Malcolm's penchant for controversial subjects and tendency to insert her views into the narrative brought her both admirers and critics. "Leaning heavily on the techniques of psychoanalysis, she probes not only actions and reactions but motivations and intent; she pursues literary analysis like a crime drama and courtroom battles like novels," wrote Cara Parks in The New Republic in April 2013. Parks praised Malcolm's "intensely intellectual style" as well as her "sharpness and creativity." [31] In Esquire, Tom Junod characterized Malcolm as "a self-hater whose work has managed to speak for the self-hatred (not to mention the class issues) of a profession that has designs on being 'one of the professions' but never will be." Junod found her to be devoid of "journalistic sympathy" and observed: "Very few journalists are more animated by malice than Janet Malcolm.” [32] Junod himself, however, has been criticized for a number of journalistic duplicities, including a smirking piece in Esquire which outed the actor Kevin Spacey, [33] as well as a similarly homophobic faux profile of the singer Michael Stipe. [34] He never asked me what I thought, and I never told him what I thought, because in my view that's the way a journalist ought to behave. You ought not to be going around to people volunteering your feelings. That's daily journalism.” Janet Malcolm". Lori Bookstein Fine Art. Archived from the original on January 20, 2009 . Retrieved July 19, 2014.

THE JOURNALIST AND THE MURDERER | Kirkus Reviews

In the posthumously published Still Pictures: On Photography and Memory, Malcolm writes autobiographical sketches, starting the chapters from family photographs. [30] Reception [ edit ]The book provoked a wide-ranging professional debate when it was serialized in The New Yorker magazine. Joe McGinniss described Malcolm's "omissions, distortions and outright misstatements of fact" as "numerous and egregious" in his rebuttal. [20] As The New York Times reported in March 1989, Malcolm's "declarations provoked outrage among authors, reporters and editors, who rushed last week to distinguish themselves from the journalists Malcolm was describing. They accused her of tarring all in the profession when she was really aiming at everyone but themselves." [1] Although roundly criticized upon first publication—by both newspaper reviewers and media observers like former CBS News president Fred W. Friendly, who described the book's "weakness" and "crabbed vision"—it was also defended by a number of fellow writers. These included the journalists Jessica Mitford and Nora Ephron. [21] Her controversial premise that every journalist was in the business of "gaining [a subject's] trust and betraying them without remorse" has since been accepted by journalists like Gore Vidal and Susan Orlean. Douglas McCollam wrote in the Columbia Journalism Review, "Gore Vidal called source betrayal 'the iron law' of journalism", while Orlean "endorsed Malcolm's thesis as a necessary evil." McCollam further wrote, "In the decade after Malcolm's essay appeared, her once controversial theory became received wisdom." He also writes that "I think both the profession and subjects have paid a high price for our easy acceptance of Malcolm's moral calculus." [2] This is a lazy excuse for a book. It purports to explore the questions of the responsibility of the writer to the subject, truthfulness, libel, and freedom of the press. It consists of a scattered set of summaries of the author's interviews with the lawyers and principles in a court case in which a convicted murderer successfully sued the author of his true crime story 'for fraud and breach of contract - as an attempt "to set a new precedent whereby a reporter or author would be legally obligated to disclose his state of mind and attitude toward his subject during the process of writing and research."" The author maintains his "only obligation from the beginning was to the truth" and that the legal precedent set by a decision against him would result in a "grave threat to established journalistic freedoms". Every hoodwinked widow, every deceived lover, every betrayed friend, every subject of writing knows on some level what is in store for him, and remains in the relationship anyway, impelled by something stronger than his reason.” The Duel and other stories. Translated by Constance Garnett; selected, with a preface by Janet Malcolm. riverrun. What gives journalism its authenticity and vitality is the tension between the subject's blind self absorption and the journalist's skepticism. Journalists who swallow the subject's account whole and publish it are not journalists but publicists.”

Jamal Khashoggi: US says Saudi prince approved Khashoggi

The report pointed to the fact that the 15-member hit squad that arrived in Istanbul worked for or were associated with the Saudi Center for Studies and Media Affairs at the Royal Court – which at the time was led by Saud al-Qahtani, a close adviser to the prince who claimed publicly in 2018 that he did not make decisions without the prince’s approval.

The concept of the psychopath is, in fact, an admission of failure to solve the mystery of evil—it is merely a restatement of the mystery—and only offers an escape valve for the frustration felt by psychiatrists, social workers, and police officers, who daily encounter its force.” Janet Malcolm was a journalist, biographer, collagist, and staff writer at The New Yorker. She is the author of In the Freud Archives and The Crime of Sheila McGough, as well as biographies of Gertrude Stein, Sylvia Plath, and Anton Chekhov. Ward No. 6 and other stories. Translated by Constance Garnett; selected, with a preface by Janet Malcolm. riverrun. Katie Roiphe summarized the tension between these polarized views, writing in 2011, "Malcolm's work, then, occupies that strange glittering territory between controversy and the establishment: she is both a grande dame of journalism, and still, somehow, its enfant terrible." [5] Announcing the National Book Critics Awards Finalists for Publishing Year 2013". National Book Critics Circle. January 14, 2014 . Retrieved January 14, 2014.