There is something joyously subversive that Michael Brick has managed to write the way he does in American newspapers—major American newspapers—for so long. He abides none of the usual standards of economy or structure or even punctuation. I can imagine one of his editors receiving his copy and thinking, “Didn’t I assign this guy a brief?” I can imagine another hollering across the newsroom, “Hey Brick, have you ever heard of THE FUCKING COMMA!” (If such a bullheaded character were named Mr. Brick in a movie, it would be a little too on the nose.

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Kathryn Schulz of The New Yorker has pulled off a rare double, winning the Pulitzer Prize in Feature Writing after having earlier won the National Magazine Award in the same category. Her story on a likely … Read more

Jill Lepore is both a historian at Harvard — the David Woods Kemper ’41 Professor of American History at Harvard University, to be precise — and since 2005 a staff writer at The New Yorker, … Read more

Mary Roach doesn’t do her homework. She didn’t go to J-school. By her own admission, she’s never quite sure she knows what she’s doing. “I always have the sense that I’m skating on thin ice,” … Read more

Back in 1998, magazine writer Mike Sager was best known for his fearless profiles of drug dealers, crackheads, porn stars, and neo-Nazis. But that year Esquire handed him a very different … Read more

In August 2014 Antonio Regalado introduced an almost heretical approach to cancer treatment to the wider world in a feature he wrote for MIT Technology Review. Regalado, the senior biomedicine editor for the magazine, suggested … Read more

What does Shakespeare have to do with clickbait? How much in common did ancient indigenous peoples have with the Twitter community? Was Dante’s “Inferno” the original “explainer” story? … Read more

The last time most of us heard of the Winklevoss twins—hell, the first time we heard of them—was in David Fincher’s acerbic 2010 movie, The Social Network. You remember: Tyler and Cameron (brilliantly portrayed by … Read more

From Nieman Reports

Journalism and Art: Complementary and Collaborative Storytelling

March 28, 2016

As journalists use art to bring stories off the page, artists adopt reporting techniques to address social issues

Esquire has long been fascinated by men in power—and by the frailties and anxieties that lie just beneath their polished facades. Beginning in the late eighties, contributing editor Elizabeth Kaye wrote long, intimate … Read more

Sarah Schweitzer has spent almost two decades honing her narrative instincts at The Boston Globe and the St. Petersburg Times. In April 2015 she was acknowledged by the Pulitzer Prize committee, which named her story … Read more

The audacious claim by the government of Bangladesh that hackers spoofed the Federal Reserve Bank of New York into giving them tens of millions of Bangladesh’s dollars has us salivating at the prospect … Read more