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Environment Reporting<br />

conditioners, computers, copying machines,<br />

and much more—had released<br />

a very unusual brew of airborne compounds,<br />

many of which were known to<br />

be hazardous in sufficient concentrations.<br />

The dust had seemed to settle on<br />

every possible surface, indoors and out.<br />

And clinicians were noticing a chronic<br />

respiratory condition in hundreds of<br />

people, so many that they gave it a<br />

name: World Trade Center Cough.<br />

But environmental health <strong>issue</strong>s are<br />

meaningful only when risks are put<br />

into context. Many reporters detest the<br />

word “context” because it’s often misused<br />

by sources who try to explain<br />

away an accurate but embarrassing<br />

quote by saying it was reported “out of<br />

context.” In environmental health stories,<br />

however, context is everything.<br />

The presence of a chemical in dust on<br />

a table, or drifting in mid-air, or even<br />

deep inside the human lung, means<br />

something only if it wasn’t there before<br />

and only if there’s some evidence that<br />

it has a significant effect.<br />

By that standard the evidence was<br />

weak, and is still weak, that the contaminants<br />

generated by the September<br />

11 disaster pose a meaningful longterm<br />

health threat to anyone, with the<br />

possible exception of those rescue<br />

workers who spent many days on the<br />

debris pile without protective gear.<br />

There is virtually nothing in the peerreviewed<br />

scientific literature to suggest<br />

that the pollutant concentrations<br />

tens of thousands of office workers and<br />

downtown residents were breathing in<br />

the days and weeks after the attack<br />

were as hazardous as, for example, the<br />

smog inversions that settle over major<br />

cities on hot summer days.<br />

But that’s not the end of this story,<br />

because absence of reliable evidence is<br />

not the same as absence of risk. The<br />

post-September 11 air plume was so<br />

unusual—more glassy than sooty, for<br />

example, and alkaline instead of<br />

acidic—that the usual ways of assessing<br />

risk weren’t especially helpful. For<br />

example, the air in most of downtown<br />

Manhattan met Clean Air Act standards<br />

almost every day in the months after<br />

the attack, but the Clean Air Act was<br />

written to deal with smog, soot and<br />

acid rain, not glass fibers. The persistent<br />

coughs reported by many people<br />

who worked there were undeniably<br />

real, even if there was no reliable way<br />

to verify the cause of specific cases. And<br />

the lack of relevant studies in the scientific<br />

literature surely had something to<br />

do with the fact that no one had ever<br />

destroyed two skyscrapers before in<br />

the midst of a crowded U.S. city.<br />

So for journalists who are serious<br />

about reporting risk in context, the airquality<br />

<strong>issue</strong> was difficult, even maddening.<br />

I found it especially difficult<br />

for personal reasons. Having seen and<br />

felt the intense trauma of September<br />

11 from an up-close vantage, I agonized<br />

over whether air hazard stories<br />

based on weak evidence were, in some<br />

small way, adding to the sense of powerlessness<br />

and fear that seemed to pervade<br />

the city. What was my responsibility?<br />

To report only what I knew to be<br />

significant and thus be certain I was<br />

not recklessly adding to the trauma? Or<br />

to report on highly uncertain risks that<br />

I knew many people were very worried<br />

about, because those risks might someday<br />

be shown to be meaningful?<br />

In the end, I tried to pick my way<br />

down a middle path, emphasizing in<br />

my reports the sketchiness of the evidence.<br />

But soon, frustrated and unsure<br />

about what to write, I drifted away<br />

from the air-quality story and back to<br />

another project—about epidemiology<br />

and cancer clusters—that I felt much<br />

more comfortable with reporting. By<br />

then, the Manhattan air story had<br />

slipped the bonds of science and become<br />

a full-blown political controversy,<br />

with health officials making decisions<br />

that had little to do with the evidence at<br />

hand and everything to do with easing<br />

public anxiety. I watched from a safe<br />

distance. ■<br />

Dan Fagin has been Newsday’s<br />

environmental reporter since 1991.<br />

He also teaches environmental<br />

journalism at New York <strong>University</strong><br />

and is the president of the Society of<br />

Environmental Journalists.<br />

Dan.Fagin@newsday.com<br />

The Press Portrayed the Story as Fish vs. Farmers<br />

But the Klamath River story is a whole lot more complicated than that.<br />

By Michael Milstein<br />

Here is the way one of my articles<br />

described what might be<br />

called the center ring of one of<br />

the biggest environmental stories in<br />

2001: “Encampments grew on both<br />

sides of the fences around the closed<br />

federal head gates, creating a surreal<br />

scene amid suburban homes on the<br />

north end of Klamath Falls. It was the<br />

result of what began as an April decision<br />

by biologists to help protected<br />

fish in an arid basin beset by drought<br />

and declines in water quality.<br />

“Up to 200 farmers and their supporters<br />

flew American flags upside<br />

down outside the fences, illustrating<br />

their defiance of the federal government<br />

and its ruling that reserved water<br />

for endangered lake fish, called suckers,<br />

and threatened coho salmon in the<br />

Klamath River in this year of record<br />

drought. The decision has left many<br />

farms in the 200,000-acre Klamath Reclamation<br />

Project to dry out in the summer<br />

sun.<br />

“On televisions facing federal agents<br />

inside the fences, farmers broadcast<br />

54 <strong>Nieman</strong> Reports / Winter 2002

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