In the fall of 2020, Helen Naslund was sentenced to 18 years in prison for killing her abusive husband Miles on their Alberta farm. The sentence angered people across Canada, and is a clear example of how an outdated justice system views women and treats domestic violence cases. Through interviews and letters from prison, Naslund opened up to journalist Jana G. Pruden about the decades of abuse she endured, the day of Miles’ death and the cover-up that followed, and her fight for freedom. Pruden’s portrait of Naslund is tragic but ultimately hopeful, and shines a harsh light on how we fail to protect, and even punish, victims of domestic abuse and violence.
From then on, Helen understood without question that if she left Miles, many people would die. She would die, the kids would die, and others – police or neighbours or whoever else Miles could take down – would die, too. Of that, she had absolutely no doubt.
Helen’s case was tough. She’d been charged with first-degree murder, and if a jury could be convinced the shooting was planned – even if that meant getting the gun and loading it moments before – she’d spend 25 years in prison before she could even apply for parole. Her conduct after the shooting, in disposing of Miles’s body and reporting him missing, wasn’t particularly sympathetic. And despite being a victim of severe physical and mental abuse for nearly 30 years, a psychologist who assessed Helen didn’t diagnose her as having battered woman syndrome. Her memory could be poor, and it was difficult – even impossible – for her to open up about the things she and her sons had endured.
As host ofThe Creative Nonfiction Podcast, Brendan O’Meara is no stranger to talking about the art and craft of storytelling. In this craft-focused excerpt, we’re digging intoEpisode 345, in which he interviewed Atavist editor Seyward Darby and freelance writer Sarah Souli about her work on the latest issue of The Atavist.
Writing long pieces is overwhelming, which also leads to overthinking. Where to start? Where to end? Too slow? Too fast? In media res or no?
Sarah Souli — whose recent Atavist feature, “A Matter of Honor,” saw her try and solve a triple murder of an Afghan mother and her two daughters at the Greek border — shares advice she received from her father.
“When I was in middle school and high school and studying for tests, he would always say, ‘Just do the easiest thing first,’” Souli says. “’When you read all the questions on the test, point out the ones that are the easiest and start with those because then you’ll feel a bit confident. And then you can move on to the hard ones, as opposed to doing it from page one.’”
Some writers can’t proceed until they have a lede, which can be akin to putting roadblocks at the base of your driveway. Instead, take that great scene you know is in the middle of the story and consider being more modular. Start writing there. Pause. Regroup. Even if the story is linear, the writing of it can be nonlinear. Like Souli says, it builds confidence — something most of us can attest is always in short supply.
Please enjoy this excerpt below, and listen to the full episode for more.
These interviews have been edited for clarity and concision.
What struck you about this story when it came across your desk?
Seyward Darby, Atavist editor-in-chief: We’ve read, heard, seen so many stories about migrants in the Mediterranean struggling to get to Europe and being treated really terribly at borders. What was striking about this is that it defied some of the stereotypes. It was a murder investigation: three women who struggled to make it where they wanted to make it, and then someone literally slit their throats. They were barely over the border into Europe, and they had come from Turkey; Turkey and Greece do not get along on any number of fronts. So it was a true crime story tied up with all of these international forces, which were made even more complex because Afghanistan — where these women were from — fell to the Taliban again, in 2021. Trying to solve a crime under any circumstances is going to be a challenge. But then add where it happened, who it happened to, and when it happened, and it becomes like nothing I had ever read.
When you’re receiving pitches for stories, how much legwork and pre-reporting do you like to see before you commit to pursuing it?
If I recall correctly, Sarah had a good contact at the Greek police: the woman who had spearheaded the investigation for a time. She also had grant support. The combination of who she had access to, and the resources that she had mustered, along with what we found interesting about the story itself, made sense to us.
One thing we talked about extensively over the years, because she’s been working on this for so long, was that it was highly unlikely she was ever going to solve this triple murder. So what can the narrative be here? It wasn’t like other true crime stories in which crimes have been solved. This was something very different. And Sarah’s first-person work was one of the things that we knew was going to set this apart from the beginning.
When you’re editing a piece, any piece, what are some common potholes that you hit and you realize “we need to figure out a way to patch that up”?
Every piece has different potholes. In this case, there was any number of challenges. Sarah started reporting this in 2019, maybe even a little earlier; she started following the story soon after the women were killed in 2018. Think about all of the events that have happened in the world since then. She wanted to go to Afghanistan and couldn’t because of the pandemic. Then, the Taliban came back in power. It wasn’t as though Sarah hadn’t done her job. It wasn’t as though there was some loose end that we just hadn’t tugged. It was like, “The world is burning. How are we going to figure out how to keep telling this story?”
And in this case, Sarah did a really nice job of using first person to express frustration and anxiety about some of the obstacles she encountered along the way. Yes, part of the job as an editor is to patch holes. But I’m a big fan of saying, “Let’s acknowledge in the story that it’s a problem.” It’s more honest. Having a really polished story that conveniently ignores some of the obstacles or pitfalls that a writer dealt with? Awesome, I’m so glad it reads nice. But I don’t necessarily trust stories like that.
Sarah, the reporting in this piece is really something.
Sarah Souli: This was one of the rare instances where the writing felt like the easiest part of the whole process. I was out of my depth at so many moments in the reporting, and really felt like I was taking on roles and responsibilities that I’d never had to before, even when doing other vaguely investigative work.
This was deep infiltration — not just into people’s personal lives, but also following a trail that the police had covered up to a certain point, and realizing that there was a lot to explore beyond what the police had done and venturing out on my own in a lot of ways. I’m not a trained investigator or a police officer, and I often found myself in situations where I was just like, “What am I doing? I should be behind a desk.”
How did you process that and try to find some degree of comfort in it?
Journalism, especially when you take a piece of this size or reportage of this depth and breadth, is never an individual thing. It’s so much more collaborative. I would not have been able to do what I did without the support from my Afghan colleagues. This was a project that I did over three and a half years. And at various points, I worked with a couple of different people, most of whom have asked to remain anonymous, just given the nature of the reporting that we did, and the precariousness of the political situation in Afghanistan right now. But there’s no way that I could have done what I did without the people that I worked with — in particular, Khwaga Ghani, who is credited on the piece. She’s an amazing Afghan journalist from Kabul, who’s now actually studying in California.
I couldn’t travel to Afghanistan, because it was COVID. This was March 2020; at some point, I realized that this situation is not going to get better. There’s no way I can travel. I really need to rethink how I’m going to report this from Afghanistan. Khwaga was recommended to me, by a couple of different colleagues. She traveled to Mazar-e-Sharif, which is where Fahima and her daughters are from, and we were basically on a WhatsApp video call for like 12 hours a day for 10 days. I could never have done that without her.
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There are moments when you inject yourself into the piece. One that I found particularly brave and even harrowing was when you confront Saïd with the pictures of the three slain family members — the mother and the two daughters. Where did that come from?
The confrontation with Saïd was actually the most difficult part to write. We edited it several times. It’s really hard to write action in a way that doesn’t feel cheesy. It was such an intense and cinematic moment, because at that point, I had been reporting for two years or more. I was just pissed, honestly. I had all of this information, all of these leads, and it was all pointing towards this one person. And so when I finally had a chance to meet him, I was just filled with anger.
Over the years, a lot of people — family members, close friends — were like, “You should be more scared. This is dangerous.” Again, because of the people that I worked with, I was never in situations that were extremely dangerous. One thing I realized in Turkey that really broke my heart: Even if I’m talking to someone who’s a human trafficker, or potentially a murderer, they’re much more scared of you than you are of them.
There are a couple of layers to that. One of them is that Turkey doesn’t recognize Afghans as legal refugees. So everyone’s situation is quite precarious. And there’s just a lot of mistrust when it comes to journalists in general. So I never personally felt like I was in danger. But again, I was with [translator and reporter] Tabsheer, who’s one of the best journalists I’ve ever worked with. I felt quite safe being with him. If I was alone, as a woman, I probably wouldn’t have done that.
And it must have been all the more uncomfortable that the piece starts with a first-person vignette of you hitting a roadblock — and then you find someone whohasseen these women and could give you information. It was really effective to set the stage of being a little bit dejected, and then getting that lead, and it’s off to the races.
After I came back from Istanbul last September, I gave myself a three-week period to just sit at home in Greece and write it all out. I was like, “Okay, beginnings and ends are the hardest, so we’re just going to forget about that right now, and we’re just going to write the middle.”
I have to give Seyward credit for that opener. Eventually, we were talking, and I was like, “I have no idea where to start this story.” She said, “Well, you should start it in the ice cream shop.” This is a murder investigation; isn’t starting in an ice cream shop too superficial? Or is the fact that I’m gonna have to talk about myself somehow disrespectful to Fahima, Rabiya, and Farzana, the main characters of the story? But at some point, I understood that this was going to be what was most helpful for the piece.
How did you originally arrive at the story?
The region of Evros between Greece and Turkey has historically been a very common point of migration — actually, so much so that until 2009, there were still landmines on the border. But it’s never really gotten the same amount of press as the Mediterranean Sea, especially with what goes on in Greece on the islands and Lesbos. When I first moved to Greece in 2017, I thought it was fascinating that it was such a historically important point, but there weren’t a lot of people reporting. So I started going up there pretty regularly from Athens a few times a year reporting.
In late October or early November 2018, I’m talking with some of my sources in villages, and they’re like, “Didn’t you hear about this murder?” There are a lot of people who die on this crossing, but they generally die either from drowning in the river or from hypothermia. Car accidents, maybe, or people who walk along the train tracks and get crushed by a train. But murder is not something that happens. It hadn’t happened in that region in, I think, about 20 years. In Greece in general, there aren’t necessarily a lot of homicides; there are an increasing amount of femicides, but it’s still a pretty small number compared to other countries. So usually every time there’s a murder, it makes the news. And this hadn’t.
So I went to go see Pavlos Pavlidis, a forensic scientist who I’ve interviewed many times and who had done the autopsy. And he was like, “Well, we have these three women. But we don’t really know much about them, or really anything about them.” They didn’t even know where they were from — one of the big problems with dead bodies that turn up in Evros is that people don’t have their papers or any documentation, so it becomes impossible to ID them. And so I wanted to start digging into that.
For people who might not be familiar with fixers, what does the fixer do? There might be translating, obviously, but what else?
We could also spend a long time interrogating the word fixer, because within the hierarchy of journalism, they’re often the lowest paid, and don’t really get a lot of credit — especially when you’re working in countries like Turkey or Afghanistan. Of the people that I worked with, two of them are already very established journalists. I mean, you can hire and work with a fixer who helps you on the ground, someone who just does translation, but for me, I really felt like I was working with a colleague. In the case of both Tabsheer and Khwaga, I was lucky to be working with people who were really invested in the piece and the story and figuring out what happened to Fahima and her daughters — and getting some justice for them.
I was reading an essay on writing by Francine Prose in a Tin House anthology, and she writes that writers are creatures who function best when we recall the writing process and tranquility. What is the writing process like when you’re alone, by yourself in the dark? In that moment of tranquility as you’re trying to crack the code of a piece — and especially one of this nature?
Honestly, I think it’s one of severe disassociation. I was trying to recall those three weeks that I first wrote the piece, but I don’t really remember the process or the feelings that I had about it. It’s a bit difficult for me to consider myself a writer. I have friends who are what I would call “writers” in quotes — writers who write novels that you get written up in the New York Times, and craft these whole worlds and write these beautiful sentences and come up with these extravagant characters, and just have a real depth of imagination. And I’ve always felt like what I’m most interested in is really just talking to people: hearing the story and pulling the threads and putting together this puzzle. I write because that is the medium through which it’s easiest to tell these sorts of stories and because I don’t have a very nice voice for radio. I have a complicated relationship with this identity.
What has to be in place for you at your workstation, so you can grease the wheels and get some momentum going?
Really, it’s that I wake up. I’ll maybe put on pants with, like, a zipper and a button. But usually I’ll stay in pajamas or be in workout clothes, because I’ll like try and trick myself that I’m going to work out later. Because that’s good for writing. I have my glass of tap water, a huge cup of coffee, and I will just drink coffee until like noon and not eat. As I’m saying it, I’m like, “God, that’s so unhealthy.” But that’s how it goes.
I have to start in the morning. Like, writing has to be the first thing that I start doing. I’m not one of those people who goes to the beach in the morning and swims first and then comes back and writes. No, it’s very utilitarian, very unromantic. I just get myself up, put myself on an extremely uncomfortable chair — because after all these years of working from home, I still haven’t gotten a desk chair — and just start writing. And that’s it.
At what point in the reporting process do you feel like you have enough to start writing?
I was so anxious about the writing process for this one. The reporting itself was so overwhelming, and I felt like there were so many moments where things could just go terribly wrong and the whole thing would fall out from under me. I know this is imposter syndrome, but I felt like someone at some point was going to call my bluff and be like, “You have no business doing any of this.” So I was hesitant about starting to write until I had enough of the reporting done. And at one point, it was just like, well, I mean, it’s never going to end up in a perfect conclusion. The person that I think should be on trial, or at least questioned by the police, it looks like it’s not going to be happening. So you just have to sit down and start writing.
How did you keep everything organized and straight so when it was game time you were you were ready to hit the ground running with all the information you gathered?
I was terrified of the fact-checking process from the beginning, so I tried to be as fastidious as possible. When I wrote the piece, basically every sentence was footnoted for the fact-checking.
Does finishing a piece like this leave you more energized or drained in the end?
When I got the layout for the piece with all the illustrations, it was the first time in reporting it that I cried. To see this mother and her two girls, to see their faces in front of me — and the illustrator did such an amazing job — it was like I was looking into their eyes. I’m so happy that they’re finally getting their story told and that there is some sort of modicum of justice that comes at the end of the piece. I don’t think I’ve really processed it yet.
Like most freelancers, I’m just constantly working, so I have a slate of assignments for the next few months. But this has made me rethink what kinds of stories I want to tell in the future and how I want to tell those stories as well. In what format? What medium? Where do I see my place? That was a very roundabout answer to a very specific question, but I think I kind of feel everything at once.
I always bring these conversations down for a landing by asking the guests for a recommendation for the listeners. What are you excited about?
I’ll give two, if that’s okay. The first is whenever I read a very intense piece, I’m like “Well, what do I do now?” Afghanistan is in extreme political and humanitarian crisis at the moment, so I got some recommendations from some Afghan friends, who told me that the best charity to donate to that’s doing good work with Afghans both in Afghanistan and Afghan refugees outside of the country is the International Rescue Committee, the IRC. So I’d like to encourage your listeners, if they feel so moved by Fahima’s story, to give a donation.
And then the other thing, because the piece starts with an epigraph from an amazing Bulgarian author who was an inspiration for me to start visiting Evros in the first place, I would recommend Kapka Kassabova’s book Border. It’s really fantastic, and a very illuminating look into this small corner of the world.
Immersing himself in the fast-paced world of restaurants, Angel Dean Lopez meets a Japanese restaurateur, quickly teaming up they attempt to bring karaoke to America — but competition is nipping at their heels. A fascinating snapshot into a surreal period in someone’s life.
“Because when I saw you sing, I suddenly understood how karaoke can work in America. In Japan, everybody studies music in school. When they sing the song, they feel it’s important to do it correctly. But you just jumped in and had fun. You didn’t care if you sucked. That’s the way it has to be in America!”
In our last Top Five of the year, we are bringing you some fantastic stories from a broad range of publications. We begin with a powerful piece on gun violence, written by a reporter who embeds herself for a year in a high school. We then go back in time to the heady days of Silicon Valley in the 90s, before taking a look at the increasingly disturbing abilities of AI. A delve into the world of audiophiles follows before we finish on a seasonal note, with a lovely essay on the Christmas tree trade. Enjoy reading and happy holidays!
Noelle Crombie | The Oregonian | December 11, 2022 | 3,274 words
If you need a reminder of why we need strong local newsrooms, look no further than this powerful project. Reporter Noelle Crombie spent a year at Rosemary Anderson, an alternative high school in Rockwood, a neighborhood in Gresham, Oregon, buffeted by racism, poverty, and COVID-19. Her goal: to document the impact of skyrocketing gun violence on the students, teachers, and support staff. The result is a four-part series, of which this article, about the death of student Dante McFallo, is the first entry. “Five students, including Dante, have died in shootings in the past 2½ years,” Crombie writes. “Another student died in a stabbing and two died in car wrecks. All were young men of color, just 18 or 19. Gunfire wounded at least two other Rosemary Anderson students; both survived.” Make sure to spend time with the photos and videos that accompany the story. —SD
Natalie So | The Believer | December 9, 2022 | 12,558 words
Computer chips were “the dope of the ’90s.” And during those years, Silicon Valley, changing dramatically from the personal computing boom, was the Wild West. In this splendid piece for The Believer, Natalie So takes us back to a dark, frenzied time in the Bay Area’s history: when computer-related crime was on the rise, and a new generation of organized crime, run by Asian gangs as part of a large-scale heroin operation, targeted businesses for hardware, especially microchips. But what makes this story special is So’s exploration of her family’s — and particularly her mother’s — place within ’90s Silicon Valley. She traces her parents’ trajectories as immigrants working in technology in the Bay Area before the dot-com boom. As she unearths the past, she is in awe of her mother: street-smart, fearless, and an anomaly in a culture that portrayed Asian American women as docile and passive. In a story that has it all — from true crime to history to memoir — So uncovers a chapter of the computer industry’s past that’s been largely forgotten. “Who writes the Silicon Valley story?” asks So. “And who is excluded from it?” This brings to life a seminal period in the Bay Area’s tech industry, but even more, it’s an epic piece of family history. —CLR
Keith Holyoak | MIT Press Reader | December 2, 2022 | 3,335 words
Artificial intelligence has fascinated me ever since 2017, when someone told me (in all seriousness!) that I’d be replaced by it within the decade, my editorial experience and skill first duplicated then surpassed by a machine that eats knowledge for breakfast, lunch, and dinner, 24/7, 365. Happily, this hasn’t happened — yet — but as Keith Holyoak says in this piece adapted from his book The Spider’s Thread: Metaphor in Mind, Brain, and Poetry, computers have long surpassed our ability to do math calculations. Could artificial intelligence eventually eclipse our creative abilities when it comes to language? Holyoak suggests perhaps not: “Though I remain officially agnostic, for the purpose of the specific question that presently concerns us — can AI write authentic poetry? — the preponderance of evidence leads me to answer “no.” AI has no apparent path to inner experience, which I (and many others) take to be the ultimate source of authentic poetry. A major corollary of this conclusion deserves to be stated: Inner experience can’t be defined as a computational process.” —KS
Sasha Frere-Jones | Harper’s | November 9, 2022 | 5,206 words
Perfection is a lie, but try telling that to someone with a newfound hobby. The apparatus of want — single-topic Instagram accounts, subreddits, fan forums — can turn a passing interest into an all-consuming obsession with the “endgame,” a nirvana in which all dreams are realized. For some, it’s mechanical keyboards. For others, it’s quilting. For the community that Sasha Frere-Jones explores in this fascinating piece, it’s audiophiles. (Or the “triode horn mafia,” as a subset of them is known.) But while there’s plenty of subculture gawking to be done here, what with the six-figure speaker prices and jargon-laden schisms, Frere-Jones threads the piece with an emotional honesty that turns it into something special. He entered this world because he loves music, and he wanted to hear the music he loves as truly as he could. Those moments where he manages to do just that, and to render the experience with the clarity that’s given him a long career as a music critic, are the ones that turn this piece into something else entirely. Discount the audiophiles all you want. But if this piece doesn’t make you want to throw your favorite piece of vinyl on a turntable and throw your smartphone into the sea, then I don’t know what to tell you. —PR
Owen Long | Curbed in partnership with Epic Magazine | December 7, 2022 | 6,374 words
Who knew the business of Christmas trees could be completely wild? Just read Owen Long’s entertaining story about the Christmas tree industry in New York City. Here, there are no quaint family tree farms or small neighborhood pop-ups — this ruthless industry is run by a few eccentric businessmen, called “tree men,” who spend most of the year preparing for the holiday season. There’s George Nash, an old hippie who sells trees to much of Harlem; Kevin Hammer, known as the “Keyser Söze of Christmas” and the man responsible for shaping NYC’s industry into what it is today; and Greg Walsh, who is Long’s boss (and looks exactly like Santa Claus). I don’t want to say too much — just sit down with a hot drink and dive into this festive and fascinating piece. There are some pretty hilarious lines, so be careful not to spit out your eggnog. —CLR
This story by Lynzy Billing is a stunning piece of journalism. Billing, a British journalist with Afghan and Pakistani roots, returned to Afghanistan as an adult to investigate what happened to her birth parents. Private investigators laughed at her or wanted nothing to do with it, so she decided to dig into her past herself. Over the next several years, Billing’s reporting shifted; what was initially a personal journey to learn about her origins became something else entirely: an investigation into night raids, or top-secret, CIA-backed operations meant to target insurgents.
With unprecedented on-the-ground access to survivors, eyewitnesses, and even fighters themselves, Billing tracked hundreds of night raids by one of the four “Zero Units,” or squads of U.S.-trained Afghan special forces soldiers. (These are also known as 02s.) With the help of Muhammad Rehman Shirzad, a forensic pathologist from Nangarhar province, over the course of her reporting Billing has identified 452 civilians killed in the 02’s raids over four years. But with “undercounting deaths and overstating accuracy” being a common practice — and those in power ultimately not caring about civilian casualties — the full civilian death tally for this 02, plus the other Zero Units, is likely much higher. Billing’s conversations over three years with 02 soldiers like Baseer and Hadi are particularly riveting: “I’d come to see them as flawed soldiers who, in their way, were trying to pull some good out of their lot by sharing what they know,” she writes, “even if it meant exposing their role in killing innocents.” But really, the entire piece is extraordinary. I was gripped until the final line.
According to Baseer, Hadi is the joker of the two. He squeezed his friend’s shoulder reassuringly, grinning at him. “Don’t worry, she’s not American,” he said in Pashto. In an attempt to reassure them, I tell them I am English, not American, and of Afghan and Pakistani descent. Hadi smiled weakly, but it was clear he was unconvinced.
Both soldiers had obtained leave passes under false pretenses to meet me. The relationship between journalist and soldier seemed to offer them a space where they could discuss their actions — even boast about them when marveling at their superior training and autonomy — because I think they knew I wasn’t going to turn them in or use their stories as leverage.
Baseer’s family had left Afghanistan when he was 3, during the same fractious conflict that killed my own family. Eventually, his family settled in a refugee camp in Peshawar in Pakistan. Growing up, he considered both the Americans and the Soviets infidels, but he later came to realize that the Taliban have their own cruelties.
It requires mettle to be an investigative reporter, and the best in the business channel that fortitude into stories worthy of the subject matter — stories written with bravery, precision, and empathy. Our picks on this list, as well as a few suggested by the writers themselves, examine sexual violence, drug addiction, and government policy that destroys families, among other topics. It’s dark stuff, but in the hands of these writers, the stories sing. The tunes may be mournful, but they’re also gorgeous. You’ll want to listen until the final notes.
Janelle Nanos | The Boston Globe Magazine | July 28, 2022 | 11,329 words
“Even if many of us never find them again, they may never really be lost,” writes Janelle Nanos about our memories. For most of her life, Kate Price had felt, deep in her body, that she had been wronged when she was a child. When she met Nanos in 2012, Price had already spent decades interrogating her own memory and history, but together — as journalist and survivor — they embarked on a journey to make sense of Price’s childhood, and to find evidence that she was sexually abused by her father and maternal grandfather, and sold for sex to truckers who drove through Pennsylvania. It’s a challenging read about child abuse, long-lasting trauma, memory, and family, but also a remarkably told story 10 years in the making about a woman who risked everything to discover the truth, and who defied the odds and has managed to build a happy life. The piece plays eerie visual tricks on the reader’s eye, from Erin Clark’s double-exposure photos to subtly moving layouts that make you question what you’re seeing; this imagery, combined with audio clips, take you deep into this incredible story. —Cheri Lucas Rowlands
Janelle Nanos recommends two reads about family, loss, and memory:
This horrific story about a UK hospital’s failure to save the life of a young child — written by the child’s mother — was for me a reminder that it’s important to trust your own instincts when facing a medical crisis in order to ensure that your loved ones get the care they need.
This essay made me smile and weep, and brought on a cascade of other emotions as I thought about the prospect of what I’d do if facing a similar challenge with my own children. It was written by the mother of a child diagnosed with Tay-Sachs disease who decided to celebrate her with a lifetime’s worth of birthdays.
Caitlin Dickerson | The Atlantic | August 8th, 2022 | 28,600 words
In my original blurb for this story, when it was featured in Longreads’ Top 5 newsletter, I wrote that Caitlin Dickerson’s “examination of the Trump administration’s family separation policy is a reporting tour de force and an American horror story that should be read and studied as long as the republic stands.” I remain steadfast in this belief. Assign it in journalism classes, government seminars, law courses, social work degree programs. Every American should know this story and grapple with its devastating contents. And, lest we act like we’re past the cruelty that Dickerson so masterfully unveils, family separation is still happening. Read this story, then use it to fuel demands that policymakers and law enforcement cease family separation once and for all. —Seyward Darby
Ümit Üngör and Annsar Shahhoud | New Lines Magazine | April 27, 2022 | 7,881 words
This piece instantly came to mind when I thought about investigative reporting. It’s haunted me. A harrowing read, it begins with a description of the videos that inspired Ümit Üngör and Annsar Shahhoud to start the investigation: two men, in broad daylight, executing 41 civilians and dumping the bodies in a pre-dug pit prepared with car tires for incineration. Detailed vividly, I warn it contains upsetting descriptions of violence. The callousness of these videos stood out for Üngör and Shahhoud, even though, as researchers of mass violence and genocide in Syria and elsewhere, they have watched thousands of hours of distressing footage. For previous research, they had created a Facebook profile of a young, pro-regime woman from an Alawite middle-class family — “Anna” — and used her to interview dozens of Assad’s perpetrators. After narrowing their scope with on-the-ground research, they scoured Facebook with this profile, finally recognizing the main shooter from the videos in a photo. Friending him on Facebook messenger, “Anna” leads him on a catfish dance for months before finally approaching the topic of the massacre and convincing him to confess that he “killed a lot of people.” Tracking down a killer and getting him to admit the soul-destroying acts he has committed is an impressive feat. But it took a toll, and to learn more about what Üngör and Shahhoud went through during the investigation, listen to The Guardian‘s podcast series “Searching for the Shadow Man” — they could not keep “Anna” alive for much longer. —Carolyn Wells
Paula Lavigne and Tom Junod | ESPN | April 11, 2022 | 31,519 words
There are few sports scandals more horrifying than Penn State assistant football coach Jerry Sandusky being indicted in 2011 for the sexual abuse of dozens of young boys. It killed the program’s reputation; it led to the ouster of legendary head coach Joe Paterno, a man revered in the town of State College and beyond. But decades before, the Penn State football system met another monster in its midst. Todd Hodne, a young and aggressive defenseman, was arrested for rape in 1978. Paterno ousted him from the locker room, but the end of Hodne’s football career didn’t mean the end of his atrocities. With patience and empathy, Lavigne and Junod piece together the saga in an investigation that’s something more than a magazine story. For the women who crossed Hodne’s ruinous path, it’s an exorcism, a defiant testimonial that desecration doesn’t have to mean destruction. For the reader, it’s a crucial reminder that the sports world has a way of coddling even its outcasts. And for the journalists who searched and listened and wrote this outstanding work, it’s yet another laurel in their already legendary careers. Between the ongoing true-crime podcast wave and Netflix phenomena like Monster: The Jeffrey Dahmer Story, it’s clear that our society has developed a lurid fixation with serially violent men. “Untold” will help you remember that every voyeuristic frisson comes at the price of another person’s life. —Peter Rubin
Tom Junod on his favorite investigation of the year:
Full disclosure: The people who wrote this are my friends and colleagues at ESPN. But my admiration for this story about NFL owner Daniel Snyder goes well beyond the personal. Simply put: The question that the writers started with was provocative enough — with all of Snyder’s baggage, why doesn’t the NFL just get rid of him? But the answer was, literally, jaw-dropping: Snyder remains an NFL owner because he’s let it be known that he’s investigated all the other owners. I mean, when I read that, I’ll admit that I was like, “Holy cow — these guys better have the goods.” That they had the goods is proven by all the disclosures that keep following in the original story’s wake, and the fact that Snyder is putting the Washington Commanders up for sale. But even more telling is the experience of reading the story. Sure, it has all the investigative revelations promised by its rather ungainly digital title. But it’s also an expert exercise in melding investigative and narrative journalism, one that, by its end, convinces readers that they know very little about how rich and powerful people live — about what they value and what they might be willing to destroy.
Seth Harp | Rolling Stone | September 4, 2022 | 5,922words
They’re young, healthy members of the U.S. Army stationed at Fort Bragg. So why are far too many of them dying by accidental fentanyl overdose? That’s the question that Seth Harp set out to answer in this deeply reported piece for Rolling Stone, but he ended up discovering much more about the needless reasons Fort Bragg soldiers are dying while stateside, despite a lack of transparency from top brass at the military installation. Is it the nature of the work at a place that houses mostly “male soldiers in combat-arms units”? Could the personality traits that make for elite soldiers make them more likely to dismiss the risks of drug use? Could the horrors of serving in Afghanistan and the recent U.S. withdrawal have spawned trauma that causes soldiers to self-medicate? In this unflinching piece, Harp does the work to try to find out and call the U.S. Army to account. Aside from the accidental overdose crisis killing soldiers at Fort Bragg, perhaps Harp’s most alarming discovery is about the most common way that soldiers stationed there die: “Forty-one Fort Bragg soldiers took their own lives in 2020 and 2021, making suicide the leading cause of death. A spokesman for the Army, Matthew Leonard, confirmed that no other base has ever recorded a higher two-year suicide toll.” —Krista Stevens
Ten years ago, Jen Hensel lost her daughter, Avielle Richman, in the Sandy Hook Elementary School shooting in Newtown, Connecticut. Twenty first graders and six adults were murdered. That shooting should have been a singular event: a transformative moment that should have led to stricter gun control laws and a national coming together to make schools safer. While some legislation has passed since then, it’s certainly not enough. For NPR, Tovia Smith tells Hensel’s story in the years after Avielle’s death: how she and her husband, Jeremy Richman, set up a foundation focused on neuroscience research and violence prevention; how she has coped with the death of Richman, who died by suicide in 2019; and how — despite it all — she has found some happiness with her two kids, Owen and Imogen. Smith’s portrait of Hensel is devastating and emotional; the piece forces you to imagine her family’s pain. “You have to imagine it,” Richman once said. To face the horror of gun violence — not turn away from it.
But embedded in every such joy is perpetual pain. It’s no longer the raw, relentless kind that made it hard to stand up 10 years ago, Hensel says. But it’s still sharp enough to blindside you and bring you to your knees.
Hensel’s dear friend Francine Wheeler, who also lost her 6-year-old, Ben, at Sandy Hook, agrees. They share an aversion to the word “closure” and bristle at the very idea of a “10th anniversary” — and the implied expectations around where they should be in the arc of their grief.
