posts about or somewhat related to ‘pulitzers’

Why was ‘Dasani’ shut out of the Pulitzers? →

Remember this beautiful long-form piece from the NY Times that came out last fall? It was met with a wide array of reactions, some very appreciative, some very unhappy. Over the last few months, Columbia J-School’s Bill Grueskin set out to gather perspectives on why:

I don’t know why Dasani was shut out of not just a Pulitzer, but a nomination from jurors. It did, after all, win a coveted Polk award earlier this year. And though I work just down the hall from the office of Pulitzer Administrator Sig Gissler, I know less about the internal machinations of jurors and board members now than I did when I was a city editor at the Miami Herald in the 1990s. But I do know that many readers found the Dasani story, for all its soaring prose and worthy ambitions, a difficult piece of work.

To understand more about why the piece elicited such strong reactions on both sides, I reached out to about 50 people shortly after the series ended last December. I blind copied them on an email in which I invited them to take part in a private, online discussion about the series. They emailed their thoughts, and I compiled and shared them. We abided by “Chatham House Rules,” which allow quotes to be used—but not the names or affiliations of the people who said them.

The group included journalists, scientists, lawyers, faculty members and a few former and current Columbia students. It also included alumni of the Times, but not current staff, nor any Pulitzer board members.

Why did I pick this story to examine? In part because the Times thought it to be so significant. Its public editor, Margaret Sullivan, called the series “the largest investigation The Times has published all at once in its history.” Moreover, it was stirring up a tremendous reaction, not just among journalists but all around New York City. Indeed, two of Michael Bloomberg’s deputy mayors took to the edit page of the Wall Street Journal to defend their boss’ record on homelessness.

FJP: He compiles the reactions here, a predominant one being that it shouldn’t have been produced as a single story. They are worth looking through because they touch on some ethical and a lot of design issues that are relevant across the industry. These considerations shouldn’t be the absolute measure on what makes a story prize-worthy  because Dasani certainly is a compelling and generally well-executed narrative. But they are still worth thinking about. —Jihii

The backwardness of political cartoons is especially evident when you compare them to the bounty of new forms of graphical political commentary on the Web. My Facebook and Twitter feeds brim with a wide variety of political art — biting infographics, hilarious image macros, irresistible Tumblrs (e.g., Kim Jong-il Looking at Things), clever Web comics, and even poignant listicles. I don’t think I’ve ever seen a traditional political cartoon appear on my various social-media channels…

…This isn’t surprising. Editorial cartoons were born in the era of newspapers, and while they now regularly appear on the Web—including in Slate—they remain stuck in the static, space-constrained, caricaturist mind-set of newsprint. The Pulitzers began awarding a prize for cartoons in 1922, and other than a few notable exceptions — Garry Trudeau’s Doonesbury in 1975, Berkeley Breathed’s Bloom County in 1987, and Mark Fiore’s animated cartoons in 2010 — the overwhelming majority of its awards have gone to traditional, single-panel cartoonists. It’s time for the Pulitzers to look past this old-fashioned medium and include graphics that are better attuned to this century.

My first suggestion would be for the committee to recognize infographics and interactive visualizations. Like most political cartoons, infographics are rarely funny. Unlike most political cartoons, the best infographics tend to pack a wallop.

Farhad Manjoo, Slate. Editorial Cartoons Are Stale, Simplistic, and Just Not Funny: The Pulitzer committee should honor slide shows, infographics, and listicles instead.

I don’t think the Pulitzer’s should abandon the editorial cartoon but absolutely agree there should be a new category for graphical stories. — Michael

We can get behind it.


Heavy swearing from Ira Glass. Excellent.

(also: co-sign on the effort)


You know him as host of NPR’s “This American Life,” but we here at AFAJP strictly know Ira Glass as devoted supporter of our mission to get The Onion a Pulitzer Prize. 

Are you as angry as he is? 

Last year ProPublica won the first Pulitzer for an online news site. This year, they have been awarded the first Pulitzer for a series that did not appear in print. The series was Eisinger and Bernstein’s ‘The Wall Street Money Machine,’ which described how hedge funds and financiers profited from the collapse of the economy. ProPublica publishes under a Creative Commons license and hosts a Nerd Blog where they write about journalism-related hacking and publish open source tools they have developed.

— First Ever Pulitzer For Non-Print Series via slashdot


Today’s honor caps a series of awards for ProPublica this year, including two George Polk Awards, one for radio (with NPR) for our series on brain injuries to our troops, another for television (with Frontline) for our reporting on police violence in New Orleans after Katrina; a National Magazine Award finalist nod for our story on dialysis facilities; the American Society of News Editors Batten Medal for sustained reporting on the New Orleans police story; two Investigative Reporters and Editors Awards, one for the dialysis story and accompanying database, the other for innovation for our “Dollars for Docs” series; and two awards from the Society for News Design for our news applications.

Paul Steiger, Editor in Chief, ProPublica, writing today about the non-profit’s Pulitzer win for National Reporting. ProPublica reporters  Jesse Eisinger and Jake Bernstein won the award for a series on Wall Street bankers who enriched (or tried to) themselves at the expense of their clients and — in some cases — their firms.

This is the first time a digital only series has won the Pulitzer.

Congratulations to an exceptional organization for showing what a non-profit can do in journalism.