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What is really going on here? For decades Renata Adler has been asking and answering this question with unmatched urgency. In her essays and long-form journalism, she has captured the cultural zeitgeist, distrusted the accepted wisdom, and written stories that would otherwise go untold. As a staff writer at from 1963 to 2001, Adler reported on civil rights from Selma, Alabama; on the war in Biafra, the Six-Day War, and the Vietnam War; on the Nixon impeachment inquiry and Congress; on cultural life in Cuba. She has also written about cultural matters in the United States, films (as chief film critic for ), books, politics, television, and pop music. Like many journalists, she has put herself in harm’s way in order to give us the news, not the “news” we have become accustomed to — celebrity journalism, conventional wisdom, received ideas — but the actual story, an account unfettered by ideology or consensus. She has been unafraid to speak up when too many other writers have joined the pack. In this sense, Adler is one of the few independent journalists writing in America today.

This collection of Adler’s nonfiction draws on (a selection of her earliest New Yorker pieces), (her film reviews), and (a selection of essays on politics and media), and also includes uncollected work from the past two decades. The more recent pieces are concerned with, in her words, “misrepresentation, coercion, and abuse of public process, and, to a degree, the journalist’s role in it.” With a brilliant literary and legal mind, Adler parses power by analyzing language: the language of courts, of journalists, of political figures, of the man on the street. In doing so, she unravels the tangled narratives that pass for the resolution of scandal and finds the threads that others miss, the ones that explain what really is going on here — from the Watergate scandal, to the “preposterous” Kenneth Starr report submitted to the House during the Clinton impeachment inquiry, to the plagiarism and fabrication scandal of the former reporter Jayson Blair. And she writes extensively about the Supreme Court and the power of its rulings, including its fateful decision in Bush v. Gore.

“What’s new. What else. What next. What’s happened here.”

Pitch Dark

Composed in the style of Renata Adler’s celebrated novel and displaying her keen journalist’s eye and mastery of language, both simple and sublime, is a bold and astonishing work of art.

When burst on the scene in the late ’70s it was like nothing readers had encountered before. It seemed to disregard the rules of the novel, but it wore its unconventionality with ease. Reading it was a pleasure of a new, unexpected kind. Above all, there was its voice, ambivalent, curious, wry, the voice of Jen Fain, a journalist negotiating the fraught landscape of contemporary urban America. Party guests, taxi drivers, brownstone dwellers, professors, journalists, presidents, and debutantes fill these dispatches from the world as Jen finds it.

A touchstone over the years for writers as different as David Foster Wallace and Elizabeth Hardwick, returns to enthrall a new generation of readers.