Word: reader
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...qualify that idealism: "I'm much more skeptical," he adds dryly, "than when I started out." In fact, it was his well-developed skepticism that prompted Griffith to write his 1974 book How True (subtitle: A Skeptic's Guide to Believing the News). Its object: to provide readers with an inside view of print and broadcast journalism in order to help them evaluate the news. "It is absolutely necessary to be a skeptical reader," argues Griffith. "The more that boundaries are blurred between straight reporting, editorials and impressionistic reporting, the more the reader needs to judge for himself...
...Some columns of 'Newswatch,' I expect, will be angry at particular press performances," says Griffith. "Other pieces will examine why the press had to do what it did." Whatever the approach, Griffith hopes that the result for his readers will be an enlivened interest in the ways of the newsgathering world. As Martin Arnold, who was then covering the press for the New York Times, noted in his review of How True, Griffith "succeeds admirably in making the reader think about journalism...
...compassion? It is difficult to read the book without feeling some sympathy for the disgraced Nixon, no matter how thoroughly his wounds were self-inflicted. When he pleads, "Henry, please don't ever tell anyone that I cried and that I was not strong," it is a hardhearted reader who is not moved. Bernstein is on solid ground in declaring: "I'd be surprised if readers do not find the book not at all unsympathetic to the former President of the United States...
...every week," Kissinger sometimes claimed. When a Kissinger aide prepared a National Security Council briefing book on NATO for Nixon, Kissinger was impressed by it but ordered it rewritten nonetheless-to make it easier for the President to read. "Don't ever write anything more complicated than a Reader's Digest article for Nixon," he advised...
...pages into a promising discussion about the difference between male and female writers' use of sexual imagery, she stops and apologizes for having brought up the subject. An erotic imagination might, be all right for Erica's following, she suggests, but not for her own gentle reader. Similarly, after observing that the four female titans of the modern novel (Willa Gather, Colette, Virginia Woolf and Gertrude Stein) were all somewhat "alarming" women fascinated by the permutations of sexual identity, Moers furiously backpedals. She dismisses as insignificant, for example, the fact that Gather frequently chose male narrators...