Language Arts & Disciplines

Society doesn’t always make it easy to tell stories about loss. Grief can make us feel that we have crossed over to another side, where people can’t reach us and we can’t reach others. We’re encouraged to move quickly through the often-misunderstood “stages of grief”; we fear that we are burdening others with our pain. But pain can feel more manageable when we find ways to describe it—and writing about grief can help us connect with others who have felt pain of their own.

Letting Grief Speak is a creative writing craft book on the art of telling our hardest stories. Based on a class called Grief Writing Sundays that Diane Zinna has led for several years, it provides ninety writing prompts with accompanying craft techniques to help people find language for their grief. By turns gentle, unexpected, rebellious, and wonderfully strange, these prompts open portals: entryways into spaces where difficult emotions can become meaningful narratives. Warm, sensitive, and honest, Letting Grief Speak is a memoir of the craft, interwoven with stories from the author’s own life. It also includes pieces from acclaimed writers and more than forty of her Grief Writing students, inviting readers to find their own ways to tell vulnerable stories. A tool for writers and a companion for grievers, this book meets writers of all levels where they are, no matter what kind of grief they hold.

Society doesn’t always make it easy to tell stories about loss. Grief can make us feel that we have crossed over to another side, where people can’t reach us and we can’t reach others. We’re encouraged to move quickly through the often-misunderstood “stages of grief”; we fear that we are burdening others with our pain. But pain can feel more manageable when we find ways to describe it—and writing about grief can help us connect with others who have felt pain of their own.

Letting Grief Speak is a creative writing craft book on the art of telling our hardest stories. Based on a class called Grief Writing Sundays that Diane Zinna has led for several years, it provides ninety writing prompts with accompanying craft techniques to help people find language for their grief. By turns gentle, unexpected, rebellious, and wonderfully strange, these prompts open portals: entryways into spaces where difficult emotions can become meaningful narratives. Warm, sensitive, and honest, Letting Grief Speak is a memoir of the craft, interwoven with stories from the author’s own life. It also includes pieces from acclaimed writers and more than forty of her Grief Writing students, inviting readers to find their own ways to tell vulnerable stories. A tool for writers and a companion for grievers, this book meets writers of all levels where they are, no matter what kind of grief they hold.

Conventional journalistic norms discourage reporters from taking sides. They are supposed to remain neutral, impartial, and objective. Yet there is also a long tradition in journalism, dating back to the 1800s, that pursues truth by practicing solidarity for social justice.

Anita Varma offers a bold defense of reporting for social justice, showing what journalistic solidarity looks like in principle and in practice. She argues that solidarity is a longstanding yet unacknowledged journalistic norm that fosters truthful reporting when people’s basic dignity is at stake. Ethical journalism incorporates solidarity throughout the reporting process: deciding what is newsworthy, whom to include, how to approach them, what questions to ask, how to structure stories, and how to assess impact. Varma illustrates these practices through case studies of local and national reporting on homelessness, housing instability, and the cost of living.

Based on analysis of published journalism, in-depth interviews with journalists, and public engagement with people who aim to make journalism better, Solidarity in Journalism demonstrates how reporting can help society’s most vulnerable. Amid intense debate over the role of the media, this book makes an urgent case for solidarity in journalism as crucial for representing and addressing social division.

Conventional journalistic norms discourage reporters from taking sides. They are supposed to remain neutral, impartial, and objective. Yet there is also a long tradition in journalism, dating back to the 1800s, that pursues truth by practicing solidarity for social justice.

Anita Varma offers a bold defense of reporting for social justice, showing what journalistic solidarity looks like in principle and in practice. She argues that solidarity is a longstanding yet unacknowledged journalistic norm that fosters truthful reporting when people’s basic dignity is at stake. Ethical journalism incorporates solidarity throughout the reporting process: deciding what is newsworthy, whom to include, how to approach them, what questions to ask, how to structure stories, and how to assess impact. Varma illustrates these practices through case studies of local and national reporting on homelessness, housing instability, and the cost of living.

Based on analysis of published journalism, in-depth interviews with journalists, and public engagement with people who aim to make journalism better, Solidarity in Journalism demonstrates how reporting can help society’s most vulnerable. Amid intense debate over the role of the media, this book makes an urgent case for solidarity in journalism as crucial for representing and addressing social division.

American novelists and poets who came of age in the early twentieth century were taught to avoid journalism "like wet sox and gin before breakfast." It dulled creativity, rewarded sensationalist content, and stole time from "serious" writing. Yet Willa Cather, W. E. B. Du Bois, Jessie Fauset, James Agee, T. S. Eliot, and Ernest Hemingway all worked in the editorial offices of groundbreaking popular magazines and helped to invent the house styles that defined McClure's, The Crisis, Time, Life, Esquire, and others. On Company Time tells the story of American modernism from inside the offices and on the pages of the most successful and stylish magazines of the twentieth century. Working across the borders of media history, the sociology of literature, print culture, and literary studies, Donal Harris draws out the profound institutional, economic, and aesthetic affiliations between modernism and American magazine culture.

Starting in the 1890s, a growing number of writers found steady paychecks and regular publishing opportunities as editors and reporters at big magazines. Often privileging innovative style over late-breaking content, these magazines prized novelists and poets for their innovation and attention to literary craft. In recounting this history, On Company Time challenges the narrative of decline that often accompanies modernism's incorporation into midcentury middlebrow culture. Its integrated account of literary and journalistic form shows American modernism evolving within as opposed to against mass print culture. Harris's work also provides an understanding of modernism that extends beyond narratives centered on little magazines and other "institutions of modernism" that served narrow audiences. And for the writers, the "double life" of working for these magazines shaped modernism's literary form and created new models of authorship.

American novelists and poets who came of age in the early twentieth century were taught to avoid journalism "like wet sox and gin before breakfast." It dulled creativity, rewarded sensationalist content, and stole time from "serious" writing. Yet Willa Cather, W. E. B. Du Bois, Jessie Fauset, James Agee, T. S. Eliot, and Ernest Hemingway all worked in the editorial offices of groundbreaking popular magazines and helped to invent the house styles that defined McClure's, The Crisis, Time, Life, Esquire, and others. On Company Time tells the story of American modernism from inside the offices and on the pages of the most successful and stylish magazines of the twentieth century. Working across the borders of media history, the sociology of literature, print culture, and literary studies, Donal Harris draws out the profound institutional, economic, and aesthetic affiliations between modernism and American magazine culture.

Starting in the 1890s, a growing number of writers found steady paychecks and regular publishing opportunities as editors and reporters at big magazines. Often privileging innovative style over late-breaking content, these magazines prized novelists and poets for their innovation and attention to literary craft. In recounting this history, On Company Time challenges the narrative of decline that often accompanies modernism's incorporation into midcentury middlebrow culture. Its integrated account of literary and journalistic form shows American modernism evolving within as opposed to against mass print culture. Harris's work also provides an understanding of modernism that extends beyond narratives centered on little magazines and other "institutions of modernism" that served narrow audiences. And for the writers, the "double life" of working for these magazines shaped modernism's literary form and created new models of authorship.

For nearly two thousand years, Hebrew belonged to the realm of the sacred. A written liturgical language used primarily by rabbis and scholars, it was not spoken in everyday contexts. A revival process in the late nineteenth century brought Hebrew back into daily use, adapting sacred texts as the foundations for a new vernacular. A “mother tongue” emerged.

Keren Mock provides a strikingly original multidisciplinary account of this transformation of Hebrew from an ancient sacred tongue to a secular spoken language. Bringing together psychoanalytic, semiotic, and comparative-literature perspectives, she provides deep insight into key moments in this history. Drawing on extensive, revealing interviews, Mock offers critical readings of two major Israeli authors, Aharon Appelfeld and Sami Michael, focusing on their struggles to write in Hebrew as immigrants. She delves into the archives of the lexicographer Eliezer Ben-Yehuda, the creator of an all-embracing dictionary of ancient and modern Hebrew, and considers Baruch Spinoza’s little-known Hebrew grammar in light of his philosophical works. In reflecting on the making and meaning of a mother tongue, Mock addresses questions of memory and forgetting, mourning and restitution, and the sacred and the secular. Through the exceptional history of Hebrew, this book uncovers the workings of language in the social and psychological realms.

Hebrew features forewords by Pierre-Marc de Biasi, an artist and scholar of literature, and Julia Kristeva, a renowned psychoanalyst, philosopher, and linguist, speaking to the significance of the book.

For nearly two thousand years, Hebrew belonged to the realm of the sacred. A written liturgical language used primarily by rabbis and scholars, it was not spoken in everyday contexts. A revival process in the late nineteenth century brought Hebrew back into daily use, adapting sacred texts as the foundations for a new vernacular. A “mother tongue” emerged.

Keren Mock provides a strikingly original multidisciplinary account of this transformation of Hebrew from an ancient sacred tongue to a secular spoken language. Bringing together psychoanalytic, semiotic, and comparative-literature perspectives, she provides deep insight into key moments in this history. Drawing on extensive, revealing interviews, Mock offers critical readings of two major Israeli authors, Aharon Appelfeld and Sami Michael, focusing on their struggles to write in Hebrew as immigrants. She delves into the archives of the lexicographer Eliezer Ben-Yehuda, the creator of an all-embracing dictionary of ancient and modern Hebrew, and considers Baruch Spinoza’s little-known Hebrew grammar in light of his philosophical works. In reflecting on the making and meaning of a mother tongue, Mock addresses questions of memory and forgetting, mourning and restitution, and the sacred and the secular. Through the exceptional history of Hebrew, this book uncovers the workings of language in the social and psychological realms.

Hebrew features forewords by Pierre-Marc de Biasi, an artist and scholar of literature, and Julia Kristeva, a renowned psychoanalyst, philosopher, and linguist, speaking to the significance of the book.

In recent decades, Mexico has been one of the most dangerous democracies for journalists. Their coverage of the war on drugs, abuses of power, and human rights violations has led to harassment, threats, and violence by powerful cartels and corrupt officials. This book provides a ground-level view of how Mexican journalists have navigated this perilous environment, offering insight into how they protect themselves while reporting on the most critical and sensitive subjects.

Based on in-depth interviews with reporters, editors, activists, and officials, Mexico’s Resilient Journalists examines the strategies that media workers have employed in pursuit of both personal safety and the public interest. Julieta Brambila argues that Mexican journalists have developed innovative forms of resilience, highlighting their power and agency amid violence, censorship, and intimidation. She considers how journalists have banded together to develop coping mechanisms, protect each other, and raise public awareness. These resilient newsmakers have adapted to adversity by redefining their professional values and practices, rethinking their surroundings, and reassessing their role. Brambila also evaluates how various media organizations have learned from incidents of violence and changed their policies to better protect their reporters. Shedding new light on defense of the freedom of the press in Mexico, this book offers crucial lessons for other countries seeing a rise in threats to independent journalism.

In recent decades, Mexico has been one of the most dangerous democracies for journalists. Their coverage of the war on drugs, abuses of power, and human rights violations has led to harassment, threats, and violence by powerful cartels and corrupt officials. This book provides a ground-level view of how Mexican journalists have navigated this perilous environment, offering insight into how they protect themselves while reporting on the most critical and sensitive subjects.

Based on in-depth interviews with reporters, editors, activists, and officials, Mexico’s Resilient Journalists examines the strategies that media workers have employed in pursuit of both personal safety and the public interest. Julieta Brambila argues that Mexican journalists have developed innovative forms of resilience, highlighting their power and agency amid violence, censorship, and intimidation. She considers how journalists have banded together to develop coping mechanisms, protect each other, and raise public awareness. These resilient newsmakers have adapted to adversity by redefining their professional values and practices, rethinking their surroundings, and reassessing their role. Brambila also evaluates how various media organizations have learned from incidents of violence and changed their policies to better protect their reporters. Shedding new light on defense of the freedom of the press in Mexico, this book offers crucial lessons for other countries seeing a rise in threats to independent journalism.

Runner-Up, 2025 AJHA Book Award, American Journalism Historians Association

Finalist, 2025 Sperber Book Prize, Fordham University Department of Communication and Media Studies

After the Nazis came to power in Germany in 1933, the Associated Press (AP) brought news about life under the Third Reich to tens of millions of American readers. The AP was America’s most important source for foreign news, but to continue reporting under the Nazi regime the agency made both journalistic and moral compromises. Its reporters and photographers in Berlin endured onerous censorship, complied with anti-Semitic edicts, and faced accusations of spreading pro-Nazi propaganda. Yet despite restrictions, pressures, and concessions, AP’s Berlin “newshawks” provided more than a thousand U.S. newspapers with extensive coverage of the Nazi campaigns to conquer Europe and annihilate the continent’s Jews.

Newshawks in Berlin reveals how the Associated Press covered Nazi Germany from its earliest days through the aftermath of World War II. Larry Heinzerling and Randy Herschaft accessed previously classified government documents; plumbed diary entries, letters, and memos; and reviewed thousands of published stories and photos to examine what the AP reported and what it left out. Their research uncovers fierce internal debates about how to report in a dictatorship, and it reveals decisions that sometimes prioritized business ambitions over journalistic ethics. The book also documents the AP’s coverage of the Holocaust and its unveiling. Featuring comprehensive research and a memorable cast of characters, this book illuminates how the dilemmas of reporting on Nazi Germany remain familiar for journalists reporting on authoritarian regimes today.

Runner-Up, 2025 AJHA Book Award, American Journalism Historians Association

Finalist, 2025 Sperber Book Prize, Fordham University Department of Communication and Media Studies

After the Nazis came to power in Germany in 1933, the Associated Press (AP) brought news about life under the Third Reich to tens of millions of American readers. The AP was America’s most important source for foreign news, but to continue reporting under the Nazi regime the agency made both journalistic and moral compromises. Its reporters and photographers in Berlin endured onerous censorship, complied with anti-Semitic edicts, and faced accusations of spreading pro-Nazi propaganda. Yet despite restrictions, pressures, and concessions, AP’s Berlin “newshawks” provided more than a thousand U.S. newspapers with extensive coverage of the Nazi campaigns to conquer Europe and annihilate the continent’s Jews.

Newshawks in Berlin reveals how the Associated Press covered Nazi Germany from its earliest days through the aftermath of World War II. Larry Heinzerling and Randy Herschaft accessed previously classified government documents; plumbed diary entries, letters, and memos; and reviewed thousands of published stories and photos to examine what the AP reported and what it left out. Their research uncovers fierce internal debates about how to report in a dictatorship, and it reveals decisions that sometimes prioritized business ambitions over journalistic ethics. The book also documents the AP’s coverage of the Holocaust and its unveiling. Featuring comprehensive research and a memorable cast of characters, this book illuminates how the dilemmas of reporting on Nazi Germany remain familiar for journalists reporting on authoritarian regimes today.

Winner, 2024 Choice Outstanding Academic Title

A small but growing number of people in many countries consistently avoid the news. They feel they do not have time for it, believe it is not worth the effort, find it irrelevant or emotionally draining, or do not trust the media, among other reasons. Why and how do people circumvent news? Which groups are more and less reluctant to follow the news? In what ways is news avoidance a problem—for individuals, for the news industry, for society—and how can it be addressed?

This groundbreaking book explains why and how so many people consume little or no news despite unprecedented abundance and ease of access. Drawing on interviews in Spain, the United Kingdom, and the United States as well as extensive survey data, Avoiding the News examines how people who tune out traditional media get information and explores their “folk theories” about how news organizations work. The authors argue that news avoidance is about not only content but also identity, ideologies, and infrastructures: who people are, what they believe, and how news does or does not fit into their everyday lives. Because news avoidance is most common among disadvantaged groups, it threatens to exacerbate existing inequalities by tilting mainstream journalism even further toward privileged audiences. Ultimately, this book shows, persuading news-averse audiences of the value of journalism is not simply a matter of adjusting coverage but requires a deeper, more empathetic understanding of people’s relationships with news across social, political, and technological boundaries.

Podcasting’s stratospheric rise has inspired a new breed of audio reporting. Offering immersive storytelling for a binge-listening audience as well as reaching previously underserved communities, podcasts have become journalism’s most rapidly growing digital genre, buoying a beleaguered news industry. Yet many concerns have been raised about this new medium, such as the potential for disinformation, the influence of sponsors on content, the dominance of a few publishers and platforms, and at-times questionable adherence to journalistic principles.

David O. Dowling critically examines how podcasting and its evolving conventions are transforming reporting—and even reshaping journalism’s core functions and identity. He considers podcast reporting’s most influential achievements as well as its most consequential ethical and journalistic shortcomings, emphasizing the reciprocal influences between podcasting and traditional and digital journalism. Podcasting, both as a medium and a business, has benefited from the blurring of boundaries separating news from entertainment, editorial from advertising, and neutrality from subjectivity. The same qualities and forces that have allowed podcasting to bypass the limitations of traditional categories, expand the space of social and political discourse, and provide openings for marginalized voices have also permitted corporations to extend their reach and far-right firebrands to increase their influence. Equally attentive to the medium’s strengths and flaws, this is a vital book for all readers interested in how podcasting has changed journalism.

Winner, 2024 Choice Outstanding Academic Title

A small but growing number of people in many countries consistently avoid the news. They feel they do not have time for it, believe it is not worth the effort, find it irrelevant or emotionally draining, or do not trust the media, among other reasons. Why and how do people circumvent news? Which groups are more and less reluctant to follow the news? In what ways is news avoidance a problem—for individuals, for the news industry, for society—and how can it be addressed?

This groundbreaking book explains why and how so many people consume little or no news despite unprecedented abundance and ease of access. Drawing on interviews in Spain, the United Kingdom, and the United States as well as extensive survey data, Avoiding the News examines how people who tune out traditional media get information and explores their “folk theories” about how news organizations work. The authors argue that news avoidance is about not only content but also identity, ideologies, and infrastructures: who people are, what they believe, and how news does or does not fit into their everyday lives. Because news avoidance is most common among disadvantaged groups, it threatens to exacerbate existing inequalities by tilting mainstream journalism even further toward privileged audiences. Ultimately, this book shows, persuading news-averse audiences of the value of journalism is not simply a matter of adjusting coverage but requires a deeper, more empathetic understanding of people’s relationships with news across social, political, and technological boundaries.

To what extent does journalism deserve blame for the failure to address climate change over the last thirty years? Critics point out that climate coverage has often lacked necessary urgency and hewed to traditional notions of objectivity and balance that allowed powerful interests—mainly fossil fuel companies—to manufacture doubt. Climate journalism, however, developed alongside the digital media landscape, which is characterized by rampant misinformation, political polarization, unaccountable tech companies, unchecked corporate power, and vast inequalities. Under these circumstances, journalism struggled, and bad actors flourished, muddling messages while emissions mounted and societies struggled to avert catastrophe.

The Mediated Climate explores the places where the climate and information crises meet, examining how journalism, activism, corporations, and Big Tech compete to influence the public. Adrienne Russell argues that the inadequate response to climate change is intertwined with the profound challenges facing the communications environment. She demonstrates that the information crisis is driven not only by technological changes but also by concentrated power that predates the rise of digital media companies. Efforts to improve climate coverage must take into account the larger social and material contexts in which journalism operates and the broader power dynamics that shape public discourse. Drawing on interviews with journalists and activists, Russell considers the ways recent movements are battling misinformation. She offers timely recommendations to foster engagement with climate issues and calls on readers to join in efforts to reshape the media landscape to better serve the public interest.

The Best American Magazine Writing 2023 offers a selection of outstanding journalism on timely topics, including inequalities and injustices pressuring families, especially mothers. Rozina Ali tells the story of a U.S. marine who unlawfully adopted an Afghan girl and her family’s efforts to bring her home (New York Times Magazine). A Mother Jones exposé confronts the imprisonment of women for failing to protect their children from their abusive partners. “The Landlord and the Tenant” juxtaposes the lives of a poor single mother convicted for her children’s deaths in a fire and the man who owned the fatal property (ProPublica with Milwaukee Journal Sentinel). Caitlin Dickerson investigates the history of the U.S. government’s family-separation policy (The Atlantic). Jia Tolentino’s New Yorker commentary considers abortion in a post-Roe world.

The anthology features pieces on a wide range of subjects, such as Nate Jones on the “Nepo Baby” and Allison P. Davis’s essay about a decade on Tinder (New York). Natalie So recounts how her mother’s small computer chip company became the target of a Silicon Valley crime ring (The Believer). Clint Smith asks what Holocaust memorials in Germany can teach the United States about our reckoning with slavery (The Atlantic). Esquire’s Chris Heath examines the FBI’s involvement in a plot to kidnap the governor of Michigan. Courtney Desiree Morris takes a queer psychedelic ramble through New Orleans (Stranger’s Guide). Namwali Serpell reflects on representations of sex workers (New York Review of Books). An ESPN Digital investigation uncovers Penn State’s other serial sexual predator before Jerry Sandusky. Profiles of the acclaimed actress Viola Davis (New York Times Magazine) and the self-taught artist Matthew Wong (New Yorker), as well as Michelle de Kretser’s short story “Winter Term” (Paris Review), round out the volume.

Shortlisted, 2024 SHARP Book History Book Prize, Society for the History of Authorship, Reading, and Publishing

In the late 1950s, Random House editor Jason Epstein would talk jazz with Ralph Ellison or chat with Andy Warhol while pouring drinks in his office. By the 1970s, editors were poring over profit-and-loss statements. The electronics company RCA bought Random House in 1965, and then other large corporations purchased other formerly independent publishers. As multinational conglomerates consolidated the industry, the business of literature—and literature itself—transformed.

Dan Sinykin explores how changes in the publishing industry have affected fiction, literary form, and what it means to be an author. Giving an inside look at the industry’s daily routines, personal dramas, and institutional crises, he reveals how conglomeration has shaped what kinds of books and writers are published. Sinykin examines four different sectors of the publishing industry: mass-market books by brand-name authors like Danielle Steel; trade publishers that encouraged genre elements in literary fiction; nonprofits such as Graywolf that aspired to protect literature from market pressures; and the distinctive niche of employee-owned W. W. Norton. He emphasizes how women and people of color navigated shifts in publishing, arguing that writers such as Toni Morrison allegorized their experiences in their fiction.

Big Fiction features dazzling readings of a vast range of novelists—including E. L. Doctorow, Judith Krantz, Renata Adler, Stephen King, Joan Didion, Cormac McCarthy, Chuck Palahniuk, Patrick O’Brian, and Walter Mosley—as well as vivid portraits of industry figures. Written in gripping and lively prose, this deeply original book recasts the past six decades of American fiction.

Shortlisted, 2024 SHARP Book History Book Prize, Society for the History of Authorship, Reading, and Publishing

In the late 1950s, Random House editor Jason Epstein would talk jazz with Ralph Ellison or chat with Andy Warhol while pouring drinks in his office. By the 1970s, editors were poring over profit-and-loss statements. The electronics company RCA bought Random House in 1965, and then other large corporations purchased other formerly independent publishers. As multinational conglomerates consolidated the industry, the business of literature—and literature itself—transformed.

Dan Sinykin explores how changes in the publishing industry have affected fiction, literary form, and what it means to be an author. Giving an inside look at the industry’s daily routines, personal dramas, and institutional crises, he reveals how conglomeration has shaped what kinds of books and writers are published. Sinykin examines four different sectors of the publishing industry: mass-market books by brand-name authors like Danielle Steel; trade publishers that encouraged genre elements in literary fiction; nonprofits such as Graywolf that aspired to protect literature from market pressures; and the distinctive niche of employee-owned W. W. Norton. He emphasizes how women and people of color navigated shifts in publishing, arguing that writers such as Toni Morrison allegorized their experiences in their fiction.

Big Fiction features dazzling readings of a vast range of novelists—including E. L. Doctorow, Judith Krantz, Renata Adler, Stephen King, Joan Didion, Cormac McCarthy, Chuck Palahniuk, Patrick O’Brian, and Walter Mosley—as well as vivid portraits of industry figures. Written in gripping and lively prose, this deeply original book recasts the past six decades of American fiction.

More than 40 percent of the world’s estimated 7,100+ languages are in danger of disappearing by the end of this century. As with the decline of biodiversity, language loss has been attributed to environmental degradation, developmentalism, and the destruction of Indigenous communities. This book brings together leading experts and younger scholars across the humanities and social sciences to investigate what global language justice looks like in a time of climate crisis. Examining the worldwide loss of linguistic diversity, they develop a new conception of justice to safeguard marginalized languages.

Global Language Justice explores the socioeconomic transformations that both accelerate the decline of minoritized languages and give rise to new possibilities through population movement, unexpected encounters, and technological change. It also critically examines the concepts that are typically deployed to defend linguistic diversity, including human rights, inclusiveness, and equality. Contributors take up topics such as mapping language communities in New York City or how Indigenous innovation challenges notions of linguistic purity. They demonstrate the need to reckon with linguistic diversity in order to achieve a sustainable global economic system and show how the concept of digital vitality can push language justice in new directions. Interspersed with their essays are multilingual works by world-renowned poets and artists that engage with and deepen the book’s themes. Integrating ambitious theoretical exploration with concrete solutions, Global Language Justice offers vital new perspectives on the place of linguistic diversity in ongoing ecological crises.

More than 40 percent of the world’s estimated 7,100+ languages are in danger of disappearing by the end of this century. As with the decline of biodiversity, language loss has been attributed to environmental degradation, developmentalism, and the destruction of Indigenous communities. This book brings together leading experts and younger scholars across the humanities and social sciences to investigate what global language justice looks like in a time of climate crisis. Examining the worldwide loss of linguistic diversity, they develop a new conception of justice to safeguard marginalized languages.

Global Language Justice explores the socioeconomic transformations that both accelerate the decline of minoritized languages and give rise to new possibilities through population movement, unexpected encounters, and technological change. It also critically examines the concepts that are typically deployed to defend linguistic diversity, including human rights, inclusiveness, and equality. Contributors take up topics such as mapping language communities in New York City or how Indigenous innovation challenges notions of linguistic purity. They demonstrate the need to reckon with linguistic diversity in order to achieve a sustainable global economic system and show how the concept of digital vitality can push language justice in new directions. Interspersed with their essays are multilingual works by world-renowned poets and artists that engage with and deepen the book’s themes. Integrating ambitious theoretical exploration with concrete solutions, Global Language Justice offers vital new perspectives on the place of linguistic diversity in ongoing ecological crises.

Podcasting’s stratospheric rise has inspired a new breed of audio reporting. Offering immersive storytelling for a binge-listening audience as well as reaching previously underserved communities, podcasts have become journalism’s most rapidly growing digital genre, buoying a beleaguered news industry. Yet many concerns have been raised about this new medium, such as the potential for disinformation, the influence of sponsors on content, the dominance of a few publishers and platforms, and at-times questionable adherence to journalistic principles.

David O. Dowling critically examines how podcasting and its evolving conventions are transforming reporting—and even reshaping journalism’s core functions and identity. He considers podcast reporting’s most influential achievements as well as its most consequential ethical and journalistic shortcomings, emphasizing the reciprocal influences between podcasting and traditional and digital journalism. Podcasting, both as a medium and a business, has benefited from the blurring of boundaries separating news from entertainment, editorial from advertising, and neutrality from subjectivity. The same qualities and forces that have allowed podcasting to bypass the limitations of traditional categories, expand the space of social and political discourse, and provide openings for marginalized voices have also permitted corporations to extend their reach and far-right firebrands to increase their influence. Equally attentive to the medium’s strengths and flaws, this is a vital book for all readers interested in how podcasting has changed journalism.

Across the United States, newsrooms are grappling with systemic racism in their organizations and the media industry. Many have implemented diversity, equity, and inclusion (DEI) initiatives or made other attempts to confront past and present biases in pursuit of greater equity. Are such efforts merely performative, or are any transforming norms and power structures? What would it take to hold newsrooms truly accountable?

Andrea Wenzel provides a critical look at how local media organizations in the Philadelphia area are attempting to address structural racism. She focuses on two established, majority-white newsrooms, the Philadelphia Inquirer and the public radio station WHYY, and two start-ups where at least half the staff identify as Black, Indigenous, or people of color (BIPOC), Resolve Philly and Kensington Voice. Drawing on more than five years of field research, Wenzel charts how these outlets have pursued a range of interventions—such as tracking the diversity of sources, examining reporting and editing practices, and working with community members to gain input—to varying degrees of success. Wenzel argues that institutional and systemic transformation will be possible only through the establishment of structures that facilitate holding those with more power responsible for listening to and addressing the needs and concerns of those with less. Offering recommendations for building infrastructure that enables sustainable accountability, Antiracist Journalism is an important book for everyone interested in making local journalism more equitable.

Across the United States, newsrooms are grappling with systemic racism in their organizations and the media industry. Many have implemented diversity, equity, and inclusion (DEI) initiatives or made other attempts to confront past and present biases in pursuit of greater equity. Are such efforts merely performative, or are any transforming norms and power structures? What would it take to hold newsrooms truly accountable?

Andrea Wenzel provides a critical look at how local media organizations in the Philadelphia area are attempting to address structural racism. She focuses on two established, majority-white newsrooms, the Philadelphia Inquirer and the public radio station WHYY, and two start-ups where at least half the staff identify as Black, Indigenous, or people of color (BIPOC), Resolve Philly and Kensington Voice. Drawing on more than five years of field research, Wenzel charts how these outlets have pursued a range of interventions—such as tracking the diversity of sources, examining reporting and editing practices, and working with community members to gain input—to varying degrees of success. Wenzel argues that institutional and systemic transformation will be possible only through the establishment of structures that facilitate holding those with more power responsible for listening to and addressing the needs and concerns of those with less. Offering recommendations for building infrastructure that enables sustainable accountability, Antiracist Journalism is an important book for everyone interested in making local journalism more equitable.

Low pay. Uncertain work prospects. Diminished prestige. Why would anyone still want be a journalist? Drawing on in-depth interviews in France and the United States, Matthew Powers and Sandra Vera-Zambrano explore the ways individuals come to believe that journalism is a worthy pursuit—and how that conviction is managed and sometimes dissolves amid the profession’s ongoing upheavals.

For many people, journalism represents a job that is interesting and substantial, with opportunities for expression, a sense of self-fulfillment, and a connection to broader social values. By distilling complex ideas, holding the powerful to account, and revealing hidden realities, journalists play a crucial role in helping audiences make sense of the world. Experiences in the profession, though, are often far more disappointing. Many find themselves doing tasks that bear little relation to what attracted them initially or are frustrated by institutions privileging what sells over what informs. The imbalance between the profession’s economic woes and its social importance threatens to erode individuals’ beliefs that journalism remains a worthwhile pursuit. Powers and Vera-Zambrano emphasize that, as with many seemingly individual choices, social factors—class, gender, education, and race—shape how journalists make sense of their profession and whether or not they remain in it.

An in-depth story of one profession under pressure, The Journalist’s Predicament uncovers tensions that also confront other socially important jobs like teaching, nursing, and caretaking.

Low pay. Uncertain work prospects. Diminished prestige. Why would anyone still want be a journalist? Drawing on in-depth interviews in France and the United States, Matthew Powers and Sandra Vera-Zambrano explore the ways individuals come to believe that journalism is a worthy pursuit—and how that conviction is managed and sometimes dissolves amid the profession’s ongoing upheavals.

For many people, journalism represents a job that is interesting and substantial, with opportunities for expression, a sense of self-fulfillment, and a connection to broader social values. By distilling complex ideas, holding the powerful to account, and revealing hidden realities, journalists play a crucial role in helping audiences make sense of the world. Experiences in the profession, though, are often far more disappointing. Many find themselves doing tasks that bear little relation to what attracted them initially or are frustrated by institutions privileging what sells over what informs. The imbalance between the profession’s economic woes and its social importance threatens to erode individuals’ beliefs that journalism remains a worthwhile pursuit. Powers and Vera-Zambrano emphasize that, as with many seemingly individual choices, social factors—class, gender, education, and race—shape how journalists make sense of their profession and whether or not they remain in it.

An in-depth story of one profession under pressure, The Journalist’s Predicament uncovers tensions that also confront other socially important jobs like teaching, nursing, and caretaking.

To what extent does journalism deserve blame for the failure to address climate change over the last thirty years? Critics point out that climate coverage has often lacked necessary urgency and hewed to traditional notions of objectivity and balance that allowed powerful interests—mainly fossil fuel companies—to manufacture doubt. Climate journalism, however, developed alongside the digital media landscape, which is characterized by rampant misinformation, political polarization, unaccountable tech companies, unchecked corporate power, and vast inequalities. Under these circumstances, journalism struggled, and bad actors flourished, muddling messages while emissions mounted and societies struggled to avert catastrophe.

The Mediated Climate explores the places where the climate and information crises meet, examining how journalism, activism, corporations, and Big Tech compete to influence the public. Adrienne Russell argues that the inadequate response to climate change is intertwined with the profound challenges facing the communications environment. She demonstrates that the information crisis is driven not only by technological changes but also by concentrated power that predates the rise of digital media companies. Efforts to improve climate coverage must take into account the larger social and material contexts in which journalism operates and the broader power dynamics that shape public discourse. Drawing on interviews with journalists and activists, Russell considers the ways recent movements are battling misinformation. She offers timely recommendations to foster engagement with climate issues and calls on readers to join in efforts to reshape the media landscape to better serve the public interest.

The dramatic events of 2020—the presidential election, the COVID-19 pandemic, protests for racial justice—affected every corner of American life. What did these events mean for the residents of small towns and cities that are often overlooked by national newspapers? How do local stories change when they are told by journalists with roots in these communities? And what is lost as this kind of coverage disappears?

American Deadline brings together dispatches from four longtime local journalists in different parts of the United States that tell the story of 2020 anew. It shares reporting from Bowling Green, Virginia; Macon, Georgia; McKeesport, Pennsylvania; and McAllen, Texas—two towns that lost their local newspapers and two where they are barely hanging on. The authors consider what makes each town distinctive and how these local perspectives tell a part of a broader American story. This book reports on how residents of these towns grapple with and talk about issues relating to race, schooling, health, immigration, deindustrialization, as well as local and national politics amid a changing and increasingly precarious information ecosystem. A distinct and intimate look at a calamitous year, American Deadline is an important book for all readers interested in the possibilities and future of local journalism.

The dramatic events of 2020—the presidential election, the COVID-19 pandemic, protests for racial justice—affected every corner of American life. What did these events mean for the residents of small towns and cities that are often overlooked by national newspapers? How do local stories change when they are told by journalists with roots in these communities? And what is lost as this kind of coverage disappears?

American Deadline brings together dispatches from four longtime local journalists in different parts of the United States that tell the story of 2020 anew. It shares reporting from Bowling Green, Virginia; Macon, Georgia; McKeesport, Pennsylvania; and McAllen, Texas—two towns that lost their local newspapers and two where they are barely hanging on. The authors consider what makes each town distinctive and how these local perspectives tell a part of a broader American story. This book reports on how residents of these towns grapple with and talk about issues relating to race, schooling, health, immigration, deindustrialization, as well as local and national politics amid a changing and increasingly precarious information ecosystem. A distinct and intimate look at a calamitous year, American Deadline is an important book for all readers interested in the possibilities and future of local journalism.

By now it is widely accepted wisdom that the Internet has vast potential as a learning tool for students of almost all ages and levels. But it is less clear how to harness this potential most effectively. What indeed should the "online classroom" mean to teachers? Will the rush to get "wired" mean little more than enhanced visuals or automated lecture delivery—or can it result in innovative pedagogies for improving literacy into the twenty-first century?

In this collection of essays, some of the most progressive voices in literacy studies reconsider what it means to be literate in the information age, and offer practical advice not only for getting networked computers into the classroom but also for instructing students and other teachers how to tap into their boundless potential.

Essays range in subject from the story of a radical, communal writers' group working together in a networked environment; to an exploration of how utopian notions of the networked classroom don't always hold true, on the basis of the authors' classroom experience of hostile, dysfunctional chat room exercises; to an applied and totally attainable model for gathering support and preparing teachers for new technologies.

Together the contributions provide a provocative and much-needed introduction to the constantly shifting subject of literacy theory, paving the way for continued dialogue on a subject that teachers, students, and all writers and readers can no longer afford to ignore.

Journalists are being imprisoned and killed in record numbers. Online surveillance is annihilating privacy, and the Internet can be brought under government control at any time. Joel Simon, the executive director of the Committee to Protect Journalists, warns that we can no longer assume that our global information ecosystem is stable, protected, and robust. Journalists are increasingly vulnerable to attack by authoritarian governments, militants, criminals, and terrorists, who all seek to use technology, political pressure, and violence to set the global information agenda.

Reporting from Pakistan, Russia, Turkey, Egypt, and Mexico, among other hotspots, Simon finds journalists under threat from all sides. The result is a growing crisis in information—a shortage of the news we need to make sense of our globalized world and fight human rights abuses, manage conflict, and promote accountability. Drawing on his experience defending journalists on the front lines, he calls on "global citizens," U.S. policy makers, international law advocates, and human rights groups to create a global freedom-of-expression agenda tied to trade, climate, and other major negotiations. He proposes ten key priorities, including combating the murder of journalists, ending censorship, and developing a global free-expression charter to challenge the criminal and corrupt forces that seek to manipulate the world's news.

The Best American Magazine Writing 2023 offers a selection of outstanding journalism on timely topics, including inequalities and injustices pressuring families, especially mothers. Rozina Ali tells the story of a U.S. marine who unlawfully adopted an Afghan girl and her family’s efforts to bring her home (New York Times Magazine). A Mother Jones exposé confronts the imprisonment of women for failing to protect their children from their abusive partners. “The Landlord and the Tenant” juxtaposes the lives of a poor single mother convicted for her children’s deaths in a fire and the man who owned the fatal property (ProPublica with Milwaukee Journal Sentinel). Caitlin Dickerson investigates the history of the U.S. government’s family-separation policy (The Atlantic). Jia Tolentino’s New Yorker commentary considers abortion in a post-Roe world.

The anthology features pieces on a wide range of subjects, such as Nate Jones on the “Nepo Baby” and Allison P. Davis’s essay about a decade on Tinder (New York). Natalie So recounts how her mother’s small computer chip company became the target of a Silicon Valley crime ring (The Believer). Clint Smith asks what Holocaust memorials in Germany can teach the United States about our reckoning with slavery (The Atlantic). Esquire’s Chris Heath examines the FBI’s involvement in a plot to kidnap the governor of Michigan. Courtney Desiree Morris takes a queer psychedelic ramble through New Orleans (Stranger’s Guide). Namwali Serpell reflects on representations of sex workers (New York Review of Books). An ESPN Digital investigation uncovers Penn State’s other serial sexual predator before Jerry Sandusky. Profiles of the acclaimed actress Viola Davis (New York Times Magazine) and the self-taught artist Matthew Wong (New Yorker), as well as Michelle de Kretser’s short story “Winter Term” (Paris Review), round out the volume.

The Best American Magazine Writing 2022 presents a range of outstanding writing on timely topics, from in-depth reporting to incisive criticism: Kristin Canning calls for a change in how we talk about abortion (Women’s Health), and Ed Yong warns us about the next pandemic (The Atlantic). Matthieu Aikins provides a gripping eyewitness account of the Taliban’s seizure of Kabul (New York Times Magazine). Heidi Blake and Katie J. M. Baker’s “Beyond Britney” examines how people placed under legal guardianship are deprived of their autonomy (BuzzFeed News). Rachel Aviv profiles a psychologist who studies the fallibility of memory—and has testified for defendants including Harvey Weinstein and Bill Cosby (The New Yorker).

The anthology includes dispatches from the frontiers of science, exploring why Venus turned out so hellishly unlike Earth (Popular Science) and detailing the potential of NASA’s James Webb Space Telescope (Quanta). It features celebrated writers, including Harper’s magazine pieces by Ann Patchett, whose “These Precious Days” is a powerful story of friendship during the pandemic, and Vivian Gornick, who offers “notes on humiliation.” Carina del Valle Schorske depicts the power of public dance after pandemic isolation (New York Times Magazine). And the NBA icon Kareem Abdul-Jabbar lauds the Black athletes who fought for social justice (AARP the Magazine). Amid the continuing reckoning with racism, authors reconsider tarnished figures. The Black ornithologist and birder J. Drew Lanham assesses the legacy of John James Audubon in the magazine that bears his name, and Jeremy Atherton Lin questions his youthful enthusiasm for Morrissey (Yale Review). Jennifer Senior writes about memory and the lingering grief felt for a friend killed on 9/11 (The Atlantic). The collection concludes with Nishanth Injam’s story of queer first love across religious boundaries, “Come with Me” (Georgia Review).

What makes political speech powerful? How does eloquent rhetoric transcend ordinary language? Which stylistic choices allow effective orators to stir emotions and spur action? And in the age of Donald Trump, does political eloquence still matter?

This book examines a wide swath of political discourse to shed new light on the meaning and significance of eloquence. Roderick P. Hart, a leading scholar of political communication, develops new ways of measuring persuasiveness and rhetorical power through the use of computer-based methods. He examines one hundred of the most important speeches of the twentieth century, given by presidents and politicians as well as leaders, activists, and cultural figures including Martin Luther King Jr., Lou Gehrig, Mario Savio, Carrie Chapman Catt, and Stokely Carmichael.

Deploying the tools of the digital humanities as well as critical rhetorical analysis, Hart considers what distinguishes the linguistic properties of iconic oratory from those of more mundane texts. He argues that eloquence represents the confluence of cultural resonance, personal investment, and poetic imagination, providing empirical metrics for assessing each of these qualities. A quantitative and qualitative exploration of American political speech, this interdisciplinary book offers a powerful argument for why eloquence is essential for a functioning democracy.

What makes political speech powerful? How does eloquent rhetoric transcend ordinary language? Which stylistic choices allow effective orators to stir emotions and spur action? And in the age of Donald Trump, does political eloquence still matter?

This book examines a wide swath of political discourse to shed new light on the meaning and significance of eloquence. Roderick P. Hart, a leading scholar of political communication, develops new ways of measuring persuasiveness and rhetorical power through the use of computer-based methods. He examines one hundred of the most important speeches of the twentieth century, given by presidents and politicians as well as leaders, activists, and cultural figures including Martin Luther King Jr., Lou Gehrig, Mario Savio, Carrie Chapman Catt, and Stokely Carmichael.

Deploying the tools of the digital humanities as well as critical rhetorical analysis, Hart considers what distinguishes the linguistic properties of iconic oratory from those of more mundane texts. He argues that eloquence represents the confluence of cultural resonance, personal investment, and poetic imagination, providing empirical metrics for assessing each of these qualities. A quantitative and qualitative exploration of American political speech, this interdisciplinary book offers a powerful argument for why eloquence is essential for a functioning democracy.

Reporting on China has long been one of the most challenging and crucial of journalistic assignments. Foreign correspondents have confronted war, revolution, isolation, internal upheaval, and onerous government restrictions as well as barriers of language, culture, and politics. Nonetheless, American media coverage of China has profoundly influenced U.S. government policy and shaped public opinion not only domestically but also, given the clout and reach of U.S. news organizations, around the world.

This book tells the story of how American journalists have covered China—from the civil war of the 1940s through the COVID-19 pandemic—in their own words. Mike Chinoy assembles a remarkable collection of personal accounts from eminent journalists, including Stanley Karnow, Seymour Topping, Barbara Walters, Dan Rather, Melinda Liu, Nicholas Kristof, Joseph Kahn, Evan Osnos, David Barboza, Amy Qin, and Megha Rajagopalan, among dozens of others. They share behind-the-scenes stories of reporting on historic moments such as Richard Nixon’s groundbreaking visit in 1972, China’s opening up to the outside world and its emergence as a global superpower, and the crackdowns in Tiananmen Square and Xinjiang. Journalists detail the challenges of covering a complex and secretive society and offer insight into eight decades of tumultuous political, economic, and social change.

At a time of crisis in Sino-American relations, understanding the people who have covered China for the American media and how they have done so is crucial to understanding the news. Through the personal accounts of multiple generations of China correspondents, Assignment China provides that understanding.

Reporting on China has long been one of the most challenging and crucial of journalistic assignments. Foreign correspondents have confronted war, revolution, isolation, internal upheaval, and onerous government restrictions as well as barriers of language, culture, and politics. Nonetheless, American media coverage of China has profoundly influenced U.S. government policy and shaped public opinion not only domestically but also, given the clout and reach of U.S. news organizations, around the world.

This book tells the story of how American journalists have covered China—from the civil war of the 1940s through the COVID-19 pandemic—in their own words. Mike Chinoy assembles a remarkable collection of personal accounts from eminent journalists, including Stanley Karnow, Seymour Topping, Barbara Walters, Dan Rather, Melinda Liu, Nicholas Kristof, Joseph Kahn, Evan Osnos, David Barboza, Amy Qin, and Megha Rajagopalan, among dozens of others. They share behind-the-scenes stories of reporting on historic moments such as Richard Nixon’s groundbreaking visit in 1972, China’s opening up to the outside world and its emergence as a global superpower, and the crackdowns in Tiananmen Square and Xinjiang. Journalists detail the challenges of covering a complex and secretive society and offer insight into eight decades of tumultuous political, economic, and social change.

At a time of crisis in Sino-American relations, understanding the people who have covered China for the American media and how they have done so is crucial to understanding the news. Through the personal accounts of multiple generations of China correspondents, Assignment China provides that understanding.

The Best American Magazine Writing 2022 presents a range of outstanding writing on timely topics, from in-depth reporting to incisive criticism: Kristin Canning calls for a change in how we talk about abortion (Women’s Health), and Ed Yong warns us about the next pandemic (The Atlantic). Matthieu Aikins provides a gripping eyewitness account of the Taliban’s seizure of Kabul (New York Times Magazine). Heidi Blake and Katie J. M. Baker’s “Beyond Britney” examines how people placed under legal guardianship are deprived of their autonomy (BuzzFeed News). Rachel Aviv profiles a psychologist who studies the fallibility of memory—and has testified for defendants including Harvey Weinstein and Bill Cosby (The New Yorker).

The anthology includes dispatches from the frontiers of science, exploring why Venus turned out so hellishly unlike Earth (Popular Science) and detailing the potential of NASA’s James Webb Space Telescope (Quanta). It features celebrated writers, including Harper’s magazine pieces by Ann Patchett, whose “These Precious Days” is a powerful story of friendship during the pandemic, and Vivian Gornick, who offers “notes on humiliation.” Carina del Valle Schorske depicts the power of public dance after pandemic isolation (New York Times Magazine). And the NBA icon Kareem Abdul-Jabbar lauds the Black athletes who fought for social justice (AARP the Magazine). Amid the continuing reckoning with racism, authors reconsider tarnished figures. The Black ornithologist and birder J. Drew Lanham assesses the legacy of John James Audubon in the magazine that bears his name, and Jeremy Atherton Lin questions his youthful enthusiasm for Morrissey (Yale Review). Jennifer Senior writes about memory and the lingering grief felt for a friend killed on 9/11 (The Atlantic). The collection concludes with Nishanth Injam’s story of queer first love across religious boundaries, “Come with Me” (Georgia Review).

Faced with a full-blown crisis, a growing number of journalists are engaging in seemingly unjournalistic practices such as creating and maintaining databases, handling algorithms, or designing online applications. “Data journalists” claim that these approaches help the profession demonstrate greater objectivity and fulfill its democratic mission. In their view, computational methods enable journalists to better inform their readers, more closely monitor those in power, and offer deeper analysis.

In Computing the News, Sylvain Parasie examines how data journalists and news organizations have navigated the tensions between traditional journalistic values and new technologies. He traces the history of journalistic hopes for computing technology and contextualizes the surge of data journalism in the twenty-first century. By importing computational techniques and ways of knowing new to journalism, news organizations have come to depend on a broader array of human and nonhuman actors. Parasie draws on extensive fieldwork in the United States and France, including interviews with journalists and data scientists as well as a behind-the-scenes look at several acclaimed projects in both countries. Ultimately, he argues, fulfilling the promise of data journalism requires the renewal of journalistic standards and ethics. Offering an in-depth analysis of how computing has become part of the daily practices of journalists, this book proposes ways for journalism to evolve in order to serve democratic societies.

Faced with a full-blown crisis, a growing number of journalists are engaging in seemingly unjournalistic practices such as creating and maintaining databases, handling algorithms, or designing online applications. “Data journalists” claim that these approaches help the profession demonstrate greater objectivity and fulfill its democratic mission. In their view, computational methods enable journalists to better inform their readers, more closely monitor those in power, and offer deeper analysis.

In Computing the News, Sylvain Parasie examines how data journalists and news organizations have navigated the tensions between traditional journalistic values and new technologies. He traces the history of journalistic hopes for computing technology and contextualizes the surge of data journalism in the twenty-first century. By importing computational techniques and ways of knowing new to journalism, news organizations have come to depend on a broader array of human and nonhuman actors. Parasie draws on extensive fieldwork in the United States and France, including interviews with journalists and data scientists as well as a behind-the-scenes look at several acclaimed projects in both countries. Ultimately, he argues, fulfilling the promise of data journalism requires the renewal of journalistic standards and ethics. Offering an in-depth analysis of how computing has become part of the daily practices of journalists, this book proposes ways for journalism to evolve in order to serve democratic societies.

Winner, 2023 Columbia University Press Distinguished Book Award

Winner, 2023 Frank Luther Mott / Kappa Tau Alpha Research Award

Winner, 2023 Journalism Studies Division Book Award, International Communication Association

Winner, 2023 History Book Award, Association for Education in Journalism and Mass Communication

Long before the current preoccupation with “fake news,” American newspapers routinely ran stories that were not quite, strictly speaking, true. Today, a firm boundary between fact and fakery is a hallmark of journalistic practice, yet for many readers and publishers across more than three centuries, this distinction has seemed slippery or even irrelevant. From fibs about royal incest in America’s first newspaper to social-media-driven conspiracy theories surrounding Barack Obama’s birthplace, Andie Tucher explores how American audiences have argued over what’s real and what’s not—and why that matters for democracy.

Early American journalism was characterized by a hodgepodge of straightforward reporting, partisan broadsides, humbug, tall tales, and embellishment. Around the start of the twentieth century, journalists who were determined to improve the reputation of their craft established professional norms and the goal of objectivity. However, Tucher argues, the creation of outward forms of factuality unleashed new opportunities for falsehood: News doesn’t have to be true as long as it looks true. Propaganda, disinformation, and advocacy—whether in print, on the radio, on television, or online—could be crafted to resemble the real thing. Dressed up in legitimate journalistic conventions, this “fake journalism” became inextricably bound up with right-wing politics, to the point where it has become an essential driver of political polarization. Shedding light on the long history of today’s disputes over disinformation, Not Exactly Lying is a timely consideration of what happens to public life when news is not exactly true.

Winner, 2023 Columbia University Press Distinguished Book Award

Winner, 2023 Frank Luther Mott / Kappa Tau Alpha Research Award

Winner, 2023 Journalism Studies Division Book Award, International Communication Association

Winner, 2023 History Book Award, Association for Education in Journalism and Mass Communication

Long before the current preoccupation with “fake news,” American newspapers routinely ran stories that were not quite, strictly speaking, true. Today, a firm boundary between fact and fakery is a hallmark of journalistic practice, yet for many readers and publishers across more than three centuries, this distinction has seemed slippery or even irrelevant. From fibs about royal incest in America’s first newspaper to social-media-driven conspiracy theories surrounding Barack Obama’s birthplace, Andie Tucher explores how American audiences have argued over what’s real and what’s not—and why that matters for democracy.

Early American journalism was characterized by a hodgepodge of straightforward reporting, partisan broadsides, humbug, tall tales, and embellishment. Around the start of the twentieth century, journalists who were determined to improve the reputation of their craft established professional norms and the goal of objectivity. However, Tucher argues, the creation of outward forms of factuality unleashed new opportunities for falsehood: News doesn’t have to be true as long as it looks true. Propaganda, disinformation, and advocacy—whether in print, on the radio, on television, or online—could be crafted to resemble the real thing. Dressed up in legitimate journalistic conventions, this “fake journalism” became inextricably bound up with right-wing politics, to the point where it has become an essential driver of political polarization. Shedding light on the long history of today’s disputes over disinformation, Not Exactly Lying is a timely consideration of what happens to public life when news is not exactly true.

The Best American Magazine Writing 2021 presents outstanding journalism and commentary that reckon with urgent topics, including COVID-19 and entrenched racial inequality. In “The Plague Year,” Lawrence Wright details how responses to the pandemic went astray (New Yorker). Lizzie Presser reports on “The Black American Amputation Epidemic” (ProPublica). In powerful essays, the novelist Jesmyn Ward processes her grief over her husband’s death against the backdrop of the pandemic and antiracist uprisings (Vanity Fair), and the poet Elizabeth Alexander considers “The Trayvon Generation” (New Yorker). Aymann Ismail delves into how “The Store That Called the Cops on George Floyd” dealt with the repercussions of the fatal call (Slate). Mitchell S. Jackson scrutinizes the murder of Ahmaud Arbery and how running fails Black America (Runner’s World).

The anthology features remarkable reporting, such as explorations of the cases of children who disappeared into the depths of the U.S. immigration system for years (Reveal) and Oakland’s efforts to rethink its approach to gun violence (Mother Jones). It includes selections from a Public Books special issue that investigate what 2020’s overlapping crises reveal about the future of cities. Excerpts from Marie Claire’s guide to online privacy examine topics from algorithmic bias to cyberstalking to employees’ rights. Aisha Sabatini Sloan’s perceptive Paris Review columns explore her family history in Detroit and the toll of a brutal past and present. Sam Anderson reflects on a unique pop figure in “The Weirdly Enduring Appeal of Weird Al Yankovic” (New York Times Magazine). The collection concludes with Susan Choi’s striking short story “The Whale Mother” (Harper’s Magazine).

As cash-strapped metropolitan newspapers struggle to maintain their traditional influence and quality reporting, large national and international outlets have pivoted to serving readers who can and will choose to pay for news, skewing coverage toward a wealthy, white, and liberal audience. Amid rampant inequality and distrust, media outlets have become more out of touch with the democracy they purport to serve. How did journalism end up in such a predicament, and what are the prospects for achieving a more equitable future?

In News for the Rich, White, and Blue, Nikki Usher recasts the challenges facing journalism in terms of place, power, and inequality. Drawing on more than a decade of field research, she illuminates how journalists decide what becomes news and how news organizations strategize about the future. Usher shows how newsrooms remain places of power, largely white institutions growing more elite as journalists confront a shrinking job market. She details how Google, Facebook, and the digital-advertising ecosystem have wreaked havoc on the economic model for quality journalism, leaving local news to suffer. Usher also highlights how the handful of likely survivors—well-funded media outlets such as the New York Times—increasingly appeal to a global, “placeless” reader.

News for the Rich, White, and Blue concludes with a series of provocative recommendations to reimagine journalism to ensure its resiliency and its ability to speak to a diverse set of issues and readers.

As technological and legal changes have hollowed out the protections that reporters and news organizations have depended upon for decades, information security concerns facing journalists as they report, produce, and disseminate the news have only intensified. From source prosecutions to physical attacks and online harassment, the last two decades have seen a dramatic increase in the risks faced by journalists at all levels even as the media industry confronts drastic cutbacks in budgets and staff. As a result, few professional or aspiring journalists have a comprehensive understanding of what is required to keep their sources, stories, colleagues, and reputations safe.

This book is an essential guide to protecting news writers, sources, and organizations in the digital era. Susan E. McGregor provides a systematic understanding of the key technical, legal, and conceptual issues that anyone teaching, studying, or practicing journalism should know. Bringing together expert insights from both leading academics and security professionals who work at and with news organizations from BuzzFeed to the Associated Press, she lays out key principles and approaches for building information security into journalistic practice. McGregor draws on firsthand experience as a Wall Street Journal staffer, followed by a decade of researching, testing, and developing information security tools and practices. Filled with practical but evergreen advice that can enhance the security and efficacy of everything from daily beat reporting to long-term investigative projects, Information Security Essentials is a vital tool for journalists at all levels.

* Please note that older print versions of this book refer to Reuters' Gina Chua by her previous name. This is being corrected in forthcoming print and digital editions.

As cash-strapped metropolitan newspapers struggle to maintain their traditional influence and quality reporting, large national and international outlets have pivoted to serving readers who can and will choose to pay for news, skewing coverage toward a wealthy, white, and liberal audience. Amid rampant inequality and distrust, media outlets have become more out of touch with the democracy they purport to serve. How did journalism end up in such a predicament, and what are the prospects for achieving a more equitable future?

In News for the Rich, White, and Blue, Nikki Usher recasts the challenges facing journalism in terms of place, power, and inequality. Drawing on more than a decade of field research, she illuminates how journalists decide what becomes news and how news organizations strategize about the future. Usher shows how newsrooms remain places of power, largely white institutions growing more elite as journalists confront a shrinking job market. She details how Google, Facebook, and the digital-advertising ecosystem have wreaked havoc on the economic model for quality journalism, leaving local news to suffer. Usher also highlights how the handful of likely survivors—well-funded media outlets such as the New York Times—increasingly appeal to a global, “placeless” reader.

News for the Rich, White, and Blue concludes with a series of provocative recommendations to reimagine journalism to ensure its resiliency and its ability to speak to a diverse set of issues and readers.

As technological and legal changes have hollowed out the protections that reporters and news organizations have depended upon for decades, information security concerns facing journalists as they report, produce, and disseminate the news have only intensified. From source prosecutions to physical attacks and online harassment, the last two decades have seen a dramatic increase in the risks faced by journalists at all levels even as the media industry confronts drastic cutbacks in budgets and staff. As a result, few professional or aspiring journalists have a comprehensive understanding of what is required to keep their sources, stories, colleagues, and reputations safe.

This book is an essential guide to protecting news writers, sources, and organizations in the digital era. Susan E. McGregor provides a systematic understanding of the key technical, legal, and conceptual issues that anyone teaching, studying, or practicing journalism should know. Bringing together expert insights from both leading academics and security professionals who work at and with news organizations from BuzzFeed to the Associated Press, she lays out key principles and approaches for building information security into journalistic practice. McGregor draws on firsthand experience as a Wall Street Journal staffer, followed by a decade of researching, testing, and developing information security tools and practices. Filled with practical but evergreen advice that can enhance the security and efficacy of everything from daily beat reporting to long-term investigative projects, Information Security Essentials is a vital tool for journalists at all levels.

* Please note that older print versions of this book refer to Reuters' Gina Chua by her previous name. This is being corrected in forthcoming print and digital editions.

The Best American Magazine Writing 2020 brings together outstanding writing, from in-depth reporting to incisive criticism. The anthology features excerpts from major projects that challenge American certitudes: the Washington Post Magazine’s “Prison” issue, detailing the scope of mass incarceration, and the New York Times Magazine’s “The 1619 Project,” which recenters the nation’s history around slavery and its legacies. It includes extraordinary globe-spanning journalism, including pieces on the genocide against the Rohingya (New York Times Magazine) and the unintended consequences of a dengue fever vaccine (Fortune). Pamela Colloff details prosecutors’ reliance on an untrustworthy jailhouse informant (New York Times Magazine in partnership with ProPublica), and a ProPublica series investigates the disaster that befell the USS Fitzgerald.

The anthology showcases the work of remarkable stylists, including Jia Tolentino’s cultural commentary (New Yorker) and Ligaya Mishan’s columns on food and culture (T: The New York Times Style Magazine). Columns by s.e. smith consider disability (Catapult), and the DeafBlind poet John Lee Clark writes about art he can touch (Poetry). Jordan Kisner visits a Martha Washington–themed debutante ball in Texas near the Mexican border for The Believer, and Jacob Baynham offers a moving portrait of his father-in-law (Georgia Review). Arundhati Roy excoriates the increasing authoritarianism of Modi’s India (The Nation in partnership with Type Media Center). The anthology concludes with Jonathan Escoffery’s short story of homesickness for Jamaica, “Under the Ackee Tree” (Paris Review).

The United Nations’ Universal Declaration of Human Rights in 1948 proclaimed a vision of freedom of expression exercised regardless of frontiers. Nonetheless, laws and norms regarding the freedom or limits of expression are typically established and understood at the national level. In today’s interconnected world, newfound threats to free expression have suddenly arisen. How can this fundamental right be secured at a global level?

This volume brings together leading experts from a variety of fields to critically evaluate the extent to which global norms on freedom of expression and information have been established and which actors and institutions have contributed to their diffusion. The authors also consider ongoing and new challenges to these norms, from conflicts over hate speech and the rise of populism to authoritarian governments, as well as the profound disruption introduced by the internet. Together, the essays lay the groundwork for an international legal doctrine on global freedom of expression that considers issues such as access to government-held information, media diversity, and political speech. As the world risks renouncing previous commitments to the freedom of expression, Regardless of Frontiers serves as a timely reminder of just how much is at stake and what needs protecting.

The United Nations’ Universal Declaration of Human Rights in 1948 proclaimed a vision of freedom of expression exercised regardless of frontiers. Nonetheless, laws and norms regarding the freedom or limits of expression are typically established and understood at the national level. In today’s interconnected world, newfound threats to free expression have suddenly arisen. How can this fundamental right be secured at a global level?

This volume brings together leading experts from a variety of fields to critically evaluate the extent to which global norms on freedom of expression and information have been established and which actors and institutions have contributed to their diffusion. The authors also consider ongoing and new challenges to these norms, from conflicts over hate speech and the rise of populism to authoritarian governments, as well as the profound disruption introduced by the internet. Together, the essays lay the groundwork for an international legal doctrine on global freedom of expression that considers issues such as access to government-held information, media diversity, and political speech. As the world risks renouncing previous commitments to the freedom of expression, Regardless of Frontiers serves as a timely reminder of just how much is at stake and what needs protecting.

In 1996, during the relatively early days of the web, Kenneth Goldsmith created UbuWeb to post hard-to-find works of concrete poetry. What started out as a site to share works from a relatively obscure literary movement grew into an essential archive of twentieth- and twenty-first-century avant-garde and experimental literature, film, and music. Visitors around the world now have access to both obscure and canonical works, from artists such as Kara Walker, Yoko Ono, Pauline Oliveros, Samuel Beckett, Marcel Duchamp, Cecil Taylor, Glenn Ligon, William Burroughs, and Jean-Luc Godard.

In Duchamp Is My Lawyer, Goldsmith tells the history of UbuWeb, explaining the motivations behind its creation and how artistic works are archived, consumed, and distributed online. Based on his own experiences and interviews with a variety of experts, Goldsmith describes how the site navigates issues of copyright and the ways that UbuWeb challenges familiar configurations and histories of the avant-garde. The book also portrays the growth of other “shadow libraries” and includes a section on the artists whose works reflect the aims, aesthetics, and ethos of UbuWeb. Goldsmith concludes by contrasting UbuWeb’s commitment to the free-culture movement and giving access to a wide range of artistic works with today’s gatekeepers of algorithmic culture, such as Netflix, Amazon, and Spotify.

In 1996, during the relatively early days of the web, Kenneth Goldsmith created UbuWeb to post hard-to-find works of concrete poetry. What started out as a site to share works from a relatively obscure literary movement grew into an essential archive of twentieth- and twenty-first-century avant-garde and experimental literature, film, and music. Visitors around the world now have access to both obscure and canonical works, from artists such as Kara Walker, Yoko Ono, Pauline Oliveros, Samuel Beckett, Marcel Duchamp, Cecil Taylor, Glenn Ligon, William Burroughs, and Jean-Luc Godard.

In Duchamp Is My Lawyer, Goldsmith tells the history of UbuWeb, explaining the motivations behind its creation and how artistic works are archived, consumed, and distributed online. Based on his own experiences and interviews with a variety of experts, Goldsmith describes how the site navigates issues of copyright and the ways that UbuWeb challenges familiar configurations and histories of the avant-garde. The book also portrays the growth of other “shadow libraries” and includes a section on the artists whose works reflect the aims, aesthetics, and ethos of UbuWeb. Goldsmith concludes by contrasting UbuWeb’s commitment to the free-culture movement and giving access to a wide range of artistic works with today’s gatekeepers of algorithmic culture, such as Netflix, Amazon, and Spotify.

Americans of all political persuasions fear that “free speech” is under attack. This may seem strange at a time when legal protections for free expression remain strong and overt government censorship minimal. Yet a range of political, economic, social, and technological developments have raised profound challenges for how we manage speech. New threats to political discourse are mounting—from the rise of authoritarian populism and national security secrecy to the decline of print journalism and public trust in experts to the “fake news,” trolling, and increasingly subtle modes of surveillance made possible by digital technologies.

The Perilous Public Square brings together leading thinkers to identify and investigate today’s multifaceted threats to free expression. They go beyond the campus and the courthouse to pinpoint key structural changes in the means of mass communication and forms of global capitalism. Beginning with Tim Wu’s inquiry into whether the First Amendment is obsolete, Matthew Connelly, Jack Goldsmith, Kate Klonick, Frederick Schauer, Olivier Sylvain, and Heather Whitney explore ways to address these dangers and preserve the essential features of a healthy democracy. Their conversations with other leading thinkers, including Danielle Keats Citron, Jelani Cobb, Frank Pasquale, Geoffrey R. Stone, Rebecca Tushnet, and Kirsten Weld, cross the disciplinary boundaries of First Amendment law, internet law, media policy, journalism, legal history, and legal theory, offering fresh perspectives on fortifying the speech system and reinvigorating the public square.

Americans of all political persuasions fear that “free speech” is under attack. This may seem strange at a time when legal protections for free expression remain strong and overt government censorship minimal. Yet a range of political, economic, social, and technological developments have raised profound challenges for how we manage speech. New threats to political discourse are mounting—from the rise of authoritarian populism and national security secrecy to the decline of print journalism and public trust in experts to the “fake news,” trolling, and increasingly subtle modes of surveillance made possible by digital technologies.

The Perilous Public Square brings together leading thinkers to identify and investigate today’s multifaceted threats to free expression. They go beyond the campus and the courthouse to pinpoint key structural changes in the means of mass communication and forms of global capitalism. Beginning with Tim Wu’s inquiry into whether the First Amendment is obsolete, Matthew Connelly, Jack Goldsmith, Kate Klonick, Frederick Schauer, Olivier Sylvain, and Heather Whitney explore ways to address these dangers and preserve the essential features of a healthy democracy. Their conversations with other leading thinkers, including Danielle Keats Citron, Jelani Cobb, Frank Pasquale, Geoffrey R. Stone, Rebecca Tushnet, and Kirsten Weld, cross the disciplinary boundaries of First Amendment law, internet law, media policy, journalism, legal history, and legal theory, offering fresh perspectives on fortifying the speech system and reinvigorating the public square.

For more than fifty years, Walter Bernard and Milton Glaser have revolutionized the look of magazine journalism. In Mag Men, Bernard and Glaser recount their storied careers, offering insiders’ perspective on some of the most iconic design work of the twentieth century. The authors look back on and analyze some of their most important and compelling projects, from the creation of New York magazine to redesigns of such publications as Time, Fortune, Paris Match, and The Nation, explaining how their designs complemented a story and shaped the visual identity of a magazine.

Richly illustrated with the covers and interiors that defined their careers, Mag Men is bursting with vivid examples of Bernard and Glaser’s work, designed to encapsulate their distinctive approach to visual storytelling and capture the major events and trends of the past half century. Highlighting the importance of collaboration in magazine journalism, Bernard and Glaser detail their relationships with a variety of writers, editors, and artists, including Nora Ephron, Tom Wolfe, Gail Sheehy, David Levine, Seymour Chwast, Katherine Graham, Clay Felker, and Katrina vanden Heuvel. The book features a foreword by Gloria Steinem, who reflects on her work in magazines and her collaborations with Bernard and Glaser. At a time when uncertainty continues to cloud the future of print journalism, Mag Men offers not only a personal history from two of its most innovative figures but also a reminder and celebration of the visual impact and sense of style that only magazines can offer.

Will the use of artificial intelligence (AI), algorithms, and smart machines be the end of journalism as we know it—or its savior? In Newsmakers, Francesco Marconi, who has led the development of the Associated Press and Wall Street Journal’s use of AI in journalism, offers a new perspective on the potential of these technologies. He explains how reporters, editors, and newsrooms of all sizes can take advantage of the possibilities they provide to develop new ways of telling stories and connecting with readers.

Marconi analyzes the challenges and opportunities of AI through case studies ranging from financial publications using algorithms to write earnings reports to investigative reporters analyzing large data sets to outlets determining the distribution of news on social media. Newsmakers contends that AI can augment—not automate—the industry, allowing journalists to break more news more quickly while simultaneously freeing up their time for deeper analysis. Marshaling insights drawn from firsthand experience, Marconi maps a media landscape transformed by artificial intelligence for the better. In addition to considering the benefits of these new technologies, Marconi stresses the continuing need for editorial and institutional oversight. Newsmakers outlines the important questions that journalists and media organizations should consider when integrating AI and algorithms into their workflow. For journalism students as well as seasoned media professionals, Marconi’s insights provide much-needed clarity and a practical roadmap for how AI can best serve journalism.

Will the use of artificial intelligence (AI), algorithms, and smart machines be the end of journalism as we know it—or its savior? In Newsmakers, Francesco Marconi, who has led the development of the Associated Press and Wall Street Journal’s use of AI in journalism, offers a new perspective on the potential of these technologies. He explains how reporters, editors, and newsrooms of all sizes can take advantage of the possibilities they provide to develop new ways of telling stories and connecting with readers.

Marconi analyzes the challenges and opportunities of AI through case studies ranging from financial publications using algorithms to write earnings reports to investigative reporters analyzing large data sets to outlets determining the distribution of news on social media. Newsmakers contends that AI can augment—not automate—the industry, allowing journalists to break more news more quickly while simultaneously freeing up their time for deeper analysis. Marshaling insights drawn from firsthand experience, Marconi maps a media landscape transformed by artificial intelligence for the better. In addition to considering the benefits of these new technologies, Marconi stresses the continuing need for editorial and institutional oversight. Newsmakers outlines the important questions that journalists and media organizations should consider when integrating AI and algorithms into their workflow. For journalism students as well as seasoned media professionals, Marconi’s insights provide much-needed clarity and a practical roadmap for how AI can best serve journalism.

The Best American Magazine Writing 2019 presents articles honored by this year’s National Magazine Awards, showcasing outstanding writing that addresses urgent topics such as justice, gender, power, and violence, both at home and abroad. The anthology features remarkable reporting, including the story of a teenager who tried to get out of MS-13, only to face deportation (ProPublica); an account of the genocide against the Rohingya in Myanmar (Politico); and a sweeping California Sunday Magazine profile of an agribusiness empire. Other journalists explore the indications of environmental catastrophe, from invasive lionfish (Smithsonian) to the omnipresence of plastic (National Geographic).

Personal pieces consider the toll of mass incarceration, including Reginald Dwayne Betts’s “Getting Out” (New York Times Magazine); “This Place Is Crazy,” by John J. Lennon (Esquire); and Robert Wright’s “Getting Out of Prison Meant Leaving Dear Friends Behind” (Marshall Project with Vice). From the pages of the Atlantic and the New Yorker, writers and critics discuss prominent political figures: Franklin Foer’s “American Hustler” explores Paul Manafort’s career of corruption; Jill Lepore recounts the emergence of Ruth Bader Ginsburg; and Caitlin Flanagan and Doreen St. Félix reflect on the Kavanaugh hearings and #MeToo. Leslie Jamison crafts a portrait of the Museum of Broken Relationships (Virginia Quarterly Review), and Kasey Cordell and Lindsey B. Koehler ponder “The Art of Dying Well” (5280). A pair of never-before-published conversations illuminates the state of the American magazine: New Yorker writer Ben Taub speaks to Eric Sullivan of Esquire about pursuing a career as a reporter, alongside Taub’s piece investigating how the Iraqi state is fueling a resurgence of ISIS. And Karolina Waclawiak of BuzzFeed News interviews McSweeney’s editor Claire Boyle about challenges and opportunities for fiction at small magazines. That conversation is inspired by McSweeney’s winning the ASME Award for Fiction, which is celebrated here with a story by Lesley Nneka Arimah, a magical-realist tale charged with feminist allegory.

Aggregated news fills our social media feeds, our smartphone apps, and our e-mail inboxes. Much of the news that we consume originated elsewhere and has been reassembled, repackaged, and republished from other sources, but how is that news made? Is it a twenty-first-century digital adaptation of the traditional values and practices of journalistic and investigative reporting, or is it something different—shoddier, less scrupulous, more dangerous?

Mark Coddington gives a vivid account of the work of aggregation—how such content is produced, what its values are, and how it fits into today’s changing journalistic profession. Aggregating the News presents an analysis built on observation and interviews of news aggregators in a variety of settings, exploring how aggregators weigh sources, reshape news narratives, and manage life on the fringes of journalism. Coddington finds that aggregation is defined by its derivative relationship to reporting, which colors it with a sense of inferiority. Aggregators strive to be seen as legitimate journalists, but they are constrained by commercial pressures, professional disapproval, and limited access to important forms of evidence. The first comprehensive treatment of news aggregation as a practice, Aggregating the News deepens our understanding of how news and knowledge are produced and consumed in the digital age. By centering aggregation, Coddington sheds new light on how journalistic authority and legitimacy are created—and the consequences when their foundations are eroded.

Aggregated news fills our social media feeds, our smartphone apps, and our e-mail inboxes. Much of the news that we consume originated elsewhere and has been reassembled, repackaged, and republished from other sources, but how is that news made? Is it a twenty-first-century digital adaptation of the traditional values and practices of journalistic and investigative reporting, or is it something different—shoddier, less scrupulous, more dangerous?

Mark Coddington gives a vivid account of the work of aggregation—how such content is produced, what its values are, and how it fits into today’s changing journalistic profession. Aggregating the News presents an analysis built on observation and interviews of news aggregators in a variety of settings, exploring how aggregators weigh sources, reshape news narratives, and manage life on the fringes of journalism. Coddington finds that aggregation is defined by its derivative relationship to reporting, which colors it with a sense of inferiority. Aggregators strive to be seen as legitimate journalists, but they are constrained by commercial pressures, professional disapproval, and limited access to important forms of evidence. The first comprehensive treatment of news aggregation as a practice, Aggregating the News deepens our understanding of how news and knowledge are produced and consumed in the digital age. By centering aggregation, Coddington sheds new light on how journalistic authority and legitimacy are created—and the consequences when their foundations are eroded.

On Election Day in 2016, it seemed unthinkable to many Americans that Donald Trump could become president of the United States. But the victories of the Obama administration hid from view fundamental problems deeply rooted in American social institutions and history. The election’s consequences drastically changed how Americans experience their country, especially for those threatened by the public outburst of bigotry and repression. Amid the deluge of tweets and breaking news stories that turn each day into a political soap opera, it can be difficult to take a step back and see the big picture. To confront the threats we face, we must recognize that the Trump presidency is a symptom, not the malady.

Antidemocracy in America is a collective effort to understand how we got to this point and what can be done about it. Assembled by the sociologist Eric Klinenberg as well as the editors of the online magazine Public Books, Caitlin Zaloom and Sharon Marcus, it offers essays from many of the nation’s leading scholars, experts on topics including race, religion, gender, civil liberties, protest, inequality, immigration, climate change, national security, and the role of the media. Antidemocracy in America places our present in international and historical context, considering the worldwide turn toward authoritarianism and its varied precursors. Each essay seeks to inform our understanding of the fragility of American democracy and suggests how to protect it from the buried contradictions that Trump’s victory brought into public view.

How do journalists around the world view their roles and responsibilities in society? Based on a landmark study that has collected data from more than 27,500 journalists in 67 countries, Worlds of Journalism offers a groundbreaking analysis of the different ways journalists perceive their duties, their relationship to society and government, and the nature and meaning of their work.

Challenging assumptions of a universal definition or concept of journalism, the book maps a world populated by a rich diversity of journalistic cultures. Organized around a series of key questions on topics such as editorial autonomy, journalistic ethics, trust in social institutions, and changes in the profession, it details how the practice of journalism differs across the world in a range of political, social, and economic contexts. The book covers how journalism as an institution is created and re-created by journalists and how they experience their profession in very different ways, even as they retain a commitment to some basic, widely shared professional norms and practices. It concludes with a global classification of journalistic cultures that reflects the breadth of worldviews and orientations found in disparate countries and regions. Worlds of Journalism offers an ambitious, comparative global understanding of the state of journalism in a time when it is confronting a series of economic and political threats.

On Election Day in 2016, it seemed unthinkable to many Americans that Donald Trump could become president of the United States. But the victories of the Obama administration hid from view fundamental problems deeply rooted in American social institutions and history. The election’s consequences drastically changed how Americans experience their country, especially for those threatened by the public outburst of bigotry and repression. Amid the deluge of tweets and breaking news stories that turn each day into a political soap opera, it can be difficult to take a step back and see the big picture. To confront the threats we face, we must recognize that the Trump presidency is a symptom, not the malady.

Antidemocracy in America is a collective effort to understand how we got to this point and what can be done about it. Assembled by the sociologist Eric Klinenberg as well as the editors of the online magazine Public Books, Caitlin Zaloom and Sharon Marcus, it offers essays from many of the nation’s leading scholars, experts on topics including race, religion, gender, civil liberties, protest, inequality, immigration, climate change, national security, and the role of the media. Antidemocracy in America places our present in international and historical context, considering the worldwide turn toward authoritarianism and its varied precursors. Each essay seeks to inform our understanding of the fragility of American democracy and suggests how to protect it from the buried contradictions that Trump’s victory brought into public view.

Facebook, a platform created by undergraduates in a Harvard dorm room, has transformed the ways millions of people consume news, understand the world, and participate in the political process. Despite taking on many of journalism’s traditional roles, Facebook and other platforms, such as Twitter and Google, have presented themselves as tech companies—and therefore not subject to the same regulations and ethical codes as conventional media organizations. Challenging such superficial distinctions, Philip M. Napoli offers a timely and persuasive case for understanding and governing social media as news media, with a fundamental obligation to serve the public interest.

Social Media and the Public Interest explores how and why social media platforms became so central to news consumption and distribution as they met many of the challenges of finding information—and audiences—online. Napoli illustrates the implications of a system in which coders and engineers drive out journalists and editors as the gatekeepers who determine media content. He argues that a social media–driven news ecosystem represents a case of market failure in what he calls the algorithmic marketplace of ideas. To respond, we need to rethink fundamental elements of media governance based on a revitalized concept of the public interest. A compelling examination of the intersection of social media and journalism, Social Media and the Public Interest offers valuable insights for the democratic governance of today’s most influential shapers of news.

How do journalists around the world view their roles and responsibilities in society? Based on a landmark study that has collected data from more than 27,500 journalists in 67 countries, Worlds of Journalism offers a groundbreaking analysis of the different ways journalists perceive their duties, their relationship to society and government, and the nature and meaning of their work.

Challenging assumptions of a universal definition or concept of journalism, the book maps a world populated by a rich diversity of journalistic cultures. Organized around a series of key questions on topics such as editorial autonomy, journalistic ethics, trust in social institutions, and changes in the profession, it details how the practice of journalism differs across the world in a range of political, social, and economic contexts. The book covers how journalism as an institution is created and re-created by journalists and how they experience their profession in very different ways, even as they retain a commitment to some basic, widely shared professional norms and practices. It concludes with a global classification of journalistic cultures that reflects the breadth of worldviews and orientations found in disparate countries and regions. Worlds of Journalism offers an ambitious, comparative global understanding of the state of journalism in a time when it is confronting a series of economic and political threats.

In the 1970s, the behavioral psychologist Herbert S. Terrace led a remarkable experiment to see if a chimpanzee could be taught to use language. A young ape, named “Nim Chimpsky” in a nod to the linguist whose theories Terrace challenged, was raised by a family in New York and instructed in American Sign Language. Initially, Terrace thought that Nim could create sentences but later discovered that Nim’s teachers inadvertently cued his signing. Terrace concluded that Project Nim failed—not because Nim couldn’t create sentences but because he couldn’t even learn words. Language is a uniquely human quality, and attempting to find it in animals is wishful thinking at best. The failure of Project Nim meant we were no closer to understanding where language comes from.

In this book, Terrace revisits Project Nim to offer a novel view of the origins of human language. In contrast to both Noam Chomsky and his critics, Terrace contends that words, as much as grammar, are the cornerstones of language. Retracing human evolution and developmental psychology, he shows that nonverbal interaction is the foundation of infant language acquisition, leading up to a child’s first words. By placing words and conversation before grammar, we can, for the first time, account for the evolutionary basis of language. Terrace argues that this theory explains Nim’s inability to acquire words and, more broadly, the differences between human and animal communication. Why Chimpanzees Can’t Learn Language and Only Humans Can is a masterful statement of the nature of language and what it means to be human.

The Newspaper Readership Project (1977-1983) was an unprecedented cooperative attempt by the American newspaper industry to halt the downward trend in readership and circulation. The Project had an enormous impact on American newspapers; it spurred such changes in their content as special sections and new graphics, and led to important innovations in distribution and promotion. Leo Bogart was a central figure in the conception and execution of the Project, so his account is truly an insider's view of the interplay of the Project and the people involved in it.

Preserving the Press: How Daily Newspapers Mobilized to Keep Their Readers is an insider account that vividly describes the personalities, organizations, and policy debates of the American daily newspaper business at a critical moment in its history. Exciting and informative, it shows how this major American institution confronted the great social and technological changes that threatened its established position.

Bogart demonstrates the difficulties of translating research findings into actual changes in practice, reviews controversies over the Project's promotional efforts, and reports on dramatic changes that occurred in newspaper distribution methods.

The journalistic profile is one of the most popular, widely read types of magazine feature writing. Helen Benedict, a master of the genre, has collected for Portraits in Print nine of her best pieces, and provided a fascinating behind-the-scenes look at the art of portrait journalism.

Among the persons profiled here are Joseph Brodsky, Isaac Bashevis Singer, Susan Sontag, Paule Marshall, Bernard Malamud, and Beverly Sills. In a general introduction and in lively discussions after each profile, Helen Benedict describes how she selected the subjects, got them to agree to be interviewed, convinced the magazines' editor's to assign her the pieces, prepared for the interviews, and set about writing each one after the research and interviewing were complete. Benedict also discusses how much confidence to betray, how personal to get, what to leave out, and the writer's power over the profile subject. This is fascinating reading, especially for aspiring writers who hope to learn more about the skills and practices of this popular genre.

Portraits in Print concludes with an Afterward by the famous muckraker and author of The American Way of Death, Jessica Mitford. Mitford takes the opposite tack, in an amusing essay about what it is like to be an interviewee.

This helpful guidebook for prospective journalists provides the skills needed to be a successful magazine or newspaper feature writer. The Essential Feature is a writing guide, a file of examples, and a style manual all in one book. The author concentrates on those aspects of nonfiction writing that editors find wanting in beginning journalists: research, accuracy, and the skills needed to tell a story, not just report news. This book tells novice writers what editors want them to know.

The Essential Feature explains how to apply research and literary techniques to journalistic writing; provides eight examples of successful prize-winning published articles; combines approaches to writing with practical advice on working as a staff or freelance writer; and supplies publishing tips to give the beginning writer a better understanding of the market.

The journalistic profile is one of the most popular, widely read types of magazine feature writing. Helen Benedict, a master of the genre, has collected for Portraits in Print nine of her best pieces, and provided a fascinating behind-the-scenes look at the art of portrait journalism.

Among the persons profiled here are Joseph Brodsky, Isaac Bashevis Singer, Susan Sontag, Paule Marshall, Bernard Malamud, and Beverly Sills. In a general introduction and in lively discussions after each profile, Helen Benedict describes how she selected the subjects, got them to agree to be interviewed, convinced the magazines' editor's to assign her the pieces, prepared for the interviews, and set about writing each one after the research and interviewing were complete. Benedict also discusses how much confidence to betray, how personal to get, what to leave out, and the writer's power over the profile subject. This is fascinating reading, especially for aspiring writers who hope to learn more about the skills and practices of this popular genre.

Portraits in Print concludes with an Afterward by the famous muckraker and author of The American Way of Death, Jessica Mitford. Mitford takes the opposite tack, in an amusing essay about what it is like to be an interviewee.

Writing News for Broadcast is the Strunk and White of broadcast newswriting books. Long considered the gold standard of broadcast journalism textbooks, this guide for the student and the professional has inspired generations of newscasters through its eloquent examples and emphasis on the writer's responsibility, commitment, and integrity. It is written in a conversational style reflecting years of professional and teaching experience in radio and television newswriting.

This new edition is fully revised with examples throughout, drawn from fine writing by journalists at networks and local stations. It includes updated chapters covering use of the wire services and special formats that have become popular in recent years such as the newsmagazine. But the third edition retains the inspirational quality that has for years made this text so widely respected. In this process of providing clear, succinct instruction in the basics of the trade, it conveys to students and practicing newswriters a sense of the extraordinary tradition within which they work. The authors' emphasis on skill and creativity, responsibility to the listener, and appreciation of the profession's finest hours and finest writers make this book unique.

In the most reliable and readable guide to effective writing for the Americans of today, Wilson answers questions of meaning, grammar, pronunciation, punctuation, and spelling in thousands of clear, concise entries. His guide is unique in presenting a systematic, comprehensive view of language as determined by context. Wilson provides a simple chart of contexts—from oratorical speech to intimate, from formal writing to informal—and explains in which contexts a particular usage is appropriate, and in which it is not.

The Columbia Guide to Standard American English provides the answers to questions about American English the way no other guide can with:

* an A–Z format for quick reference;

* over five thousand entries, more than any other usage book;

* sensible and useful advice based on the most current linguistic research;

* a convenient chart of levels of speech and writing geared to context;

* both descriptive and prescriptive entries for guidance;

* guidelines for nonsexist usage;

* individual entries for all language terms.

A vibrant description of how our language is being spoken and written at the end of the twentieth century—and how we ourselves can use it most effectively—The Columbia Guide to Standard American English is the ideal handbook to language etiquette: friendly, sensible, and reliable.

By now it is widely accepted wisdom that the Internet has vast potential as a learning tool for students of almost all ages and levels. But it is less clear how to harness this potential most effectively. What indeed should the "online classroom" mean to teachers? Will the rush to get "wired" mean little more than enhanced visuals or automated lecture delivery—or can it result in innovative pedagogies for improving literacy into the twenty-first century?

In this collection of essays, some of the most progressive voices in literacy studies reconsider what it means to be literate in the information age, and offer practical advice not only for getting networked computers into the classroom but also for instructing students and other teachers how to tap into their boundless potential.

Essays range in subject from the story of a radical, communal writers' group working together in a networked environment; to an exploration of how utopian notions of the networked classroom don't always hold true, on the basis of the authors' classroom experience of hostile, dysfunctional chat room exercises; to an applied and totally attainable model for gathering support and preparing teachers for new technologies.

Together the contributions provide a provocative and much-needed introduction to the constantly shifting subject of literacy theory, paving the way for continued dialogue on a subject that teachers, students, and all writers and readers can no longer afford to ignore.

Since the 1980s, investigative journalism has undergone startling development in South America, where repressive regimes have long relegated such reporting to marginal publications or underground outlets. Watchdog Journalism in South America explores the rise of critical journalism in four countries: Argentina, Brazil, Colombia, and Peru. Drawing upon interviews with journalists and editors and analyzing selected news stories from each country, Silvio Waisbord offers a unique look at the significant differences between critical reporting in developing democracies and that already in place in the United States and European democracies.

As Waisbord demonstrates, critical reporting in South America can be better understood as watchdog journalism than as investigative reporting as understood in the tradition of Anglo-American journalism. Examining the historical absence of a muckraking press, he argues that watchdog journalism represents new political and media dynamics and discusses the emergence of a new journalistic culture and its contributions to the quality of democracy and public debates about morality, truth, and accountability.

James Lull's classic work on media and culture in the global perspective is thoroughly revised, expanded, and updated. Drawing on the best contemporary social and cultural theory, the noted scholar offers a balanced, bold, and comprehensive analysis of current developments worldwide. In his familiar, reader-friendly style, Lull brings to life a wide range of examples, from hip-hop hybrids of New Zealand's Maori youth and the divergent meanings of race and culture in the United States and Brazil, to ethnic malls in California and the global impact of McDonald's and Microsoft. Complex theoretical ideas are explained in a clear and engaging way that challenges traditional understandings.

By connecting major streams of theory to the latest trends in the global cultural mix, the new edition of Media, Communication, Culture provides a fresh and unsurpassed introduction to media, communication, and cultural studies.

Drawing upon the experience of some forty of the nation's finest journalists, all alumni of the Knight-Bagehot Fellowship in Economics and Business Journalism at Columbia University, this book is a complete guide to writing about business and economics.

Writing About Business begins by demystifying basic concepts of macroeconomics, microeconomics, financial markets, and international economics and trade. Next, it provides practical reporting tips, from how to use statistics to understanding what the government has in its files, from conducting live interviews to using electronic data to generate stories about companies. In closing, the book suggests investigative techniques and strategies for covering specific beats, including personal finance, health care, the environment, labor and workplace issues, media and entertainment businesses, technology, small businesses, and not-for-profit institutions.

To many journalists and public relations professionals, business and financial writing can appear fraught with complexity. With its wealth of practical information, Writing About Business helps these writers with the often daunting task of reporting on business and industry.

Since the 1980s, investigative journalism has undergone startling development in South America, where repressive regimes have long relegated such reporting to marginal publications or underground outlets. Watchdog Journalism in South America explores the rise of critical journalism in four countries: Argentina, Brazil, Colombia, and Peru. Drawing upon interviews with journalists and editors and analyzing selected news stories from each country, Silvio Waisbord offers a unique look at the significant differences between critical reporting in developing democracies and that already in place in the United States and European democracies.

As Waisbord demonstrates, critical reporting in South America can be better understood as watchdog journalism than as investigative reporting as understood in the tradition of Anglo-American journalism. Examining the historical absence of a muckraking press, he argues that watchdog journalism represents new political and media dynamics and discusses the emergence of a new journalistic culture and its contributions to the quality of democracy and public debates about morality, truth, and accountability.

Ubiquitous news, global information access, instantaneous reporting, interactivity, multimedia content, extreme customization: Journalism is undergoing the most fundamental transformation since the rise of the penny press in the nineteenth century. Here is a report from the front lines on the impact and implications for journalists and the public alike.

John Pavlik, executive director of the Center for New Media at Columbia University's Graduate School of Journalism, argues that the new media can revitalize news gathering and reengage an increasingly distrustful and alienated citizenry. The book is a valuable reference on everything from organizing a new age newsroom to job hunting in the new media.

Streitmatter tells the stories of dissident American publications and press movements of the last two centuries, and of the colorful individuals behind them. From publications that fought for the disenfranchised to those that promoted social reform, Voices of Revolution examines the abolitionist and labor press, black power publications of the 1960s, the crusade against the barbarism of lynching, the women's movement, and antiwar journals. Streitmatter also discusses gay and lesbian publications, contemporary on-line journals, and counterculture papers like The Kudzu and The Berkeley Barb that flourished in the 1960s. Voices of Revolution also identifies and discusses some of the distinctive characteristics shared by the genres of the dissident press that rose to prominence—from the early nineteenth century to the late twentieth century.

For far too long, mainstream journalists and even some media scholars have viewed radical, leftist, or progressive periodicals in America as "rags edited by crackpots." However, many of these dissident presses have shaped the way Americans think about social and political issues.

Many stylebooks and manuals explain writing, but before the release ten years ago of Elsie Myers Stainton's The Fine Art of Copyediting, few addressed the practices and problems of editing. This handbook has guided users through the editing process for books and journals, with tips on how to be diplomatic when recommending changes, how to edit notes and bibliographies, how to check proofs, and how to negotiate the ethical, intellectual, and emotional problems characteristic of the editorial profession. Now featuring solid advice on computer editing and a new chapter on style, as well as more information on references, bibliographies, indexing, and bias-free writing, The Fine Art of Copyediting, Second Edition offers the same wealth of information that prompted William Safire to commend the first edition in The New York Times Magazine.

Complete with helpful checklists for the manuscript, proof, and index stages of book production, as well as an excellent bibliography of reference works useful to the copyeditor, The Fine Art of Copyediting, Second Edition is an indispensable desk reference for writers and editors confronting a host of questions each day. Why use the word "people" instead of "persons?" What precautions are necessary for publishers to avoid libel suits? How can an editor win an author's trust? What type fonts facilitate the copyediting process? How does computer editing work? For experienced and novice copyeditors, writers and students, this is the source for detailed, step-by-step guidance to the entire editorial process.

Many stylebooks and manuals explain writing, but before the release ten years ago of Elsie Myers Stainton's The Fine Art of Copyediting, few addressed the practices and problems of editing. This handbook has guided users through the editing process for books and journals, with tips on how to be diplomatic when recommending changes, how to edit notes and bibliographies, how to check proofs, and how to negotiate the ethical, intellectual, and emotional problems characteristic of the editorial profession. Now featuring solid advice on computer editing and a new chapter on style, as well as more information on references, bibliographies, indexing, and bias-free writing, The Fine Art of Copyediting, Second Edition offers the same wealth of information that prompted William Safire to commend the first edition in The New York Times Magazine.

Complete with helpful checklists for the manuscript, proof, and index stages of book production, as well as an excellent bibliography of reference works useful to the copyeditor, The Fine Art of Copyediting, Second Edition is an indispensable desk reference for writers and editors confronting a host of questions each day. Why use the word "people" instead of "persons?" What precautions are necessary for publishers to avoid libel suits? How can an editor win an author's trust? What type fonts facilitate the copyediting process? How does computer editing work? For experienced and novice copyeditors, writers and students, this is the source for detailed, step-by-step guidance to the entire editorial process.

Every two weeks the world loses another indigenous language. Evolving over hundreds or even thousands of years, distinct languages are highly complex and extremely adaptable, but they are also more fragile and endangered than we might expect. Of the approximately 5,000 languages spoken around the globe today, Andrew Dalby predicts that half will be lost during this century. How will this linguistic extinction affect our lives? Is there a possibility that humanity will become a monolingual species? Should we care?

Language in Danger is an unsettling historical investigation into the disappearance of languages and the consequences that future generations may face. Whether describing the effects of Latin's displacement of native languages in the aftermath of Rome's imperial expansion or the aggressive extermination of hundreds of indigenous North American languages through a brutal policy of forcing Native Americans to learn English, Dalby reveals that linguistic extinction has traditionally occurred as a result of economic inequality, political oppression, and even genocide. Bringing this historical perspective to bear on the uncertain fate of hundreds of pocket cultures-cultures whose languages are endangered by less obvious threats, such as multinational economic forces, immigration, nationalism, and global telecommunications—Language in Danger speaks out against the progressive silencing of our world's irreplaceable voices.

More than an uncompromising account of the decline of linguistic diversity, Language in Danger explains why humanity must protect its many unique voices. Since all languages represent different ways of perceiving, mapping, and classifying the world, they act as repositories for cultural traditions and localized knowledge. The growing trend toward linguistic standardization—for example, politically designated national languages—threatens the existence of more marginalized cultures and ethnic customs, leaving only a few dominant tongues. The resulting languages become less flexible, nuanced, and inventive as they grow increasingly homogenized. Dalby argues that humanity needs linguistic variety not only to communicate, but to sustain and enhance our understanding of the world. People do not simply invent words out of thin air: our creativity and intelligence are, to a significant degree, dependent on other languages and alternate ways of interpreting the world. When languages intermix, they borrow and feed off each other, and this convergence catalyzes the human imagination, making us more intelligent and adaptable beings.

Approximately how many languages compose the Bantu language group of central and southern Africa? What is the name of the language spoken in Hawaii by an estimated two thousand people? What Western European language is not known to be related to any other language family in the world—and is considered by linguists to be one of the most difficult to learn?

These are only a few of the questions language lovers, linguists, and lay readers will be able to answer with the Dictionary of Languages—an easy-to-navigate, authoritative guide to the world's languages and language groups at the end of the twentieth century. Andrew Dalby had the needs and interests of general readers in mind when he compiled this comprehensive reference work—most other language guides are written for scholars, and many include little or none of the absorbing social, cultural, geographic, and historical details that are brought together here.

In the Dictionary of Languages, readers will find:

•a selection of four hundred languages and language groups, arranged alphabetically, with rich, detailed descriptions of the genesis, development, and current status of each;

•more than two hundred maps displaying where the languages are spoken today;

•sidebars showing alphabets, numerals, and other enriching facts

•a comprehensive index listing additional languages, guiding readers to the nearest language groups with full writeups and maps;

•charts breaking down large language groups—such as Bantu or Austroasiatic languages—by geographic region and approximate number of speakers.

In a world where geopolitical boundaries often explain little about the people that live within them, where we may read about Kurd and Khmer in the same newspaper and be expected to be conversant about each—if not conversant in each—Dalby's single, information-packed volume helps us make sense of the rich mosaic of world languages.

Approximately how many languages compose the Bantu language group of central and southern Africa? What is the name of the language spoken in Hawaii by an estimated two thousand people? What Western European language is not known to be related to any other language family in the world—and is considered by linguists to be one of the most difficult to learn?

These are only a few of the questions language lovers, linguists, and lay readers will be able to answer with the Dictionary of Languages—an easy-to-navigate, authoritative guide to the world's languages and language groups at the end of the twentieth century. Andrew Dalby had the needs and interests of general readers in mind when he compiled this comprehensive reference work—most other language guides are written for scholars, and many include little or none of the absorbing social, cultural, geographic, and historical details that are brought together here.

In the Dictionary of Languages, readers will find:

•a selection of four hundred languages and language groups, arranged alphabetically, with rich, detailed descriptions of the genesis, development, and current status of each;

•more than two hundred maps displaying where the languages are spoken today;

•sidebars showing alphabets, numerals, and other enriching facts

•a comprehensive index listing additional languages, guiding readers to the nearest language groups with full writeups and maps;

•charts breaking down large language groups—such as Bantu or Austroasiatic languages—by geographic region and approximate number of speakers.

In a world where geopolitical boundaries often explain little about the people that live within them, where we may read about Kurd and Khmer in the same newspaper and be expected to be conversant about each—if not conversant in each—Dalby's single, information-packed volume helps us make sense of the rich mosaic of world languages.

The first journalism textbook for reporters who cover finance and economics in developing and transitional countries, Covering Globalization is an essential guide to the pressing topics of our times. Written by economists from the Asian Development Bank and the International Monetary Fund as well as journalists who have worked for Dow Jones, the Financial Times, the New York Times, Fortune, and Reuters—and with an introduction by Nobel Laureate Joseph E. Stiglitz—this invaluable resource helps reporters write about subjects such as banking and banking crises, pension reform, privatization, trade agreements, central banks, the World Bank, sovereign debt restructuring, commodity markets, corporate governance, poverty-eradication programs, and the "resource curse."

Each chapter explains the basic economic principles and current thinking on a given topic and provides

• tips on what to look for when covering specific subjects;

• a way to structure business and economics stories;

• a way to use the Internet for reporting with links to more information online;

• extensive glossaries and much more.

Is philosophy deaf to the sound of the personal voice? While philosophy is experienced at admiring, resenting, celebrating, and, at times, renouncing language, philosophers have rarely succeeded in being intimate with it. Hagi Kenaan argues that philosophy's concern with abstract forms of linguistic meaning and the objective, propositional nature of language has obscured the singular human voice. In this strikingly original work Kenaan explores the ethical and philosophical implications of recognizing and responding to the individual presence in language.

In pursuing the philosophical possibility of listening to language as the embodiment of the human voice, Kenaan explores the phenomenological notion of the "personal." He defines the personal as the irresolvable tension that exists between the public character of language, necessary for intelligibility, and the ways in which we, as individuals, remain riveted to our words in a contingently singular manner.

The Present Personal fuses phenomenology and aesthetics and the traditions of Continental and Anglo-American philosophy, drawing on Wittgenstein, J. L. Austin, Kant, Kierkegaard, and Heidegger as well as literary works by Kafka, Kundera, and others. By asking new questions and charting fresh terrain, Kenaan does more than offer innovative investigations into the philosophy of language; The Present Personal, and its concern with the intimate and personal nature of language, uncovers the ethical depth of our experience with language.

Kenaan begins with a discussion of Kierkegaard's existential critique of language and the ways in which the propositional structure of language does not allow the spoken to reflect the singularity of the self. He then compares two attempts to subvert the "hegemony of content": the pragmatic turn of J. L. Austin and the poetic path of Heidegger. Kenaan concludes by turning to Kant and discovering an analogy between the experience of meaning in language and the aesthetic experience of encountering beauty. Kenaan's reconceptualization of philosophy's approach to language frees the contingent singularity of language while, at the same time, permitting it to continue to dwell within the confines of content.