Playing the Pain Card: The Retraction of Ira Glass « MEDIA PRAXIS:
In “Retraction,” Ira Glass, the host of This American Life, thoughtfully and with some felt embarrassment and even seeming grief revealed that “the most powerful and memorable moments of the story all seem to be fabricated.” And so this story, too, inevitably played out in relation to the private pain of Ira Glass, and his listeners: “we are going to talk to Mike Daisey about why he lied to all of you, and to me, off the air, during the fact-checking process.” However, by playing the pain card, this story of real wrongdoing is only understood at the personal, and not formal, institutional or political, levels.
Certainly, deceiving a national radio audience, and its producers, about worker abuse in China is itself a violation worthy of attention. But the nature of this violation becomes less clear when that national audience is listening to “This American Life,” itself one of the range of contemporary media practices that structure reality like fiction so as to move, entertain, and inform audiences. Daisey explains, “Everything I have done is bent towards that end, to make people care.” He admits that he lied in pursuit of telling what he thought to be a greater artistic truth, but he continually insists, to an ever more aggrieved Glass, that he did so as a theater artist and not a journalist, and his mistake was putting his work into a new context.
In response, however, Glass doesn’t take the more transparent road: acknowledging that this context-confusion is partly of his own making. For certainly, genre-bending shows like This American Life influence the shifting norms of storytelling. Their programs may be fact-checked like real journalists, but other norms of the profession are adapted to allow audiences to feel. But Glass avoids larger and more self-critical conversations about the pervasive use of fabrication, entertainment, and fiction within contemporary media, or his own show. Instead he chooses to at once verify the journalistic chops of This American Life and vilify the behavior of Daisey. He brings in reporters from “Planet Money” and The New York Times to humiliate Daisey into his own retraction, making Daisey the scapegoat for a cultural and institutional shift, or perhaps spread. Glass says to Daisey, “I have the normal world view. If you say something happened to me, then it did.”
Given these changing norms, however, in our contemporary media environment we need more than a normal view from our best journalists. We need critical frameworks to understand how Daisey, Glass, and mainstream institutions, like NPR, are honestly thinking about, using, and changing the uses of subjectivity, fiction, storytelling—and the real emotions they bring to bear—to allow audiences to know, and to care, in an ever more noisy, unfeeling, and uncertain world.