The Best American Magazine Writing 2017
With the work of journalists under fire around the world, this year’s anthology of National Magazine Awards finalists and winners is a timely reminder of the power of journalism. These pieces from writers driven to explore America’s fault lines include Shane Bauer’s harrowing “My Four Months as a Private Prison Guard†(<i>Mother Jones</i>), a visceral portrait of the abuses of the carceral system, and Sarah Stillman’s account of the havoc wreaked on young people’s lives when they are put on sex-offender registries (<i>The</i> <i>New Yorker</i>). In two different considerations of parenting, Nikole Hannah-Jones looks for a school for her daughter in a rapidly changing, racially divided Brooklyn (<i>New York Times Magazine</i>) and Michael Chabon takes his thirteen-year-old son to Fashion Week in Paris (<i>GQ</i>). Pamela Colloff explores how the 1966 University of Texas Tower mass shooting changed the course of one survivor’s life (<i>Texas Monthly</i>), and Siddhartha Mukherjee depicts the art and agony of oncology (<i>New York Times Magazine).</i><br /><br />Other selections take up the shocks of the election, including Matt Taibbi’s irreverent dispatches from the campaign trail (<i>Rolling Stone) </i>and George Saunders’s transfixing account of Trump’s rallies (<i>The</i> <i>New Yorker</i>). Jeffrey Goldberg talks through Obama’s foreign-policy legacy with the president (<i>The Atlantic),</i> Andrew Sullivan fears for the future of democracy (<i>New York</i>), and Gabriel Sherman relates how the women of Fox News brought to light Roger Ailes’s predations (<i>New York</i>). Joining them are Rebecca Solnit’s wide-ranging <i>Harper’s</i> commentary, Becca Rothfeld’s pondering women waiting from <i>The Odyssey</i> to Tinder (<i>Hedgehog Review</i>), and bold expeditions into nature: David Quammen ventures to Yellowstone to consider the future of wild places (<i>National Geographic</i>), and Mac McClelland sets off for Cuba in search of the ivory-billed woodpecker (<i>Audubon</i>).