Skip to main content
Welcome to a dying industry, journalism grads

Barbara Ehrenreich

Sunday, May 31, 2009
Print E-mail
deliciousdel.icio.us
diggDigg
technoratiTechnorati
redditReddit
facebookFacebook slashdotSlashdot
farkFark
newsvineNewsvine
googleGoogle Bookmarks
Share Comments (11)
Georgia (default)
Verdana
Times New Roman
Arial
Font | Size:

The dean gave me some very strict instructions about what to say today. No whining and no crying at the podium. No wringing of hands or gnashing of teeth. Be upbeat, be optimistic, he said - adding that it wouldn't hurt to throw in a few tips about how to apply for food stamps.
Images
View Larger Image
More Opinion

* Letters to the editor 06.01.09
* Consumers win with court's Prop. 64 decision 06.01.09
* Don't throw away the key on juvenile offenders 06.01.09
* How we killed Berkeley's 'Naked Guy' 06.01.09

So let's get the worst out of the way right up front: You are going to be trying to carve out a career in the worst economic downturn since the Great Depression. You are furthermore going to be trying to do so within what appears to be a dying industry. You have abundant skills and talents - it's just not clear that anyone wants to pay you for them.

Well, you are not alone.

How do you think it feels to be an autoworker right now? And I've spent time with plenty of laidoff paper mill workers, construction workers and miners. They've got skills; they've got experience. They just don't have jobs.

So let me be the first to say this to you: Welcome to the American working class.

You won't get rich, unless of course you develop a sideline in blackmail or bank robbery. You'll be living some of the problems you report on - the struggle for health insurance, for child care, for affordable housing. You might never have a cleaning lady. In fact, you might be one. I can't tell you how many writers I know who have moonlighted as cleaning ladies or waitresses. And you know what? They were good writers. And good cleaning ladies too, which is no small thing.

Let me tell you about my own career, which I think is relevant, not because I'm representative or exemplary in any way, but because I've seen some real ups and downs in this business.

I didn't start out to be a freelance writer or a journalist, but after a number of false starts and digressions, I discovered that's what I really loved doing. In about 1980, I was a single mother of two small children, and my work quota was four articles or columns a month. I did my research at the public library. I bought my clothes at Kmart or consignment stores. The kids did not get any special lessons or, when the time came, SAT prep courses.

Then came the fat times, in the '90s, which I realize now were an anomaly in the history of journalism. The industry was booming; editors would take me out for three-course lunches in Manhattan. I'll never forget one of those lunches: It was with the top editor of Esquire, and I was trying to pitch him a story on poverty. He looked increasingly bored as we got through the field greens with goat cheese, the tuna carpaccio and so forth - until we finally got to the death-by-chocolate dessert, and he finally said, "OK, do your thing on poverty - but make it upscale."

It was still an uphill struggle to write what I cared about, but at least I was getting generously paid - up to $10 a word by Time magazine. Imagine that - $10 a word. Most Americans would be happy to make $10 an hour.

Then, bit by bit, it all began to fall apart. The news weeklies: Time let me go in 1997. The book publishing industry was in tatters by 2005. And then the newspapers began to shrink within my hands or actually disappear. I was beginning to feel a certain kinship with blacksmiths and elevator operators when the recession hit in 2008, and every single income stream I had began to dry up.

But it was the recession, of course, that saved me from self-pity. I began to get sick and tired of the typical media recession story - which was about rich people having to cut back on the hours they spend with their personal trainers. All right, I realize those are man-bites-dog stories compared to a story about a laid-off roofer being evicted from his trailer home. But it seemed to me that the recession had absolutely eliminated the poor and the working class from the media consciousness. Once again, they had disappeared from sight.

So a couple of weeks ago, I pitched a certain well-known newspaper a series of reported essays on precisely this topic. They took it - but at about only one-quarter of what they had paid me for writing columns five years ago, barely enough to cover expenses. That bothered me. But then I had a kind of epiphany and realized: I've got to do this anyway. I'm on a mission, and I'll do whatever it takes.

Which brings me back to the subject of journalism as a profession. We are not part of an elite. We are part of the working class, which is exactly how journalists have seen themselves through most of American history - as working stiffs. We can be underpaid, we can be jerked around, we can be laid off arbitrarily - just like any autoworker or mechanic or hotel housekeeper or flight attendant.

But there is this difference: A laid-off autoworker doesn't go into his or her garage and assemble cars by hand. But we - journalists - we can't stop doing what we do.

As long as there is a story to be told, an injustice to be exposed, a mystery to be solved, we will find a way to do it. A recession won't stop us. A dying industry won't stop us. Even poverty won't stop us because we are all on a mission here. That's the meaning of your journalism degree. Do not consider it a certificate promising some sort of entitlement. Consider it a license to fight.

In the '70s, it was gonzo journalism. For us right now, it's guerrilla journalism, and we will not be stopped.

Journalist Barbara Ehrenreich is the author of "This Land is Their Land: Reports From a Divided Nation" (Holt Paperbacks, April 2009). She delivered this commencement address to the UC Berkeley Graduate School of Journalism class of 2009 on May 16. Contact us at forum@sfchronicle.com.

This article appeared on page H - 2 of the San Francisco Chronicle

Comments

Popular posts from this blog

工程排水量設計 與 暴雨量

  獨家/直擊大巨蛋落下「瀑布」 民眾疑惑問:排水系統呢? 14:35 2021/06/04   中時   張穎齊 中央氣象局發布豪大雨特報,有民眾直擊拍下大巨蛋從「蛋頂」沖下的瀑布影片,疑惑直呼「排水系統呢?」。(民眾提供/張穎齊台北傳真) 木柵路2段109巷口淹水。(北市府提供/張穎齊台北傳真) 南湖大橋下淹水。(北市府提供/張穎齊台北傳真) 北市消防局門口淹水。(北市府提供/張穎齊台北傳真) 六張犁信安街淹水。(北市府提供/張穎齊台北傳真) 中央氣象局發布豪大雨特報,受颱風及鋒面接近影響,北市中午12時起開始有持續性的強對流發展,市中心有瞬間強降雨,文山、大安及信義區時雨量均超過100毫米,大安及信義區最大10分鐘雨量均超過30毫米,多處積淹水。不過也有民眾直擊拍下大巨蛋從「蛋頂」沖下的瀑布影片,疑惑直呼「排水系統呢?」 北市府表示,目前測得最大累積雨量為大安區福州山站127.5毫米,水利署已發布南港區淹水一級警戒及松山區一級警戒,水利處稍早通知南港區南深陸閘門因為逼近警戒水位,可能隨時關閉。 此外,水利處也已通知各區里,因目前瞬間強降雨遠大於下水道的容量,會有積水狀況發生,如有地下室的應盡速關上防水閘門,減少積水進入地下室造成損失。而木柵路2段109巷口淹水,深約20公分,範圍約100平方公尺,南湖大橋下淹水長度約50公尺、寬度約10尺、深度約50公分。

業界對抑制房價手段 的 反映

  不動產聯盟總會林正雄:高房價政府也是推手 應停止重稅 2023-01-16 22:02   經濟日報/  中華民國不動產聯盟總會理事長林正雄今(16)日指出,這波房價高漲主因惡性通膨所致,尤其政府重稅也是推手之一。他呼籲,政府要「解決缺工」、「停止重稅」等,才能促進房市發展健康化。中華民國不動產聯盟總會提供。 中華民國不動產聯盟總會理事長林正雄今(16)日指出,這波 房價 高漲主因惡性 通膨 所致,尤其政府重稅也是推手之一,政府接連打房只會讓台灣經濟出現破口。他呼籲,政府要「解決缺工」、「停止重稅」等才能促進房市發展健康化。 他指出,近年房價高漲係因通貨膨脹,使各項原物料大幅上漲,全國缺工已經不只是民間 營建業 的大問題,連政府的公共工程都面臨人力短缺的難解課題,尤其營建署在2020年發布的營造業經濟調查報告顯示,全國營建業已缺工近12萬人,2022年以來,營建業的缺工的數字更是呈倍數成長。 他表示,營建業缺工問題亦使工資不斷墊高,在工料雙漲情況下,業者只能反映成本,這也是目前房價居高不下的原因;然而營造物價高漲是國際貿易問題,不易緩解,但「缺工」問題,政府可以透過制度適度鬆綁,修正外籍移工引進規定來解決,如此才能根本解決高房價問題,才是各黨能否獲得「執政」的關鍵! 另外,林正雄強調,政府歷次打房政策與金融限縮,以及大環境通膨,使得業者經營成本增加,諸多限制與稅制閉鎖期違反市場自然運作,連帶使消費者選擇減少。經過兩年多來的強力打房,民眾們應該要清醒了,政府以加徵重稅來打房,其實無助平抑房價,反而重重傷害了眾多相關從業人員的生計。 林正雄呼籲,政府要「解決缺工」、「停止重稅」,不要再以重稅打房,尊重市場機制,才是房市健康化的開始。

台灣建築獎 PRIZE OF ARCHITECTURE

  土建築師打敗普立茲克獎大師 橫山書法館奪台灣建築獎 2022-11-03 01:22   聯合報 坐落於桃園大園、由新世代建築師潘天壹設計的橫山書法藝術館,奪得2022台灣建築獎首獎。圖/潘天壹建築師事務所提供 2022台灣 建築 獎昨公布得主。新世代建築師潘天壹設計的橫山書法藝術館奪得首獎。普立茲克獎得主庫哈斯與姚仁喜合作的北藝中心、普立茲克獎得主坂茂與石昭永合作的南美館,則與德光教會、巨大集團全球營運總部並列佳作。本土建築師打敗兩位普立茲克獎得主,評審形容,台灣建築獎得主潘天壹年紀雖輕,作品卻能同時展現「隽永中有淡淡驚喜」的兩種張力,為喧囂的時代帶來安定的力量,奪得今年建築獎首獎。 橫山書法館與埤塘為鄰,潘天壹以篆刻硯石為意象,將五個硯石內斂而分散地放置於埤塘旁,形成流動的書寫地景。評審認為本案利用東方的合院概念,塑造現代園林遊園式觀瞻,將書法的意境用建築表現。整體呈現安靜、平和、穩健,有驚奇但不吵雜,節奏疏密拿捏得宜。 評審團召集人劉培森指出,潘天壹將建築物拆散成尺度小的院落式組織,空間處理切合主題。他把內部空間的氛圍處理得非常好,讓人感到心靈的沉澱,節奏上又出現不同的層次。當訪客從外界進入內部,層次的處理非常精彩,感受水平空間的寧靜之時,看到天花板的結構,又能感受到趣味性。潘天壹年紀輕、卻有相當成熟的表現,「30年前覺得台灣建築水準差國際一大截,30年後覺得有許多年輕建築師慢慢冒出、令人欣喜。」 橫山書法藝術館從設計到完成花費四年。潘天壹透露,四年過程中「經歷很大的逆轉過程」,到現在都還覺得有一些「未完成」,希望透過獎項啟動學習和陪伴。他認為,建築作品並非完工之後便停止,「每個案子都是孩子、屬於這個地方、擁有自己的生命力」。迄今他每個月都會去看橫山書法館,「看地景如何陪伴民眾、繼續它的旅程」,也希望在建築的發展過程中,學習如何回應社會責任。 潘天壹是新世代建築師中,罕見從未出國留學的「土建築師」。問他心中的「台灣建築」是什麼?他形容是「只有在台灣才看得到的台灣建築」,從中可以找到社會、文化與產業脈動的浮現。他認為,台灣的大環境比較少談書法、台灣文化,因為資訊都是「和洋混合」的強勢文化衝擊,在這種衝擊之下,大家習慣浸泡在張力之中,失去對自己文化內在的表述。他認為,如果將台灣建築獎歷屆的建築師連起來,他們都在串連台灣的DNA,「只要串得下去...