The story meeting was punishing. It lasted more than a week, and consisted of the Sherman brothers trying to sell the Disney version, while Travers, whose youthful self-confidence had gathered over the years into an oppressive self-righteousness, interrupted, corrected, bullied, and shamed them. Like countless novelists in Hollywood, Travers sought to salvage every last detail from her original. The sessions were tape-recorded, and on the tapes you can hear Travers’s booming, imperious voice in terrifying counterpoint to the Sherman brothers’ chipper young voices. “But how is that arranged?” she asks of a sequence in which the principal characters jump into the world of a sidewalk chalk drawing. “Walt Disney magic!” one of the young men replies with touching excitement.
their newest star reporter is, from the evidence presented here, a plagiarizing jerk
You ask why you were not called by a fact checker from The New Yorker: This wasn't necessary because, as it turned out, you are not quoted in the piece; the only information about you in the piece is that you are the author of 'the only comprehensive biography of Pamela Travers'; and we were able to turn to other sources to check the information about Travers in the piece.
The general rule of thumb is to cite or at least mention sources in full not just say "oh there's a good book on Travers out there"
In reply to your email of December 20, I remain puzzled by the way in which The New Yorker deals with complaints such as mine, and troubled by Ms. Flanagan’s article. First, there is the matter of The New Yorker’s letter “template,” which seems to me a novel way of dealing with a complaint. It is certainly an innovation in journalism as far as I know: The New Yorker provided me with a letter in response to a complaint, but the letter written on my behalf does not complain. In fact, it expresses my gratitude.
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