Journalism

The foreign correspondent Eric Campbell is lucky to be alive. In March 2003 he was filming in Kurdistan, Northern Iraq, with Paul Moran, a freelance cameraman whom he had just met, when a car bomb exploded in front of him. Moran was killed instantly, his body shielding Campbell from the worst of the blast. Both Moran and Campbell were new fathers. Although vastly experienced in covering conflicts, both men had decided at the start of the Iraq war that they would stay at the tail of the media pack when entering dangerous areas. They wanted to see their children grow up; Moran’s daughter was only six weeks old.

Sally Neighbour wrote this book as a direct response to the Bali bombing in October 2002. She was convinced, by that event and its aftermath, that fundamentalist Muslims’ hatred of Westerners was creating an unfamiliar world whose rules she and most Australians did not understand. We are in her debt. In clean prose, informed by meticulous research into a wide range of sources, Neighbour stitches together countless loose strands until they cohere persuasively into a dismaying pattern. Her courage, dispassion and skill present us with conclusions as unpleasant as they are inescapable. Journalism is a term frequently used pejoratively, but this is a thoroughly journalistic book in the best possible sense: it presents evidence, shapes arguments and distils information – a vast amount of information – intelligently and responsibly. Neighbour’s disturbing claims are founded on hard evidence and sober analysis.

Here is what veteran war correspondent and Pulitzer Prize-winner Peter Arnett has to say about American political deliberation in the information age: ‘Government decisions are made by an inside group of Congress and the American public largely doesn’t give a damn. When they vote they don’t vote in terms of international policies; they vote in terms of local issues.’ New Zealand-born Arnett first worked in Vietnam for Associated Press, then in 1981 joined and subsequently became the voice and face of CNN. He has interviewed both Saddam Hussein and Osama bin Laden. How does he explain the US myopia he diagnoses? By looking at the news sources most Americans use: ‘They get talkback radio, which is skewed to the right usually; they look at a bit of television and maybe some magazine shows, and that is it. They don’t give a shit.’ But does he blame them? No. The controversial journalist (CNN, under pressure from government, dismissed him when he fronted a programme that accused the US of using sarin gas on American defectors in Laos) blames his own profession, or at least that part of the profession with corporate clout. ‘All this is the media’s fault. It is the newspapers’ fault for not including a page or two of international news every day so that people, like it or not, are going to see it.’ Nor does Amell spare the television networks: ‘CNN should be doing more, even though it has limited viewership; it should be doing more than covering celebrity stuff now, which it does domestically. Fox is a joke. There is an ignorance that is growing in America and it is frightening.’

All too often, so-called manuals for screenwriters, novelists and poets begin by letting the reader know how unlikely it is that they will ever get published, let alone make a living. Fortunately, journalist and RMIT journalism lecturer Matthew Ricketson avoids this private-club view of the journalism profession. He points out that there are about 370 newspapers, ranging from dailies and suburban weeklies to regional and multicultural newspapers. There are also more than 3000 magazines in the Australian market.

I must confess I picked up this celebrity autobiography, complete with embossed cover and a price suggestive of a huge print run, without anticipation. I could not have been more wrong. Mike Munro’s excoriating and frank account of his abused childhood and early years in journalism chronicles a survival story that is Dickensian in scope and impact. Like Dickens, Munro managed to overcome poverty, cruelty and emotional deprivation to reach the top of a demanding profession. Remarkably, considering his scarifying experiences as a child and adolescent, he fell in love and married a partner with whom he has created the kind of loving family life that he never knew as a child. But I am jumping ahead.

On September 11, 2001, Australian journalist Irris Makler was working as a freelance correspondent in Moscow. The terrorist attacks in New York and Washington focused attention on Afghanistan, and Makler was among the first journalists to make their way into the strife-torn country via its northern neighbour, Tajikistan.

Our Woman in Kabul documents the US invasion of Afghanistan, the routing of the Taliban and the hunt for Osama bin Laden. Makler’s story covers the circumstances of daily life as a female correspondent in a country where women are virtually invisible, the discomforts and challenges of being part of a media feeding frenzy in a place without the infrastructure to support it, and the larger drama of a civil war suddenly escalating into an international conflict. During two decades of fighting, Afghanistan had lost an estimated ten per cent of its population to war, starvation and lack of medical resources. For those of us to whom the name bin Laden seemed to rise like a demonic projection from the underside of the US imagination, Makler’s book provides the background to an event that was formulating its inevitable trajectory in the barren mountains of Afghanistan.

Now that the generals have announced the end of the military campaign in Iraq, media organisations will conduct their own post-mortems. Pundits and politicians agree that the war was the most televised in recent history, but what does that mean in terms of quality journalism? One of the most surprising aspects of the rolling, often repetitious, coverage was the way that basic tenets of journalism were proven true: that is, good reporting is based on firsthand observation and powerfully evoked detail. No amount of studio analysis can equal a journalist – notebook or microphone in hand – speaking to people on the streets. The journalism of Osmar White, the noted Australian war correspondent, exemplifies this.

One hardly knew where to look. There were breasts everywhere. Not dozens of them mind you. Just two. On Mistress Sabine. The left mammary with a disturbing blue vein running over it, seeming to fill half the room on its lonesome. Other bits and pieces of the Mistress bulged alarmingly around the inadequate constraints of her leather fetish outfit, threatening to break free completely as she tied up Linda Jaivin and administered a paddling at the launch of the author’s Confessions of an S&M Virgin.

The celebrated journalist Peter Arnett’s new autobiography Live from the Battlefield partly solves one mystery for me. For the last eighteen months, whenever I discussed Arnett and his forthcoming memoirs with my husband (who was trying to research Arnett’s relationship with news network CNN after the Gulf War), I found myself constantly and inexplicably analysing Thackeray’s Vanity Fair and the characterisation of the ambitious, fragile Becky Sharp.

Collections of a writer’s pieces of journalism are usually not well reviewed. The critic is often a journalist whose pieces have not been collected and there is something about the thought of a colleague’s being paid twice that rankles. If the pieces under review are travelogues and and adventures of an enjoyable kind, then the critical appetite for blood will be doubly whetted. The thought of a colleague’s being paid twice for doing what was enjoyable in the first place will sour the critic’s aspect to the extent that his review will be an example of someone’s being paid once for doing something they didn’t enjoy – an experience that some journalists will have you believe is a universal one. (Of course, when their turn comes and a book of their critical pieces is published they go around the place becoming abashedly like a pregnant ex-nun.)