The Argument Culture: Moving from Debate to Dialogue [NOOK Book]


In her number one bestseller, You Just Don't Understand, Deborah Tannen showed why talking to someone of the other sex can be like talking to someone from another world. Her bestseller Talking from 9 to 5 did for workplace communication what You Just Don't Understand did for personal relationships. Now Tannen is back with another groundbreaking book, this time widening her lens to examine the way we communicate in public--in the media, in politics, in our courtrooms and classrooms--once again letting us see in a ...
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The Argument Culture: Moving from Debate to Dialogue

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In her number one bestseller, You Just Don't Understand, Deborah Tannen showed why talking to someone of the other sex can be like talking to someone from another world. Her bestseller Talking from 9 to 5 did for workplace communication what You Just Don't Understand did for personal relationships. Now Tannen is back with another groundbreaking book, this time widening her lens to examine the way we communicate in public--in the media, in politics, in our courtrooms and classrooms--once again letting us see in a new way forces that have been powerfully shaping our lives.
        The Argument Culture is about a pervasive warlike atmosphere that makes us approach anything we need to accomplish as a fight between two opposing sides. The argument culture urges us to regard the world--and the people in it--in an adversarial frame of mind. It rests on the assumption that opposition is the best way to get anything done: The best way to explore an idea is to set up a debate; the best way to cover the news is to find spokespeople who express the most extreme, polarized views and present them as "both sides"; the best way to settle disputes is litigation that pits one party against the other; the best way to begin an essay is to oppose someone; and the best way to show you're really thinking is to criticize and attack.
        Sometimes these approaches work well, but often they create more problems than they solve. Our public encounters have become more and more like having an argument with a spouse: You're not trying to understand what the other person is saying; you're just trying to win the argument. But just as spouses have to learn ways of settling differences without inflicting real damage on each other, so we, as a society, have to find constructive and creative ways of resolving disputes and differences. Public discussions require making an argument for a point of view, not having an argument--as in having a fight.
        The war on drugs, the war on cancer, the battle of the sexes, politicians' turf battles--in the argument culture, war metaphors pervade our talk and shape our thinking. Tannen shows how deeply entrenched this cultural tendency is, the forms it takes, and how it affects us every day--sometimes in useful ways, but often causing, rather than avoiding, damage. In the argument culture, the quality of information we receive is compromised, and our spirits are corroded by living in an atmosphere of unrelenting contention.
        Tannen explores the roots of the argument culture, the role played by gender, and how other cultures suggest alternative ways to negotiate disagreement and mediate conflicts--and make things better, in public and in private, wherever people are trying to resolve differences and get things done. The Argument Culture is a remarkable book that will change forever the way you perceive the world. You will listen to our public voices in a whole new way.
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Editorial Reviews

Publishers Weekly - Publisher's Weekly
Tannen's bestseller You Just Don't Understand was a guide to gender-based differences in conversational style that set the stage for follow-up titles on talk at the office and in relationships. Here she branches out, applying linguistic theory to the whole compass of American culture and public life. In law, education, multiculturalist policy making and particularly in journalism, Tannen finds that "our spirits are corroded by living in an atmosphere of unrelenting contention," and that we thus most often argue emotionally when we should instead be trying to understand and evaluate rationally different points of view. The Georgetown linguistics professor is impatient with journalists who think that a two-sided debate between extremist positions makes the best story. The attack-dog posture of the press, she argues, is responsible for public cynicism about politics. Politicians in turn find that aggressive sound bites are the ones most likely to be publicized. This results in bickering partisanship that disenchants voters. She sharply criticizes our legal system for pitting one party against the other on the theory that justice will emerge out of a survival of the fittest, comparing this type of advocacy to the trials by battle used to settle disputes in the Middle Ages. Tannen's obvious passion for helping people understand one another is well served here by her clear, direct writing.
Library Journal
Tannen on how we argue badly.
San Francisco Chronicle
"Inspires readers to listen past the noise of constant arguing."
Larissa MacFarquhar
Tannen has spent her career showing how interactions that look like battles are often just misunderstandings between people pursuing a common goal.

--Larissa MacFarquhar, New York Times Book Review

Kirkus Reviews
Tannen, who has gained celebrity for analyzing male/female verbal exchanges, moves into a broader realm in this often interesting but sometimes vague book. We live in a polarizing "culture of critique," maintains Tannen (Sociolinguistics/ Georgetown Univ.; You Just Don't Understand, 1990, etc.) as she explores our compulsively combative rhetoric in such predictable areas as the mass media, politics, and the law (with the latter, as she points out, often marred by litigators' "pit bull" tactics). To specify the problem and better pursue a cure, she coins a new term, "agonism," defined as "using opposition as a required and ubiquitous way to approach issues, rather than as one of many possibilities of getting things done by talk." And she calls agonism too popular and prevalent, an almost automatic confrontational tactic. Though accurate enough, such observations are in themselves a trifle familiar. More searching are Tannen's comments on male and female styles of conflict resolution and on "ritual fighting" in such places as Bali, Crete, and Ireland's Tory Islands, as well as her reflections on the implications of pervasive debunking and one-upmanship in academic life. "When there is a need to make others wrong, the temptation is great to oversimplify at best, and at worst to distort or even misrepresent other positions, the better to refute them. . . . Straw men spring up like scarecrows in a cornfield." Tannen is a fine, crisp writer and very skillful in succinctly synthesizing her material and advancing her argument. But her main point isn't new, nor does she look far enough beyond the culture of language to explain the phenomenon she describes. Consequently her solutions (suchas advising that people talk about all sides, as opposed to both sides, of an issue) feel insufficient. Perhaps our polemical society is too far gone in fetishizing the often harsh culture of American capitalist individualism for such rhetorical nostrums to have much effect.
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Product Details

  • ISBN-13: 9780307765536
  • Publisher: Random House Publishing Group
  • Publication date: 10/24/2012
  • Sold by: Random House
  • Format: eBook
  • Pages: 384
  • File size: 3 MB

Meet the Author

Deborah Tannen
Deborah Tannen's You Just Don't Understand was on the New York Times bestseller list for nearly four years. A frequent guest on national television and radio, including Good Morning America, the Today show, ABC World News Tonight, 20/20, 48 Hours, and Oprah, she has been featured in and has written for such magazines and newspapers as Newsweek, Time, The New York Times, and The Washington Post. An internationally recognized scholar, she is university professor and professor of linguistics at Georgetown University in Washington, D.C.


In 2001, Deborah Tannen published a book that explored the eternally complex relationship between men and women, specifically why communication can be so darn difficult between the sexes. You Just Don't Understand: Women and Men in Conversation clearly struck a chord with its readers, spending nearly four years on the New York Times bestseller list (holding the No. 1 spot for eight weeks) and having been translated into 29 languages. Bolstered by Tannen's extensive experience as a linguist, You Just Don't Understand has played a significant role in improving relations between men and women throughout the world.

Tannen followed her breakthrough work with several others that have tackled the difficulties in improving communication on the job (Talking from 9 to 5: Women and Men at Work), the source of argumentativeness (The Argument Culture: Stopping America's War of Words), and general disagreements within families (I Only Say This Because I Love You). Now Tannen is turning her attention to improving communications between two groups that share one of the most complicated relationships of all: mothers and daughters.

You're Wearing That?: Understanding Daughters and Mothers in Conversation is yet another ambitious attempt to examine, understand, and resolve the long-standing communication difficulties that so often plague families. Tannen delineated the nature of the particularly thorny interactions between mothers and daughters in an article she recently wrote for The Washington Post. In her article, Tannen stated that "there is a special intensity to the mother-daughter relationship because talk -- particularly talk about personal topics -- plays a larger and more complex role in girls' and women's social lives than in boys' and men's. For girls and women, talk is the glue that holds a relationship together -- and the explosive that can blow it apart. That's why you can think you're having a perfectly amiable chat, then suddenly find yourself wounded by the shrapnel from an exploded conversation."

You're Wearing That? is her attempt to defuse such potential explosiveness, to get to the root of why daughters and mothers so often hit walls when relating to one another. Tannen's own strained relationship with her ailing mother was part of the impetus that caused her to begin asking the questions that this insightful book strives to answer. Along the way, she explored not only her own relationship with her mother but those of many others, as well. "I interviewed dozens of women of varied geographic, racial and cultural backgrounds," she explained in her article. "I had informal conversations or e-mail exchanges with countless others. The complaint I heard most often from daughters was, ‘My mother is always criticizing me.' The corresponding complaint from mothers was, ‘I can't open my mouth. She takes everything as criticism.' Both are right, but each sees only her perspective."

Once again, Tannen has proven her skills as a great communicator, and has penned another instant classic in the field of self-improvement. You're Wearing That? has already achieved bestseller status and inspired Miriam Wolf of the San Francisco Chronicle to call it "a book any mother would be proud her daughter wrote." Tannen should surely be proud that she has made such a significant and positive impact on those who have read her work.

Good To Know

Make no mistake: Deborah Tannen is not just another self-help guru. She has published an impressive body of work that includes 20 books and over 100 articles. She is also the recipient of five honorary doctorates.

Tannen may be most famous for her linguistics studies, but she has also published short stories, poems, personal essays, and plays. In fact, her first play, An Act of Devotion, was chosen for inclusion in The Best American Short Plays: 1993-1994.

The sage relationship advice that Tannen has imparted is not limited to the printed page. She has also lectured all over the world, once addressing an audience of U.S. senators and their spouses.

Some interesting outtakes from our interview with Tannen:

"I lived in Greece for several years; I speak Greek and consider Greece my second home. The first book I ever wrote was literary criticism about a modern Greek writer, Lilika Nakou."

"One of the most exciting experiences I have ever had was seeing a play I wrote produced by Horizons Theater in Washington, D.C. Another was having my play An Act of Devotion accepted and published in Best American Short Plays 1993-1994."

"I didn't start grad school in linguistics until I was 30. When I graduated from college, I had no ambitions other than to travel and not to go grad school. I worked for Metropolitan Life Insurance Company in Manhattan, lived with my parents in Brooklyn, and saved my money to go to Europe on a one-way ticket. My plan was to go around the world. But I got only as far as Greece, where I got a job teaching English. It was through teaching English as a second language that I first became aware of linguistics."

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    1. Hometown:
      Washington, D.C. metro area
    1. Date of Birth:
      June 7, 1945
    2. Place of Birth:
      Brooklyn, New York
    1. Education:
      B.A., Harpur College, 1966, Wayne State University, 1970; M.A. in Linguistics, UC Berkeley, 1976; Ph.D., 1979

Table of Contents

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First Chapter



This is not another book about civility. "Civility" suggests a superficial, pinky-in-the-air veneer of politeness spread thin over human relations like a layer of marmalade over toast. This book is about a pervasive warlike atmosphere that makes us approach public dialogue, and just about anything we need to accomplish, as if it were a fight. It is a tendency in Western culture in general, and in the United States in particular, that has a long history and a deep, thick, and far-ranging root system. It has served us well in many ways but in recent years has become so exaggerated that it is getting in the way of solving our problems. Our spirits are corroded by living in an atmosphere of unrelenting contention--an argument culture.

The argument culture urges us to approach the world--and the people in it--in an adversarial frame of mind. It rests on the assumption that opposition is the best way to get anything done: The best way to discuss an idea is to set up a debate; the best way to cover news is to find spokespeople who express the most extreme, polarized views and present them as "both sides"; the best way to settle disputes is litigation that pits one party against the other; the best way to begin an essay is to attack someone; and the best way to show you're really thinking is to criticize.

Our public interactions have become more and more like having an argument with a spouse. Conflict can't be avoided in our public lives any more than we can avoid conflict with people we love. One of the great strengths of our society is that we can express these conflicts openly. But just as spouses have to learn ways of settling their differences without inflicting real damage on each other, so we, as a society, have to find constructive ways of resolving disputes and differences. Public discourse requires making an argument for a point of view, not having an argument--as in having a fight.

The war on drugs, the war on cancer, the battle of the sexes, politicians' turf battles--in the argument culture, war metaphors pervade our talk and shape our thinking. Nearly everything is framed as a battle or game in which winning or losing is the main concern. These all have their uses and their place, but they are not the only way--and often not the best way--to understand and approach our world. Conflict and opposition are as necessary as cooperation and agreement, but the scale is off balance, with conflict and opposition overweighted. In this book, I show how deeply entrenched the argument culture is, the forms it takes, and how it affects us every day--sometimes in useful ways, but often creating more problems than it solves, causing rather than avoiding damage. As a sociolinguist, a social scientist, I am trained to observe and explain language and its role in human relations, and that is my biggest job here. But I will also point toward other ways for us to talk to each other and get things done in our public lives.


My interest in the topic of opposition in public discourse intensified in the years following the publication of You Just Don't Understand, my book about communication between women and men. In the first year I appeared on many television and radio shows and was interviewed for many print articles in newspapers and magazines. For the most part, that coverage was extremely fair, and I was--and remain--indebted to the many journalists who found my ideas interesting enough to make them known to viewers, listeners, and readers. But from time to time--more often than I expected--I encountered producers who insisted on setting up a television show as a fight (either between the host and me or between another guest and me) and print journalists who made multiple phone calls to my colleagues, trying to find someone who would criticize my work. This got me thinking about what kind of information comes across on shows and in articles that take this approach, compared to those that approach topics in other ways.

At the same time, my experience of the academic world that had long been my intellectual home began to change. For the most part, other scholars, like most journalists, were welcoming and respectful in their responses to my work, even if they disagreed on specific points or had alternative views to suggest. But about a year after You Just Don't Understand became a best-seller--the wheels of academia grind more slowly than those of the popular press--I began reading attacks on my work that completely misrepresented it. I had been in academia for over fifteen years by then, and had valued my interaction with other researchers as one of the greatest rewards of academic life. Why, I wondered, would someone represent me as having said things I had never said or as having failed to say things I had said?

The answer crystallized when I put the question to a writer who I felt had misrepresented my work: "Why do you need to make others wrong for you to be right?" Her response: "It's an argument!" Aha, I thought, that explains it. When you're having an argument with someone, your goal is not to listen and understand. Instead, you use every tactic you can think of--including distorting what your opponent just said--in order to win the argument.

Not only the level of attention You Just Don't Understand received but, even more, the subject of women and men, triggered the tendency to polarize. This tendency to stage a fight on television or in print was posited on the conviction that opposition leads to truth. Sometimes it does. But the trouble is, sometimes it doesn't. I was asked at the start of more than one talk show or print interview, "What is the most controversial thing about your book?" Opposition does not lead to truth when the most controversial thing is not the most important.

The conviction that opposition leads to truth can tempt not only members of the press but just about anyone seeking to attract an audience to frame discussions as a fight between irreconcilable opposites. Even the Smithsonian Institution, to celebrate its 150th anniversary, sponsored a series of talks billed as debates. They invited me to take part in one titled "The Battle of the Sexes." The organizer preempted my objection: "I know you won't be happy with this title, but we want to get people interested." This is one of many assumptions I question in this book: Is it necessary to frame an interchange as a battle to get people interested? And even if doing so succeeds in capturing attention, clots it risk dampening interest in the long run, as audiences weary of the din and begin to hunger for more substance?


In the spring of 1995, Horizons Theatre in Arlington, Virginia, produced two one-act plays I had written about family relationships. The director, wanting to contribute to the reconciliation between Blacks and Jews, mounted my plays in repertory with two one-act plays by an African-American playwright, Caleen Sinnette Jennings. We had both written plays about three sisters that explored the ethnic identities of our families (Jewish for me, African-American for her) and the relationship between those identities and the American context in which we grew up. To stir interest in the plays and to explore the parallels between her work and mine, the theater planned a public dialogue between Jennings and me, to be held before the plays opened.

As production got under way, I attended the audition of actors for my plays. After the auditions ended, just before everyone headed home, the theater's public relations volunteer distributed copies of the flyer announcing the public dialogue that she had readied for distribution. I was horrified. The flyer announced that Caleen and I would discuss "how past traumas create understanding and conflict between Blacks and Jews today." The flyer was trying to grab by the throat the issue that we wished to address indirectly. Yes, we were concerned with conflicts between Blacks and Jews, but neither of us is an authority on that conflict, and we had no intention of expounding on it. We hoped to do our part to ameliorate the conflict by focusing on commonalities. Our plays had many resonances between them. We wanted to talk about our work and let the resonances speak for themselves.

Fortunately, we were able to stop the flyers before they were distributed and devise new ones that promised something we could deliver: "a discussion of heritage, identity, and complex family relationships in African-American and Jewish-American culture as represented in their plays." Jennings noticed that the original flyer said the evening would be "provocative" and changed it to "thought-provoking." What a world of difference is implied in that small change: how much better to make people think, rather than simply to "provoke" them--as often as not, to anger.

It is easy to understand why conflict is so often highlighted: Writers of headlines or promotional copy want to catch attention and attract an audience. They are usually under time pressure, which lures them to established, conventionalized ways of expressing ideas in the absence of leisure to think up entirely new ones. The promise of controversy seems an easy and natural way to rouse interest. But serious consequences are often unintended; Stirring up animosities to get a rise out of people, though easy and "provocative," can open old wounds or create new ones that are hard to heal. This is one of many dangers inherent in the argument culture.


In the argument culture, criticism, attack, or opposition are the predominant if not the only ways of responding to people or ideas. I use the phrase "culture of critique" to capture this aspect. "Critique" in this sense is not a general term for analysis or interpretation but rather a synonym for criticism.

It is the automatic nature of this response that I am calling attention to--and calling into question. Sometimes passionate opposition, strong verbal attack, are appropriate and called for. No one knows this better than those who have lived under repressive regimes that forbid public opposition. The Yugoslavian-born poet Charles Simic is one. "There are moments in life," he writes, "when true invective is called for, when it becomes an absolute necessity, out of a deep sense of justice, to denounce, mock, vituperate, lash out, in the strongest possible language." I applaud and endorse this view. There are times when it is necessary and right to fight--to defend your country or yourself, to argue for right against wrong or against offensive or dangerous ideas or actions.

What I question is the ubiquity, the knee-jerk nature, of approaching almost any issue, problem, or public person in an adversarial way. One of the dangers of the habitual use of adversarial rhetoric is a kind of verbal inflation--a rhetorical boy who cried wolf: The legitimate, necessary denunciation is muted, even lost, in the general cacophony of oppositional shouting. What I question is using opposition to accomplish every goal, even those that do not require fighting but might also (or better) be accomplished by other means, such as exploring, expanding, discussing, investigating, and the exchanging of ideas suggested by the word "dialogue." I am questioning the assumption that everything is a matter of polarized opposites, the proverbial "two sides to every question" that we think embodies open-mindedness and expansive thinking.

In a word, the type of opposition I am questioning is what I call "agonism." I use this term, which derives from the Greek word for "contest," agonia, to mean an automatic warlike stance--not the literal opposition of fighting against an attacker or the unavoidable opposition that arises organically in response to conflicting ideas or actions. An agonistic response, to me, is a kind of programmed contentiousness--a prepatterned, unthinking use of fighting to accomplish goals that do not necessarily require it.


Noticing that public discourse so often takes the form of heated arguments--of having a fight--made me ask how useful it is in our personal lives to settle differences by arguing. Given what I know about having arguments in private life, I had to conclude that it is, in many cases, not very useful.

In close relationships it is possible to find ways of arguing that result in better understanding and solving problems. But with most arguments, little is resolved, worked out, or achieved when two people get angrier and less rational by the minute. When you're having an argument with someone, you're usually not trying to understand what the other person is saying, or what in their experience leads them to say it. Instead, you're readying your response: listening for weaknesses in logic to leap on, points you can distort to make the other person look bad and yourself look good. Sometimes you know, on some back burner of your mind, that you're doing this--that there's a kernel of truth in what your adversary is saying and a bit of unfair twisting in what you're saying. Sometimes you do this because you're angry, but sometimes it's just the temptation to take aim at a point made along the way because it's an easy target.

Here's an example of how this happened in an argument between a couple who had been married for over fifty years. The husband wanted to join an HMO by signing over their Medicare benefits to save money. The wife objected because it would mean she could no longer see the doctor she knew and trusted. In arguing her point of view, she said, "I like Dr. B. He knows me, he's interested in me. He calls me by my first name." The husband parried the last point: "I don't like that. He's much younger than we are. He shouldn't be calling us by first name." But the form of address Dr. B. uses was irrelevant. The wife was trying to communicate that she felt comfortable with the doctor she knew, that she had a relationship with him. His calling her by first name was just one of a list of details she was marshaling to explain her comfort with him. Picking on this one detail did not change her view--and did not address her concern. It was just a way to win the argument.

We are all guilty, at times, of seizing on irrelevant details, distorting someone else's position the better to oppose it, when we're arguing with those we're closest to. But we are rarely dependent on these fights as sources of information. The same tactics are common when public discourse is carried out on the model of personal fights. And the results are dangerous when listeners are looking to these interchanges to get needed information or practical results.

Fights have winners and losers. If you're fighting to win, the temptation is great to deny facts that support your opponent's views and to filter what you know, saying only what supports your side. In the extreme form, it encourages people to misrepresent or even to lie. We accept this risk because we believe we can tell when someone is lying. The problem is, we cant.

Paul Ekman, a psychologist at the University of California, San Francisco, studies lying. He set up experiments in which individuals were videotaped talking about their emotions, actions, or beliefs--some truthfully, some not. He has shown these videotapes to thousands of people, asking them to identify the liars and also to say how sure they were about their judgments. His findings are chilling: Most people performed not much better than chance, and those who did the worst had just as much confidence in their judgments as the few who were really able to detect lies. Intrigued by the implications of this research in various walks of life, Dr. Ekman repeated this experiment with groups of people whose jobs require them to sniff out lies: judges, lawyers, police, psychotherapists, and employees of the CIA, FBI, and ATF (Bureau of Alcohol, Tobacco, and Firearms). They were no better at detecting who was telling the truth than the rest of us. The only group that did significantly better were members of the U.S. Secret Service. This finding gives some comfort when it comes to the Secret Service but not much when it comes to every other facet of public life.


Our determination to pursue truth by setting up a fight between two sides leads us to believe that every issue has two sides--no more, no less: If both sides are given a forum to confront each other, all the relevant information will emerge, and the best case will be made for each side. But opposition does not lead to truth when an issue is not composed of two opposing sides but is a crystal of many sides. Often the truth is in the complex middle, not the oversimplified extremes.

We love using the word "debate" as a way of representing issues: the abortion debate, the health care debate, the affirmative action debate--even "the great backpacking vs. car camping debate." The ubiquity of this word in itself shows our tendency to conceptualize issues in a way that predisposes public discussion to be polarized, framed as two opposing sides that give each other no ground. There are many problems with this approach. If you begin with the assumption that there must be an "other side," you may end up scouring the margins of science or the fringes of lunacy to find it. As a result, proven facts, such as what we know about how the earth and its inhabitants evolved, are set on a par with claims that are known to have no basis in fact, such as creationism.

The conviction that there are two sides to every story can prompt writers or producers to dig up an "other side," so kooks who state outright falsehoods are given a platform in public discourse. This accounts, in part, for the bizarre phenomenon of Holocaust denial. Deniers, as Emory University professor Deborah Lipstadt shows, have been successful in gaining television airtime and campus newspaper coverage by masquerading as "the other side" in a "debate."

Appearance in print or on television has a way of lending legitimacy, so baseless claims take on a mantle of possibility. Lipstadt shows how Holocaust deniers dispute established facts of history, and then reasonable spokespersons use their having been disputed as a basis for questioning known facts. The actor Robert Mitchum, for example, interviewed in Esquire, expressed doubt about the Holocaust. When the interviewer asked about the slaughter of six million Jews, Mitchum replied, "I don't know. People dispute that." Continual reference to "the other side" results in a pervasive conviction that everything has another side--with the result that people begin to doubt the existence of any facts at all.


Lipstadt's book meticulously exposes the methods used by deniers to falsify the overwhelming historic evidence that the Holocaust occurred. That a scholar had to invest years of her professional life writing a book unraveling efforts to deny something that was about as well known and well documented as any historical fact has ever been--while those who personally experienced and witnessed it are still alive--is testament to another way that the argument culture limits our knowledge rather than expanding it. Talent and effort are wasted refuting outlandish claims that should never have been given a platform in the first place. Talent and effort are also wasted when individuals who have been unfairly attacked must spend years of their creative lives defending themselves rather than advancing their work. The entire society loses their creative efforts. This is what happened with scientist Robert Gallo.

Dr. Gallo is the American virologist who codiscovered the AIDS virus. He is also the one who developed the technique for studying T-cells, which made that discovery possible. And Gallo's work was seminal in developing the test to detect the AIDS virus in blood, the first and for a long time the only means known of stemming the tide of death from AIDS. But in 1989, Gallo became the object of a four-year investigation into allegations that he had stolen the AIDS virus from Luc Montagnier of the Pasteur Institute in Paris, who had independently identified the AIDS virus. Simultaneous investigations by the National Institutes of Health, the office of Michigan Congressman John Dingell, and the National Academy of Sciences barreled ahead long after Gallo and Montagnier settled the dispute to their mutual satisfaction. In 1993 the investigations concluded that Gallo had done nothing wrong. Nothing. But this exoneration cannot be considered a happy ending. Never mind the personal suffering of Gallo, who was reviled when he should have been heralded as a hero. Never mind that, in his words, "These were the most painful years and horrible years of my life." The dreadful, unconscionable result of the fruitless investigations is that Gallo had to spend four years fighting the accusations instead of fighting AIDS.

The investigations, according to journalist Nicholas Wade, were sparked by an article about Gallo written in the currently popular spirit of demonography: not to praise the person it features but to bury him--to show his weaknesses, his villainous side. The implication that Gallo had stolen the AIDS virus was created to fill a requirement of the discourse: In demonography, writers must find negative sides of their subjects to display for readers who enjoy seeing heroes transformed into villains. The suspicion led to investigations, and the investigations became a juggernaut that acquired a life of its own, fed by the enthusiasm for attack on public figures that is the culture of critique.

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