Remembering the Life and Work of Journalist Matthew Power (1974-2014)



-Journalist Joe McGinniss, from The Selling of the President 1968, hailed as one of the classic books about the modern marketing of a presidential candidate. McGinniss, who also wrote books including Fatal Vision, died Monday at age 71 from complications related to prostate cancer.
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In 1998 a district attorney sent a teenager to life in prison for his role in a murder of a 16-year-old girl. In Texas Monthly, Pamela Colloff revisits the case and looks at why the DA is questioning the life sentence years later:
Read more stories from Pamela Colloff
Photo: Julian Frost

In the latest New York Times Magazine, Ron Suskind explores how his autistic son Owen found a voice through the lessons and sidekicks in Disney films. The story is an excerpt from the journalist’s new book, Life, Animated:
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Ah, the romance of the rails. I still bear vivid memories of my family’s post-Christmas train ride to New York City when I was an adolescent. I listened to my non-Apple mp3 player and watched, wide-eyed, the people and places passing by. Last year, I hopped commuter train after commuter train trying to bridge the unwieldy path of public transit from Baltimore to Washington, D.C. Today, my social media feeds are overrun with my writerly friends pining for a free Amtrak ticket and a quiet place to work. All aboard, indeed.
The Southwest Chief train line is a historic fixture in small-towns in New Mexico, and its absence might bring about their demise.
A reality check for the writers salivating over the possibility of Amtrak’s writer residency.
Billions of euros, year-long delays in construction — just what is going on in Stuttgart’s train station?
Why do people choose to travel cross-country via train? Meet the passengers of the Sunset Limited.
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Photo: Feliciano Guimarães
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– From the New York Times’ 1853 coverage of the Solomon Northup case. That same year, Northup published a best-selling memoir of his kidnapping into slavery, and remarkable escape. 161 years later, the film adaptation of Twelve Years a Slave won Best Picture at the Oscars.
Image: British Library, Flickr
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The college experience for many American students in 2014 is not a residential, Animal House one. Students work and enroll part time to avoid what feels like an inevitable and insurmountable debt load. They may live at home and commute to classes. They get the curriculum, but have to work harder to meet people and be involved with campus activities. That’s an important part of college, too, and one that pays dividends later with resume experience and network building. Brayan Vazquez is a first-year student at Miami Dade College. He is undocumented, and has a 110-mile commute to class twice a week. Increasingly, he is the face of the typical college student in America in 2014. In his profile of Vazquez, reporter Gregory Castillo spent time with the student, his family, and the policy makers who want to extend in-state tuition benefits to undocumented students. How to serve this population is a growing discussion among educators, students, politicians, activists, and tax payers. It’s a well-reported, under-covered story. Like any good piece of journalism, it’s a conversation starter.
Gregory Castillo | The Reporter | March 4, 2014 | 9 minutes (2,336 words)

Steve Salerno | Missouri Review | Winter 2004| 24 minutes (6,016 words)
Steve Salerno’s essays and memoirs have appeared in Harper’s, the New York Times Magazine, Esquire and many other publications. His 2005 book, SHAM, was a groundbreaking deconstruction of the self-help movement, and he is working on a similar book about medicine. He teaches globalization and media at Lehigh University. This essay first appeared in the Missouri Review (subscribe here!). Thanks to Salerno for allowing us to reprint it here.
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Observed on video at half-speed, through the metal lattice-work of the batting cage, it is a perfectly choreographed pas de deux of man and machine. While the machine readies the pitch, the man executes the idiosyncratic but vital preparatory movements of torso and hand that jump-start his batting rhythm; he leans forward, then rocks his weight back, the bat wavering in a narrow arc above his head much as the young palms visible in the background yield to the soft ocean breezes—slightly forward of true vertical, slightly aft, slightly forward again. As the dimpled yellow ball shuffles down that last segment of the feeder sleeve toward the pair of spinning wheels that will propel it homeward, the batter’s hands twist around the axis of the lower wrist in a subtle cocking mechanism; when the ball drops between the wheels and disappears for an instant, the batter’s front foot lifts, then returns to earth perhaps six inches beyond its initial resting place; the bat itself remains well back, high over the rear shoulder, in obeisance to an ancient admonition—“hips before hands.”
Even in slo-mo, the swiftness of the ball’s flight to the plate startles. At first it seems that there’s no way the man can snap the bat down and around his body fast enough to intercept the sphere (which actually, now, more resembles a yellow antiaircraft tracer) before it blurs by him…. But no, he starts his swing, his lower body leading the way, pivoting sharply on the front foot—now—and in fact, somehow manages to confront the pitch out ahead of the ersatz plate. If you pause the video at this precise point—that millisecond before impact—you marvel at the fact that, slicing through the strike zone, the bat, despite being molded from a single sheet of metal, is no longer a straight, rigid line. Rather, the bat- head clearly lags behind the handle in its travel to the ball, a vivid manifestation of the explosive torque all good hitters rely on for generating power. An instant later, post-contact, the ball too is misshapen, flattened on the impact side, shooting off the bat in a shallow upward arc with such velocity that it appears to leave a comet-like contrail in its wake.

Pakistani author Mohsin Hamid, writing in The New York Times Book Review, about television vs. the novel:
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