Name: Going Around
Price: 29.95 USD
Availability: InStock
Author: Murray Kempton
ISBN: 9781644214510

A definitive collection of writings by the legendary Pulitzer Prize-winning reporter Murray Kempton (1917-1997) with a foreword by Darryl Pinckney, gathering dozens of columns, essays, and critiques from publications including The New York Post, The New York Review of Books, The New Republic, and Newsday.

With many uncollected and long out-of-print writings, this is the first volume of Kempton’s work to appear in 30 years, a book that resdiscovers the legendary figure of journalism that David Remnick called “the greatest newspaperman in town.”

“The man is a marvel. It’s like listening to Louis Armstrong, or Roy Eldridge: you don’t know where the hell he is going, but somehow he gets there and it knocks your socks off.” —Frank Sinatra

A courtly man of Southern roots, Murray Kempton worked as a labor reporter for the New York Post, won a Pulitzer Prize while at Newsday, and was arrested at the Democratic National Convention in Chicago along the way. He wore three piece suits and polished oxfords and was known for riding his bicycle around New York City while listening to his CD Walkman and smoking a pipe with wild red hair that later turned white. He developed a taste for baroque prose and became, in the words of Robert Silvers, his editor at The New York Review of Books, ”unmatched in his moral insight into the hypocrisies of politics and their consequences for the poor and powerless.”

He went to court proceedings and traffic accidents and funerals and to speeches by people who either were or wanted to be rich and famous. He wrote about everything and anybody—Tonya Harding and Warren Harding, Fidel Castro and Mussolini, Harry Truman and Sal Maglie, St. Francis of Assisi and James Joyce and J. Edgar Hoover.

From dispatches from a hardscrabble coal town in Western Maryland, a bus carrying Freedom Riders through Mississippi, an Iowa cornfield with Nikita Krushchev, an encampment of guerrillas in El Salvador, and Moscow at the end of the Soviet Union (these last two assignments filed by a reporter in his 70s), Kempton’s concerns and interests were extraordinarily broad. He wrote about subjects from H.L. Mencken to Tupac Shakur; organized labor and McCarthyism; the Civil Rights and Black Power movements; presidential hopefuls and Mafiosi; frauds and failures of all stripes; the “splendors and miseries” of life in New York City.

“All we journalists were in awe of Murray, not simply because he knew more than we did, but because he could do more with what he knew. How I miss him.”—Garry Wills, author of Lincoln at Gettysburg

“This is a vital collection for all who remain committed to journalism as an art form. Just as splendidly as it did decades ago, Kempton’s writing reminds us of all this medium can and must continue to do.” —Osita Nwanevu, contributing editor at The New Republic and columnist at The Guardian

“When and if the dust finally settles on the American Century, Murray Kempton will prove to have been one of its greatest writers: almost miraculously immersed in every region, profession, political movement, and social class, he leaves behind a body of work whose range (seven decades!) and moral ambition seem nothing short of majestic. This new anthology rescues him from a pile of clippings and lets his voice ring out even more clearly than it did during his life.”—Benjamin Moser, Pulitzer Prize-winning author of Sontag: Her Life and Work

“Murray Kempton wrote stately, measured prose in the tradition of Gibbon and Macauley, and within hours of publication it was used to wrap fish. He was also one of the great moral witnesses of his time, there on the sidewalk for 60-odd years, bringing his gimlet eye and sense of justice and solidarity—formed by his Episcopalian-bishop forebears and the IWW—to bear through the darkest and most hopeful times of the late twentieth century. I’m very happy there is at last a representative selection of his work, with a moving introductory portrait by Darryl Pinckney to put flesh on the bones.”—Lucy Sante, author of I Heard Her Call My Name

“Throughout his career, the Pulitzer Prize–winning columnist and reporter Kempton (1917-1997) stood out among journalists. His approach was critical, and he was, writes editor Holter, ‘for the downtrodden, instinctively.’ Of the guerrillas in 1980s El Salvador, Kempton wrote, ‘There aren’t all that many human creatures more attractive than some revolutionaries can be, at least until they win.’ As regards police violence against civil rights activists: ‘It is, of course, law and order when everyone who hits anyone else is wearing a uniform.’ What mattered to him lay deeper. The Civil Rights March on Washington represented ‘an acceptance of the revolutionaries into the American establishment’ that embodied the white hope ‘that the Negro revolt will stop where it is.’ Holter, an independent historical researcher, has gathered nearly 90 articles and editorials ‘from every period in Kempton’s career.’ Many are outstanding. The first is Kempton’s 1936 defense of Franklin D. Roosevelt, and the last outlines his instructions for his funeral. Kempton’s subjects range from labor unions and his FBI file to notables such as A. Philip Randolph, Dwight Eisenhower, and J. Robert Oppenheimer; cultural figures such as the blues singer Bessie Smith; and the less famous such as Odell Waller, a 1940s black sharecropper who shot his white landlord during a dispute. A voice for the times, he wrote with a grace seldom encountered today. Of the conservative William F. Buckley, he said: ‘I did not want him to fail, except in the superficial sense of dying an old man without ever seeing the kind of America he thinks he wants.’ Describing the future president, in 1989, he concluded: ‘We are assured that God does not make trash, which thought disposes of the impression that Donald Trump is not altogether a self-made man.’

Reading Kempton reminds us that, no matter the chaos, justice and human dignity are within our reach.”—Kirkus, Starred Review

Going Around

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By Murray KemptonForeword by Darryl PinckneyIntroduction by Andrew HolterEdited by Andrew Holter