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Digested week: Minor quake hits book lauding bits of Robert F Kennedy Jr’s chest | Emma Brockes

In the whirlwind of publication week for Olivia Nuzzi’s memoir, “American Canto,” the former New York magazine journalist finds herself at the center of both admiration and mockery. Nuzzi’s book delves into her complex feelings for Robert F. Kennedy Jr., the controversial figure who has transitioned from presidential candidate to Trump’s health minister. Her narrative, which aims to articulate the allure she found in Kennedy during her profile of him, has drawn both intrigue and skepticism. Critics have taken to social media to lampoon the memoir, particularly the intimate and somewhat unconventional descriptions that Nuzzi employs, such as her candid remark about Kennedy’s appearance: “He was exhausted, and he threw himself onto the bed, his pink shirt unbuttoned, revealing my favorite parts of his chest.” This line, emblematic of her style, has sparked conversations about the boundaries of personal affection and professional journalism.

While some have dismissed Nuzzi’s work as mere sensationalism, others have come to her defense, recognizing the memoir as a deeper exploration of the intersections between personal and political narratives. The backlash against Nuzzi’s writing often reflects broader societal attitudes towards women in journalism, particularly when their work involves emotional engagement with their subjects. Supporters argue that her candidness offers a fresh perspective on political figures, challenging the often sterile portrayal of politicians in media. This sentiment is echoed by figures in the literary and journalistic communities who appreciate Nuzzi’s fearless approach to storytelling, which invites readers to consider the emotional complexities behind public personas.

In a parallel narrative, veteran broadcaster David Dimbleby has also found himself in the spotlight, embodying a Dickensian flair in his own recent works. As he channels the spirit of classic literature, Dimbleby’s commentary on contemporary issues adds a layer of gravitas to the ongoing discussions surrounding Nuzzi’s memoir. Both figures, in their respective ways, highlight the evolving landscape of storytelling in journalism and literature, where personal experiences and emotional truths are increasingly valued. As Nuzzi navigates the mixed reception of “American Canto,” her work stands as a testament to the challenges and triumphs of weaving personal narratives into the fabric of political discourse.