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A deep and timely account of how American newspapers were produced and distributed on paper. Winner of the Best Book in Canadian Business History by the Canadian Business History Association Popular assessments of printed newspapers have become so grim that some have taken to calling them “dead tree media” as a way of invoking the medium’s imminent demise. There is a literal truth hidden in this dismissive expression: printed newspapers really are material goods made from trees. And, throughout the twentieth century, the overwhelming majority of trees cut down in the service of printing newspapers in the United States came from Canada. In Dead Tree Media, Michael Stamm reveals the international history of the commodity chains connecting Canadian trees and US readers. Drawing on newly available corporate documents and research in archives across North America, Stamm offers a sophisticated rethinking of the material history of the printed newspaper. Tracing its industrial production from the forest to the newsstand, he provides an account of the obscure and often hidden labor involved in this manufacturing process by showing how it was driven by not only publishers and journalists but also lumberjacks, paper mill workers, policymakers, chemists, and urban and regional planners. Stamm describes the 1911 shift in tariff policy that gave US publishers duty-free access to Canadian newsprint, providing a tremendous boost to Canadian paper manufacturers and a significant subsidy to American newspaper publishers. He also explains how Canada attracted massive American foreign investment in paper mills around the same time that US publishers were able to gain greater access to Canada’s vast spruce forests. Focusing particularly on the Chicago Tribune, Stamm provides a new history of the rise and fall of both the mass circulation printed newspaper and the particular kind of corporation in the newspaper business that had shaped many aspects of the cultural, political, and even physical landscape of North America. For those seeking to understand the travails of the contemporary newspaper business, Dead Tree Media is essential reading.
Tresselt's classic story of The Dead Tree is given new life in this gloriously reillustrated volume. The role of an oak tree in the cycle of nature is revealed as an ancient tree, even as it dies and returns to the earth, provides nourishment for new life all around it. "Impressionistic illustrations beautifully reflect an evocative text." -- Kirkus Reviews.
As The Giving Tree turns fifty, this timeless classic is available for the first time ever in ebook format. This digital edition allows young readers and lifelong fans to continue the legacy and love of a classic that will now reach an even wider audience. "Once there was a tree...and she loved a little boy." So begins a story of unforgettable perception, beautifully written and illustrated by the gifted and versatile Shel Silverstein. This moving parable for all ages offers a touching interpretation of the gift of giving and a serene acceptance of another's capacity to love in return. Every day the boy would come to the tree to eat her apples, swing from her branches, or slide down her trunk...and the tree was happy. But as the boy grew older he began to want more from the tree, and the tree gave and gave and gave. This is a tender story, touched with sadness, aglow with consolation. Shel Silverstein's incomparable career as a bestselling children's book author and illustrator began with Lafcadio, the Lion Who Shot Back. He is also the creator of picture books including A Giraffe and a Half, Who Wants a Cheap Rhinoceros?, The Missing Piece, The Missing Piece Meets the Big O, and the perennial favorite The Giving Tree, and of classic poetry collections such as Where the Sidewalk Ends, A Light in the Attic, Falling Up, Every Thing On It, Don't Bump the Glump!, and Runny Babbit. And don't miss the other Shel Silverstein ebooks, Where the Sidewalk Ends and A Light in the Attic!
Pullout sections, poster supplements, contests, puzzles, and the funny pages--the Sunday newspaper once delivered a parade of information, entertainment, and spectacle for just a few pennies each weekend. Paul Moore and Sandra Gabriele return to an era of experimentation in early twentieth-century news publishing to chart how the Sunday paper became an essential part of American leisure. Transcending the constraints of newsprint while facing competition from other media, Sunday editions borrowed forms from and eventually partnered with magazines, film, and radio, inviting people to not only read but watch and listen. This drive for mass circulation transformed metropolitan news reading into a national pastime, a change that encouraged newspapers to bundle Sunday supplements into a panorama of popular culture that offered something for everyone.
In the desert town of Richland, Washington, there stands a giant sycamore tree. Horribly mutated by nuclear waste, it feeds on the life energy of boys that it snags with its living roots. And when Teddy Matthews moves to town, the tree trains its sights on its next victim. From the start, Teddy knows something is very wrong with Richland-every kid he meets disappears before his eyes. A trip to the cemetery confirms that these boys are actually dead and trying to lure him to the tree. But that knowledge is no help when Teddy is swept into the tree's world, a dark version of Richland from which there is no escape . . .
"The columns in this book were previously published in The Times-picayune"--Title page verso.
Winner, 2023 Columbia University Press Distinguished Book Award Winner, 2023 Frank Luther Mott / Kappa Tau Alpha Research Award Winner, 2023 Journalism Studies Division Book Award, International Communication Association Winner, 2023 History Book Award, Association for Education in Journalism and Mass Communication Long before the current preoccupation with “fake news,” American newspapers routinely ran stories that were not quite, strictly speaking, true. Today, a firm boundary between fact and fakery is a hallmark of journalistic practice, yet for many readers and publishers across more than three centuries, this distinction has seemed slippery or even irrelevant. From fibs about royal incest in America’s first newspaper to social-media-driven conspiracy theories surrounding Barack Obama’s birthplace, Andie Tucher explores how American audiences have argued over what’s real and what’s not—and why that matters for democracy. Early American journalism was characterized by a hodgepodge of straightforward reporting, partisan broadsides, humbug, tall tales, and embellishment. Around the start of the twentieth century, journalists who were determined to improve the reputation of their craft established professional norms and the goal of objectivity. However, Tucher argues, the creation of outward forms of factuality unleashed new opportunities for falsehood: News doesn’t have to be true as long as it looks true. Propaganda, disinformation, and advocacy—whether in print, on the radio, on television, or online—could be crafted to resemble the real thing. Dressed up in legitimate journalistic conventions, this “fake journalism” became inextricably bound up with right-wing politics, to the point where it has become an essential driver of political polarization. Shedding light on the long history of today’s disputes over disinformation, Not Exactly Lying is a timely consideration of what happens to public life when news is not exactly true.
A serial killer terrorizes a small California town in this gripping thriller from #1 New York Times bestselling author Tami Hoag. California, 1985—Four children and young teacher Anne Navarre make a gruesome discovery: a partially buried female body, her eyes and mouth glued shut. A serial killer is at large, and the very bonds that hold their idyllic town together are about to be tested to the breaking point. Tasked with finding the killer, FBI investigator Vince Leone employs a new and controversial FBI technique called “profiling,” which plunges him into the lives of the four children—and the young teacher whose need to uncover the truth is as intense as his own. But as new victims are found and pressure from the media grows, Vince and Anne find themselves circling the same small group of local suspects, unsure if those who suffer most are the victims themselves—or those close to the killer, blissfully unaware that someone very near to them is a murderous psychopath…
How can the news business be re-envisioned in a rapidly changing world? Can market incentives and technological imperatives provide a way forward? How important have been the institutional arrangements that protected the production and distribution of news in the past? Making News charts the institutional arrangements that news providers in Britain and America have relied on since the late seventeenth century to facilitate the production and distribution of news. It is organized around eight original essays: each written by a distinguished specialist, and each explicitly comparative. Seven chapters survey the shifting institutional arrangements that facilitated the production and distribution of news in Britain and America in the period between 1688 and 1995. An eighth chapter surveys the news business following the commercialization of the Internet, while the epilogue links past, present, and future. Its theme is the indispensability in both Great Britain and the United States of non-market institutional arrangements in the provisioning of news. Only rarely has advertising revenue and direct sales covered costs. Almost never has the demand for news generated the revenue necessary for its supply. The presumption that the news business can flourish in a marketplace of ideas has long been a civic ideal. In practice, however, the emergence of a genuinely competitive marketplace for the production and distribution of news has limited the resources for high-quality news reporting. For the production of high-quality journalism is a byproduct less of the market, than of its supersession. And, in particular, it has long depended on the acquiescence of lawmakers in market-limiting business strategies that have transformed journalism in the past, and that will in all likelihood transform it once again in the future.