anchor Cooper will host the competition. The winner faith in this institution and show, by our actions and words, will appear on CNN with Cooper and take home a 50-inch that we mean to protect it at all cost. We must. ■ plasma television set. Can anyone truly believe informing the public is the motive behind this degrading charade? Bonnie M. Anderson, author of “News Flash: Journalism, We can improve the state of journalism in this country while Infotainment, and the Bottom-Line Business of Broadcast still recognizing the business needs of news organizations. News,” is a 27-year news veteran, winner of seven Emmy News can make money without reducing standards, resorting Awards, and a Pulitzer Prize finalist. to punditry instead of reporting, and threatening the integrity of journalism. But news will never make as much money  [email protected] as a popular sit-com or a reality show. It shouldn’t have to. The most precious dividend of responsible journalism is its indispensable role in supporting a free and open society. Profit-hungry corporations can be made to see this if the public, especially the shareholders of these companies, get involved in a very vocal manner by writing, calling or e-mail- ing news organizations to demand a return to quality news coverage.

Nieman Reports / Winter 2004 51 Words & Reflections Symptoms of Underlying Stress in Journalism

By John McManus

unditry and attitude are more symptoms than causes Punditry and attitude flourish as resources for reporting of changes in American journalism. Think of them as grow scarcer and news providers aim at niche audiences. Psigns of stress, foreshocks, as more powerful forces Without enough reporters to consistently turn up interest- interact under the surface due to transformations in the ing stories, push the columnists out front. Writing colorfully technology of news distribution and, with this, the econom- or with edge adds entertainment value. Today, Fox draws ics of journalism. a larger audience by abandoning impartiality to pander to Technological innovations that began 150 years ago are conservative tastes than it would by upholding the norms what shaped today’s relatively impartial mainstream jour- of mainstream journalism and competing for the shrinking nalism. The steam-powered press and the telegraph ended middle with other networks. the era of the partisan political press—a period when news Ethnic and alternative media are the expanding areas of was largely punditry, enabling a truly mass media by lower- journalism. Both cater to niche audiences and are under- ing production costs. From the mid-1800’s until the 1980’s, staffed relative to mainstream newsrooms. Least staffed and, technology and economics combined to apply a centripetal not surprisingly, most extreme in attitude is the burgeoning force on news to create a more uniform product designed blogosphere. Most bloggers can’t afford reporting. Com- to appeal to mass tastes. mentary is cheap—and the more pungent, the more likely But as business—with the capital to purchase and operate to attract a following. the press—became the primary producer of news, its purpose There are advantages to greater diversity of news and changed from political persuasion to selling. Partisanship views. But right now disadvantages seem greater. Opinion fell from favor because it limited the customer base. The can’t substitute for the information that solid reporting turns telegraph also fostered neutral “bare facts” reporting. Many up. And the more extreme the ’tude, the less likely it is to be newspapers could use the same wire story if it were written consumed by—much less inform or persuade—anyone who from no obvious point of view. In the 20th century, mass doesn’t already hold the author’s worldview. advertising enforced an editorial environment that offended In our economically interdependent world, reliable news no potential customers. Once newspapers discovered Wall ought to be more valued than ever, since the consequences Street in the 1960’s, chain ownership spread like a sniffle in a of being uninformed are more grave. So the market for such daycare center. The product of one MBA-managed newsroom information should remain strong, even as it continues to became hard to distinguish from another. fractionate. And how we receive it will continue to migrate Now cable and satellite television transmission and the from paper and scheduled newscasts to increasingly mobile Internet are shifting the ground again and fracturing the laptops and cell phones. Some system of micro-payments mass audience into interest groups. As bloggers demonstrate, for information, now provided for free, will have to arise as one can reach a million households today without working a younger generation gives up the paper on the stoop for for a media corporation. Now technology and economics the report on the Web. are beginning to exert a centrifugal force on news, this time The “bundling” strategy of the newspaper, with its smor- pulling it apart into niche markets. gasbord of news, might be going the way of the general As a result, the best days of the leading news providers practitioner in medicine. Journalism is finally entering the of the centripetal era—metro newspapers and televised age of specialists. Using Web search tools already available, news—are probably either passing or past. But that doesn’t consumers can scan the Internet for news from specialists necessarily mean the best journalism is behind us, only that they choose. The most successful Web sites are likely to be we are entering a bumpy transition period. those that establish trust, but to do this will require a lot Network newscasts have lost almost two-thirds of the audi- more than attitude and punditry. ■ ence share they drew 30 years ago. Newspaper penetration continues to fall. Their most profitable pages, the classified John McManus, author of “Market-Driven Journalism: Let ads, are moving to the Web. Big-box retailers like Costco don’t the Citizen Beware?,” directs the Grade the News project advertise like traditional department stores. At the same time at Stanford University. the Faustian bargain news corporations made with Wall Street is coming due. To stoke their stock prices, many news firms  [email protected] are hollowing out newsrooms. The most recent survey of American journalists finds a majority for the first time com- plaining that profit demands are hurting news quality.

52 Nieman Reports / Winter 2004 Journalism’s Future The Inadequacy of Objectivity as a Touchstone

By Geneva Overholser

ertainly journalism will survive. Indeed, it could even even harmful guide, it remains an extremely effective cudgel thrive as a result of today’s very real challenges. Jour- for those who wish to discredit the messenger on any story Cnalists need neither fear nor denounce the prolifera- they disagree with. And the anticipation of these bludgeon- tion of punditry and attitude. Rather, as the media landscape ings has produced a yet more craven media. teems ever more vigorously with partisanship and shout A forthright jettisoning of the “objectivity” credo, and shows, infotainment, 24-hour-a-day repetitiousness and the a welcoming of the diverse media landscape springing up near-anarchy of the Web world, journalism has a fine oppor- around us, could have freeing effects. Those who wish to tunity: To define itself in opposition to others. In the process, get their news only from media sharing their viewpoint are journalism could gain much-needed courage and clarity. welcome to it. Irreverent bloggers and alternative publica- The evolutionary step made necessary by the growing tions will increasingly make clear the true nature of those dominance of viewpoints—along with the blending of outlets. Meanwhile, the news sources seeking to serve the entertainment and news and the ravages wrought by time public interest with as much fairness and balance as pos- pressure and profit pressure—is that some institutions and sible will become differentiated from the others—thereby individuals must purposefully differentiate themselves ac- appealing to a growing hunger for guidance through an ever cording to a stated intention: Public service to citizens of this more bewildering media forest. Objectivity bludgeonings will democracy. Through this principled differentiation, some lose their power. These media will contribute their varied will become known—and sought out—for their fairness strengths—from the net’s innovation and interactivity to cable and comprehensiveness, substantiality and proportionality, news’s breaking-news preeminence. And the mainstream transparency and accountability. media wise enough to let the fresh air in, rather than fearfully Our increasingly attitude-driven media world is not all shutting it out, will gain in clarity, strength and purposefulness to the bad. The fastest-growing media sectors—alternative, from the democratization and the questioning and critiques ethnic and online media—are known for having a viewpoint. that accompany the transition. Clearly, they meet a hunger—even a public need. So do more One more thought: With objectivity no longer the by- partisan “mainstream” media, exemplified by Fox News. Ideo- word, transparency and accountability become ever more logical leanings are not themselves harmful. It is deceit that important—transparency of intent and also of procedure. is wrong—the false presentation of one’s intentions. No one And accountability of every kind, from ombudsmen to reader should be allowed to get away with hoodwinking the news advisory groups, from state news councils to online chats. consumer. Those who try should be called out—something And amid the uncertainty, the best ethical guidance might be clannish journalists have been disappointingly timid about found in time-tested credos like this one written by Walter doing. Williams at the beginning of the last century: But forthrightly partisan media have been important in “I believe that the public journal is a public trust; that all our history—and remain so today elsewhere. In both cases, connected with it are, to the full measure of responsibility, political engagement has been (or is) higher than here in trustees for the public; that acceptance of lesser service than the era of “objective journalism.” That same desirable result the public service is a betrayal of this trust. might well be repeating itself here today. “I believe that clear thinking, clear statement, accuracy Accepting this reality doesn’t imply rejecting balanced and and fairness are fundamental to good journalism. fair journalism; that is more needed than ever. But “objectivity” “I believe that a journalist should write only what he as a touchstone has grown worse than useless. For one thing, holds in his heart to be true. I believe that suppression of it is inadequate: Journalism has for decades been character- the news, for any consideration other than the welfare of ized in substantial part by interpretative and investigative and society, is indefensible.” analytical reporting. To the extent that objectivity still holds Nary a mention, you’ll notice, of objectivity. ■ sway, it often produces a report bound in rigid orthodoxy, a deplorably narrow product of conventional thinking. The Geneva Overholser, a 1986 Nieman Fellow, is the Curtis B. cowardly, credulous and provincial coverage leading up to Hurley Chair in Public Affairs Reporting, Missouri School the Iraq War was a spectacular example. This orthodoxy also of Journalism, Washington bureau. leaves out huge sectors of the population. Whatever the pov- erty of thinking of those in power, their views and actions are  [email protected] seen as legitimate, while thoughts and experiences of others are ignored. But if objectivity has become an ineffective and

Nieman Reports / Winter 2004 53 Words & Reflections The Next Journalism’s Objective Reporting

By Philip Meyer

isten up, young journalists. Here’s some bad news from of implying that there is an equal amount of weight to be an old-timer: The economic basis for the detached, accorded every side, the objective investigator makes an ef- L aloof-observer model of journalism that my generation fort to evaluate the competing viewpoints. The methods of built is crumbling fast. investigation keep the reporter from being misled by his or The good news: You get to invent the next journalism. her own desires and prejudices. The old system worked because print and broadcast When I was a member of the 1967 Nieman class, I studied journalism were naturally monopolistic. Broadcasting had a social science research methods. And I saw clearly, for the limited number of channels, and printing required expensive first time, how science and journalism have the same goals machines that broke easily. It wasn’t efficient to have more and could use the same tools. Six years later, I got that notion than a very limited number of them per market. That con- into print with the first edition of “Precision Journalism.” In straint produced a system geared to sending a few messages the opening chapter, I laid out the theory. To report on our to lots of people. complicated world, journalism requires interpretation as Now, because of technology, the massiveness of the mass well as the straightforward reporting of facts. But the leap media is disappearing. We’re moving toward a system of many from observation to interpretation needs to be subject to the messages, each directed to a comparatively few people, and same kind of discipline as science. the new system is experimenting with different ways to do Two aspects of what I advocated then caught on quickly: that. As markets will, it is trying the cheap ways first. Taking news media took responsibility for their own polling instead obvious facts and fitting them into a preconceived theory of relying on national syndicates or the polls of politicians. favored by the target segment is one way. It’s all the explana- And journalists started discovering the power of computers to tion we need for the success manage and interpret large of right-wing talk radio. quantities of data. But the Competition and entre- discipline of scientific meth- preneurial spirit will lead As the venues for spin and advocacy od with its rules for analysis to other ways to profit from multiply, there ought to be a market and hypothesis testing never media specialization. Out of for a trusted, objective source in the fully caught on, although experimentation will come there are some brilliant ex- a new journalism that is at original, scientific sense. ceptions. Bill Bishop of the the same time better and Austin American-Statesman worse than the old. One and Steve Suo of The Orego- benefit is that the motivations of senders will become more nian in Portland are setting fine examples, and their editors transparent as each seeks to woo and win a viable segment deserve credit for giving them the resources to do it. of the audience. The trouble with this kind of journalism is that it is expen- There will still be an economic need for objective report- sive, time consuming, and requires a level of skill not much ing, but it will have to be based on true objectivity, not the in demand from a system that conceives of news media as fake kind that the old mass media system supported. In that mere platforms for attracting eyeballs to ads. That model system, the appearance of objectivity was maintained by a puts a premium on low-cost attractants. sprinkling policy. Ink and airtime were scarce goods and so But, sooner or later, publishers will learn that to stand owners put a little here, a little there, trying to give all sides out in the noisy buzz of the information marketplace, they at least a chance for exposure to the mass audience. Journal- will need more trustworthy products. Journalism that yields ists had viewpoints, but they kept them well concealed so as reproducible results, reviewable by peers, open about its not to undermine the perception of neutrality. sources and methods, stands to find a privileged place in But it was always a false perception. Journalists have this new marketplace. You can be its creators. ■ opinions. The old media economics compelled their con- cealment so their messages could be sold to a broader range Philip Meyer, a 1967 Nieman Fellow, is Knight Chair in of end users. However, the end of pseudo-objectivity does Journalism professor at the University of North Carolina not undermine the need for true objectivity. If anything, it and author of “The Vanishing Newspaper: Saving Journal- enhances it. As the venues for spin and advocacy multiply, ism in the Information Age,” University of Missouri Press, there ought to be a market for a trusted, objective source in November 2004. the original, scientific sense. True objectivity is based on method, not result. Instead  [email protected]

54 Nieman Reports / Winter 2004 Journalism’s Future We Define Journalism By Doing It

By Melanie Sill

here’s a whiff of nostalgia to this question, an implied on a weekly television show called “Headline Saturday,” belief that journalism in the past was noble and pure produced with our local CBS affiliate, so I’m not throwing Tand that recent trends might ruin it. That bias faces rocks at journalists who appear on TV. If some reporters lose us squarely in the wrong direction—backward—in thinking their moorings on TV or radio talk appearances, after all, they about what journalism and journalists can accomplish. don’t get in the way of others doing great work. One might also ask how journalism could survive in an age What’s missing in many of these public appearances, of widespread poverty and displacement (the Great Depres- however, is a focus on the work and substance of reporting. sion) or in an age when Americans accepted the government’s Interviews with Anthony Shadid of The Washington Post after word on so many things, including censorship of war reporting he won his Pulitzer Prize for reporting in Iraq helped the public (World War II and the cold war). The Hutchins Commission understand war coverage, its dangers and its benefits. in the late 1940’s asked how journalism could and should Good journalism should speak for itself, but that only survive in an age of media consolidation. works if people are reading or listening. In the meantime, The best journalists answered those challenges with others are speaking about journalists, describing our motives memorable work that helped inform and define a nation in and practices and largely going unchallenged. transition. The best journalists today do the same, not just I share some words from a recent e-mail exchange I had here but also all over the globe. We need to continue defining with a local fellow who had been invited to a forum by our journalism by doing it—but we also need to claim the high marketing department and declined with a scathing e-mail ground and tell people what distinguishes journalism from describing why he and his conservative friends boycott The opinions, advocacy and pseudonews. News & Observer. It turned out the man had rarely read our People want truth. paper. Instead, he formed Journalism thus has an his opinions from local audience and a calling We can’t assume people know that reputation among his con- that exist wherever people servative friends. In our gather. The craft and the editorial opinion is separate from news exchange, it became clear ideals aren’t in danger, but …. We can’t expect them to know that we we read many of the same the same can’t be said for report independently. publications and shared journalistic institutions a belief in independent or the public’s view of reporting. the news business. Look “I admire your desire no further than your TV screen. Check “Law & Order,” the to pursue the truth and wish you continued success—who ubiquitous cop show. That’s us, the faceless mob on the knows, maybe I’ll subscribe to The N&O someday,” he wrote courthouse steps. in closing. As a kid I lived in a world in which most people read the This exchange and others have convinced me that we newspaper and reporters were usually the good guys in mov- can’t assume people know what makes journalism different ies and on television. Even the glamorized version in “All the from other kinds of information, including punditry, or how President’s Men” gave a sense of how investigative reporting reporting works. We can’t assume people know that edito- worked. A teenager paying attention today might instead rial opinion is separate from news in my newspaper and watch the movie about liar and cheat Stephen Glass, hardly many others. We can’t expect them to know that we report a call to the pursuit of truth. Blair and Kelly, not Woodward independently. and Bernstein, are the reporters who’ve been in the news. More and more, my newspaper aims to tell people what Turn to CNN or MSNBC and you will find Jon Stewart, the we’re trying to do. We’re putting more effort into delivering fake news guy, being interviewed by a journalist about real on those promises in small ways and big ones. issues. “The media aren’t biased, they’re just lazy,” Stewart People want what journalism can deliver—reporting, facts, opines. Listen to talk radio, spend time in Internet forums depth, context, independence. Looking forward, there’s or Web sites, and you’ll see how much hostility rages toward plenty of that work yet to be done. ■ this undefined power called “the media.” I’m an American, so I get to blame Washington for every- Melanie Sill, a 1994 Nieman Fellow, is executive editor of thing. Who hasn’t thought that some of those talking heads The News & Observer in Raleigh, North Carolina. on Sunday morning seemed to forget years ago which seat they were supposed to occupy? I also occupy a cohost’s seat  [email protected]

Nieman Reports / Winter 2004 55 Words & Reflections Punditry Flowers in the Absence of Reporting

By Mary Claude Foster

hile we were getting down to the wire on the John from kitchen tables without ever leaving the house. It also Kerry Silver Star medal story at ABC News’s “Night- means that skilled TV journalists can write words to pictures Wline,” the recent painful “60 Minutes’” debacle over shipped in from the field. Little in today’s journalism milieu the President’s war record story gave fresh meaning to an seems to require being there. It is easy to back away from old rule, “Thou shalt make no mistake.” the tough job of reporting, especially when bosses seem as A freelance producer had brought us an official map from content with punditry as with original reporting. the Vietnamese government, which when paired with coor- Consider the protesters. “Nightline” met a couple in dinates in the official U.S. “After-Action Report,” provided a Charleston, West Virginia who were arrested at a July 4th event line across 35 years to the hamlet where then First Lieuten- with President Bush for wearing Kerry T-shirts. Campaign ant Kerry received a citation saying he had charged into a reporters heard such news, but being part of the ever-mov- numerically superior force under intense fire. The Swift Boat ing motorcade makes it hard to stay behind and follow-up. Veterans for Truth had claimed there’d been no firefight there One highly respected political reporter wrote a powerful and that the Vietcong killed by Kerry was a boy. commentary piece about this couple. When we contacted the A football field could be carpeted with words written and reporter, we learned she hadn’t covered the campaign in the broadcast debating the merit of this medal. Political ads from field and had not spoken with the arrested couple. the swift boat veterans group had unleashed a maelstrom of Our silver medal story aired, relaying eyewitness accounts punditry. Everyone had an opinion; no one seemed to have of Vietnamese peasants who said that the man Kerry killed any real information. For each soldier who claimed that Kerry was a veteran Vietcong operative sent into battle by those at was a hero, another charged headquarters. They remem- he’d dishonored the Navy. bered a heated firefight. High-volume punditry It is easy to back away from the tough The taped pieces were fol- was flowering—as it always job of reporting, especially when lowed by an interview with does—in the absence of clear the head of the swift boat facts. When “Nightline” was bosses seem as content with punditry veterans, who repeatedly offered the opportunity to as with original reporting. held up copies of his book do primary reporting to ad- and as vance this story, we leapt at proof of his assertions. After the chance. Once there, we found eyewitnesses to the event the report aired, “Nightline’s” anchor, Ted Koppel, offered who had vivid memories of that day in February 1969 when his commentary. Punditry followed, and complemented, the swift boats beached on their shore, though none had heard story’s primary reporting. of by name. Koppel let viewers know that “Nightline” didn’t know what The two biggest stories of our time—Iraq and the presiden- would be found when our reporting team was dispatched to tial election—have their own challenges in reporting, and the Vietnam. There they would ask questions of those who wit- lack of agreed-upon facts offers fertile ground for punditry nessed this event, and answers they received would provide to fill this vacuum. In Iraq the reality of lethal danger means a first-hand account that would speak to the debate about that reporters languish in the Green Zone, unable to report Kerry’s character. As Koppel noted, “Nightline” would have the conflict firsthand or speak with people whom it affects. reported whatever was learned. “Because not reporting some- On the campaign trail reporters had little direct access to the thing you know can be just as much of a political statement candidates who preferred to be interviewed by TV celebrities as reporting it,” he said. “Finally, once we’ve checked things such as Dr. Phil and Regis and Kelly. In this void, campaign as thoroughly as we can, we’re in the business of reporting advisors became frighteningly adept at managing news. Re- what we learn, not concealing it.” porters might be in the field, but they essentially were embed- Now if you’ll excuse me from this reflection on the role of ded with the campaigns. At a political convention, reporters punditry, I have to run. There is reporting to do. ■ observed a staged event as protesters were to be penned a few blocks away. Debates were covered from holding rooms Mary Claude Foster, a 2002 Nieman Fellow, is a producer where reporters watched on closed-circuit TV and did not at “Nightline.” see—as many viewers at home did—the colorful reaction shots of the candidates that networks aired, though doing so  [email protected] violated the rules of coverage set by the campaigns. Technology makes possible the “publishing” of opinion

56 Nieman Reports / Winter 2004 Journalism’s Future Infotainment Shrinks the News

By Clarence Page

eople often ask me what it is like backstage at “The Ah, having never confined my broad mind to such narrow McLaughlin Group” or Chris Matthew’s “Hardball” or parameters, I confessed that I was “not sure.” That would not PFox’s “The O’Reilly Factor.” “Do you and your fellow do. We talked. We settled on an appropriate pitch line that panelists go out for a beer?,” they ask. “Do you pal around went something like, “A liberal who sometimes will surprise together?” I sense what they really want to know is whether you.” I still like that. the disagreements they see are nothing more than a show. We While some of us pundits still pride ourselves on being don’t really mean it, they suspect. It’s just infotainment. unpredictable, the marketplace increasingly seeks the pre- Well, on every show on which I happen to argue, I mean dictable. Just as FM radio has fragmented since the “Top 40” it. I mean what I say on the air as sincerely as I mean what I days into music formats targeted to the narrowest of tastes write in my newspaper column. I did not go to journalism (“hard rock,” “soft rock,” “classic rock,” “Christian rock,” school to become the sort of dweeb who likes to argue. I “urban contemporary,” “hip-hop …”) so has political talk, came by it quite naturally. This characteristic, obnoxious except it has fragmented into two Manichaean choices: liberal in a roommate, can be pure gold on the talk show circuit. and conservative. Listen and believe? No, believe and then Helped along by my rapier wit, keen-eyed knowledge and choose to what you want to listen. rat-like cunning, it has gained for me a perch, however mod- Quite often the result, as Jon Stewart of “The Daily Show” est it might be, in today’s pantheon of punditry, a perch that famously bellyached on CNN’s “Crossfire,” is pseudo-intel- is becoming increasingly crowded, not nearly as special as lectual cheerleading, a battle of heat-seeking interests mas- it used to be. querading as serious discourse. One tunes into such programs Once, I am told, there was to have one’s beliefs, notions actually a time when you and prejudices reinforced. If could swing a dead cat in If thorough consideration of an thorough consideration of an Washington without hitting opposing view is the beginning of opposing view is the begin- a pundit, which is a Hindi ning of intellectual growth, word for “learned man.” intellectual growth, much of today’s much of today’s infotainment Two or three imperial figures infotainment sounds brain dead. sounds brain dead. in Washington like Walter Ah, well. Infotainment is Lippmann, Joseph Kraft, or not all bad, or I would not Stewart Alsop defined and dominated this profession, offer- participate in it. Ideally I still cling to the hope that its heat- ing perspectives with lyrical language, seamless logic, and seeking arguments will tantalize wider audiences, particularly insiders’ eyes. the ever-elusive youth audience, and lure them more deeply Modern media, particularly the Internet, have democra- into traditional serious journalism, like that offered by the tized the game. The writing might not be nearly as good, newspapers that run my column. A revival of literacy sparked but there’s way more of it. I do not fear for the survival of by television? Ah, I can dream, can I not? journalism in this era of punditry and attitude. I think there My nightmare, by contrast, is a nation growing apart into will be a hunger for accurate and reliable reporting as long two nations, red-state America and blue-state America, polar- as there is something newsworthy happening. There is also ized by the wedge of a political culture that honors the art a need for the analytical and investigative role that holds the of compromise and consensus less than the brute sport of powerful accountable and keeps the rascals on notice. But digging in one’s heels. what troubles me is that the prognosis is less bright for the The daily newspaper has its limits but, bless its ink-stained sort of punditry that tries to explain the complexities of the heart, it still tries mightily to offer all things to all people. world in a way that makes sense without leading a rah-rah When you pick one up and open it, brace yourself, dear squad for one partisan side or another. Goodbye to all that. reader, for an opinion that just might not agree with yours. Hello to infotainment. What a concept. I wonder if it has a future. ■ I sensed trouble when my local column of social and political thought was picked up for national syndication in Clarence Page is a columnist for the Chicago Tribune. the late 1980’s. The first question the marketing executives asked me was, “By the way, Clarence, what are you?”  [email protected] Excuse me? Patiently they explained that op-ed page edi- tors want to know, first and foremost, whether I am a liberal or a conservative.

Nieman Reports / Winter 2004 57 Words & Reflections Experiencing the Meaning of Journalism

By Maria Henson

ant a newspaper reprint with your barbecue sand- I left the Austin American-Statesman last summer, I was edit- wich? How’s that for a message near the capitol ing an ongoing project called “The Great Divide,” in which Win Frankfort, Kentucky, at Scotty’s Pink Pig restau- reporter Bill Bishop and statistician Robert Cushing analyzed rant? voting and demographic patterns since World War II. They I know the grim news about what we do, but I’m going found that during the past 30 years, we have sorted ourselves to throw my lot with the optimists in large part because of into politically homogenized, no-compromise clusters, where my experience in Kentucky and a woman named Clayton we talk to like-minded people and limit our intake of dissent- Bradley. She read a series of investigative editorials I wrote ing views. By 2000 about half of the nation’s voters lived in for the Lexington Herald-Leader about how certain judges, counties where one party won the presidential election by prosecutors and police officers had failed to protect battered 20 percentage points or more. women and their children. Turns out that one of the women I This worries me. If citizens are looking only for news that featured—by name and ghastly emergency-room photo—was affirms their point of view and don’t live in places where there the daughter of Clayton’s friends from church. Until she saw is an exchange of ideas, democracy is weakened and people get the editorials, Clayton thought this young woman had been angrier about politics and institutions. Compromise becomes in an accident. When she learned that a boyfriend pummeled a sign of defeat. The individual is extreme and supreme, and the young woman and that the law didn’t offer the same relief the common good seems passé. Our work as journalists is to girlfriends as it did married women, Clayton got angry, based on a particular view of citizens: that they care about their and she got active. rights, the conduct of their government, their role in govern- She asked for a stack of series’ reprints, put them on the ing—that they care about the country as a whole. No matter front counter at her restaurant, and distributed them with the period in history, journalism in a democratic society has barbecue. She posted a continuous duty a sign instructing din- to offer information ers to tell legislators If citizens are looking only for news that that is accurate, rich to support domestic in context and his- violence legislation; affirms their point of view and don’t live in tory, balanced and she even included the places where there is an exchange of ideas, able to withstand number for the Capitol democracy is weakened and people get angrier peer review. switchboard. Across The question for partisan lines, she about politics and institutions. us is whether citizens and others around the will want it. state were relentless in There will always their advocacy. As a result, the legislature—among the last be a need for “real news,” which Bill Moyers observed has in the country to define marital rape as a crime and with a been defined by Richard Reeves as “the news you and I need member who publicly worried about such legislation caus- to keep our freedoms.” I’m counting on people like Clayton ing “vengeful women” to come out of the woodwork—ex- to have an appetite for that kind of news and the ability to perienced a curious conversion and passed every domestic distinguish between punditry and journalism and on a country violence reform proposed with hardly a whisper of dissent. where the common good again counts for something. The Witness the privilege of practicing journalism and the top-down method of deciding and delivering news is distaste- power of citizens to push for change. ful to many today, but it’s also true that in a world where Can journalism survive in this age of punditry and attitude? information bombards us a journalist can be a useful guide Of course it can. Here I’m speaking of journalism: Its business in making sense of this world, exposing abuses and injustices model is another matter entirely and, at the moment, lends that might rile a citizen to act. I’m counting as well on indi- little cause for optimism. Our roots lie in unruly partisan vidual journalists to see journalism as a calling that requires newspapering, from the nasty jousting of the Republican one to report with depth and rigor, not just to rant. ■ vs. Federalist press in our country’s earliest days. Surely, the anarchic, chaotic fireworks of talk show shouting, Internet Maria Henson, a 1994 Nieman Fellow, is deputy editorial blogging, and 24/7 “news you can choose,” as a National page editor of The Sacramento Bee. Journal writer put it, are our modern-day version of rowdy pamphleteering.  [email protected] What concerns me more is the state of the citizenry. Before

58 Nieman Reports / Winter 2004 Journalism’s Future The Messy Transition Ahead

By Dan Gillmor

hen the dust started settling on the 2004 presidential stream media. It is not an accident that ’s Web election, journalists were doing our usual post- site saw an enormous surge in traffic before the Iraq War Wmortems about our coverage and influence (or lack began. The visitors were, in large part, Americans who knew thereof) on the election. For the first time, the word “blogger” they weren’t getting anything like the full story from news- was prominent, but not for entirely positive reasons. papers and broadcasters that seemed to become little more On Election Day, exit-poll results were widely available on than propaganda arms of the Bush administration after the the Internet. People with access to the numbers—probably September 11th attacks. inside journalism organizations—leaked the numbers to - Now contemplate The Guardian times ten thousand, or gers, who promptly posted the data for all to see. The results a million. No, most of those other alternative sources won’t were dramatic, in more ways than one. John Kerry seemed to attract many readers, but collectively they contribute to the be winning, and his supporters became cautiously euphoric. audience fragmentation. Readers—and viewers and listeners Stock markets reacted badly, as some traders began selling to the increasingly sophisticated online media being offered certain industries in anticipation of a Kerry administration’s by the grassroots—are learning, perhaps too slowly, to find likely policies. But as we’ve learned, the exit polls—which trusted sources but also to exercise caution. I can’t empha- ran counter to just about every pre-election survey showing size enough the need for reader caution, because I don’t George W. Bush in the lead—were wrong. expect the grassroots journalists to exercise much restraint. In this emerging era of grassroots journalism, things are I wish bloggers were more responsible, but I value their First getting messy. Or, more accurately, messier. And the election Amendment rights as much as anyone else’s. polling uproar is just one more piece of evidence. Some help might be coming from Silicon Valley, where As I observed on these pages several years ago, the 20th I live and work. Technology helped create this messiness. century model of centralized It might help solve it. The newsgathering and distribu- tools of media creation and tion is being augmented distribution are more power- (and in some cases will be Technology has collided squarely ful and ubiquitous. Now we replaced) by an emergent with journalism, giving people at the need tools to better manage phenomenon of increasingly edges of those networks low-cost and the flood of what results. Early ubiquitous and interwoven entrants in this field are prom- networks. Technology has easy-to-use tools to create their own ising. A new file format called collided squarely with jour- media …. “Really Simple Syndication,” nalism, giving people at the or RSS, lets software parse edges of those networks low- many different Web sites and cost and easy-to-use tools to aggregate them into one col- create their own media, and the data networks are giving lection of news and other kinds of information. News people them global reach. who don’t know what RSS is should learn. Yesterday. Meanwhile, our business model is under attack as never Specialized search tools, such as Technorati and Feedster, before, by people using the same technologies to carve away are emerging to help us gather and sort good material from our revenues. Think of eBay as the largest classified advertis- bad. They’re still fairly crude in many ways, but they are ing site on the planet, and you get the idea. improving quickly and help point to more useful systems. My focus here, however, is on the messiness factor. It will Reputation systems, where we can easily learn what people be a growing source of discomfort among journalists. Our we trust consider trustworthy themselves, are on the way. gatekeeping role is under challenge, along with our credibility. This is not going to be a smooth transition. But I still be- And as we saw in the exit-poll debacle, the messiness will have lieve, in an era where so much is so centralized, that more serious consequences while we sort it out, assuming we can. voices are ultimately better than fewer. We have to sort it out. I believe we can, but it will take a fair bit of time. It will be messy and worth the trouble. ■ The core of the issue is in fragmentation. The news audi- ence seems to be going its own way. Certainly there’s some Dan Gillmor is technology columnist for the San Jose Mer- retreat to quality—to sources of information we learn to trust cury News and author of “We the Media: Grassroots Jour- in online searching—not just surfing to random “news” sites nalism by the People, for the People,” published in 2004. that turn out to give false information. But there’s equally a hunt for better information than we’re getting from main-  [email protected]

Nieman Reports / Winter 2004 59 Words & Reflections Pressures Force the Emergence of a New Journalism

By Edward Wasserman

ournalism often appears to thrill to the sense of being in Invariably, new technology is deformed, reformed, regulated crisis, but pressures on it now truly seem to fit the bill. and deregulated until it fits perfectly well with what was JOn one side, it’s screwed down tighter than ever; on there before. The Internet, too, might be in the early stages the other, the lid has blown off. The mainstream end is of colonization. For now, though, the ideology of the blog squeezed to the point of strangulation, while the New Media is powerful, with its promise of emancipation from the con- end revels in an almost explosive decompression. straints of an increasingly timid, defensive and underfunded How these antithetical forces will play out is uncertain, but mainstream. the stakes are high. Will journalism—as a careful, independent- What does this, and the ratings success of Fox News in us- minded effort at socially significant truth-telling—survive, ing ideology to define a narrow commercial market, have to and in what form? do with the beleaguered practice of journalism? How might For the mainstream, compression. Industrial reconfigura- journalism survive? tion and regulatory retrenchment are essentially destroying Any answer must recognize that times have indeed changed. local broadcast news, while the steady creep of market-driven Today, the most dynamic areas of news and public affairs forms that supposedly appeal to a melting readership base respond to vastly different economic realities than those of sap shrunken newspaper resources. Reporters risk drawing the mid-to-late-20th century. No longer must news media real- a harsh ideological barrage if they displease the roving Web- ize a profit by their ability to aggregate ideologically diverse based cadre of truth cops. publics with broadly acceptable messages. The success of Plus newsrooms are in the midst of a managerial counter- news reporting—whether sustained by advertising, subsidy revolution, prompted by the recent highly publicized cases or subscription, whether via blog or cable TV—increasingly of reporters run wild. We should be asking why seasoned depends on gathering a stable, vigorously committed public journalists were so disenfranchised that their skepticism about of communicants. a Jayson Blair or a Jack Kelley went unspoken or unheeded. Must journalism then give way to polemic? I hope not. We might question newsroom incentives that reward the Instead, the successor to the dying regime of mass mar- overproducing reporter whose work should have aroused ket-driven pseudo-objectivity might lie in the tradition of suspicion. But we hear little of that. principled advocacy journalism. This can be an expression Instead, reporter independence is tagged as the culprit. of conviction and commitment, but to be journalism it must The response is a crackdown—checking phone logs and submit to the test of truthfulness. The painstaking process travel records and spot-checking sources—that smacks of a of gathering facts must be the beating heart of the practice. revocation of operational autonomy that reporters need to Suppressing or omitting material facts or contrary thinking do their job. must be prohibited. Whatever the journalist’s preferences, she But that job has changed. The work these reforms im- must be willing to yield to the weight of stronger evidence pair is street-level, enterprise reporting, which thrives on and modify conclusions as new facts emerge. No matter how curiosity and independence. And that is the work that the right the cause seems, for this work to be journalism—not cost-conscious news managers of the 21st century are least mere rumor, clamor or propaganda—such are the rules. convinced they still need in a time when so many “editorial” A new tradition of committed journalism can emerge to jobs in converged news operations are clerical in everything marry the burgeoning multiplicity of perspectives to a canon but name, and the audience for news is fragmenting. rededicated to a veneration of fact. The tottering traditions The opposing push from Internet bloggers and other of one kind of journalism are dying. Is a renewed tradition heavily opinionated, hands-free style news analysts on cable of journalism ready to be born? ■ presents itself as an alternative. It promises a reanimated journalism of insurgency, free of corporate control and the Edward Wasserman, a columnist and former newspaper smug biases of metropolitan . Fox News embodies editor, is the Knight Professor of journalism ethics at this spirit in its cynical claim to being fair and balanced—a Washington and Lee University in Lexington, Virginia. powerful claim because it gives voice to a fervent wish for a place where thought and speech might truly be free.  [email protected] Sadly, the history of technological innovation in the mass media is a breathless parade of new gadgets touted as a new pathway to social betterment and enlightenment—from AM broadcasting to cable proliferation, from satellite TV to TiVo.

60 Nieman Reports / Winter 2004 Journalism’s Future The Tasks in Creating a New Journalism

By Michael X. Delli Carpini

ournalism is not going to disappear. As author Michael include insightful commentary, debate, humor and opinion. Schudson observed, if there were not journalists, we’d The test should be journalists’ effective communication of Jhave to invent them. The real issue is what journalism some sense of the truth about important topics. The difficulty will look like and if it—and the larger media environment is not too much “talk,” or ideologically based arguments, or of which it is a part—will ably serve our democracy. attempts to entertain audiences. Rather it is in the extent to Journalism’s core mission is to provide citizens with use- which these presentations do or do not provide useful and ful information about public affairs. While this is not an easy useable information. task under the best of circumstances, right now this mission 3. Journalism expands its watchdog function to include is being challenged by some well-documented economic and monitoring alternate sources of public information. Citizens technological changes in the media. As a result, traditional need help in sorting through the complexities of civic life, news organizations seem to face a Hobson’s choice: Either but also in navigating the new media environment. Regu- stay true to the tenets of journalism and risk becoming lar assessments are needed, not only of one’s own news irrelevant or compete by being more entertaining and/or organization’s performance, but also of others, including opinionated. cable talk shows, Web sites, , even books and politically But there is a viable middle option. It begins with reasoned relevant entertainment genres. Journalism needs to accept reflection and a willingness to act on what we know and that people draw on multiple sources of information, but it believe. For example, many of the conditions that created also must hold these sources (collectively as well as individu- the practice of modern journalism, such as the scarcity of ally) to standards by which it judges itself. It is not enough outlets, no longer exist. This is a potentially positive devel- for Jon Stewart to claim he isn’t a journalist (but then act like opment, though the increasingly centralized ownership of one) or for the Fox News Channel to declare itself “fair and news organizations must be addressed. Having a handful of balanced.” Those who provide information must be held ac- news outlets operate under the noble but impossible norm countable to the standards of journalism, and journalists are of objectivity was never the optimal way to inform citizens. well positioned to serve this broader ombudsman role. By reducing reporting to the accurate quoting of “both sides” of an issue, journalists often end up stripping what they We are witnessing the blurring of lines between news and convey of valuable context and making it dry, boring and entertainment, fact and opinion, even fact and fiction. Today, confusing. Yet we know that an information environment that neither journalists nor the public seem capable of giving abandons commitment to accuracy or fairness is not helpful clear answers to questions such as, “What is a journalist?” in guiding citizens to greater understanding—or increasing or “What are the rules of journalism?” The solution: Don’t their ability to make informed decisions—about the critical circle the wagons around increasingly outmoded definitions issues of our time. and rules, but take what is best about journalism’s recent What might a new journalism look like? As a starting point, past and adapt it to what appears most promising about the let me suggest the following: new information environment in which we live. It’s only a bit of an exaggeration to suggest that tomorrow’s journalist 1. Journalism gets its house in order. Too often journal- will need to be a blend of Ted Koppel, Chris Matthews, and ists fail to live up to their professed standards, as seen in Jon Stewart. ■ recent mea culpas from CBS News, The New York Times, and The Washington Post. There is confusion, too, between the Michael X. Delli Carpini is dean of the Annenberg School practice of only reporting what is said and the fundamental for Communication at the University of Pennsylvania and goal of uncovering the truth. Add to this the cynical and coauthor of “What Americans Know About Politics and strategic ways in which elections and politics are covered. Why It Matters.” He is working on a book about the blur- Market-driven tensions also seem to influence journalists in ring of news and entertainment in the media. setting aside reporting on what people ought to know and substituting what they (often wrongly) think people are in-  [email protected] terested in knowing about. For journalism to claim its role in democracy, it must walk the talk. 2. Journalism remains true to its core mission, while acknowledging that it can be accomplished in many ways. Straight reporting of facts is essential, but coverage can also

Nieman Reports / Winter 2004 61 Words & Reflections Reversing the Trend Away From Journalism

By Ellen Hume

ournalism will survive. It will appear in the form • New business models of Web sites designed for people checking on the • An educational effort Jnews because they are trying to figure out the jokes on Jon Stewart’s “The Daily Show.” It’s way overdue to use these tools to reverse the 35-year All joking aside, there is nothing to guarantee a continuing cultural war against the mainstream media, led by folks like audience for independent, unbiased news. For years we’ve on the right and Noam Chomsky on the left. been warned that journalism is being tainted by all the ersatz These critics, who never appreciated the honest efforts of stuff. It is tragic that we’ve come to this. Too many reporters good journalists, exaggerate and exploit high-profile mistakes are chasing too few stories and conveying them with more by major news organizations. When the federal government, hype than meaning. People are suffering from news fatigue, which rarely finds scrutiny convenient, subpoenas reporters along with compassion and political fatigue. to hand over telephone records that go far beyond the scope Audiences flee to the blogosphere and talk shows, where of the Valerie Plame inquiry, a lot more are needed. the chatterati seem more candid and, therefore, honest, se- When reporters can’t protect sources, they can’t hold the ducing audiences by confirming their prejudices. The passion powerful accountable. for “attitude” plays well in our attention economy, but it’s Fortunately, a long-needed media consumer movement is bad for news. Journalists become no different than salesmen gaining momentum. Organized through the Internet, people and jesters, except they’re usually less amusing. successfully challenged Sinclair Broadcast Group’s decision Real journalism will recover, but only if its supporters take to provide blatantly erroneous, partisan content during the action. First, they should get out the plastic sheeting and presidential election. Before that they forced the Federal duct tape and wall off everything about celebrities, movies, Communications Commission to roll back its loosening of Laci Peterson, rumor, prediction and a lot of other popular cross-ownership rules. Journalism companies should get on stuff. Take a page out of FactCheck.org—the most admired the right side of this issue, even though the business model Web site of this campaign year. Stay with the basics. Don’t for independent journalism is under severe stress. just repeat someone else’s story. Do original reporting. Help The rise of FactCheck.org is evidence that journalism us understand what’s a lie and what’s the truth, and why can morph into new formats and succeed at its core task of this matters. holding the powerful accountable and providing access for Journalism that still tries to do this is better now than ever. citizens to information they need. But it’s a nonprofit opera- It is found in the detailed take-outs in The New York Times tion. Most journalism cannot enjoy that protection. Main- and other newspapers that separate myths from realities, stream journalists often confront market-driven executives about aluminum tubes in Iraq, John Kerry and George Bush who demand cross-promotion of entertainment products by during the Vietnam era, and other hotly debated issues. But their news divisions. Niche markets might be journalism’s these days this kind of careful, researched journalism has best hope, as National Public Radio illustrates, even if news more enemies than friends. “You’re either for us or against balkanization is not good for democracy. Better business us,” President Bush declared after 9/11, in a message that models must be found, fast. was absorbed too well by the U.S. media. Finally, a return to a civic education curriculum would help. To win back people who want to know what’s really going Those who teach media literacy should move beyond decon- on, journalists need to return to what they do best: providing structing messages to helping students find reliable informa- verified information that is, in Bill Kovach and Tom Rosenstiel’s tion. They need to show how to value real journalism—by phrase, “comprehensive and proportionate.” News outlets looking for transparency, verification, independence, context also need to get more credit when they do this; even their and proportionality. Let’s be sure that when the audience best work is often taken for granted by those who pay close comes back to look for this, they’ll be able to find it. ■ attention or dismissed by those who do not. It’s time to launch a public education campaign and take Ellen Hume, a former reporter with The Wall Street Jour- back the phrases “fair and balanced” and “no spin” from nal and other newspapers, is director of the Center on those who claim them but do just the opposite. Journalism Media and Society at the University of Massachusetts, doesn’t need to give up and join the overtly biased. Instead, Boston. it needs:  [email protected] • A lot more lawyers • An effective consumer movement

62 Nieman Reports / Winter 2004 Books

The Evolving Role and Reputation of Arab Broadcasters Shifting perceptions of reality in Iraq ‘expose the futility of our journalistic faith in the truth.’

Al-Jazeera: The Story of the Network That is Rattling Governments and Redefining Modern Journalism Mohammed el-Nawawy and Adel Iskandar Westview Press. 240 Pages. $16 pb.

By Doug Struck

One of the early acts of the new Iraqi nalistic excesses. A more current view government after receiving formal of Al-Jazeera’s news operation and an power from the United States last sum- intriguing comparison with mainstream mer was to close the offices of Al-Jazeera journalism is the documentary, “Control Television. So much for a free press. The Room,” by Jehane Noujaim. outgoing American authorities could But the book offers a good corrective hardly profess to be shocked. They and lens to view the motives of the Arabic the U.S. military had been chafing at station: Al-Jazeera is less about anti- the Arabic language news network for Americanism and more about scrappy months. Secretary of Defense Donald journalism than its critics concede. Rumsfeld led the charge, blustering The authors look to the training of ironically about propaganda. Al-Jazeera’s original staffers in 1996— For sure, Al-Jazeera’s sensational many of them from the BBC Arabic drumbeat is pretty hard to take for service—for the ethos of the network those caught in the harsh glare of its today. Those staffers, while admittedly lenses. That includes the United States, critical of U.S. motives in the Middle other Western powers, and , who East, are most animated in their zeal usually play the role on Al-Jazeera as to create controversy by presenting wide has spawned copycats. Its place on invaders and occupiers. But it also disputing views, by shoving the cam- the ground in Iraq has been replaced often includes Arab regimes, many of era in unwelcoming places, by poking by Al-Arabiya, another scrappy upstart which have reacted angrily to finding at sacred cows, and by presenting an 24-hour network based in Dubai. Other themselves in the unaccustomed spot unsoftened view of events. Sounds like Arab networks like Abu Dhabi Televi- of being the subject of critical news on what journalists are supposed to do. sion, LBC from Lebanon, and MBC, an Arabic channel. That often means presenting raw, which is Saudi-owned and based in “Al-Jazeera: The Story of the Network bloody video of the violence in the London, have become more aggressive That is Rattling Governments and Rede- Middle East, pictures of grieving widows and proactive in their newsgathering to fining Modern Journalism” is a useful and bombed out homes, taunting dia- compete. And even though its report- backgrounder for understanding the tribes from , pathetic ers are banned from working in Iraq, origins of this controversial Qatar-based pleas from hostages in Iraq on their way Al-Jazeera still uses the phones, satel- network. First published in April 2002, to being beheaded, and heavy-handed lite feeds from other channels, and its the book was rereleased in August pictorial comparisons between Israeli impressive contacts to present a cred- 2003 in paperback. The new version troops oppressing Palestinians and U.S. ible view of what is happening inside updates its emphasis on Afghanistan troops in Afghanistan or Iraq. Its talk the country. with a hurried epilogue on Iraq by au- show hosts shout and its guest some- The squeamish secret among West- thors Mohammed el-Nawawy and Adel times say outrageous things. Its report- ern journalists in Baghdad is that these Iskandar, faculty members at Stonehill ers call suicide bombers “martyrs.” stations are now an important part of College in Massachusetts and University Is that news or incitement? If we their establishment news operations. of Kentucky, respectively. only stop Al-Jazeera, goes the logic of As the danger for foreign reporters has The book offers a fairly apologetic its critics, no one will get excited about increased, their mobility has shrunk, defense of Al-Jazeera—its network is these things. They won’t even know. and their ability to put their own eyes on hardly “not biased,” as the authors Of course, that is patently untrue. It is events has diminished. That means they claim at one point, any more than Fox untrue partly because of Al-Jazeera’s have to rely on other sources: brave Iraqi News Channel is unbiased. And they success. The network’s popularity stringers who do the legwork needed, glide too gently over some of its jour- among Arabic-speaking viewers world- wire services largely manned by Iraqi

Nieman Reports / Winter 2004 63 Words & Reflections

nationals, telephone contacts, and the crater created by a suicide bomber driv- and a total rejection of the reports by Arabic television networks. ing a truck, a wild-eyed Arab man whom the journalists who did so. Those sources are not accepted witnesses described in chilling detail as Such incredulous beliefs on both uncritically. Western reporters strive to he careened toward an Iraqi police sta- sides are stomach-turning stuff for a crosscheck and confirm. But the camer- tion. In the next 30 minutes, I watched reporter. They expose the futility of as of the Arabic stations are often on the as those eyewitness accounts, honest in our journalistic faith in the truth. As scene with pictures of what happened. their freshness and consistency, were el-Nawawy and Iskandar point out, Their reporters often interview people twisted by a growing mob. By the time Al-Jazeera has a good record—if not a out of reach of Western reporters. Their I left, the Arab suicide bomber had perfect one—of trying to debunk the studios are the place for debate and been erased and replaced by screaming most absurd of those theories, on both interviews with officials to whom the “witnesses” who “saw” American fighter sides. Whether in search of controversy rest of us have less access. So what ap- planes dropping a bomb on the site, a or ethics, no matter: Al-Jazeera’s willing- pears on those channels does make its version that would be believed by many ness to challenge smug assumptions way into mainstream news reports in from then on, despite the news accounts is admirable enough to have made the increasingly vital doses. that followed. network itself the subject of conspiracy It was no longer shocking to me to rumors that it is secretly controlled by The Shifting Truth hear otherwise thoughtful Iraqis insist the Mossad or CIA. that the attacks on Americans and Iraqi It would be a stretch to say Al-Jazeera All the debate about Al-Jazeera’s slant citizens are carried out by the United is seeking to close the gap of misunder- on the news misses a larger, and States to give it an excuse to occupy Iraq standing between the Middle East and more ominous, truth. For a reporter for the oil. Or that the attacks of Sep- the West. But it is safe to say the Arabic in Iraq—and elsewhere in the Middle tember 11, 2001, were orchestrated by network is backfilling that chasm with East—one of the most depressing Israel, and the 4,000 Jews who worked in information, debate and real news—no discoveries is the parallel dimensions the World Trade Center were warned not matter how uncomfortable or occasion- of reality. Most reporters there really to come to work. Nor, unfortunately, was ally off mark. That is a good thing and believe in what they are doing, even if I surprised to accompany U.S. Marines, one that all should applaud. ■ it’s hidden under a snort of cynicism. who insisted with genuine sincerity that They believe that if they just do their the Iraqi men they held at gunpoint on Doug Struck, a 2004 Nieman Fel- job well enough, people will know, they the ground truly understood that the low, has reported from Iraq and the will understand. Americans are well intentioned, and Middle East often since 1990, most But in the places we report, we the Iraqis held no grudge. Or to hear recently this summer. He is Canada are quickly confronted with a reality American military officials insist that bureau chief for The Washington of conspiracy theories and imagined the great majority of Iraqis want them Post. plots so widely believed that it mocks to stay in the country, a fantasy forged our pursuit of truth. I have stood at the by the failure to really talk with Iraqis  [email protected]

Making Visible What Is Purposely Hidden Author Mark Dow writes about what happens, but is usually unseen, in immigration prisons.

American Gulag: Inside U.S. Immigration Prisons Mark Dow University of California Press. 426 Pages. $27.50.

By Susana Barciela

Mark Dow’s compelling book is a voy- with an astonishing lack of account- inmates have only worsened since 9/11 age into the heart of darkness that is ability, not only to outside criticism, and under the new Bureau of Immigra- the United States’s immigration prison but to the rest of government as well.” tion and Customs Enforcement, which system. “American Gulag: Inside U.S. While much of what Dow documents is the Department of Homeland Security Immigration Prisons” reveals everything happened under the watch of the former agency now in charge of locking up that the nation’s immigration authori- Immigration and Naturalization Service immigrants. ties don’t want you to know about “a (INS), he makes a convincing case that Dow’s interest in immigration pris- particular American prison system … the secrecy and abuses of immigrant ons began at a place I know well. As a

64 Nieman Reports / Winter 2004 Books part-timer for Miami’s public school couraged to perform sexual acts upon system in 1990, he taught a high-school each other. Sound familiar? equivalency course at the Krome deten- The book explores the big-money tion facility, a notorious immigration business that immigrant detention has prison on the edge of the Everglades. become. Spurred by draconian 1996 At the time, The Miami Herald had laws, the boom in immigrant deten- published stories written by Deborah tion has profited local jails and private Sontag (now of The New York Times) prison companies, such as Wackenhut that exposed rampant sexual abuse of fe- Corporation. U.S. immigration au- male inmates by Krome officers, among thorities now imprison 200,000 people other ill treatment. Though immigration yearly, some 23,000 on any given day. officials had denied Sontag access to For private contractors, the more and Krome, she had gotten information from longer that immigrants are locked up, advocates, including another teacher the better the revenue. The less spent who was quoted in the paper. on such frills as GED (General Education Before long, both that teacher and Development) classes, meals or medical Dow were fired, but not before—as the care, the greater the profit. book describes in the first chapter—they Dow paints a nuanced tapestry of had to attend a meeting where a Krome an “invisible” prison system and its officer explained “that the media tend to pattern of deliberate abuse—from bru- distort what they are told because their tal to petty and capricious—designed only goal is to sell papers.” So we can to get detainees to leave the country directly credit the Krome experience voluntarily rather than fight detention. for inspiring this book. Certainly there’s plenty of ammuni- He details the endless transfers among Recently Dow recalled the epiphany tion for advocates who have been push- facilities that distance detainees from he had while being fired by Krome’s of- ing for detention reforms for years. Yet their relatives and lawyers and stymie ficer-in-charge. “While she was calmly it makes the case quietly. Rather than court proceedings; the retaliation tossing me out the door, pretending sermons or rants, Dow tells the stories against whistleblowers, be they inmates that everything was OK,” he told me, of the systems’ victims—immigrants or immigration employees; the stealing “I realized that these [INS] people felt and jailers alike. Thus, he manages to of detainees’ money and property, and untouchable. The only choice I had humanize even the bureaucrats who the medical abuses. was not to go away.” That’s when he run inhumane jails. How can such institutional cruelty began writing freelance stories about There’s outrage material here, too, persist in the United States? In part, it’s immigration issues and collecting string particularly for those who agree with the the “legal fiction” that draws distinctions for what years later became “American Supreme Court’s recent decision that between the rights of U.S. citizens and Gulag.” even U.S. terror suspects imprisoned everyone else. But it’s also the secrecy on the Guantanamo Naval Base have a and lack of accountability that this Journalists and Immigration right to challenge their indefinite deten- immigration prison bureaucracy culti- Coverage tion in federal court. “American Gulag” vates and protects. Whether in the old introduces dozens of immigrants who INS or new Department of Homeland National in scope, this exposé of in- have been imprisoned indefinitely and Security, immigration authorities have stitutional cruelty is a must-read for mistreated on U.S. soil. raised misinformation to an art form. journalists covering immigration or Some have committed no crimes. Dow dissects the use of dehumanizing living in immigrant-rich communities. I Asylum seeker Felix Oviawe from Ni- terms such as “alien” and “illegals,” and probably have interviewed about half of geria, for example, was one of about euphemisms such as “detainees” and the sources and written about numer- two-dozen detainees subjected to a “detention center” for prisoners with ous cases that he cites. I was reassured “beat and greet” reception upon arrival limited recourse against the immigra- that the same immigration officials who at the Union City Jail in 1995. What’s tion jailers who also are judge and jury. have lied to me also lied to him. The unusual here is that there was a criminal “American Gulag” uncovers those lies book is meticulously researched, with indictment and three jail officers were for what they are. ■ 66 pages of footnotes, and Dow weaves actually convicted. From legal docu- in immigration history and legal expla- ments and testimony, Dow relates how Susana Barciela is a member of The nations. The abundance of facts proves officers kicked, punched and plucked Miami Herald’s editorial board. Por- his argument: that the lack of transpar- detainees’ body hair with pliers; detain- tions of this review appeared earlier ency and oversight has resulted in the ees also were forced to put their heads in The Miami Herald. systemic abuse of immigrants locked in toilet bowls, to strip naked and stay up from Seattle to Key West. in degrading positions while being en-  [email protected]

Nieman Reports / Winter 2004 65 Words & Reflections

Portrait of a Courageous Guatemalan Journalist ‘Though the book features events from the past, it should be read as a story that can offer us much to contemplate about our present.’

Disappeared: A Journalist Silenced: The Irma Flaquer Story June Carolyn Erlick Seal Press. 392 Pages. $16.95.

By Mauricio Lloreda

In the early cool of an October night a simple task. Erlick dug into personal in Ciudad de Guatemala 24 years ago, matters, as well as into the country’s thunder-like noises broke the quiet eve- recent history, and emerges with not ning. A playful child explored the sky in only a realistic portrait of this woman’s search for fireworks, while anonymous passionate life but with a wide perspec- bullets murdered his father and his tive of the circumstances of these times grandmother, Irma Flaquer. in Guatemala’s social, economic and po- In Guatemala, the 20th century was litical arenas. In doing so, Erlick’s book turbulent, especially during the de- goes beyond drawing Flaquer’s own cades of the 1970’s and 1980’s when it portrait; Erlick’s portrayal of this Latin became common for Guatemalans to American journalist’s life and death witness and experience many traumatic speaks to what has happened—and events. There were massive and selective continues to happen—under similar murders of people who opposed the circumstances in countries throughout regime in power and the disappearance the world and particularly in this region. of journalists, union workers, and attor- Though the book features events from neys also involved with the opposition. the past, it should be read as a story It wasn’t uncommon to hear shootings that can offer us much to contemplate at night or, in this case, to have ignored about our present. and tone throughout the book. She Irma Flaquer’s cries for help during a Erlick’s copious research helps the clearly faced the enormous journalistic time when she wasn’t seeking help for reader to explore the consequences challenge in finding a balance between her nation, as she’d done for all her life of U.S. foreign policy and the intricate her in-depth research and the discretion as a journalist, but for her life. and entangled paths of those who used she brought to the telling of this story June Carolyn Erlick masterfully res- ruthless means to remain in power. Her of someone who cannot defend her cues Flaquer’s story, which otherwise writing speaks to ways in which corrupt own version of events and her reaction would have disappeared into the dust of political and economic leaders—to to them. Erlick does this in a gentle yet memory, silence and indifference. She protect their interests—constructed uncompromising style. Hard things are presents us with the portrait of a young mechanisms to create anonymity and said, but respect and prudence are in journalist who matures in the craft to impunity for the harmful and sometimes evidence throughout the book. Erlick become the voice of the oppressed in murderous acts they committed. She takes us deep into Flaquer’s personal- Guatemala. At the time Flaquer does sketches in some detail the web of al- ity to say that “She was a survivor and a this, many in her country wanted a radi- liances between government officials, creator and a seeker of the meaning of cal social and political change, but few powerful economic interests and the life …” and in doing so, she makes us dared to raise their voices as a way of military apparatus, and writes about feel, understand and experience many bringing a stop to the atrocities being the fearful and passive civil society. dimensions of Flaquer’s life. committed in the name of democracy. As While a reader might feel as though In the context of this book, the mean- Erlick writes, “The government had no some sectors of Guatemalan society are ing of the term “disappeared” reaches formal censorship system; censorship ignored and, at times, as though a larger well beyond its common understanding came in the form of deaths and disap- framing of these events is lacking, the to North American audiences. In Erlick’s pearances, anonymous phone calls, facts she presents give readers plenty words: “To disappear is to vanish com- threatening letters, and the mysterious of information to be able to infer what pletely. It is to evaporate into a form that lists published by the secret anti-Com- was happening. is no more real nor more tangible than munist army.” Erlick accomplishes this difficult task a fear of fireworks or a disembodied To reconstruct Flaquer’s life was not by having a clear, omnipresent voice body on a forest road.” But the word

66 Nieman Reports / Winter 2004 Nieman Notes is also recognized as a form of cruelty shared any connection to the “disap- broadly the book speaks to the crucial and repression that is so sadly common peared”—whether they be colleagues, importance journalism has in shaping in struggling democracies and totalitar- neighbors, relatives or countrymen— the future of any nation. ■ ian regimes. wonder, in silence, could I be next? That To make somebody disappear is the question is, of course, the triumph of Mauricio Lloreda, a 2004 Nieman ultimate form of cruelty. It is also an their oppressors; through such atroci- Fellow, is an op-ed columnist for El exercise of power used by those who ties, these dark deeds reach deep into Tiempo in Colombia and is currently hold such power to decide when and the kingdoms of fear and death. studying at the John F. Kennedy where someone will disappear. That This book is highly recommended for School of Government at Harvard power radiates in many directions: anyone interested in recent Latin Ameri- University. Disappearance is used to convey the can history. Not only is it an excellent message of who holds the power over profile of a courageous woman and a  [email protected] life and death and who is able to spread solid analysis of the great challenges she fear into a family and across a commu- encountered—and that contemporary nity and an entire country. Those who journalists still encounter—but more

Nieman Notes Compiled by Lois Fiore

What It Took to Pull Me Through A journalist discovers what it takes to report fully on adolescents’ lives.

By David L. Marcus

here are good story ideas—the by-hour structure. More important, on American families, even the way ones reporters come up with, I learned that many of America’s 29 we build communities with no sense Tand bad story ideas—the ones million teenagers struggle with alco- of community. Many of my thoughts handed down from editors. I learned holism, eating disorders, and a host of were remainders from my Nieman that during my 20-year journalism ca- mental illnesses, from depression to year, when I had just finished nearly a reer. So in the summer of 2000, when an schizophrenia. decade as a reporter in Latin America. editor at US News & World Report asked Visiting a therapeutic boarding Nieman Curator Bill Kovach and Profes- me to write about boarding schools for school in western Massachusetts, the sor John Stilgoe (in his course on the “troubled teens,” I did my best to avoid Academy at Swift River, I met kids who built landscape) encouraged me to train the assignment. I looked for something didn’t fit my stereotype. They were my foreign correspondent’s eyes on my else—anything else—to cover. funny, bright and—thanks to hours own country, which had been franchised And why not? I didn’t care about a and hours of therapy—very open about and strip-malled and Wal-Marted during bunch of spoiled rich kids who drank what had gone wrong in their lives. my time abroad. too much or snorted too many drugs. Some were wealthy, yes, but others So I left my job at the newsmagazine Nor did I care about their self-involved, were from middle-class families that and moved my family from the D.C. absentee parents. took out loans to pay for Swift River’s Beltway suburbs to economically devas- Finally, reluctantly, I ran out of other $5,000-per-month fees. tated western Massachusetts. (File this thousand-word diversions and started My US News story ran at just over decision under “fiscally irresponsible.”) the reporting. I found several dozen of a page. I felt I had so much more to Several of my colleagues in Washington these places, called therapeutic schools. say—about adolescents, about the fail- thought I’d lost my sanity. One journalist All offered intense therapy and hour- ures of public schools, about the strains put it this way: “Why would you want to

Nieman Reports / Winter 2004 67 Nieman Notes

devote so much time to profiling teenag- raped and boys who had been beaten if I’ve humiliated the parents and kids ers? They’ve only lived 15 or 16 years, up by bullies. The mothers and fathers, who trusted me with their stories, their and they’re so one-dimensional.” too, defied stereotypes. Most weren’t secrets, their lives. narcissistic and aloof, but quite a few My task was especially complicated Getting to Know Them admitted they had been stymied by because Swift River is owned by a for- financial setbacks, divorce, depression profit health provider. While I was im- I followed a group of kids as they or substance abuse. pressed by much of the program and went through Swift River’s 14-month This winter, Houghton Mifflin will grateful for the access I was granted, program. I camped with them, sat in publish the book, “What It Takes to my loyalty was with readers. And so I on group therapy sessions, listened Pull Me Through: Why Teenagers Get describe the constant tug between the to them play guitar, watched them in in Trouble and How Four of Them Got school’s mission to help kids and its workshops about dating, sex and time Out.” My book is unusual for narrative need to meet profit goals. management. Although I volunteered nonfiction because it concludes with The experience has made me cynical as an English teacher, everyone knew I a 6,000-word “Memo to Parents” that about newspaper and magazine fea- was an author working on a book and discusses what I learned. tures. I now distrust drive-by reporting not a faculty member. When the group I’m still grappling with ethical issues on welfare reform, on education, and spent the final five weeks doing com- raised by the project. How can a balding especially on teens. You know the drill: munity service in Costa Rica’s remote man in his 40’s observe teens in therapy Go to a mall or middle school, hang out Osa Peninsula, I was there. For the first without skewing the results? When with kids, then write the definitive story time in my career, I didn’t want scoops should a writer withhold an embarrass- of adolescence. I realize something that or exclusive information; I wanted to ing anecdote about a kid from read- many reporters and editors don’t want see things unfold gradually, just as Swift ers? How can an author condense 14 to acknowledge: It takes months to un- River’s counselors did. months’ worth of intense conversations derstand people—even those who have I started looking at these students into a book that doesn’t overwhelm lived for only 15 or 16 years. ■ by using the same labels their schools everyone? I wish I had good answers. I had essentially bestowed on them: Mary can only say that I did my best to find David L. Marcus, a 1996 Nieman Alice the bulimic; D.J. the ADD boy; a balance, to provide important, useful Fellow, lives in Northampton, Massa- Bianca the troublemaker; Phil the pill- information without exploiting these chusetts and is a visiting scholar at popper. But found I was surrounded families. The parents and kids signed Ithaca College’s Park School of Com- by talented, fascinating kids—kids who release forms, and I tried to make the munications. For more book infor- concealed horrible truths from their book as accurate as I could (names mation, see www.DaveMarcus.com. parents, doctors and teachers, the very and a couple of hometowns have been people who could have helped them. changed). I often wake up at 3 a.m.  [email protected] I found out about girls who had been wondering if the book is too graphic,

—1955— “Dear Sam, documentaries. I shall miss him—after “Received the Nieman journal yes- 43 years. I am now emotionally sore. Sam Zagoria, the class scribe, has terday and saw that you had written He was buried in Sweden in my family sent in updates about three of his about Piers. Unfortunately, Piers died grave with his four children participat- classmates: on September 13th at Pencan House, a ing in the funeral. nursing home that cared for him at the “My greetings, Sam, and thanks—Bir- Piers Anderton died of prostate can- end. I moved in with him and was there gitta.” cer on September 13th, at the age of 85. when he died. His hands were crippled If you would like to write Birgitta, In 1954—50 years ago—16 young and and he couldn’t write, but he carried a her address is Hill Cottage, Tripp Hill, eager journalists arrived in Cambridge pen in his pocket till the end. Fittleworth, West Sussex RH20 1ER ready to partake of the intellectual riches “He had a 30-year career in journal- England. of Harvard. Over the half century the ism—Telegraph editor at the San Fran- Nieman class of 1955 has been depleted cisco Chronicle, then NBC where he Selig Harrison’s sixth book on Asian by the loss of Tom Karsell, Carlton wrote for Chet Huntley (but Collier’s affairs is “Korean Endgame: A Strategy Johnson, Al Kraus, Fred Flowers, Magazine until that folded, before then). for Reunification and U.S. Disengage- Henry Shapiro, Henry Tanner, Arch He was a foreign correspondent in ment,” published by Princeton Univer- Parsons, and now Piers Anderton. Our Germany and India and won an Emmy sity. Former President little band has been cut in half. for ‘The Tunnel.’ His last years were called it “the best analysis I have seen I received a sad note from Birgitta spent in Los Angeles covering 13 states of the difficult policy choices facing the Anderton dated November 2: for ABC—then back to NBC—doing United States in Korea.”

68 Nieman Reports / Winter 2004 Nieman Notes

Harrison has visited North Korea seven times and met the late Kim Il Sung Nieman Reunion, May 6-8, 2005 in Cambridge twice. The book combines his personal experiences in Korea as Washington Plans for the Nieman reunion this spring at Lippmann House. Post bureau chief in Northeast Asia and are developing nicely. The reunion team This year, for the first time, a reg- as a senior associate of the Carnegie is putting together a program that will istration fee will be required to help Endowment for International Peace for evoke memories of your Nieman year as offset some of the reunion costs that, 22 years with policy-focused scholarly well as enable you to catch up with old as you know, can be considerable. The analysis. friends and experience the new facilities registration fee will be $100 per person Harrison is a senior scholar of the at Walter Lippmann House. prior to April 21st, and $125 after April Woodrow Wilson International Center Reunion Weekend begins at 6 p.m. 21st. The registration process is set to for Scholars and director of the Asia on Friday, May 6th, with a reception be available on the Nieman Web site by Program at the Center for International at Lippmann House. Saturday will be mid-December, including information Policy in Washington. His op-ed pieces built around a series of seminars with about hotels in Harvard Square. have appeared in The Washington Post, Harvard professors and Nieman Fel- If you have any questions, please e- The New York Times, International Her- lows at the Charles Hotel. A reception mail us at [email protected]. ald Tribune, Financial Times, and Los and dinner at the Charles will end the edu or call 617-384-7676. Angeles Times and several additional day. The reunion will close on Sunday, Thank you. And we look forward to foreign publications. May 8th with a long, leisurely brunch seeing all of you in May. ■

Guy Munger now resides in a small assisted-living facility called Outlook tive Correspondents Association and tion. “We have about 6,000 rank-and- Point. A few weeks ago my wife, Sylvia, helped found the Public Affairs Report- file members,” he writes, “and our and I visited with him during a Chapel ing program at the University of Illinois corporate members include virtually Hill-Raleigh weekend. He is heavier at Springfield. all of the major electric, gas, water and than at Harvard (aren’t we all?), has a telecommunications companies in the beard, and uses a walker. We learned —1967— state. I work primarily in the regulatory that he has children in the area, and and legislative arenas, sort of as a make- his wife has Alzheimer’s and lives in Philip Meyer, class scribe, has up- believe . I interface with the news an institution in a nearby city. Munger dates on three of his classmates: media quite a bit and do a lot of writing, worked as a reporter and editor on the although much of it is legalistic.” Greensboro and Raleigh newspapers Bang-Hyun Lim is the author of for many years. He is up on the news, “The Korean War and Park Chung Hee’s —1969— politics and interested to hear about Government,” published in 2004 by all of you (421 Van Thomas Drive, Ra- Sun-In. He was a special assistant and John Zakarian recently retired as leigh, North Carolina 27615; his phone spokesperson for President Hee from editorial page editor of The Hartford number is 919-845-3069—if you call 1970-1979 and served as a member of Courant. Zakarian began his journalism don’t give up quickly, since he is likely the Republic of Korea congress from career as a reporter for The Associated to be out of his room and there is no 1981-1988. Now retired, he is chair of Press and has been with the Courant answering service). the policy research committee of the since 1977. He is the recipient of the By a happy coincidence, we have Parliamentarian’s Society, which he Walker Stone award for editorial writing a married granddaughter in Raleigh describes as “a kind of old-boys’ club and an Overseas Press Club award for who has just begun volunteering at of retired congressmen.” His e-mail ad- his 1987 editorial series on the Middle Outlook Point, so we hope to keep up dress is [email protected]. East. Zakarian is a past president and with Guy. life member of the National Conference Dana Bullen is senior advisor to of Editorial Writers. —1957— the World Press Freedom Committee His article about editorial cartoons (WPFC), which he served as executive appears on page 16. Burnell A. Heinecke has retired director from 1981 to 1996. “I plan to from the Illinois State Treasurer’s office continue to support WPFC as much as —1970— where he was working as administra- I can for as long as I can,” he writes. “At tive assistant. Heinecke spent 23 years 73, I still seem to have a strong ability Larry L. King in October was with the Chicago Sun-Times, including to get pissed off at those who would given the Bookend Award for Lifetime 10 years as the paper’s Chicago bu- restrict news.” Achievement in Literature by the reau chief. He also served as editor of Book Festival. Heinecke News Service. Heinecke is a Walter W. (Bill) Meek is president Former Congressman Charles Wil- former president of the Illinois Legisla- of the Arizona Utility Investors Associa- son (D-Tex.), a long-time friend, gave

Nieman Reports / Winter 2004 69 Nieman Notes

the presentation speech in which he Mass Deception), released in December Professional Journalists’ 2001 Award for observed that King is the only writer by Cinema Libre Studio. “WMD,” a fea- Excellence in Documentary Journalism, to have been nominated for a National ture-length documentary based on his among other journalism honors. Book Award, a Broadway Tony, and a book, “Embedded: Weapons of Mass television Emmy. Wilson noted that Deception,” is an exposé of the media —1980— King is the author of 13 books, seven coverage of the war in Iraq, challenging stage plays, four TV documentaries, two the concept of objective reporting on Jan Collins, class scribe, has news on screenplays, numerous short stories, the war and detailing his view of a media some classmates and a class reunion: and more than 300 magazine articles cooperating with the government in its and essays. King’s 14th book, a biogra- presentation of the Iraq War. Michael Kirk’s documentary “Rums- phy, “In Search of Willie Morris”—his In November, a national day of house feld’s War,” a PBS “Frontline” collabora- late editor at Harper’s magazine—will parties and organizational screenings tion with the Kirk Documentary Group be published in 2005. of the film took place. The film is also and The Washington Post, was aired of- The awards event occurred in the available on DVD. For more informa- ten on television and in streaming video House of Representatives chamber in tion, go to the “WMD” Web site: www. in the weeks prior to the November the Texas State capitol in Austin. wmdthefilm.com. election. The series was coproduced by Along with “Embedded,” Schechter Kirk and “Frontline’s” Jim Gilmore and —1978— has written “Media Wars: News At a involved Washington Post executives Time of Terror,” “The More You Watch, and five Washington Post reporters. Kirk Danny Schechter, executive edi- The Less You Know,” and “News Dis- also wrote and directed the series. tor of MediaChannel.org, has a new, sector: Passions, Pieces and Polemics.” In a washingtonpost.com interview, independent film, “WMD” (Weapons of He was the recipient of the Society of Kirk describes “Rumsfeld’s War” as

Class of 1979’s Moveable Feast Reunion

A quarter century being a milestone in marriage, career and who knows how many other things, the Nieman class of 1979 held its own 25th anniversary reunion in Washington, D.C. last spring and chose to mark the occasion with a moveable feast. Nine members of the class were able to make it to the event, with others sending their regrets from afar. Michael McDowell was the chief organizer of the reunion. After a flurry of e-mails, it was decided that the get-together would consist of two consecutive informal dinners for relaxed conversation and reminiscing. The first dinner, Friday, May 21st, was hosted by Frank Van Riper and his wife and work partner, Judith Good- man. The next night, Peggy Simpson opened her townhouse to all for a din- Seated, left to right: Peggy Simpson, freelance writer; Day, chair of the journalism ner that also included a group portrait department, Columbia College, Chicago; Michael McDowell, advisor on international on Peggy’s garden terrace. development projects to the Bill and Melinda Gates Foundation, Aspen Institute, Wil- In 1979, Jimmy Carter was President, liam and Flora Hewlett Foundation, and others. gas cost less (but gas lines were com- Standing, left to right: Frank Van Riper, author, photographer and photography colum- mon) and the Red Sox could only dream nist, Washington Post; Margaret Engel, journalist in Bethesda, ; Bill Gildea, of a World Series victory. Washington Post sportswriter; John Huff, executive editor, The Post and Courier, Times change. In the case of the Red Charleston, South Carolina; Kat Harting, media specialist, University of Maryland, East- Sox and the class of ’79, sometimes for ern Shore and PhD candidate, and Sid Cassese, senior staff writer, . the better. ■

70 Nieman Reports / Winter 2004 Nieman Notes

“a film about the war behind closed casus School of Journalism in Tbilisi, ting Out,” about gangs in Detroit, was doors at the Pentagon and the per- Georgia. He writes, “Unlike a typical honored by the 1996 Black Filmmakers sonalities Rumsfeld, Secretary Powell, American university where students Hall of Fame International Film and Vice President Cheney, the forces of attend class for an hour or two on a Video Competition in the documentary neoconservativism, and the uniformed Tuesday and Thursday, at the Caucasus category. His books include “Homeless military—which took place inside the School students focus on specific skills in America,” “Beirut: City of Regrets,” President and ’s field for days or weeks at a time. and “Black in America.” of vision, but because of the nature of “I taught the TV section. For seven the conflict, not always with their spe- weeks, the students focused on nothing —1992— cific knowledge or direction.” but television. That concentration ac- Kirk was also a producer for the celerates the learning curve. These are Charles Onyango-Obbo describes “Frontline” series “The Long Road to students who had never shot a camera, a chance meeting with a Nieman War” in 2003, the 2002 PBS series “Mis- never edited video. By the end of the classmate: “Our good man ‘Pacho’ understood Minds,” a series on learning first day, everyone was shooting. By [Francisco Santos] and wife, Maria, differences and disabilities in children, the end of the third day, everyone was are in Nairobi for the international anti- and many others. beginning to edit.” landmines conference. This morning [December 1st] I was working when Robert Timberg, deputy chief of The Eli Reed has been appointed as I noticed burly security guys enter my () Sun’s Washington bureau, a clinical professor for the School of office, with cameramen in tow. Pacho has a new book out. “State of Grace: A Journalism at The University of Texas [who is vice president of Colombia] Memoir of Twilight Time” (Free Press), (U.T.) at Austin. Starting in January, had asked his embassy to arrange a is Timberg’s account of his early college he will be teaching advanced projects visit to the main paper in town, which years spent on a sandlot team in New in photojournalism for their gradu- happened to be The Nation. He was York City. Wrote one reviewer: “[Tim- ate program. Reed recently taught a being shown around by our managing berg] evokes a period before television’s weeklong workshop at UT called “The editor—he didn’t know I now worked dominance had been fully felt, before Moving Image” for the graduate and for Nation, and I didn’t know he was John F. Kennedy’s assassination altered undergraduate students in October. in town. The group moves into my of- the national psyche, and before the Reed has been a member of Magnum fice for me to be introduced, and you trauma of Vietnam rent families and since 1988 and has covered many edito- can’t imagine. We screamed like little a nation. If the guys in ‘Diner’ lived rial assignments for National Geograph- children, hugged, swung each other in New York instead of Baltimore and ic, Life, Time, Newsweek, The New York around, and the security guys, camera- played football instead of watching it, Times, and others. Among many awards, men and everyone else got startled, and they might have been Timberg’s team- Reed’s 1992 video documentary “Get- then they looked on perplexed, as we mates on the Lynvets …. ” Timberg read parts of his book during an interview on National Public Radio that aired October 15. His previous book was the bestseller “The Nightingale’s Song.” Correction of an Article By Author Gilbert Cranberg

Paul Lieberman, Jon Larsen, Bill I implied in “Getting It Wrong on and more unfavorable to the Clintons Grant, Jan Collins, and Judy Stoia Whitewater” in the Winter 1997 Nieman than the other. The Little Rock A.P. bu- had a mini-reunion in New York City Reports that The New York Times had reau chief, whom I had interviewed at last spring. Jan was there to speak at edited a May 3, 1996 A.P. story about the time, did not advise me that A.P. had a meeting of the American Society of Whitewater trial testimony so that it in- sent out differing accounts. I want the Journalists and Authors, and arranged cluded erroneous information. Further, record to show that the misrepresenta- a dinner for the five. I wrote that “the story A.P. distributed on tions that I attributed to the Times were its wire differed in significant respects by A.P. and were not introduced by the —1983— from the edited account that ran in the Times, though the Times subsequently Times” under the A.P. dateline. repeated the misleading information Karl Idsvoog has joined he faculty of The Times had been shown my Nie- several times in its own stories. By the Kent State University’s School of Jour- man Reports’ piece prior to publication same token, the May 3, 1996 A.P. story nalism and Mass Communication. As an so that it could comment; the Times about the Whitewater trial that the assistant professor, Idsvoog is teaching declined comment. Times published differed significantly computer assisted reporting, advanced I have only now been informed that from the other A.P. story about the trial TV reporting, video field production, A.P. had distributed two different ver- not because of editing by the Times but and broadcast documentary. sions of the trial story, one version—the because the A.P. stories themselves were Idsvoog also did a video on the Cau- one that ran in the Times—more flawed significantly different. ■

Nieman Reports / Winter 2004 71 Nieman Notes

became small guys again. It was a great Ureneck joined the faculty of Boston desk where she helped to coordinate Nieman moment! He had a luncheon in University in 2003. coverage between the Times’ national, his honor, and he asked me to go. We foreign and business desks. Later she kept talking, and only the firm direction —1998— served as the Times’ political editor, of Maria ensured that he dropped in on overseeing government and politics on other tables to chat with the Colombians Cara DeVito, a former NBC Televi- the local and state levels. who had been invited.” sion News producer/editor, is now Phillips has also held reporting and producer/program manager of the Pare editing positions at The News-Press in —1995— Lorentz Film Center at the Franklin D. Fort Meyers, Florida, Rochester’s Times- Roosevelt Presidential Library in Hyde Union, and New York Newsday. Lou Ureneck, a Boston University Park, New York. She produces documen- (B.U.) professor and director of the taries on the Roosevelt era for middle —2004— Business and Economics Journalism and high-school students—focusing Program, now has the additional title on the issues of FDR’s presidency and Carol Bradley has left her position as of director of graduate studies for the their relevance to today’s world. This senior writer for the Great Falls (Mont.) journalism department. His new re- position allows DeVito to combine her Tribune to become a self-employed sponsibilities include overseeing gradu- interest in media literacy for adolescents writer. Bradley worked as a reporter ate internships, establishing a board of with her expertise as a documentary for 25 years, covering statehouses in advisors, and recruiting minorities. filmmaker. She can be reached at cara. Tennessee and New York and also in Bob Zelnick, the department chair- [email protected]. Washington, D.C., where she worked as man, said in a news release: “Lou a regional congressional correspondent Ureneck is a superb journalist and —2003— for the Gannett News Service. In her professor whose appointment reflects nine years in Montana, she has won the special place of graduate studies in Kathleen Phillips has been appoint- more than 40 national, regional and our departmental program.” ed Washington editor of The New York state writing awards. Ureneck began his journalism career Times. Phillips began working for the Bradley lives in Great Falls, Montana reporting for the Portland Press Herald Times in 1995 and has held editing po- with her husband, Steve L’Heureux. where he advanced to vice president sitions on the op-ed page, metro desk, She has three stepchildren. before moving on to serve as assistant and national desk. She has also been the to the editor and deputy managing metro weekend editor and night editor. Susan Orlean’s new book, “My editor for The Philadelphia Inquirer. In 1999 Phillips joined the bureau’s day Kind of Place: Travel Stories from a

Nieman Foundation Board of Advisors

Cecilia Alvear: producer, NBC News, tor Institute, NF ’93 tant, New York NF ’89 Henry Louis Gates, Jr.: chair, Depart- Lindsay Miller: independent print H. Brandt Ayers: chairman and pub- ment of African and African-American and broadcast producer, Cambridge, lisher, The Anniston Star and Consoli- Studies and director, W.E.B. Du Bois NF ’88 dated Publishing, NF ’68 Institute, Harvard University Gregory Moore: editor, The Denver Fred Barnes: executive editor, The Gigi Georges: president, The Glover Post Weekly Standard and TV commentator, Park Group, New York Burl Osborne: president, The Associ- Fox News, NF ’78 Robert Giles: curator, Nieman Founda- ated Press Roberta Baskin: freelance TV pro- tion, Harvard University, NF ’66 Norman Pearlstine: editor in chief, ducer/reporter, Washington, NF ’02 Sharon King Hoge: media consultant, Time, Inc. Joseph Bower: professor, Harvard New York Byron Pitts: correspondent, CBS Business School George Irish: president, Hearst News- News Mark Carter: partner, Carter and papers and senior vice president, Hearst John Seigenthaler: founder, the First Gilden Mediaworks, NF ’95 Corporation Amendment Center and retired editorial Lorie Conway: freelance documentary : director, Shorenstein director, USA Today, NF ’59 filmmaker, NF ’94 Center on the Press, Politics and Public Charles Shepard: communication Jerelyn Eddings: managing editor Af- Policy, Harvard University, NF ’82 consultant, Menasha Corp., Washing- rica programming, Howard University Murrey Marder: retired diplomatic ton, NF ’91 TV, NF ’85 correspondent, The Washington Post, William O. Taylor: chairman emeritus, Charles Ferguson: retired editor of and sponsor of the Nieman Watchdog The Boston Globe The Times-Picayune, NF ’66 project, NF ’50 William Wheatley, Jr.: vice president/ Katherine Fulton: president, the Moni- Nancy Hicks Maynard: media consul- news, NBC, NF ’77 ■ 72 Nieman Reports / Winter 2004 Nieman Notes

Woman Who’s Been Everywhere,” was Knight Ridder’s James K. Batten Ex- The Star-Ledger in Newark, New Jersey, published by Random House in late cellence Awards competition were wrote a series, “The New Plague,” about September. In the book, Orlean records honored at a dinner held in San Jose, “how killer germs have defeated our last the variety of her journeys in the United California in October. In a press release antibiotic.” The way Nutt presented the States and abroad, documenting her by Knight Ridder, the judges said: scientific information, the association experiences ranging from the 2003 “There are a lot of people who nur- noted, advanced the issue in terms of World Taxidermy Championships in ture reporters, but not so many who analysis. “I’m thrilled to receive this Springfield, Illinois to the ceremonies nurture editors. The fact that she does award,” said Nutt. “It’s a privilege to of Kagyupa Buddhism in Bhutan. is impressive. It is also impressive that work for The Star-Ledger, where im- Orlean is also the author of “The people outside the newsroom look to portant scientific issues are given the Bullfighter Checks Her Makeup: My her. She is a masterful teacher of young space they deserve, and it’s an honor Encounters with Extraordinary People,” people, and she seems to have a durable to be recognized by AAAS for work on “Saturday Night,” “Red Sox and Blue- influence on all she comes in contact a subject so vital to the future health fish,” and “The Orchid Thief,” among with. … She tells people what they need of society.” The award was given in the others. “The Orchid Thief” served as to know while preserving their dignity. category of newspapers with a circula- inspiration for the film “Adaptation.” That’s a major accomplishment.” tion of more than 100,000. Orlean has been a staff writer for Carpenter has been with The Char- The Science Journalism Awards pro- since 1992. She and lotte Observer for 21 years and teaches gram, established in 1945, “helps to her husband, John Gillespie, live in for Poynter Institute in South Africa foster the public’s understanding and Boston and are expecting their first and Florida. At Harvard, Carpenter is appreciation of science by promoting child early in 2005. exploring her interests in the nature best practices in journalism,” said Alan and practice of leadership and unique I. Leshner, AAAS chief executive officer —2005— strategies for business development. and executive publisher of its journal, Science. “Further, the winning entries Cheryl Carpenter, deputy managing Amy Nutt is one of six winners of the then serve as teaching tools as they are editor/news for , 2004 “Pinnacle of Excellence Awards” in disseminated each year to science writ- has received the Knight Ridder’s Excel- science journalism given by the Ameri- ing programs at universities and colleges lence Award for People Development. can Association for the Advancement of throughout the country.” ■ Carpenter and the other winners of Science. (AAAS) Nutt, feature writer for

Nieman Narrative Digest Coming Online

We’re close to launching a new Web site designed to advance the best practices of narrative journalism: the Nieman Narra- tive Digest. It’s a resource for reporters, editors and journalism students, edited by Nell Lake, at our Nieman Program on Narrative Journalism (which also organizes our big, late-fall Nieman Con- ference on Narrative Journalism). The Web site (www.narrativedigest.org) will gather in one place a growing collection of hard-to-hunt-down fine examples of the genre, with blurbs and classifications and photographs. It will link readers to noteworthy newspaper narratives, to es- says about the craft, and to moderated discussions about the craft with leading figures in the field. We expect it to be running by February 2005. Try it out, and also please let Nell know about new pieces: [email protected]. ■ —Mark Kramer, writer-in-residence This sample home page for the Nieman Narrative Digest shows the types of resources the and director, Nieman Program on Nar- site will provide. rative Journalism. Nieman Reports / Winter 2004 73 Nieman Notes

Two 1984 Nieman Classmates Win Awards

Jane Daugherty and Derrick Jack- son, from the Nieman class of 1984, were honored by the National Lesbian & Gay Journalists Association (NLGJA) at an awards ceremony in Los Angeles on October 4th. The awards were de- signed in 1993 to recognize excellence in journalism on issues facing sexual minorities. Jane Daugherty was named the first-ever winner of the NLGJA Jour- nalist of the Year Award. “NLGJA chose to honor Jane Daugh- erty to express our profound respect for a tireless investigator and consummate professional. … Jane Daugherty also honors us as a dedicated member of NLGJA and a role model for all journal- ists in pursuit of excellence in our craft,” said President Eric Hegedus. Daugherty’s project for The Palm Beach Post, “Modern Day Slavery,” also Nieman Fellows Derrick Jackson and Jane Daugherty (center and right) at the National received the Robert F. Kennedy Journal- Lesbian & Gay Journalists Association awards ceremony in Los Angeles in October 2004. ism Award, the James M. Cox Public Service Award, the James K. Batten Award for Public Service, and the Harry Chapin Media Award. While Daugherty conceived the project, reported the eco- The Murrey and Frances Marder Fund nomic elements, and edited parts of it for the Cox Wire Service, she also cites The Murrey and Frances Marder dog journalism in Nieman Reports large contributions by John Lantigua, Fund, established in November and on the Nieman Web site, and Christy Evans, Christine Stapleton and 1996, has provided the Nieman the Nieman Watchdog Project, which Connie Piloto, and project editors Bill Foundation with support for four was launched in the spring of 2004. Greer and Bill Rose. Watchdog Journalism Conferences, The following is an accounting of Derrick Jackson won first place in the publishing of excerpts of the expenditures from the fund as of the Excellence in Writing Award for conferences and articles on watch- October 31, 2004: the Opinion/Editorial category. Jackson was a 2001 finalist for the Pulitzer Prize and this year’s winner of commentary Balance at 10/31/03: $331,937.86 awards from the National Education Writers Association and Unity Awards Income: $97,659.36 in Media. A three-time Sword of Hope 1,674.46 -- Interest on balance at end of FY 2003-04 (at 6/30/04) commentary award-winner, he has been 95,984.90 -- Income from endowment for FY 2004-05 (7/1/04-6/30/05) with The Boston Globe since 1998. ■ Expenses: $197,019.53 100,647.96 -- Design/development of Watchdog Project’s Web site 86,833.00 -- Editors of Watchdog Project Correction: Due to an editing error in 6,218.85 -- Travel/lodging/meals Stephen Berry’s bio on page 78 of the 2,158.67 -- Subscriptions/supplies/telephone/miscellaneous Fall 2004 issue of Nieman Reports, he 1,161.05 -- Web server fees is listed as having won the Pulitzer Prize for spot news reporting. He won the Balance at 10/31/04: $232,577.69 prize for investigative reporting.

74 Nieman Reports / Winter 2004 End Note Nieman Notes A Life’s Work Reconsidered A reporter, kidnapped in Fallujah, reflects in the aftermath of that experience.

By Joshua Hammer

arly last May, I flew into Baghdad from Amman for what I knew Ewould be my last reporting as- signment in Iraq for at least one year. Two weeks earlier, Bob Giles had called me at my home in Jerusalem and told me that I had been selected as a Nieman Fellow. The news couldn’t have been more welcome: After nearly four years as Newsweek’s Jerusalem bureau chief, shuttling across the Middle East, I had lived through an exhausting period of turmoil and bloodshed. I was ready to take a break from the field, to spend some quality time with my family, and to reconnect with life in the United States. But first, I thought, I would take one last plunge into Iraq. As it turned out, the assignment al- most turned into my last one. On May Joshua Hammer, in sunglasses, in southern Iraq in February 2004 with friendly local 9, Newsweek photographer Robert King Shiites, who serve as the area’s self-appointed security force. Photo by Patrick Andrade. and I were captured in the Sunni Triangle city of Fallujah, where we had gone in an ill-considered attempt to make contact persuaded the insurgents that we were other events, I was grateful to have put with Iraqi insurgents. For eight hours real reporters. distance between me and the tortured King and I were interrogated, accused Except for some random gunfire that part of the world where I’d spent four of being CIA agents, held in a series of had crossed my path in Liberia, Rwanda years. Yet perhaps not surprisingly, ad- dark cells, and threatened with death. and Macedonia, the experience in Fal- justing to the academic life hasn’t been I spent an hour locked in a room with lujah was the closest I’ve come to being as smooth as I’d expected. one teenaged captor who kept pointing killed in my dozen years as a foreign On the positive side, being on sab- at me and drawing his finger across his correspondent for Newsweek. It had batical at Harvard has offered me a throat. We learned later that our Iraqi a sobering effect on me: It made me much-needed perspective. I’ve found drivers and bodyguards, from whom realize that some of the risks I took in it refreshing and stimulating to be in we’d been separated at the start of the the course of doing my job were simply an environment bubbling over with ordeal, had been ordered to take ritual not worth taking. It cured me—or so intellectual ferment. On any given day baths to prepare for their execution. All I thought at the time—of any desire at Harvard, I can segue from an analy- along, the Iraqi guerrillas who held us to return to the savagery and chaos of sis of management shake-ups at The warned us that if the “hardliners”—men Iraq. And it made my decision earlier New York Times to an ethical debate loyal to the al-Qaeda-affiliated terrorist that spring to spend a year in the ivory over embryonic stem cell research to a Abu Musab al-Zarqawi—found out that tower seem especially well timed. discussion of the relevance of the 1965 we were there, we would certainly be Our arrival in Cambridge late last Italian film “The Battle of Algiers” to 21st seized and killed on the spot. August was indeed a satisfying mo- century counter-insurgency. Especially We were released only after a Pal- ment. For the first couple of weeks, as worthwhile has been my contact with estinian journalist who knew King, I watched the Harvard campus come the other Nieman Fellows, whose range and who happened to be in Fallujah alive and threw myself into a dizzying of backgrounds and nationalities has that day, intervened on our behalf and cornucopia of lectures, seminars and further catapulted me out of the “tun-

Nieman Reports / Winter 2004 75 Nieman Notes

U.S. Postal Service Statement of Ownership Management and Circulation

Title of publication: Nieman Re- ports. Publication no. USPS 430-650. Date of filing 10/28/04. Frequency of issue: Quarterly. No. of issues published annually: 4. Annual subscription price: $20. Complete mailing address of known office of publication: One Francis Av- enue, Cambridge, MA 02138-2009 Middlesex County. Complete mail- ing address of the headquarters or general business office of the pub- lishers: One Francis Avenue, Cam- bridge, MA 02138-2009. Full names and complete mailing address of Joshua Hammer at Camp Fallujah, the main U.S. Marine base outside Fallujah, two days publisher and editor: Bob Giles, before being seized by insurgents on May 9, 2004. Photo by Robert King. One Francis Avenue, Cambridge, MA 02138-2009; Melissa Ludtke, nel vision” I sometimes experienced researching my third book, a historical One Francis Avenue, Cambridge, in the Middle East. And, of course, nonfiction narrative related to the great MA 02138-2009. Owner: Nieman there’s the joy of reconnecting with earthquake that destroyed Tokyo and Foundation at Harvard University, my culture, whether by taking my son the cosmopolitan port of Yokohama in One Francis Avenue, Cambridge, trick-or-treating along Oxford Street on 1923. I’ve found that burrowing through MA 02138-2009. Known bondhold- Halloween, apple picking in Harvard, archives, uncovering obscure primary ers, mortgagees, and other security Massachusetts, or joining in the wave at materials that bring the past to life, can holders: none. The purpose, func- the Harvard-Yale football game. be a highly satisfying endeavor. At the tion and nonprofit status of this Yet I can’t deny that I feel a certain Boston Athenaeum Library I stumbled organization and the exempt status edginess and a sense of loss as well. I’ve onto a sheath of wonderfully vivid let- for Federal income tax purposes spent a dozen years boarding planes at ters from an American survivor of the have not changed during preced- a moment’s notice, parachuting into disaster that hadn’t been looked at since ing 12 months. Extent and nature crisis zones, observing and writing they came to the collection in 1924. of circulation (first number is aver- about societies in tumult. You don’t Yet I can’t imagine writing books full age number of copies of each issue get that out of your blood so easily. In time; for one thing, only a lucky hand- during preceding 12 months, and November I found myself fighting the ful make a living at it. For another, I’ve second is actual number of copies impulse to fly to Israel to be on hand for also realized while doing my research of single issue published nearest to the funeral of Yasir Arafat in Ramallah. that foreign correspondence remains filing date): Total number copies: And despite the nightmarish associa- my first calling. So I’m contemplating 6,300; 6,800. Paid circulation, sales tions that Fallujah has for me, I can’t say a move to Cape Town, where I’ve been through dealers and carriers, street there wasn’t a certain feeling of disap- offered the post of roving correspon- vendors and counter sales: none; pointment that I wasn’t embedded with dent at large for Newsweek. Harvard none. Mail subscription: 500; 533. the U.S. Marines during the dramatic has allowed me to take a step back, to Total paid circulation: 500; 533. Free invasion. After investing so much of savor America and the academic world. distribution by mail, carrier or other my life and so much emotion reporting But it has also reminded me of what I means, samples, complimentary and and writing about these places, it has love most: the thrill and challenge of other free copies: 4,316; 4,432. Total been sometimes difficult to disengage, the reporter’s life. ■ distribution: 5,332; 6,165. Copies especially at such critical junctures. But, not distributed, office use, left over, of course, that’s the fate of the foreign Joshua Hammer, a 2005 Nieman unaccounted, spoiled after printing: correspondent: The story rarely “ends” Fellow, is a foreign correspondent 968; 635. Return from news agents: when one leaves a place, and one has for Newsweek. His Web site is www. none; none. Total: 6,300; 6,800. I to find a way of moving on. joshuahammer.com. certify that the statements made by My next move remains unclear. At me above are correct and complete: Bob Giles. Harvard I’ve spent some of my time  [email protected]

76 Nieman Reports / Winter 2004