After Adolph Ochs purchased The New York Times in 1896, Zionism and the eventual reality of the State of Israel were framed within his guiding principle, embraced by his Sulzberger family successor, that Judaism is a religion and not a national identity. Apprehensive lest the loyalty of American Jews to the United States be undermined by the existence of a Jewish state, they adopted an anti-Zionist critique that remained embedded in its editorials, on the Opinion page and in its news coverage. Through the examination of evidence drawn from its own pages, this book analyzes how all the news “fit to print” became news that fit the Times’ discomfort with the idea, and since 1948 the reality, of a thriving democratic Jewish state in the historic homeland of the Jewish people.

An extensive guide to current conventions of written English - an invaluable resource for anyone involved in preparing or presenting work for publication in print or on the web. Topics include capitalisation, italics, division of words and treatment of numbers. Thue use of Maori in English-language texts, non-discriminatory language and emails are discussed. Differences between the use of English in New Zealand and America are identified. Editing markup and preparing copy are illustrated. A combined index/glossary provide a quick reference tool.

From the New York Times’s former Op-Ed art director, the true story of the world’s first Op-Ed page, a public platform that prefigured the blogosphere. Jerelle Kraus, whose thirteen-year tenure as Op-Ed art director far exceeds that of any other art director or editor, unveils a riveting account of working at the Times. Her insider anecdotes include the reasons why artist Saul Steinberg hated the Times, why editor Howell Raines stopped the presses to kill a feature by Doonesbury’s Garry Trudeau, and why reporter Syd Schanburg—whose story was told in the movie The Killing Fields—stated that he would travel anywhere to see Kissinger hanged, as well as Kraus’s tale of surviving two and a half hours alone with the dethroned outlaw, Richard Nixon. All the Art features a satiric portrayal of John McCain, a classic cartoon of Barack Obama by Jules Feiffer, and a drawing of Hillary Clinton and Obama by Barry Blitt. But when Frank Rich wrote a column discussing Hillary Clinton exclusively, the Times refused to allow Blitt to portray her. Nearly any notion is palatable in prose, yet editors perceive pictures as a far greater threat. Confucius underestimated the number of words an image is worth; the thousand-fold power of a picture is also its curse . . . Features 142 artists from thirty nations and five continents, and 324 pictures—gleaned from a total of 30,000—that stir our cultural-political pot. “To discover what really goes on inside the belly of the media beast, read this book.” —Bill Maher “In this overflowing treasure chest of ideas, politics and cultural critiques, Kraus proves that “art is dangerous” and sometimes necessarily so.” —Publishers Weekly

All the News is Fit to Print traces Aull's transformation from struggling schoolteacher to one of the best-known small-town newspapermen in America.