By Erin Sherbert
By Howard Cole
By Erin Sherbert
By Erin Sherbert
By Leif Haven
By Erin Sherbert
By Chris Roberts
By Kate Conger
The day the Chronicle published the seventh and final installment of its "Lethal Beauty" series, a three-sentence Editor's Note lay like a banana peel on the paper's second page. The Nov. 5 note read: "The first installment of a series of stories on Golden Gate Bridge suicides, which appeared Sunday, contained material that had appeared in the Oct. 13, 2003, edition of the New Yorker magazine. The story should have attributed quotations from Ken Baldwin of Angels Camp and Marin County Coroner Ken Holmes to the magazine. It also used language nearly identical to that of the magazine to describe the California Highway Patrol's decision to halt the official count of suicides at 997 and to describe the unofficial 1,000th death."
It was a particularly inglorious end for a project in which the Chronicle had invested no little time and effort -- eight bylines, seven front pages, and more than 30,000 words -- and about which the first thing anyone with a New Yorkersubscription said was, "Uh, didn't somebody already do this?" Maybe at another paper, in another era, such a mistake would've been acknowledged and summarily dismissed as one of daily journalism's many misdemeanors. But at today's Chronicle, in today's media culture of self-flagellation, the situation quickly became -- in one veteran reporter's word -- "radioactive."
Few people Dog Bites contacted would speak on the record. Robert Rosenthal, the Chronicle's managing editor, who had the final edit on the series, wouldn't go into any specifics. "We consider this a very serious matter," he said, declining to discuss possible disciplinary action. "We're looking deeply into it, and we're not finished with our look into it." In a memo, Executive Editor Phil Bronstein was moved to lob a thunderbolt or two in the direction of the newsroom: "We believe plagiarism is among journalism's most serious professional breaches, if not the single most grave thing. ... [I]t is a kind of theft of the work of others."
Two years ago, in an article headlined "Jumpers," New Yorker writer Tad Friend wrote at length about the Golden Gate Bridge's "fatal grandeur" and the debate over a suicide barrier. Friend, who declined to comment for this story, wrote about the countdown in 1995 to the bridge's 1,000th suicide victim: "That June, trying to stop the countdown fever, the California Highway Patrol halted its official count at 997. In early July, Eric Atkinson, age twenty-five, became the unofficial thousandth; he was seen jumping, but his body was never found."
On Oct. 31, Chroniclereporter Edward Guthmann, who has been with the paper for more than two decades, introduced the series with a sort of long-shot take on the issue. He, too, touched on the countdown to the bridge's 1,000th suicide victim: "In June 1995, trying to stem the countdown fever, the California Highway Patrol halted its official count at 997. In early July, Eric Atkinson, age 20, became the unofficial thousandth; he was seen jumping, but his body was never found."
Shortly after the installment ran, a reader alerted the Chronicle to the stories' similarities, down to the placement of the semicolon. Guthmann, in an e-mail to Dog Bites, explained the overlap thusly: "During the months I worked on the piece, I gathered a huge amount of research and interview transcripts that I stored in computer files. At one point, I read about the 1,000th suicide in the New Yorker article and pasted two sentences in my text as a 'flag' -- a reminder to myself to mention the fact. But when I went back to the piece, which may have been days later since I had other work during that time, I forgot those weren't my words. I should have set them in boldface or larger type, or not moved them at all. Huge mistake -- and especially heartbreaking, since I worked so hard on the piece and, apart from those two sentences, I think it's my best work." (He initially declined to explain why he didn't attribute to the New Yorker the two quotations mentioned in the Editor's Note. Guthmann later relented, saying in an e-mail: "The piece I wrote was historical in scope and both those quotes were not only two years old, but general enough that I didn't feel it was necessary to say where they originated. I was wrong.")
There were other problems with "Lethal Beauty," the brainchild of Carolyn White, the paper's former deputy managing editor who left a few months ago for a job at National Geographic. Editing is always chaotic where any multipart feature is concerned, but in this case it was made more so by White's departure. Last-minute issues with the paper's bridge-suicide figures cropped up. (That tally, of 1,218 suicides since the bridge was built, likely represents the series' greatest triumph; until now, the Golden Gate Bridge, Highway, and Transportation District had never released incident reports relating to suicides.) When we asked Rosenthal about the late revisions, he bypassed defensiveness and went straight for blustery condescension. "Are you a reporter?" he said. "Do you know what editing is? ... Do you know what the Pentagon Papers were? I was an editorial assistant on that [at the New York Times]. I've been around probably 15 to 20 Pulitzer Prizes. I've had stories stopped, edited, and changed at the last second."