Journalist Paterniti (
The Telling Room) is a frequent contributor to
Esquire,
GQ, and the
New York Times Magazine, and it was in those heavyweight publications that these 17 essays originally saw print. The author is a practitioner of "longform" journalism, a style that is essentially just "new journalism" rebranded for an audience who prefers information served in 140-character portions. There are several reasons why Paterniti's editors give him the freedom to weave his yarns at great length; for one, he's possessed of the rare ability to craft long sentences that don't run-on. And his narratives are vehicles for rich, visual descriptions; his writing has an almost-cinematic quality that guides the reader's mental camera effortlessly through his characters' physical and psychological landscapes. Paterniti identifies closely with his subjects—often to one specific person to whom he has become attached—and they in turn kindle the obsessions that drive his journalism. Although a subtle humor abounds, Paterniti shows his greatest strength in his depictions of tragedy, as he investigates a terrible plane crash, the 2010 Haiti earthquake, and a bridge in China that is popular for suicides. Here, he dramatizes his reporting while avoiding melodrama and, somehow, conveys the terrible, angry grief that is awakened by loss.
VERDICT A wide variety of places and people are given Paterniti's trademark scrutiny here, and the resulting essays are illuminating and pleasantly verbose. Because it is a collection of writing from popular press, this should have broad appeal. In particular, those who remain in unplanned withdrawal from David Foster Wallace's nonfiction should give this book a shot.
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