Words & ReflectionsWords & ReflectionsForeign Correspondence: Old Practices Inform New Realities‘Evelyn Waugh’s book can’t be read without thinking of today’s wars and how reporters cover them.’Waugh in AbyssiniaEvelyn WaughLouisiana State <strong>University</strong> Press. 288 Pages. $18.95 pb.By Cameron McWhirterEvelyn Waugh endeared himself to generationsof journalists with “Scoop,”his comic trashing of foreign warcorrespondents. His main character,William Boot, and his episodes in theimaginary African kingdom of Ishmaeliahave become touchstones for reportersgrappling with the more ludicrousaspects of their craft, whether they areworking the cop beat or Baghdad. Atsome point in our careers, we all haveworked for “The Daily Beast.”Now comes an ugly truth. Waughwrote so perfectly about bad journalismbecause he was a bad journalisthimself. He was biased. He was lazy.He made snap judgments and stuckto them, unwilling to explore the truemotivations of the people about whomhe wrote. He didn’t seem to really carethat much about what he was covering,even something as profound andtragic as a war. Decades after “Scoop”entered the canon of fiction about ourbruised profession, Louisiana State<strong>University</strong> (LSU) has re<strong>issue</strong>d Waugh’snonfiction twin to his famous novel,the long-forgotten “Waugh in Abyssinia.”The book is the first in LSU’s“From Our Own Correspondent”series of out-of-print books and neverpublished manuscripts by foreign correspondents.First published in 1936,right after Italy’s successful conquestof Ethiopia, “Waugh in Abyssinia” isequal parts reportage, history, politicalanalysis, and travelogue. This forgottenbook provides great insight intoforeign news coverage during Waugh’stime and raises questions about suchreporting today.The war between fascist Italy andHaile Selassie’s Ethiopia in 1935 and1936 was a calamity, one of severalcrises that set the stage for the comingSecond World War. Among otherhorrors, the Italians used mustardgas against their ill-equipped enemyin violation of international treaties.Yet Waugh demonstrates that none ofthe journalists sent to cover the war,least of all Waugh himself, had anyreal idea what was going on. In lieuof facts, which Waugh appears to haveonly half-heartedly attempted to collect,his personal prejudices dominatethe book.For Waugh, the Italo-EthiopianWar was more about his own lack ofcreature comforts than armies clashing.He never once saw a shot fired incombat. He spent most of his time inthe Ethiopian capital instead of at thefront. He only visited the Italian Armyafter it had controlled Ethiopia formonths. A reader gets the impressionthat if the Ethiopians provided betterhotel accommodations, he would havewritten a more favorable book.The biggest problem modern readerswill have, as did many British readersat the time it was published, is thatWaugh backed the fascists. “Waugh inAbyssinia” would have, and probablydid, make Mussolini smile. Waugh unabashedlyembraced an imperial viewthat reeks of racist arrogance. Takethis example from page 25: “Howeversordid the motives and however grossthe means by which the white racesestablished—and are still establishing—themselvesin Africa, the resulthas been, in the main, beneficial, forthere are more good men than bad inEurope, and there is a predispositiontowards justice and charity in Europeanculture; a bias, so that it cannotfor long run free without inclining togood; things which began wickedlyhave turned out well.”These lines were written only twoyears before the Nazi Kristallnacht andonly four years before the eruptionof a European war that would engulf92 <strong>Nieman</strong> Reports / Fall 2007
Booksthe world. It’s only one example ofWaugh, the tepid war reporter, nothaving a clue and not trying very hardto get one.Former journalist John MaxwellHamilton writes in his insightful introductionthat “The problem was Waughdisdained journalism work.” Hamilton,dean of Louisiana State <strong>University</strong>’sManship School of Mass Communication,writes that the atmosphere inAddis Ababa in the run-up to the warproved perfect for someone wishing to“ridicule rather than understand.”And this general disregard for theprofessional task is the book’s importance.It’s a warning to modernreporters and readers. Waugh and thegaggle of reporters who covered theItalian invasion of Ethiopia traffickedin rumor with the voice of authority.(Waugh mocks this failing then commitsthe sin repeatedly himself throughouthis book.) They discussed battles andtroop movements with no idea ofwhere, or if, they had taken place. (Onejournalist made up an entire battle.)“Scoop” was written to cast these absurditiesinto sharp relief. In many ways,“Waugh in Abyssinia”—the novelist’sattempt to produce serious reportage—accomplishesthe same end.Today foreign reporting is much betterthan in Waugh’s day—if for no otherreason than technology and globalcompetition have made it more difficultfor mendacity to stand as long as it oncedid. Yet Waugh’s approach to foreignreporting has never fully left us. Westill have our William Boots. RecentlyI heard a foreign correspondent askedabout reporting from Darfur. He saidit was awful: He couldn’t find a decenthotel near the refugee camps.Evelyn Waugh’s book can’t be readwithout thinking of today’s wars andhow reporters cover them. “Waugh inAbyssinia” puts the reports of insurgentdeaths in Iraq or the capture of a “senior”Taliban commander in context.Think of the snarky Waugh, pen inone hand, cocktail in the other, jottingdown his report as he sat miles fromthe battlefront.The “From Our Own Correspondent”series states its purpose as follows:“illuminating the development offoreign news gathering at a time whenit has never been more important.”Its first book is an excellent choice,illuminating the noble profession’sinherent weaknesses. Cameron McWhirter, a 2007 <strong>Nieman</strong>Fellow, is a reporter for The AtlantaJournal-Constitution. He once freelancedin Eritrea and Ethiopia, andhe says he took great measures toavoid other journalists while there.Type Creates a Visual Signature for Newspapers‘In a marketplace where content and quality once drove consumer decisions, the newspaper nowcompetes visually in a design-savvy, 24-hour free-information age.’From Gutenberg to OpenType: An Illustrated History of Type from theEarliest Letterforms to the Latest Digital FontsRobin DoddHartley and Marks Publishers. 192 Pages. $29.95 pb.By Ally PalmerType is a strange thing. Even as youread this you shouldn’t be aware ofthe chosen font or the shapes of theindividual characters or their size andthe space between the lines. All thosethings have been taken care of so theexperience of absorbing the informationcan be as pleasurable and seamlessas possible. However, now that it hasbeen mentioned you can’t help butbe aware of it and wonder just why itis important.Like many things, typesetting andtype design have undergone a transformationduring the past 20 years. Theadvent of desktop publishing—and, inparticular, the arrival of Apple’s Macintoshcomputer—was a quantum leapfor the publishing industry. In fact theMac is what gave me the opportunityin 1986 to work in an industry I hadnot even considered until then, whenas an unemployed musician I found ajob at a new music magazine, Cut, inEdinburgh, Scotland. A local publisherowned a new Mac Plus and quickly wesaw the potential to produce a magazinewith limited up-front cost.Viewed from where we are today, thiswas a primitive machine; but its biggestproblem was the limited amount of typeavailable. There were Times, Palatino,Helvetica, Optima and a few others. Allperfectly functional, readable fonts, butnot the inspiring selection we neededto create a youthful music publication.Instead we resorted to using Letraset,a dry transfer type, for headlines. Thiswas a painfully slow, laborious process,but working with it gave me a crucialinsight into the subtleties of handlingtype and the importance of such arcanematters as word and letter spacing.As the Macintosh became more powerfuland design and layout softwaresuch as PageMaker and Quark Xpressbecame more sophisticated, those ofus using it to create pages for publica-<strong>Nieman</strong> Reports / Fall 2007 93