By Madeleine Blais
From the foreword through Geneva Overholser.
What is it approximately rather high-quality writers, how they pride, intrigue, compel us?
Style, you are saying. yet sort isn't anything you start with. fairly, it is what you find yourself with, because of the way more primary features. qualities reminiscent of an ear and a watch and a center, characteristics that Madeliene Blais has honed beautifully good.
This is a e-book good named: the guts Is an tool: pix in Journalism. the guts is definitely first between Blais's presents. even if she is writing in regards to the famous--playwright tennessee Williams, novelist Mary Gordon--or concerning the least increased between us--a teenage prostitute contaminated with the AIDS virus, a homeless schizophrenic--she brings to her matters an incomparable empathy.
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Extra resources for The heart is an instrument: portraits in journalism
Sample text
Why now? " They worried that the reunion was simply showmanship, all song and cabaret designed to satisfy the great maw of a newspaper article, and not because of some genuine family longing. "Trish asked me herself. " Jimmy and Page 32 Lizzie said they might have to work; after all, Easter's a pretty big day at restaurants. Martin kept wondering why celebrate Easter anyway; to him, religion is ridiculous, it's the wearing of costumes and the worship of ghosts. "Dad," said Sue, in her steady voice, looking to soothe, not outrage.
Sue is cheerful, pretty, outgoing. She is married to a handsome, husky guy, the brother of Meg's husband, and together they own and operate a bike shop in Key Largo. They are planning to sell the business and they recently moved to Miami, in the Hammocks, in West Kendall, a citadel of easy houses, easy living and outward suburban propriety. Sue has been asked if the Livergood family, with its maverick streak, is disappointed because she has chosen such a conventional place, and she usually responds, "Don't worry.
Granga will talk to anybody about anything as long as the Livergood children are present. She assumes most strangers work for the city. Granga had purchased the house in the Gables for the family in 1968 after the horrible year in one room, the one that Meg tries never to think about: "Oh God, we had to sleep in shifts. I slept outdoors on a porch. " Granga's generosity in buying a house for her daughter and that husband of Norma's and their great teeming brood of kids, for the whole noisy crew, was undercut slightly by her intention to live there as well.
