Janet Malcolm

Janet Clara Malcolm (born Jana Klara Wienerová; July 8, 1934 – June 16, 2021) was an American writer, journalist on staff at ''The New Yorker'' magazine, and collagist. She was the author of '' Psychoanalysis: The Impossible Profession'' (1981), ''In the Freud Archives'' (1984), and '' The Journalist and the Murderer'' (1990), among other books. She wrote frequently about psychoanalysis as well as the relationship of the journalist to subject and was known for her prose style as well as polarizing criticism of her own profession, though her most contentious work, ''The Journalist and the Murderer,'' became a mainstay of journalism-school curricula.

Early life

Malcolm was born in Prague in 1934, one of two daughters—the other is the author Marie Winn—of Hanna (née Taussig) and Josef Wiener aka Joseph A. Winn, a psychiatrist. She resided in New York City after her family emigrated from Czechoslovakia in 1939, fleeing Nazi persecution of Jews. Malcolm was educated at the High School of Music and Art, then University of Michigan. At Michigan she wrote for the campus newspaper, ''The Michigan Daily'', as well as the humor magazine, ''The Gargoyle'', later editing ''The Gargoyle''.

Career

Malcolm was a literary nonfiction writer known for her prose style and her examination of the relationship between journalist and subject. She began working at ''The New Yorker'' in 1963 with women's interest assignments, writing about holiday shopping and children's books, as well as a column on home decor. She next wrote about photography for the magazine. She moved to reporting in 1978, which Malcolm attributed to her smoking cessation in a 2011 profile by Katie Roiphe: "She began to do the dense, idiosyncratic writing she is now known for when she quit smoking in 1978: she couldn't write without cigarettes, so she began reporting a long ''New Yorker'' fact piece, on family therapy, called 'The One-Way Mirror.'" Her preference for writing in the first person was influenced by ''New Yorker'' colleague Joseph Mitchell and she developed an interest in the construction of the authorial subject as much as the objects it described, quickly realizing "this 'I' was a character, just like the other characters. It's a construct. And it's not the person who you are. There's a bit of you in it. But it's a creation. Somewhere I wrote, 'the distinction between the I of the writing and the I of your life is like Superman and Clark Kent.'" She turned this interest in the construction of narrative to a variety of subjects, including two books about couples (Gertrude Stein and Alice B. Toklas, and poets Sylvia Plath and Ted Hughes), one on Anton Chekhov, and the true crime genre, but particularly returned repeatedly to the subject of psychoanalysis.

Malcolm was elected to the American Academy of Arts and Letters in 2001. Her papers are held at the Beinecke Rare Book & Manuscript Library at Yale University, which acquired her archive in 2013.

''Psychoanalysis: The Impossible Profession''

In 1981, Malcolm published a book on the modern psychoanalytic profession, following a psychoanalyst she gave the pseudonym “Aaron Green”. Freud scholar Peter Gay wrote that Malcolm's "witty and wicked ''Psychoanalysis: The Impossible Profession'' has been praised by psychoanalysts (with justice) as a dependable introduction to analytic theory and technique. It has the rare advantage over more solemn texts of being funny as well as informative".

In his 1981 ''New York Times'' review, Joseph Edelson wrote that ''Psychoanalysis: The Impossible Profession'' "is an artful book", praising Malcolm’s "keen eye for the surfaces — clothing, speech and furniture — that express character and social role" (noting she was then the photography critic for ''The New Yorker''). "It succeeds because she has instructed herself so carefully in the technical literature. Above all, it succeeds because she has been able to engage Aaron Green in a simulacrum of the psychoanalytic encounter — he confessing to her, she (I suspect) to him, the two of them joined in an intricate minuet of revelation."

The book was a 1982 National Book Award for Nonfiction finalist.

''In the Freud Archives'' and the Masson case

Articles Malcolm published in ''The New Yorker'' and in her subsequent book '' In The Freud Archives'' (1984) offered, according to the book's dust jacket, "the narrative of an unlikely, tragic/comic encounter among three men." They were psychoanalyst Kurt R. Eissler, psychoanalyst Jeffrey Moussaieff Masson, and independent Freud scholar Peter J. Swales. The book triggered a legal challenge by Masson, the former project director for the Sigmund Freud Archives. In his 1984 lawsuit, Masson claimed that Malcolm had libeled him by fabricating quotations she attributed to him.

Malcolm claimed that Masson had called himself an "intellectual gigolo". She also claimed that he said he wanted to turn the Freud estate into a haven of "sex, women and fun" and claimed that he was, "after Freud, the greatest analyst that ever lived." Malcolm was unable to produce all the disputed material on tape. The case was partially adjudicated before the Supreme Court, which held, against Malcolm, that the case could go forward for trial by jury. After a decade of proceedings, a jury finally decided in Malcolm's favor on November 2, 1994, on the grounds that, whether or not the quotations were genuine, more evidence would be needed to rule against Malcolm.

In August 1995, Malcolm claimed to have discovered a misplaced notebook containing three of the disputed quotes, swearing "an affidavit under penalty of perjury that the notes were genuine."

''The Journalist and the Murderer''

Malcolm's 1990 book ''The Journalist and the Murderer'' begins with the thesis: "Every journalist who is not too stupid or too full of himself to notice what is going on knows that what he does is morally indefensible."

Her example was the popular nonfiction writer Joe McGinniss; while researching his true crime book '' Fatal Vision'', McGinniss lived with the defense team of doctor Jeffrey MacDonald while MacDonald was on trial for the murders of his two daughters and pregnant wife. In Malcolm’s reporting, McGinniss quickly arrived at the conclusion MacDonald was guilty, but feigned belief in his innocence to gain MacDonald’s trust and access to the story—ultimately being sued by MacDonald over the deception.

Malcolm's book created a sensation when in March 1989 it appeared in two parts in ''The New Yorker'' magazine. Roundly criticized upon first publication, the book is still controversial, although it has come to be regarded as a classic, routinely assigned to journalism students.McCollum, Douglas, ''Columbia Journalism Review'', "You Have The Right to Remain Silent", January, February 2003. It ranks ninety-seventh in The Modern Library's list of the twentieth century's "100 Best Works of Nonfiction". Douglas McCollum wrote in the ''Columbia Journalism Review'', "In the decade after Malcolm's essay appeared, her once controversial theory became received wisdom."

Reception

Malcolm's penchant for controversial subjects and tendency to insert her views into the narrative brought her both admirers and critics. "Leaning heavily on the techniques of psychoanalysis, she probes not only actions and reactions but motivations and intent; she pursues literary analysis like a crime drama and courtroom battles like novels," wrote Cara Parks in ''The New Republic'' in April 2013. Parks praised Malcolm's "intensely intellectual style" as well as her "sharpness and creativity."

But in '' Esquire'', Tom Junod characterized Malcolm as "a self-hater whose work has managed to speak for the self-hatred (not to mention the class issues) of a profession that has designs on being 'one of the professions' but never will be." Junod found her to be devoid of "journalistic sympathy" and observed: "Very few journalists are more animated by malice than Janet Malcolm.” Junod himself, however, has been criticized for a number of journalistic duplicities, including a smirking piece in ''Esquire'' which outed the actor Kevin Spacey, as well as a similarly homophobic faux profile of the singer Michael Stipe.

Katie Roiphe summarized the tension between these polarized views, writing in 2011, "Malcolm's work, then, occupies that strange glittering territory between controversy and the establishment: she is both a grande dame of journalism, and still, somehow, its enfant terrible."

Personal life

She met her first husband, Donald Malcolm, at the University of Michigan, and after graduation they moved to Washington, D.C., and Janet occasionally reviewed books for ''The New Republic,'' before returning to New York. Donald reviewed books for ''The New Yorker'' in the 1950s and 1960s and served as a theater critic. They had a daughter, Anne, in 1963. Donald Malcolm died in 1975.

Malcolm's second husband was long-time ''New Yorker'' editor Gardner Botsford, a member of the family that had originally funded ''The New Yorker''. The author of ''A Life of Privilege, Mostly: A Memoir'', he died at age 87 in September 2004.

Death

Malcolm died from lung cancer at the age of 86 on June 16, 2021, at a hospital in Manhattan.

Works

Non-fiction

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Reissued in 2002 with an afterword by Janet Malcolm
by New York Review Books.
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Essay collections

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Photography

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As editor

* Chekhov, Anton (2018). '' The Lady with the Little Dog and Other Stories.'' Translated by Constance Garnett; selected, with a preface by Janet Malcolm. riverrun.
* — (2020). '' The Duel and other stories.'' Translated by Constance Garnett; selected, with a preface by Janet Malcolm. riverrun.
* — (2020). '' Ward No. 6 and other stories.'' Translated by Constance Garnett; selected, with a preface by Janet Malcolm. riverrun.

Awards and honors

*1982 - National Book Award for Nonfiction finalist for ''Psychoanlysis: The Impossible Profession''
*2001 - election to the American Academy of Arts and Letters
*2008 - PEN/Jacqueline Bograd Weld Award for Biography, ''Two Lives: Gertrude and Alice''
*2013 - National Book Critics Circle Award

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