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This book provides an original, sometimes critical, examination of contemporary journalism, both on- and offline, and proposes a new standard for journalism (wisdom journalism) that brings together the more rarified forms of reporting to provide an informed, insightful, interpretive, explanatory, and even opinionated take on current events. The book argues that, for a century and a half, journalists have made a good business out of selling the latest news or selling ads next to that news. Now that news pours out of the Internet and our mobile devices—fast, abundant, and mostly free—that era is ending. Our best journalists, the book suggests, must instead offer original, challenging perspectives—not just slightly more thorough accounts of widely reported events. Most attempts to deal with journalism's current crisis emphasize technology; this book emphasizes mindsets and the need to rethink what journalism has been and might become. The book finds inspiration for a more ambitious and effective understanding of journalism in examples from twenty-first-century articles and blogs, from a selection of outstanding examples of twentieth-century journalism and from Benjamin Franklin's eighteenth-century writings.

What does it mean to call something “contemporary”? More than simply denoting what’s new, it speaks to how we come to know the present we’re living in and how we develop a shared story about it. The story of trying to understand the present is an integral, yet often unnoticed, part of the literature and film of our moment. In Contemporary Drift, Theodore Martin argues that the contemporary is not just a historical period but also a conceptual problem, and he claims that contemporary genre fiction offers a much-needed resource for resolving that problem. Contemporary Drift combines a theoretical focus on the challenge of conceptualizing the present with a historical account of contemporary literature and film. Emphasizing both the difficulty and the necessity of historicizing the contemporary, the book explores how recent works of fiction depict life in an age of global capitalism, postindustrialism, and climate change. Through new histories of the novel of manners, film noir, the Western, detective fiction, and the postapocalyptic novel, Martin shows how the problem of the contemporary preoccupies a wide range of novelists and filmmakers, including Zadie Smith, Colson Whitehead, Vikram Chandra, China Miéville, Kelly Reichardt, and the Coen brothers. Martin argues that genre provides these artists with a formal strategy for understanding both the content and the concept of the contemporary. Genre writing, with its mix of old and new, brings to light the complicated process by which we make sense of our present and determine what belongs to our time.

During the late 1960s, throughout the 1970s, and into the 1980s, New York City poets and musicians played together, published each other, and inspired one another to create groundbreaking art. In "Do You Have a Band?", Daniel Kane reads deeply across poetry and punk music to capture this compelling exchange and its challenge to the status of the visionary artist, the cultural capital of poetry, and the lines dividing sung lyric from page-bound poem. Kane reveals how the new sounds of proto-punk and punk music found their way into the poetry of the 1960s and 1970s downtown scene, enabling writers to develop fresh ideas for their own poetics and performance styles. Likewise, groups like The Fugs and the Velvet Underground drew on writers as varied as William Blake and Delmore Schwartz for their lyrics. Drawing on a range of archival materials and oral interviews, Kane also shows how and why punk musicians drew on and resisted French Symbolist writing, the vatic resonance of the Beat chant, and, most surprisingly and complexly, the New York Schools of poetry. In bringing together the music and writing of Richard Hell, Patti Smith, and Jim Carroll with readings of poetry by Anne Waldman, Eileen Myles, Ted Berrigan, John Giorno, and Dennis Cooper, Kane provides a fascinating history of this crucial period in postwar American culture and the cultural life of New York City.

Impressionism captured the world's imagination in the late nineteenth century and remains with us today. Portraying the dynamic effects of modernity, impressionist artists revolutionized the arts and the wider culture. Impressionism transformed the very pattern of reality, introducing new ways to look at and think about the world and our experience of it. Its legacy has been felt in many major contributions to popular and high culture, from cubism and early cinema to the works of Zadie Smith and W. G. Sebald, from advertisements for Pepsi to the observations of Oliver Sacks and Malcolm Gladwell. Yet impressionism's persistence has also been a problem, a matter of inauthenticity, superficiality, and complicity in what is merely “impressionistic” about culture today. Jesse Matz considers these two legacies—the positive and the negative—to explain impressionism's true contemporary significance. As Lasting Impressions moves through contemporary literature, painting, and popular culture, Matz explains how the perceptual role, cultural effects, and social implications of impressionism continue to generate meaning and foster new forms of creativity, understanding, and public engagement.

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. This book 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. With case studies from Pakistan, Russia, Turkey, Egypt, and Mexico, among other hotspots, the book 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 experience defending journalists on the front lines, the text 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. It then 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.

Animals fall in love, establish rules for fair play, exchange valued goods and services, hold “funerals” for fallen comrades, deploy sex as a weapon, and communicate with one another using rich vocabularies. Animals also get jealous and violent or greedy and callous and develop irrational phobias, just like us. Monkeys address inequality, wolves miss each other, elephants grieve for their dead, and prairie dogs name the humans they encounter. Human and animal behavior is not as different as once believed. In Not So Different, the biologist Nathan H. Lents argues that the same evolutionary forces of cooperation and competition have shaped both humans and animals. Identical emotional and instinctual drives govern our actions. By acknowledging this shared programming, the human experience no longer seems unique, but in that loss we gain a fuller appreciation of such phenomena as sibling rivalry and the biological basis of grief, helping us lead more grounded, moral lives among animals, our closest kin. Through a mix of colorful reporting and rigorous scientific research, Lents describes the exciting strides scientists have made in decoding animal behavior and bringing the evolutionary paths of humans and animals closer together. He marshals evidence from psychology, evolutionary biology, cognitive science, anthropology, and ethology to further advance this work and to drive home the truth that we are distinguished from animals only in degree, not in kind.

The Columbia Journalism Review's Second Read series features distinguished journalists revisiting key works of reportage. Launched in 2004, the series also allows authors to address such ongoing concerns as the conflict between narrative flair and accurate reporting, the legacy of New Journalism, the need for reporters to question their political assumptions, the limitations of participatory journalism, and the temptation to substitute “truthiness” for hard, challenging fact. Representing a wide range of views, this book embodies the diversity and dynamism of contemporary nonfiction while offering fresh perspectives on works by Norman Mailer, Tom Wolfe, Rachel Carson, and Gabriel García Márquez, among others. It also highlights pivotal moments and movements in journalism as well as the innovations of award-winning writers.

In 1991, Anita Hill's testimony during Clarence Thomas's Senate confirmation hearing brought the problem of sexual harassment to a public audience. Although widely believed by women, Hill was defamed by conservatives and Thomas was confirmed to the Supreme Court. The tainting of Hill and her testimony is part of a larger social history in which women find themselves caught up in a system that refuses to believe what they say. Hill's experience shows how a tainted witness is not who someone is, but what someone can become. Why are women so often considered unreliable witnesses to their own experiences? How are women discredited in legal courts and in courts of public opinion? Why is women's testimony so often mired in controversies fueled by histories of slavery and colonialism? How do new feminist witnesses enter testimonial networks and disrupt doubt? Tainted Witness examines how gender, race, and doubt stick to women witnesses as their testimony circulates in search of an adequate witness. Judgment falls unequally upon women who bear witness, as well-known conflicts about testimonial authority in the late twentieth and early twenty-first centuries reveal. Women's testimonial accounts demonstrate both the symbolic potency of women's bodies and speech in the public sphere and the relative lack of institutional security and control to which they can lay claim. Each testimonial act follows in the wake of a long and invidious association of race and gender with lying that can be found to this day within legal courts and everyday practices of judgment, defining these locations as willfully unknowing and hostile to complex accounts of harm. Bringing together feminist, literary, and legal frameworks, Leigh Gilmore provides provocative readings of what happens when women's testimony is discredited. She demonstrates how testimony crosses jurisdictions, publics, and the unsteady line between truth and fiction in search of justice.