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The Fiddler in the Subway: The Story of the World-Class Violinist Who Played for Handouts. . . And Other Virtuoso Performances by America's Foremost Feature Writer
GENE WEINGARTEN IS THE O. HENRY OF AMERICAN JOURNALISM
Simply the best storyteller around, Weingarten describes the world as you think it is before revealing how it actually is—in narratives that are by turns hilarious, heartwarming, and provocative, but always memorable.
Millions of people know the title piece about violinist Joshua Bell, which originally began as a What would happen if you put a world-class musician outside a Washington, D.C., subway station to play for spare change? Would anyone even notice? The answer was no. Weingarten’s story went viral, becoming a widely referenced lesson about life lived too quickly. Other classic stories—the one about “The Great Zucchini,� a wildly popular but personally flawed children’s entertainer; the search for the official “Armpit of America�; a profile of the typical American nonvoter—all of them reveal as much about their readers as they do their subjects.
Simply the best storyteller around, Weingarten describes the world as you think it is before revealing how it actually is—in narratives that are by turns hilarious, heartwarming, and provocative, but always memorable.
Millions of people know the title piece about violinist Joshua Bell, which originally began as a What would happen if you put a world-class musician outside a Washington, D.C., subway station to play for spare change? Would anyone even notice? The answer was no. Weingarten’s story went viral, becoming a widely referenced lesson about life lived too quickly. Other classic stories—the one about “The Great Zucchini,� a wildly popular but personally flawed children’s entertainer; the search for the official “Armpit of America�; a profile of the typical American nonvoter—all of them reveal as much about their readers as they do their subjects.
384 pages, Paperback
First published January 1, 2010
63 people are currently reading
1151 people want to read
About the author
Gene Weingarten
13Ìýbooks114ÌýfollowersA Pulitzer Prize winning reporter and humorist for the Washington Post and author of a number of books.
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Displaying 1 - 30 of 247 reviews
July 4, 2016
I would recommend this book to anybody who reads.
I would recommend this book to anybody who writes and publishes, or secretly writes, or doesn’t write but wants to, or who is learning to tell stories.
I would recommend this book to people who don’t read and would rather be playing video games or watching a ball game while gulping Bud Light.
I would recommend this for a beach read because there are lots of brilliant short pieces that alternate with long feature articles—moving and funny and totally unexpected knock-the-breath-out-you heartbreakers.
I would recommend this book for an education—on indigenous cultures, politics, terrorism, and travel. And I would recommend this to people who prefer stories about human nature to two-dimensional relationship stories, but even if you like the flat stuff, I’d bet money you’ll like this too.
I would recommend this to people like me who love the craft and mechanics of writing and want to see a master at work. (I love shop talk, but if you are a person who doesn’t like seeing behind the curtain of how good writing happens, just skip the book’s introduction.)
In short, I would recommend this book to all human beings—with one caveat: the writing is so good, it may ruin you for anything less.
***
Here is a video of violinist playing Bach’s Chaconne—the piece he played in the famous subway performance that is the title of this collection. It seems fitting to add this virtuoso performance to a review of a virtuoso writer. (The feature “Fiddler in the Subway� won a Pulitzer. So did the feature “A Fatal Distraction.�)
I would recommend this book to anybody who writes and publishes, or secretly writes, or doesn’t write but wants to, or who is learning to tell stories.
I would recommend this book to people who don’t read and would rather be playing video games or watching a ball game while gulping Bud Light.
I would recommend this for a beach read because there are lots of brilliant short pieces that alternate with long feature articles—moving and funny and totally unexpected knock-the-breath-out-you heartbreakers.
I would recommend this book for an education—on indigenous cultures, politics, terrorism, and travel. And I would recommend this to people who prefer stories about human nature to two-dimensional relationship stories, but even if you like the flat stuff, I’d bet money you’ll like this too.
I would recommend this to people like me who love the craft and mechanics of writing and want to see a master at work. (I love shop talk, but if you are a person who doesn’t like seeing behind the curtain of how good writing happens, just skip the book’s introduction.)
In short, I would recommend this book to all human beings—with one caveat: the writing is so good, it may ruin you for anything less.
***
Here is a video of violinist playing Bach’s Chaconne—the piece he played in the famous subway performance that is the title of this collection. It seems fitting to add this virtuoso performance to a review of a virtuoso writer. (The feature “Fiddler in the Subway� won a Pulitzer. So did the feature “A Fatal Distraction.�)
November 19, 2018
I think this Gene Weingarten guy shows a lot of promise!
June 11, 2016
What happens when you pick up the last book you will ever read? When the writing is so good that it will ruin everything else for you? Gene Weingarten's writing did that for me. This book is a collection of feature writing he has done at The Washington Post. Two of the pieces won Pulitzer Prizes.
Only three stories in -- The Great Zucchini, The First Father and The Ghost of the Hardy Boys -- and I thought, "If you want to write, read this book. If you want to teach others to write, use this book. When I write, I want to write like this." It is beautiful, masterful stuff.
Reading further, I thought, "I can't recommend this book. I just can't. It will ruin every other writer for you until the end of time. I don't know if I can read anything else after this book."
Then I mustered my best Jimmy Dugan voice and yelled, "There's no crying in journalism! Why is he making me cry?"
I read "Pardon My French" on the 72nd anniversary of D-Day in Normandy. It's the one that made me laugh out loud. Then giggle at how delicious it was that he found just the right way to get the most honest responses from French folks. He calls it the Machine. I call it hilarious.
Every paragraph in "Fatal Distraction" is a punch to the gut. I almost couldn't bear to read it. But I let Weingarten take me by the hand and gently lead me through the horrific experiences of the people in this piece.
Weingarten quotes Franz Kafka: "The meaning of life is that it ends." This is the heart of everything he writes. This is what breathes life into every word.
Is this the last book I'll ever read? Well, no. I could no more stop reading than I could stop breathing. I will, however, measure everything else I read against Weingarten's writing.
--------------------------------------------
Thanks to Jeff Sharlet, who suggests so much good writing. He led me to Weingarten. "Thanks" is not enough, but it will have to do.
Only three stories in -- The Great Zucchini, The First Father and The Ghost of the Hardy Boys -- and I thought, "If you want to write, read this book. If you want to teach others to write, use this book. When I write, I want to write like this." It is beautiful, masterful stuff.
Reading further, I thought, "I can't recommend this book. I just can't. It will ruin every other writer for you until the end of time. I don't know if I can read anything else after this book."
Then I mustered my best Jimmy Dugan voice and yelled, "There's no crying in journalism! Why is he making me cry?"
I read "Pardon My French" on the 72nd anniversary of D-Day in Normandy. It's the one that made me laugh out loud. Then giggle at how delicious it was that he found just the right way to get the most honest responses from French folks. He calls it the Machine. I call it hilarious.
Every paragraph in "Fatal Distraction" is a punch to the gut. I almost couldn't bear to read it. But I let Weingarten take me by the hand and gently lead me through the horrific experiences of the people in this piece.
Weingarten quotes Franz Kafka: "The meaning of life is that it ends." This is the heart of everything he writes. This is what breathes life into every word.
Is this the last book I'll ever read? Well, no. I could no more stop reading than I could stop breathing. I will, however, measure everything else I read against Weingarten's writing.
--------------------------------------------
Thanks to Jeff Sharlet, who suggests so much good writing. He led me to Weingarten. "Thanks" is not enough, but it will have to do.
December 23, 2015
The author starts his book by explaining what makes good writing. "How pompous of him," I thought, "to think he is worthy of proposing a definition." He then went on to claim that he, himself, is a good writer. (Though I imagine now that he used a word more nuanced, and less common, than "good.")
But I very quickly noticed that the author does have this right. His writing was downright delicious. It was delectable. It was BRILLIANT! Who was this guy? So I clicked the little tab at the top of my e-reader, to return to the title page. Gene Weingarten. OK, storing his name in my memory.
By the end of the book, I had the intense desire to read everything the man has ever written. I have secret hopes of stumbling upon him through some random (but close, please G-d, let it be a close...) social contact. I want to sit there and hear him speak, then read more of his writing. His writing is similar to that of the musical genius of Joshua Bell, the Fiddler of the book's title. Weingarten's writing tells an emotional story - he can play the reader like a violin, and carry you through the ebbs and flows of his articles, while simultaneously touching something deep inside you, and also make you laugh. And he does it with exquisite beauty, all while teaching you a thing or two.
This book was enough to make me want to get a subscription to the Washington Post. And i don't even live in the US.
DROOL.
But I very quickly noticed that the author does have this right. His writing was downright delicious. It was delectable. It was BRILLIANT! Who was this guy? So I clicked the little tab at the top of my e-reader, to return to the title page. Gene Weingarten. OK, storing his name in my memory.
By the end of the book, I had the intense desire to read everything the man has ever written. I have secret hopes of stumbling upon him through some random (but close, please G-d, let it be a close...) social contact. I want to sit there and hear him speak, then read more of his writing. His writing is similar to that of the musical genius of Joshua Bell, the Fiddler of the book's title. Weingarten's writing tells an emotional story - he can play the reader like a violin, and carry you through the ebbs and flows of his articles, while simultaneously touching something deep inside you, and also make you laugh. And he does it with exquisite beauty, all while teaching you a thing or two.
This book was enough to make me want to get a subscription to the Washington Post. And i don't even live in the US.
DROOL.
June 26, 2017
Gene Weingarten is the sort of writer who produces the sort of writing that should be read by those who hope to write and deliver a compelling narrative at least once a week.
The introduction is a writing course in six pages. Weingarten tells us how to write well, how to grab and keep readers' and listeners' attention.
Each selection included in this altogether too brief anthology is accompanied by Weingarten's own commentary, which continues his introductory instruction.
Each selection is masterful and profoundly human.
If you intend to tell stories of lasting import, you must read and study this book.
The introduction is a writing course in six pages. Weingarten tells us how to write well, how to grab and keep readers' and listeners' attention.
Each selection included in this altogether too brief anthology is accompanied by Weingarten's own commentary, which continues his introductory instruction.
Each selection is masterful and profoundly human.
If you intend to tell stories of lasting import, you must read and study this book.
November 18, 2015
I'd read most of these essays in this book already, many when they were originally published. But something about having them collected this way feels satisfying. I aim to become a writer of this caliber one day. If I get even a tenth of the way there, I'll consider the effort a success.
August 25, 2012
First, let me say that Weingarten is an incredible writer. However, something that he did in the introduction bothered me throughout the book. He was a bit too specific about his "process", so it was difficult for me to really feel the magic of his writing. I suppose I prefer to have more illusion and distance. The discussion of his methods and philosophy, which I'm sure is interesting to aspiring writers, allowed me to see too deeply beyond the words into the intent. I didn't feel the emotion that I usually really like in essays, and I think the introduction was the reason why. Even in the gut-wrenching essay about babies being left to die in cars, in which he admitted to once having a near-miss himself, I didn't feel any real emotion. Contrast that to the famous Philip Becker columns by usually-restrained George Will. Something just felt off when he tried to engage my feelings or showed his own. It just wasn't believable somehow. It felt perfunctory.
What I liked especially about his work is that he fully explores a topic, from the minutae to the "big point". Not many do that amount of burrowing. He would come at the theme from several different way and often connected them in surprising and creative ways. I think this thoroughness is my favorite aspect of his writing.
What I liked especially about his work is that he fully explores a topic, from the minutae to the "big point". Not many do that amount of burrowing. He would come at the theme from several different way and often connected them in surprising and creative ways. I think this thoroughness is my favorite aspect of his writing.
September 17, 2013
I want to say I loved this book . . . But, I won't, I can't. I think it's Super-Duper-Awesome that there are people who can, will, do write so ideally, technically adroitly. But often the flip side of such exceptional technical writing is the emptiness in the feelings of the stories.
There were plenty of times I would turn the page hoping to see the end of the essay. But, alas no, Arghhhhhh. I prefer something that flows and twists and turns that may not be as grammatically correct but is filled with entrancement and an easy enjoyment.
But . . . to those of you elitist, intellects, I think you would find gratification in many of his essays. I mean, he is quite popular so, it's very conceivable that I'm the one with the issue and not the author.
And finally, I will tell you that the last essay was FANTASTIC! It made reading the whole book worth it. "The Fiddler in the Subway" was how he ended his book and it was tremendous. I loved it!
There were plenty of times I would turn the page hoping to see the end of the essay. But, alas no, Arghhhhhh. I prefer something that flows and twists and turns that may not be as grammatically correct but is filled with entrancement and an easy enjoyment.
But . . . to those of you elitist, intellects, I think you would find gratification in many of his essays. I mean, he is quite popular so, it's very conceivable that I'm the one with the issue and not the author.
And finally, I will tell you that the last essay was FANTASTIC! It made reading the whole book worth it. "The Fiddler in the Subway" was how he ended his book and it was tremendous. I loved it!
August 3, 2016
Book of essays by prize-winning Washington Post reporter. Really good writing. Highly recommended.
March 18, 2019
A collection of stories previously published in the Washington Post. Some wonderful, some just okay and others so haunting that they will stay with you long after you closed the book.
August 24, 2021
I've bought so many copies of this book, because I just keep giving it away to people. Some time will pass from my last time reading and gifting it, and I'll think to myself, "...but would I still like it as much NOW as I did then?" so I'll go get another copy and reread it. I will never stop buying this book.
September 17, 2020
I don’t usually like collections of essays or books of short stories, but this book was a delight. I hadn’t heard of it but it was pressed into my hands by a friend and I’m so glad. It’s a collection of feature stories, and even the ones that weren’t super interesting to me were so well-written that I looked forward to reading the next story when I finished one, and was sad to have finished the book. Definitely recommend!
December 1, 2021
This guy is hilarious. A series of stories that were featured in the Washington Post over the years. Sadly, he just retired!
August 4, 2016
For anyone interested in the mechanics of writing, this book serves and an excellent primer. Weingarten, like all masters of any craft, makes it all look quite effortless. Point of view, character development, compelling subjects, judicious placement of personal attitude. It's all there. Each story lends itself to the study of 'what works in writing'.
For readers who simply enjoy the thrill of a carnival ride and have no interest in the gears and cogs and pulleys in the undercarriage, step right up. Most of these stories I thoroughly enjoyed. My particular favorite is the opener about the children's party clown (sorry, I don't have the book nearby and I do not remember the guy's name). This one story is worth the effort to get the book, and truly makes up for any shortcomings elsewhere. By the way, I challenge you to actually find a shortcoming.
One other story veered more into the political commentary realm and while Weingarten's style is pleasing, I admit to skipping. No fault of the writer. I'm simply well beyond my saturation point on that general topic. Much like the corpulent diner in Monty Python's "Life of Brian", one more mint--or in this case, political opinion-- and I will explode.
As ever, try this one for yourself.
Enjoy!
For readers who simply enjoy the thrill of a carnival ride and have no interest in the gears and cogs and pulleys in the undercarriage, step right up. Most of these stories I thoroughly enjoyed. My particular favorite is the opener about the children's party clown (sorry, I don't have the book nearby and I do not remember the guy's name). This one story is worth the effort to get the book, and truly makes up for any shortcomings elsewhere. By the way, I challenge you to actually find a shortcoming.
One other story veered more into the political commentary realm and while Weingarten's style is pleasing, I admit to skipping. No fault of the writer. I'm simply well beyond my saturation point on that general topic. Much like the corpulent diner in Monty Python's "Life of Brian", one more mint--or in this case, political opinion-- and I will explode.
As ever, try this one for yourself.
Enjoy!
April 18, 2011
I absolutely loved this book! Gene Weingarten has such a way with words. He is a journalist for the Washington Post. These are essays that have been in the Washington Post. They are nonfiction and he has gotten Pulitzer Prizes for two of them, I believe. I became aware of Weingarten last year when the essay on Fatal Distractions was being passed around. This was an article he wrote on parents who have become distracted and left children in the car. This essay is included in this collection. Very thought-provoking articles. I found myself thinking about them days after I had finished.
September 26, 2012
Unfortuantely, late 2012 is the season of short reviews for me. I found this book on the "leave a book, take a book" shelf at the Bayou Bakery in Arlington, Virginia. As I expected nothing from the book, it took me quite by storm. What interesting and moving stories! My favorites were the one about the town that is the "arm-pit" of America and the one about the fiddler in the subway (at the very end).
May 7, 2022
Great essays. I’d read “The Great Zucchini,� “Fatal Distraction,� and “The Ghost of the Hardy Boys� already, and those ended up probably being the best ones. However, “The Armpit of America� and “None of the Above� were new to me and quite good as well. (Note: I’m writing some of these titles from memory; I hope I got them right.)
October 10, 2012
Want to learn more about the meaning of life? Try this book...
November 11, 2015
An incredible writer who searches for truth. Inspiring and intriguing.
December 23, 2020
A collection of "best of show" classic journalism. Weingarten is both a great storyteller and a great boots-on-the-ground reporter. Even though some of these stories follow outdated late-90's subjects (Clinton pops up often), the quality of the writing makes them classic. He has an adroit way of carefully framing, but not belaboring, his thesis. He knows when to back off.
You can read this book to immerse yourself in the stories he tells (who knew Doonesbury could still be interesting), or you can read this book as a masterclass in solid, sturdy writing. Either way it's a win.
Notes
This is the big mystery of life, and any good narrative can be made to grapple with some piece of it, large or small. A writer has to figure out what that piece is before she can begin to report her story. Only then can she know what questions to ask and what things to notice; only then will she see how to test her thesis and how to change it if it is wrong.
That’s what nonfiction storytelling is about. It is not enough for you to observe and report: You must also think. (pg.xiv)
I had asked him to create a definition of “sense of humor.� he took three days. This is what he wrote: “A sense of humor is a measurement of the extent to which you realize that you were trapped in a world almost entirely devoid of reason. Laughter is how you release the anxiety that you feel at this knowledge.� (pg.167)
Everything we are, Becker argued � our personalities, or attitudes, our very being � is an elaborate lie, a carefully crafted self-delusion constructed to avoid having to face a fact so terrifying it would drive us mad: Not only are we certain to die, but death could come at any moment, followed by an eternity of nothingness. Lower animals, blessedly unaware of their mortality, plod thoughtlessly through their lives on instinct alone.
Lacking their ignorance, Becker says, we compensate by making ourselves stupid. We tranquilize ourselves with the trivial; we make friends, raise families, drink beer, follow the Redskins, find comfort in religions promising eternal life, all of which takes our mind off the potentially paralyzing truth. We deceive ourselves into believing � not literally, but emotionally � that we are immortal. Paranoiacs and depressives are in some ways the sanest among us, according to Becker, because their layer of denial is so fragile it fractures. Most of us, though, are able to retain our sanity so long as our anxiety is held at bay, and our anxiety is held at bay so long as our bold illusion remains manageable.
This is not exactly the anthem of romantic poets or motivational speakers, but no one has ever successfully challenged Becker’s central thesis. On some level, we attempt to smother our elemental fear of death with a grand lie.
That’s where terrorism comes in. Terrorism penetrates that self deception in a way that few things can. (pg.177)
The dread of evil is a much more forcible principle of human actions than the prospect of good� What worries you masters you. � John Locke (pg.195)
Humans, Hickling said, have a fundamental need to create and maintain a narrative for their lives in which the universe is not implacable and heartless, that terrible things do not happen at random, and that catastrophe can be avoided if you are vigilant and responsible.
In hyperthermia cases, he believes, the parents are demonized for much the same reasons. “We are vulnerable, but we don’t want to be reminded of that. We want to believe that the world is understandable and controllable and unthreatening, that if we follow the rules, will be okay. So, when this kind of thing happens to other people, we need to put them in a different category from us. We don’t want to resemble them, and the fact that we might is too terrifying to deal with. So, they have to be monsters.� (pg.313)
In his June 1908 baccalaureate address, Wilson dourly told the young Princeton men: “I am not sure that it is of the first importance that you should be happy. Many an unhappy man has been of deep service to the world into himself.� (pg.331)
What is this life if, full of care,
We have no time to stand and stare.
� from “Leisure,� by W.H.Davies
(Pg.356)
You can read this book to immerse yourself in the stories he tells (who knew Doonesbury could still be interesting), or you can read this book as a masterclass in solid, sturdy writing. Either way it's a win.
Notes
This is the big mystery of life, and any good narrative can be made to grapple with some piece of it, large or small. A writer has to figure out what that piece is before she can begin to report her story. Only then can she know what questions to ask and what things to notice; only then will she see how to test her thesis and how to change it if it is wrong.
That’s what nonfiction storytelling is about. It is not enough for you to observe and report: You must also think. (pg.xiv)
I had asked him to create a definition of “sense of humor.� he took three days. This is what he wrote: “A sense of humor is a measurement of the extent to which you realize that you were trapped in a world almost entirely devoid of reason. Laughter is how you release the anxiety that you feel at this knowledge.� (pg.167)
Everything we are, Becker argued � our personalities, or attitudes, our very being � is an elaborate lie, a carefully crafted self-delusion constructed to avoid having to face a fact so terrifying it would drive us mad: Not only are we certain to die, but death could come at any moment, followed by an eternity of nothingness. Lower animals, blessedly unaware of their mortality, plod thoughtlessly through their lives on instinct alone.
Lacking their ignorance, Becker says, we compensate by making ourselves stupid. We tranquilize ourselves with the trivial; we make friends, raise families, drink beer, follow the Redskins, find comfort in religions promising eternal life, all of which takes our mind off the potentially paralyzing truth. We deceive ourselves into believing � not literally, but emotionally � that we are immortal. Paranoiacs and depressives are in some ways the sanest among us, according to Becker, because their layer of denial is so fragile it fractures. Most of us, though, are able to retain our sanity so long as our anxiety is held at bay, and our anxiety is held at bay so long as our bold illusion remains manageable.
This is not exactly the anthem of romantic poets or motivational speakers, but no one has ever successfully challenged Becker’s central thesis. On some level, we attempt to smother our elemental fear of death with a grand lie.
That’s where terrorism comes in. Terrorism penetrates that self deception in a way that few things can. (pg.177)
The dread of evil is a much more forcible principle of human actions than the prospect of good� What worries you masters you. � John Locke (pg.195)
Humans, Hickling said, have a fundamental need to create and maintain a narrative for their lives in which the universe is not implacable and heartless, that terrible things do not happen at random, and that catastrophe can be avoided if you are vigilant and responsible.
In hyperthermia cases, he believes, the parents are demonized for much the same reasons. “We are vulnerable, but we don’t want to be reminded of that. We want to believe that the world is understandable and controllable and unthreatening, that if we follow the rules, will be okay. So, when this kind of thing happens to other people, we need to put them in a different category from us. We don’t want to resemble them, and the fact that we might is too terrifying to deal with. So, they have to be monsters.� (pg.313)
In his June 1908 baccalaureate address, Wilson dourly told the young Princeton men: “I am not sure that it is of the first importance that you should be happy. Many an unhappy man has been of deep service to the world into himself.� (pg.331)
What is this life if, full of care,
We have no time to stand and stare.
� from “Leisure,� by W.H.Davies
(Pg.356)
May 13, 2020
An enthralling collection of articles and essays by a writer that takes you on unexpected journeys through a story. The author has a way with words and weaving a narrative that keep you engaged and curious.
This passage sums up the author's style:
"That night, I'd learned two lessons. The first is that without passion, you have nothing. The second is that the most important words in your story are the ones you don't write. They're the ones you imply -- the ones that you cause to pop into the reader's mind and get her to think 'Aha!'"
This one sits with me as a focal point for how I approach my career in customer experience research:
"That's what nonfiction storytelling is about. It is not enough for you to observe and report: You must also think. .... I learned that for a long narrative to have power, it can't just be delivering information -- it needs to create a textured experience, the way a movie does."
Some others that gave me the feels:
"Death informs virtually all of literature. We lust and love so we can feel more alive. We build families so we can be immortal. We crave fame, and do good works, so both will outlive us. The Gods of our choosing promise eternity."
"...the descriptive power of words. Use them with care; arrange them shrewdly. Remember that sentences have cadence and meter and melody -- don't let them become a one-note lullaby. Interrupt the long with the short, the simple with the complex, and use them all to build a vivid narrative, a theater of the mind that each reader then edits and personalizes for himself."
"At its heart, laughter is a tool to triumph over fear. As we grow older, our senses of humor become more demanding and refined, but that basic, hard-wired reflex remains. We need it, because life is scary. Nature is heartless, people can be cruel, and death and suffering are inevitable and arbitrary. We learn to tame our terror by laughing at the absurdity of it all."
"Writing is an exercise in power. You wield the words, shape events. You are God. You can make anything happen. You are bound by no laws but your own."
"In some ways, religion is like abstract art. There is beauty and spectacle, but in both cases, one must reach into oneself to find meaning."
"Humor is designed to deliver joy to others, but there is something about it that permits -- even demands -- an emotional distance from your subject. ...."
This passage sums up the author's style:
"That night, I'd learned two lessons. The first is that without passion, you have nothing. The second is that the most important words in your story are the ones you don't write. They're the ones you imply -- the ones that you cause to pop into the reader's mind and get her to think 'Aha!'"
This one sits with me as a focal point for how I approach my career in customer experience research:
"That's what nonfiction storytelling is about. It is not enough for you to observe and report: You must also think. .... I learned that for a long narrative to have power, it can't just be delivering information -- it needs to create a textured experience, the way a movie does."
Some others that gave me the feels:
"Death informs virtually all of literature. We lust and love so we can feel more alive. We build families so we can be immortal. We crave fame, and do good works, so both will outlive us. The Gods of our choosing promise eternity."
"...the descriptive power of words. Use them with care; arrange them shrewdly. Remember that sentences have cadence and meter and melody -- don't let them become a one-note lullaby. Interrupt the long with the short, the simple with the complex, and use them all to build a vivid narrative, a theater of the mind that each reader then edits and personalizes for himself."
"At its heart, laughter is a tool to triumph over fear. As we grow older, our senses of humor become more demanding and refined, but that basic, hard-wired reflex remains. We need it, because life is scary. Nature is heartless, people can be cruel, and death and suffering are inevitable and arbitrary. We learn to tame our terror by laughing at the absurdity of it all."
"Writing is an exercise in power. You wield the words, shape events. You are God. You can make anything happen. You are bound by no laws but your own."
"In some ways, religion is like abstract art. There is beauty and spectacle, but in both cases, one must reach into oneself to find meaning."
"Humor is designed to deliver joy to others, but there is something about it that permits -- even demands -- an emotional distance from your subject. ...."
October 1, 2017
A collection of long form journalism pieces which appeared in the Washington Post. Weingarten is a master journalist who finds the "story" in any situation. Every one of these essays was a gem, no two alike. He is a wonderful writer and I read the entire collection in a few days. Loved his piece about starting a "non-voters" party, who could have their way on any issue, but of course, they don't vote, so this is a no-go! He sees the best and most interesting part of everyone, and one of the shortest pieces, about his father, brought tears to my eyes. I would recommend this if you are looking for a book of essays about a wide range of topics, from the city he deemed the "armpit of America," to the tittle essay about Josh Bell playing in the DC Metro. You can see the film from that event here:
November 24, 2023
This collection of feature articles spans the author's career writing for the Washington Post. They display long-form journalism at its best. Weingarten may consider himself a humorist, but that description is too one-dimensional. The thing that stands out about his writing, regardless of the subject, is the way he portrays people. Yes, his descriptions are often funny. But the book that covers such difficult topics as parents whose children have died because they were left unattended in cars, or the challenges of growing up in a remote Alaskan village plagued by poverty, addiction, and depression. Weingarten doesn't shy away from uncomfortable or inconvenient truths. But he writes about every person with compassion. These essays are thought-provoking and do what the best journalism should do: raise questions that can't be answered simply, quickly, or reflexively.
June 9, 2021
The best way to read this collection of features is to skip around and pick ones you think you'll enjoy, or just be safe and pick the Pulizter winners. There are a couple stories that really show their age and what was acceptable thinking during the last generation and that stunk, but when the stories hit, they HIT. There are some unbelievably fantastic pieces in here that everyone should read immediately (Great Zucchini, The First Father, the Armpit of America, Doonesburys War, Fatal Distraction, and The Fiddler in the Subway); they are the among the best I've ever read. I love reading feature stories and it was a real treat for several great ones from the past few decades to be rounded up and spoonfed to me.
November 27, 2017
The Fiddler in the Subway is a compilation of interesting and well-written stories published by The Washington Post's Gene Weingarten. The stories look at everything from the author of the Hardy Boys book series to facing one's fears to the accounts of parents whose children died due to being left in the backseats of cars on hot days. The author takes a fresh/creative perspective as he tells each of the stories and its impact on him. Two of the stories in the book won the author Pulitzer Prizes in Feature Writing and both of those stories are amazing! This is definitely a great book to read!
February 23, 2019
I've loved some of these pieces since they were first published in the Washington Post, remembering details and how devastating / transformational they were to me like I had just read them yesterday... and was therefore a bit surprised to see the original publication dates for my favorites (Snowbound - 2005, Fatal Distraction - 2009). Weingarten can draw in a reader like no one else, and this collection was almost too good to consume at once, since each essay is so thought-provoking and profound that it requires some mulling over rather than just continuing straight on to the next. Highly recommend.
January 15, 2023
I picked this up at the library book sale solely because of the title. I figured "the fiddler" referred to Joshua Bell, and I was right. He is a favorite of mine! That piece happened to be the last one in the book so I figured I would start at the beginning and see if I liked the others. And I was hooked! The book is somewhat dated, having a 2010 publication date, but the stories are so varied and well-written that the age of the pieces was easy to overlook. Thank you, Mr. Weingarten, for titling this The Fiddler in the Subway. Had you titled it The Great Zucchini, I might have passed it up.
July 3, 2023
I don't always completely align with Weingarten's perspective, and some of the pieces are definitely stronger than others, but he's a very talented storyteller and there are some lovely, challenging, engaging articles in this collection. The title one was fascinating to reread (I remember reading it when it came out!), and the one about infants in hot cars was extremely upsetting and sad ... and maybe like him my favorite is the one about children's party magician the Great Zucchini. Some nice shorter pieces, too (I liked the Roger Maris one and the one about his father's pride in his granddaughter's accomplishments).
December 30, 2018
Gene Weingarten is a an excellent writer. His stories are heartfelt and inspiring. My favorites were the story about the girl who was brain dead, terrorism in Israel, Joshua Bell, why people don’t vote, Doonesbury, and the armpit of America. The most disturbing story was about parents who forget their children in cars. To arouse emotions through a small
Piece of writing is a special skill that I value and respect. Gene Weingarten uses a combination of pathos, humor, and actual research in a seemingly effortless manner. I attain to such a level.
Piece of writing is a special skill that I value and respect. Gene Weingarten uses a combination of pathos, humor, and actual research in a seemingly effortless manner. I attain to such a level.
March 4, 2018
FANTASTIC writing! Too many wonderful lines to write here! Fave quote: "It is said that people are shaped the most not by what they want but by what they fear. Paranoiacs and depressives are in some way the sanest among us, according to Becker, because their layer of denial is so fragile it fractures. Most of us are able to retain our sanity so long as our anxiety is held at bay, and our anxiety is held at bay so long as our bold illusion remains manageable."
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