Abstract
American Deadline was born as a series of monthly columns penned by four journalists from diverse communities that had recently witnessed the decline or demise of their local newsrooms. This project, called the “Year of Fear,” was a partnership between Columbia Journalism Review and the Delacorte Review, with a rather straight-forward objective to encapsulate the essence of the political landscape leading up to the 2020 United States presidential election. However, as Richardson bluntly writes, the simple, direct plan was “blown to hell” (p. 159) by the overwhelming impact of the pandemic, the tragic police killing of George Floyd and the resulting political, societal and racial tumult — an unforgettable year for all of us. Readers, however, are rewarded with this book, which serves as a distillation of the best material from these postcards.
To be sure, American Deadline is, in no way, a book that follows a traditional academic blueprint, and it is essential for readers to approach it without such expectations. The book eschews traditional formatting and methodological rigor, and instead offers intimate prose, resembling letters to a friend. Structurally, the book is divided into 36 chapters, with each of the four communities contributing nine chapters. The authors who lent their voices to this project have a deep connection to their communities. Greg Glassner reported from Bowling Green, Va.; Charles Richardson from Macon, Ga.; Sandra Sanchez from border town of McAllen, Texas; and Jason Togyer from McKeesport, Penn. The authors all have a wealth of experience as former journalists in their local newsrooms. Two of those newsrooms — the Caroline Progress in Bowling Green and Daily News in McKeesport have closed — while the other two — the Macon Telegraph and the McAllen Monitor — are shells of their former selves.
The inclusive and accessible nature of this manuscript expands its appeal to a broader audience, reaching far beyond the confines of academia or university settings. It serves as a valuable resource for those unfamiliar with the lived experiences within news deserts or areas impacted by the decline of local news, while also complementing the growing body of academic work in the space. Above all, the authors compellingly demonstrate that the loss of local news profoundly affects readers. American Deadline effectively illustrates crucial issues such as media trust, the dissemination of misinformation and the complex challenges affecting communities when their primary sources for information either vanish or fail to adequately fulfill their information needs.
In Chapter 5, Glassner recounts difficulty in obtaining information about a meeting for the local Democratic committee, information that would have been readily available in the now-defunct weekly newspaper. Glassner discovered the details they needed on the One Caroline Virginia Facebook page, maintained by a local resident Tony Ares, who attempted to establish a local newspaper after the Caroline Progress ceased operations. Ares reported the Democratic committee meeting would have free donuts, yet, ultimately, there were more donuts than attendees — perhaps a reflection of the informational challenges faced in communities without a newspaper. Ares ultimately failed to establish his newspaper, demonstrating the difficulty of replacing a 99-year-old traditional weekly product. “Subscriptions were so low, it breaks my soul,” he told Glassner.
In Chapter 7, Togyer, who works at a digital-only news startup in McKeesport, wrote that his organization faced baseless accusations of spreading “fake news” simply for reporting community news and information during the early stages of the pandemic. One reader claimed the startup was pushing a “hidden agenda” to “create more unnecessary panic” (p. 56). In Chapter 29, Richardson, a former editorial page editor and columnist at the Macon Telegraph, laments the declining role of the newspaper during crucial elections, such as 2020. Richardson recalled how the newspaper’s editorial board had previously taken its responsibility seriously in informing the community about political candidates. The paper sponsored forums, conducted candidate interviews and welcomed input from community members. “All of that is ancient history now,” Richardson writes (p. 212). The newspaper abandoned its editorial voice in 2018, significantly reduced the presence of columnists and virtually abandoned letters to the editor. Through these stories, and by exploring these themes, this manuscript underscores the urgency of addressing the consequences that arise when communities are left without robust and reliable local news sources.
While this book review focuses on the impact of local news, it is important to note that American Deadline encompasses far more than discussions centered around journalism. The book delves into personal accounts of the authors’ experiences within their communities and their individual lives during the tumultuous year of 2020. Among these narratives, one story stands out — the tale of Sanchez’s husband contracting COVID-19 and his subsequent hospitalization. Sanchez writes poignantly, “my husband was one of the lucky ones who walked out of an area hospital that day after spending 10 days hospitalized for COVID-19. During this time, he received two life-saving doses of plasma donated from other coronavirus survivors” (p. 198). Additionally, Sanchez chronicles heartfelt stories, such as that of a 48-year-old high school teacher who, in 2015, painted “NO BORDER WALL” in giant letters on her roof. This act was a direct response to then-candidate Donald Trump, who thrust immigration issues to the foreground, particularly in South Texas. Through these powerful postcards — some disheartening, some deeply personal and all undeniably powerful — American Deadline illuminates the vital role of local journalism in addressing critical issues such as immigration, economic struggles, racial reckoning and the divisive issues that permeate our society.