It won’t, then, come as a surprise that Bernstein believes in long-form journalism. He may be at pains to stress he is no Luddite, but nevertheless he is not on Twitter, although “I look at it sometimes”. His style is to “think about what something means” rather than pump out a quick thought. “Even doing a blog still doesn’t appeal,” he says, before namechecking Hendrik Hertzberg in the New Yorker, and Andrew Sullivan’s Daily Dish as bloggers he follows.
Bernstein’s work, he says, focuses on “primary projects” – which include work on a “largely fictional” film with director Steven Soderberg, which “has political overtones, but goes way beyond politics”, and a TV series for an unnamed cable network “about the US Congress” on which he has been working, apparently, for four or five years. That job, he says, will be done in 18 months, which is the epitome of the non-Twitter project.
More tantalisingly, though, is work on an early memoir. When Bernstein was 16 he became a copyboy at the Washington Star, which served as his university education, becoming a reporter at 19. It was the early 1960s, and he recalls that he had to “attend almost all of Kennedy’s press conferences” to help check quotes. On the day Kennedy was assassinated he had to dash off “to Capitol Hill to find the Speaker of the House hiding under a desk”. Here were the journalistic underpinnings of the relatively junior Washington Post reporter, who teamed up with Bob Woodward between 1972 to 1974 to produce a string of stories that brought down a president.
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