The View from Here – with Updates and Predictions

Unless you live in Seattle, where it’s been hard to lift the head off the pillow to stare into one more day of grey dampness, diversion seems to have been afoot in the world.

UPDATE: this morning the Seattle Times put a number to my kvetching: this winter’s unrelenting rain has broken a 122-year record and we’ve got one week of April TK.

Sigh.  To continue:

Consider the Pulitzers:  I’m always relieved when a Pulitzer is given to work I can at least pretend to know about, but this year’s list was damn near a personal trifecta.  Let me share a little of the good stuff:

At The New Yorker, one went to Hilton Als, whose theatre criticism I read so avidly you’d think my next stop was the Times Square TKTS booth.  The magazine provides ten of his reviews from 2016 that were part of the Pulitzer submission;  try the one titled Dreamgirls for a riveting start, it’s Als’ layered look at a revival of The Color Purple.

Hilton Als’ New Yorker Pulitzer texts

Next was the Washington Post’s David Fahrenthold, whose persistent digging buried for all time Donald Trump’s lies about his “charitable” giving. It may even have retired the Trump Foundation for the foreseeable future.

You may have met Fahrenthold as we did, on Rachel Maddow’s show but it you haven’t, be sure to look at the picture with the WAPo’s coverage of his celebration in the newsroom. Reflecting back the grins of everyone in the room, Fahrenthold also has his comforting hands on his young daughter, the only one who doesn’t look thrilled to be there (sparkly T-shirt notwithstanding.)

David Fahrenthold’s winning investigation into Donald Trump’s philanthrophy

Remember the 2015 movie Spotlight and the insider sense it created as we watched those Boston Globe reporters dig into a child molestation coverup within their city’s own Archdiocese?  You get the same “insider” sense reading the Post’s pitch-perfect account of Fahrenthold’s alternately dogged and inspired steps that led to his award.

The 39-year-old Fahrenthold broke journalism’s cardinal rule about keeping your work- in-progress “secret and guarded” by turning to social media for tips and help as he and his assistant called 450-some charities to see if they’d had a donation from Trump. (At the 400 mark they’d found one.) Then he used Twitter to keep his readers up with his progress, and as his coverage grew, so did their encouragement. . .and their confidence in his reporting.

You probably already know the best part of this story: I’ll just say bless a reporter who’s (cautiously) open to a red-hot tip. Actually, it would be no exaggeration to call the self-effacing Farenthold the father of the post-inauguration Woman’s March, pussy hats and all. Then watch him blush.

The last of the Pulitzers I really, really follow is their Photography award, which had a telling note from its nominating jury this year. After considering Daniel Berehulak’s soul-shriving photos of the dead and dying in the nighttime streets and alleys of Manila, the nominating jury moved them from the Feature Photography category to Breaking News — exactly the right call while President Duterte’s so called “drug war” continues.

Slideshow of Daniel Berehulak’s award-winning photographs

If Berehulak’s name is familiar, it may be because two years ago, he was in the Belgian Congo, where his up-far-too-close view of the Ebola crisis won that year’s Pulitzer.  Since I am constitutionally unable to imagine the everyday dimensions of his life (or the lives of any of his photojournalist comrades-in-arms) finding this revealing interview by Jim Colton in which Berehulak describes, among other things, the nuts and bolts of his Congo shoot, was. .  . .comforting.

z PhotoJournal Interview with Daniel Berehulak

UPDATE:  As I was writing this, the I.C.C. filed its first  “mass murder” complaint against the Philippine president, as Filipino lawyer Jude Sabio cited Duterte’s  “terrifying, gruesome and disastrous drug war that has left 7,000 people dead.”   Let us hope that along with Leila de Lima, Duterte’s bravely outspoken opponent in (and out of) the Philippine Senate, lawyer Sabio stays safe.

Now for those predictions:  okay, so not this year, but as soon as it isn’t a drawback to be published in the NY Times (we’re exempting photographers here, obviously), their great book critic Dwight Garner will absolutely take home his overdue Pulitzer.

You can read every one of my exceptionally well-supported reasons in my CQF mash note, Putty in His Hands, from June 5th, 2012.  (Where did the time go?) He has only gotten better.

Putty in His Hands

Then, and this will probably take a little longer – the Committee seems to like to thumb through a thick stack of work for the same publication — check out Justin Chang’s quite astonishing film criticism at the Los Angeles Times.  Then consider that he was writing like that before at Variety, on deadline, which virtually means see it/write it/file it.  Takes the breath away. His Pulitzer will only be a matter of time.

Here’s a recent trio: Get OutAfter the StormPaterson

Putty in his hands

ICover art for WILD  I finished Wild recently, reading slowly to make it last. If you know me at all, you know that I’m the least likely reader living for this first-person endurance test: a stubborn, wrong-headed solo trek along the treacherous Pacific Crest Trail by a 26-year old woman who had never even backpacked overnight before she set out. And I’m not big on soul-shriving redemption either.

Then why?  Start here:

“It’s not very manly, the topic of weeping while reading. Yet for a book critic tears are an occupational hazard. Luckily, perhaps, books don’t make me cry very often — I’m a thrice-a-year man, at best. Turning pages, I’m practically Steve McQueen.

Cheryl Strayed’s new memoir, “Wild: From Lost to Found on the Pacific Crest Trail,” however, pretty much obliterated me. I was reduced, during her book’s final third, to puddle-eyed cretinism. I like to read in coffee shops, and I began to receive concerned glances from matronly women, the kind of looks that said, “Oh, honey.” It was a humiliation.”

This is that Steve McQueen.  

His name is Dwight Garner, you find him in the daily pages of the New York Times, and I’d follow him anywhere. I already have, to well beyond the Pacific Crest Trail.

The day before Christmas last year, he led the way to a gargantuan volume: 40: A Doonesbury Retrospective, when, in a small, almost-hidden review on the Times’ back pages, he laid out where he thought he stood with the strip:

I’d had enough “Doonesbury” to last me, I thought, the same way I already had the right number of Randy Newman and Joni Mitchell records.

All three had said the funny and devastating things they were put on earth to say. Thanks, sincerely, for the memories.

So, we stood shoulder to shoulder on Mr. Trudeau’s offspring.  Then he went on to give Doonesbury its proper place in our lives and I had no choice but to find a way to buy the great honking collection, to lug it to where I could even open it flat — and slip back through every demented, wrong-headed, glorious decade. Again.

*                        *                       *

Garner’s review of journalist and historian Gary Wills’s “pointillistic” memoir, Outside Looking In, sets up the New York Review of Books’ daunting reviewer for a one-two punch. When the second punch doesn’t come, you can almost feel his subject exhale with relief.

He’s become a publishing machine,  issuing a steady drip of erudite but remote volumes from the broad and rectangular plain of his parsonlike forehead.  Few of Mr. Wills’s recent books have warmed in your hands.  They’ve been easier to admire than to embrace.

The good news about Outside Looking In isthat it’s the most limber and humane book Mr. Wills has written in years.”

*                            *                   *  *

More than a year ago, when I was giddy over a particular Garner review and was running out of friends to punch in the upper arm to read just this much, I found a serious ally in the form of this heart-on-the sleeve appreciation of Garner in Slate magazine, by no less than Timothy Noah.

In addition to being foursquare, proper reporting, the who/what/when/where/whys/ all in place, plus a world of invaluable links, the final effect is a sort of Dwight Garner 451, as a wide-ranging swath of readers appears, each with a favorite, indelible Garner review.  And when Noah suggests that Dwight Garner’s work brings the same pleasure as John Leonard’s once did, he nailed it.

(Pace Leonard on CBS Sunday Morning, although you can now find Timothy Noah there, time to time. After his 12-years of writing and stewardship at Slate, Noah is now at The New Republic writing the hallmark TNR column, and while I know about moving on and up in journalism, I miss the hell out of him at Slate.)

*                      *                 *                     *

Faced with one of those ideas that strike editors from time to time when there’s no adult around, Garner was modest and game about giving his impressions of a ballet on a bookish subject: Anna Karenina.  It was an assignmentmade several thousand times harder after the Times’ dance critic, Alistair Macaulay, had loftily dismissed the ballet in his review a few days earlier.

Don’t for a moment think that Garner came to this exercise unarmed. He began with an appreciation of the idea itself, then wrote:

I’m a book critic, and not a complete idiot about dance. (I saw a Christopher Wheldon ballet. . .a few months ago that made me, and my 12-year-old daughter weep with pleasure.) But about classical dance I am comprehensively uneducated.

So, with his own shortcomings so disarmingly laid out, Garner could — and did — write winningly and on his own terms about this melange of literature and ballet, finishing this way:

“Vladimir Nabokov was right when he called Tolstoy’s prose “so tiger bright, so original and universal that it easily transcends the sermon.”  The Marinsky Ballet’s “Anna Karenina” is definitely not, as Mr. Macaulay pointed out, something you would call tiger bright.  But those trains, that snow, the flash of both Anna’s eyes and her red dress, these things I put in my readerly pocket like small valuable coins.”

*                            *                           *

Have to say, not everyone loves Dwight. The Olive Oil Times got pretty brassed off over what they felt was a flip and certainly not reverential review of Tom Mueller’s Extra Virginity; on the current dangerous state of olive oil awareness in the U.S. It made them cross enough to create a mock-up of the New York Times on the O.O. Times’ website, with Garner’s blasphemy as its above-the-fold headlines and with pungency and vitriol beneath.

I’m afraid that in some quarters, scorn from the O.O.Times had just the opposite effect, speeding readers to the other Times website to find out just how in the dickens Garner had uncustomarily stepped, ummm, slipped in it.

Well, decide for yourself. But at this house, it seemed more a matter of Garner’s reaction to the author’s style, an absolute thing of wonder, than to Mueller’s  “provocative bits” of fact.

Actually, it’s when Dwight Garner is faced with the twee or the luminous that he’s the most dangerous. Wild could easily have crossed that line. Just now Oprah, having less on her plate than she’s used to, has revived her book club and made Wild her first new offering, explaining that she “was deeply opened and inspired by this book.”

The way Garner (presumably still intact) saw it, his cumulative tears were “partly a response to that too infrequent sight: that of a writer finding her voice and sustaining it, right in front of your eyes.”

Both responses are great good news for Cheryl Strayed, of course, Oprah’s the splashiest and most bankable. But never underestimate the seductiveness of being told that a writer is finding, and sustaining, her voice.