After the Tall Timber

by Renata Adler

  But enough. The Times feels a responsibility to correct misimpressions it may have generated in readers—how names are spelled, what middle initials are, who is standing miscaptioned on which side of a photograph, which butterfly is which—is satisfied, in an important way, in its corrections. For the rest, it has looked at its coverage and found it good. The underlying fact, however, is this: For years readers have looked in the Times for what was once its unsurpassed strength: the uninflected coverage of the news. You can look and look, now, and you will not find it there. Some politically correct series and group therapy reflections on race relations perhaps. These appear harmless. They may even win prizes. Fifteen reporters working for one year might, perhaps, have been more usefully employed on some genuine issue of fact. More egregious, however, and in some ways more malign, was an article that appeared, on November 5, 2000, in the Sunday Times Magazine.

  The piece was a cover story about Senator Daniel Patrick Moynihan. Everyone makes mistakes. This piece, blandly certain of its intelligence, actually consisted of them. Everything was wrong. At the most trivial level, the piece said Moynihan had held no hearings about President Clinton’s health plan and no meetings with him to discuss welfare. (In fact, the senator had held twenty-nine such hearings in committee and many such discussions with the President.) At the level of theory, it misapprehended the history, content, purpose, and fate of Moynihan’s proposal for a guaranteed annual income. It would require a book to set right what was wrong in the piece—and in fact, such a book existed, at least about the guaranteed annual income. But what was, in a way, most remarkable about what The New York Times has become appeared, once again, in the way it treated its own coverage.

  The Sunday Magazine’s editors limited themselves to a little self-congratulatory note. The article, they reported, had “prompted a storm of protest.” “But many said that we got it right, and that our writer said what had long seemed to be unspeakable.” (“Unspeakable” may not be what they mean. Perhaps it was a paraphrase.) They published just one letter, which praised the piece as “incisive.”

  The Corrections column, however, when it came, was a gem. “An article in the Times Magazine last Sunday about the legacy of Senator Daniel Patrick Moynihan,” it began, “misidentified a former senator who was an expert on military affairs. He was Richard Russell, not Russell Long.”

  The “article also,” the correction went on, had “referred imprecisely” (a fine way to put it) to the senator’s committee hearings on President Clinton’s health care. (Not a word about welfare.) But the Corrections column saved for last what the Times evidently regarded as most important. “The article also overstated [another fine word] Senator Moynihan’s English leanings while he attended the London School of Economics. Bowler, yes. Umbrella, yes. Monocle, no.”

  No “malignant” misspellings here. But nothing a reader can trust any longer, either. Certainly no reliable, uninflected coverage of anything, least of all the news. The enterprise, whatever else it is, has almost ceased altogether to be a newspaper. It is still a habit. People glance at it and, on Sundays, complain about its weight. For news they must look elsewhere. What can have happened here?

  “The turning point at the paper,” I once wrote, in a piece of fiction, “was the introduction of the byline.” I still believe that to be true. I simply had no idea how radical the consequences of that turning point were going to be. Until the early seventies, it was a mark of professionalism in reporters for newspapers, wire services, newsmagazines, to have their pieces speak, as it were, for themselves, with all the credibility and authority of the publication in which they anonymously appeared. Reviews, essays, regular columns were of course signed. They were expressions of opinion, as distinct from reporting, and readers had to know and evaluate whose opinion it was. But when a reader said of a piece of information, “The Times says,” or “The Wall Street Journal says,” he was relying on the credibility of the institution. With very rare exceptions—correspondents, syndicated columnists, or sportswriters whose names were household words, or in attributing a scoop of extraordinary historical importance—the reporter’s byline would have seemed intrusive and unprofessional.

  In television reporting, of course, every element of the situation was different. It would be absurd to say “CBS (or ABC, NBC, or even CNN) says” or even “I saw it on” one network or another. It had to be Walter Cronkite, later Dan Rather, Diane Sawyer, Tom Brokaw, Peter Jennings—not just because no television network or station had the authority of any favorite and trusted publication, but because seeing and hearing the person who conveyed the news (impossible, obviously, with the printed byline) was precisely the basis, for television viewers, of trust.

  Once television reporters became celebrities, it was perhaps inevitable that print reporters would want at least their names known; and there were, especially at first, stories one did well to read on the basis of a trusted byline. There still existed what Mary McCarthy, in another context, called “the last of the tall timber.” But the tall timber in journalism is largely gone—replaced, as in many fields, by the phenomenon of celebrity. And gradually, in print journalism, the celebrity of the reporter began to overtake and then to undermine the reliability of pieces. Readers still say, “The Times says,” or “I read it in the Post” (so far as I can tell, except in the special case of gossip columns, readers hardly ever mention, or even notice, bylines), but trust in even once favorite newspapers has almost vanished. One is left with this oddly convoluted paradox: As survey after survey confirms, people generally despise journalists; yet they cite, as a source of information, newspapers. And though they have come, with good reason, to distrust newspapers as a whole, they still tend to believe each individual story as they read it. We all do. Though I may know a piece to be downright false, internally contradictory, in some profound and obvious way corrupted, I still, for a moment anyway, believe it. Believe the most obviously manufactured quotes, the slant, the spin, the prose, the argument with no capacity even to frame an issue and no underlying sense of what follows from what.

  At the same time, a development in criticism, perhaps especially movie criticism, affected print journalism of every kind. It used to be that the celebrities featured on billboards and foremost in public consciousness were the movie stars themselves. For a while, it became auteurs, directors. Then, bizarrely but for a period of many years, it became critics who starred in the discussion of movies. That period seems, fortunately, to have passed. But somehow, the journalist’s byline, influenced perhaps by the critic’s, began to bring with it a blurring of genres: reporting, essay, memoir, personal statement, anecdote, judgmental or critical review. Most of all, critical review—which is why government officials and citizens alike treat reporters in the same way artists regard most critics—with mixed fear and dismay. It is also why the subjects of news stories read each “news” piece as if it were a review on opening night.

  There is no longer even a vestige or pretense, on the part of the print journalist, of any professional commitment to uninflected coverage of the news. The ambition is rather, under their bylines, to express themselves, their writing styles. Days pass without a single piece of what used to be called “hard news.” The celebrityhood, or even the aspiration to celebrity, of print reporters, not just in print but also on talk shows, has been perhaps the single most damaging development in the history of print journalism.

  The second, less obvious, cause of decline in the very notion of reliable information was the proliferation of the “anonymous source”—especially as embodied, or rather disembodied, in Deep Throat. Many people have speculated about the “identity” of this phantom. Others have shown, more or less conclusively, that at least as described in All the President’s Men, by Bob Woodward and Carl Bernstein, he did not, in fact could not, exist. Initially introduced as a narrative device, to hold together book and movie, this improbable creature was obviously both a composite, which Woodward, the only one who claims to have known and h
ave consulted him, denies, and an utter fiction, which is denied by both Woodward and Bernstein—the better writer, who had, from the start, a “friend,” whose information in almost every significant respect coincides with, and even predates, Deep Throat’s. But the influence of this combination, the celebrity reporter and the chimera to whom the reporter alone has access, has been incalculable.

  The implausibility of the saga of Deep Throat has been frequently pointed out. Virtually every element of the story—the all-night séances in garages; the signals conveyed by moved flowerpots on windowsills and drawings of clocks in newspapers; the notes left by prearrangement on ledges and pipes in those garages; the unidiomatic and essentially uninformative speech—has been demolished. Apart from its inherent impractibilities, for a man requiring secrecy and fearing for his life and the reporter’s, the strategy seems less like tradecraft than a series of attention-getting mechanisms. This is by no means to deny that Woodward and Bernstein had “sources,” some but far from all of whom preferred to remain anonymous. From the evidence in the book they include at least Fred Buzhardt, Hugh Sloan, John Sears, Mark Felt and other FBI agents, Leonard Garment, and, perhaps above all, the ubiquitous and not infrequently treacherous Alexander Haig. None of these qualify as Deep Throat, nor does anyone, as depicted in the movie or book. Woodward’s new rationale is this: the secret of the phantom’s name must be kept until the phantom himself reveals it—or else dies. Woodward is prepared, however, to disqualify candidates whom others—most recently Leonard Garment, in an entire book devoted to such speculation—may suggest, by telling, instance by instance, who Deep Throat is not. A long list, obviously, which embraces everyone.

  It is no wonder that Woodward, having risked the logic of this, would risk as well an account of a mythical visit to the hospital bedside of former CIA Director William Casey, who was dying and who, according to doctors, had lost all power of speech. Casey’s hospital room was closely guarded against visits from all but his immediate family. Woodward claims to have entered the hospital room, asked Casey a question, observed him “nod,” and quotes him as saying, “I believed.”

  There is more. Woodward now claims that the “anonymous source” for another book, The Brethren, was Justice Potter Stewart. Justice Stewart, perhaps needless to say, is dead. He was a highly respected and distinguished Justice. But that does not satisfactorily resolve the matter, because Justice Stewart can and does bear a sort of witness here. He wrote some important opinions. Some of the opinions most seriously misunderstood, misrepresented, and even misquoted in The Brethren are Potter Stewart’s. And nothing could be more obvious from the book than the fact that, apart from the clerks, Woodward’s primary source was in fact Justice Rehnquist.

  The ramifications of this cult of the anonymous source—particularly as Deep Throat, this oracle to whom only a single priest, or acolyte, has access, have been, for journalism, enormous. No need any longer to publish long transcripts. Why bother? No need even to read them, or anything—public documents, the novels of Robert Stendahl. Two clicks to Amazon.com will give you spellings. And an “anonymous source” will either provide you with “information” or provide what your editors will accept as “cross-checking” for what you have already said. The celebrity reporter has created, beginning with Deep Throat, what one would have thought a journalistic oxymoron: a celebrity anonymous source. More than that: a celebrity anonymous source who does not even exist. As late as page 207 of Leonard Garment’s book, In Search of Deep Throat, Mr. Garment actually writes:

  I was doggedly confident that Woodward, Bernstein, and, above all, their editor . . . would not have put themselves out on a long limb for a gimmick that would eventually be revealed and denounced as a journalistic fraud of historic proportions.

  Not a gimmick. A device. When Woodward produced the noumenal encounter between the anonymous source and the celebrity reporter, it turns out, a religion was born, which has grown to affect not just journalism but the entire culture. In print journalism, you can usually tell, when such a source exists at all, who it is: the person most kindly treated in the story. And the religion, with all its corollaries, dogmas, and implications, has made of reporters not fallible individuals competing for facts and stories in the real world but fellow members of the cult. Whomever or whatever they go after—Wen Ho Lee, Whitewater, or “scandals” that did not pan out—or whomever they equally baselessly support—Independent Counsel Kenneth Starr, Chairman Henry Hyde of the House Judiciary Committee, and FBI Director Louis Freeh—they tend to support dogmatically, and as one. Best of all, they like to consult and to write approvingly of one another and even, if need be, themselves. Administrations come and go. Quasi-governmental bureaucracies, with their hierarchies and often interlocking cults and interests, persist.

  The convergence of the anonymous source with the celebrity reporter now has ramifications that could not have been foreseen. A certain journalistic laziness was perhaps predictable—phoning around as a form of “legwork,” attributing information to “sources,” in quotes, which no one was equipped either to verify or to deny. But the serious result, which no one could have foreseen, is this: The whole purpose of the “anonymous source” has been precisely reversed. The reason there exists a First Amendment protection for journalists’ confidential sources has always been to permit citizens—the weak, the vulnerable, the isolated—to be heard publicly, without fear of retaliation by the strong—by their employer, for example, or by the forces of government. The whistleblower or the innocent accused were to be protected. Instead, almost every “anonymous source” in the press, in recent years, has been an official of some kind, or a person in the course of a vendetta speaking from a position of power.

  More disturbing, in spite of what has been at least since Vietnam an almost instinctive press hostility to the elected government (an adversarial position that can be healthy in a free society), the press now has an unmistakable affinity with official accusers, in particular the Special Prosecutors and the FBI. And when those powerful institutions are allowed to “leak”—that is, become the press’s “anonymous sources”—the press becomes not an adversary but an instrument of all that is most secret and coercive—in attacks, not infrequently, with an elected administration but also with truly nameless individuals, those who have neither power nor celebrity of any kind, and who have no means of access, least of all as “anonymous sources,” to the press.

  The press, in these matters, has become far more unified. There may be competition among those who will get the first interview of some celebrity or other, or first access to a treasured “anonymous source.” But it is the same celebrities and the same sources that journalists pursue, not excluding interviews with one another. Even among the apparently most irate and shouting television personalities whom Calvin Trillin has so memorably characterized as “Sabbath gasbags,” there is a sameness. Political views are permitted, routinely, along a spectrum from left to right; but the views of each participant, on virtually any subject, can be predicted from week to week.

  The worst, however, is the mystique of the “sources.” Citizens of a democracy require reliable information. How can they check “sources”? What possible basis is there for relying on them? The word of the celebrity reporter who cannot bring himself to name them? What sort of reliability, what sort of information, what sort of journalism is this? Especially since there seems to be, among “investigative reporters” and the institutions that support them, a stubborn loyalty to and solidarity with sources—even when a source (as in the recent case of Charles Bakaly of the Special Prosecutor’s office) admits that he is the previously “anonymous source” in question, or, more puzzlingly, when the “source” has demonstrably deceived the reporter himself. In what may be a journalistic variant of the Stockholm syndrome (whereby hostages become extremely loyal to their captors), journalists and their editors defend and protect the anonymity, and even the reliability, of their sources, even when they have been most seriously misled. A
sacred covenant, apparently. But what of the trust and “contract” with the reader? Forgotten, secular, a matter of spelling and perhaps the small stuff. There, for instance, is the Times, in its “assessment,” trying to establish the basis for a now utterly discredited story as “cross-checking sources” and resisting “obstacles” posed by other people’s having tried to “identify our sources.” Would this not have been the occasion to name at least the sources who deliberately misled them? Are the identities of self-serving liars, and particularly liars of this sort, who use the newspaper story as a weapon of intimidation, to be protected? Four months later, in February of 2001, the Times again reappraised its coverage of Wen Ho Lee. The pieces somehow, under a lot of cosmic obfuscation, seemed to have missed their underlying points: (1) that there was no evidence of spying by anyone at Los Alamos; (2) that there was no evidence of any spying by Wen Ho Lee. The suspicion of him rested largely on two incidents: that he had once telephoned a man under suspicion of something undefined and offered to help him, and that he had once entered, uninvited, a meeting at Los Alamos, and hugged a major Chinese scientist there. Typical spy behavior: a phone call and a hug.

  If so, then you are speaking inescapably of the instruments of a police state, with secret informers, and the press just one in a set of interlocking and secretive bureaucracies. The alternative, it seems to me, is to proceed in a more diligent way, one by one, in the press, on the street, in the academy, to look for information and try to draw reasonable inferences from it. A combination of research and thinking and consulting, if need be, a genuine source—that is, someone who has information and is willing to impart it. No professional ideologies that paradoxically combine political correctness with self-serving orthodoxies and an affinity for prosecutors. No faith in Delphic utterances from unidentified persons. In spite of what might have affected generations of aspiring reporters, no one is going to contrive an absurd set of signals for you, meet you secretly and regularly and undetected by others in a garage by night and tell you anything worth knowing.