49 pages • 1-hour read
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Content Warning: This section of the guide includes depictions of sexual harassment and discussions of graphic violence.
Carter reflects on how subjects respond to stories written about them. He quotes Evelyn Waugh’s thoughts on the matter by way of example. In particular, Carter notes how offended some people have gotten after finding their names in Vanity Fair. One time, Sue Mengers was upset by how the magazine described the size of her home. Another time, Nick’s brother John Gregory Dunne, a writer married to writer Joan Didion, was upset by how the magazine remarked on Nick’s writing achievements when he was meant to be the writer of the family. However, the most significant of these incidents involved Donald Trump.
When Carter was working with Spy, he and his team frequently remarked on Trump’s small hands. The joke bothered Trump for years, and he often made public attempts to correct this impression. Whenever Vanity Fair wrote a piece about him, Trump would get upset, too. Carter lists a series of tweets where Trump attacked Carter directly. Carter has had the tweets printed, framed, and displayed on his wall for years.
Carter admits that he has made mistakes with the editors he’s brought onto the Vanity Fair team. He was usually careful about these hires, but there were times he believes he should have been more discerning. Examples of such poor hires include Toby Young and Vicky Ward. Vicky’s coverage of financier and convicted child sex offender Jeffrey Epstein was particularly bad for the magazine. Carter still has trouble reconciling Vicky’s laudatory piece on Epstein with the later revelations about Epstein’s crimes.
Carter reflects on libel battles he faced during his time at Vanity Fair. One of the biggest such cases involved Mohamad al-Fayed, the former Harrods and Paris Ritz owner. In 1995, Vanity Fair writer Maureen Orth did a piece on Fayed’s alleged use of surveillance on his employees and his harassment of female employees specifically. Before the piece came out, Fayed was a more sympathetic character and seemed to be under attack by the British government simply due to his Egyptian background. Maureen’s research proved that Fayed was more nefarious. He sued Vanity Fair, but the case was easier for them to win because British libel laws are different from those in the States. Amidst the court proceedings, former Harrods employees came out with their stories of harassment and abuse—revealing that Fayed had silenced them using gag orders and bribery. Carter had to visit Paris at the time and uncovered new and disturbing information about Fayed. The magazine had to quiet the case, however, after Fayed’s son Dodi and Princess Diana died in the 1997 car crash. The full extent of Fayed’s crime wasn’t revealed until he left Harrods in 2010.
Another libel case revolved around Lewis Lapham (a Harper’s editor) and film director Roman Polanski (the husband of actress Sharon Tate, who was a victim of the Manson killings). In the Vanity Fair article, A. E. Hotchner wrote that Lapham and Polanski were seated together at Elaine’s; during the outing, Lapham saw Polanski harass a supermodel and invoke his late wife’s name and death. Polanski sued Vanity Fair, insisting that their reporting was false. The case went on for two years. Vanity Fair had to settle, as Polanski was “a forceful and disarming witness” (373). In retrospect, Carter feels frustrated with the magazine’s inability to handle the issue.
Carter describes his fruitful and complex relationship with Anna Wintour. Although she was often a challenging character, Carter is grateful to her for helping him orient himself to the Condé Nast world. He traces her rise to power in the industry, detailing her work with House & Garden before becoming the editor of Vogue. Over the years, Carter and Wintour developed a close relationship. Their children went to the same school and were often friendly. However, Wintour had odd habits that often bemused Carter. Her sunglasses and insistence on arriving early intimated others, but Carter felt he knew the real Wintour. At the same time, her moods often shifted unpredictably. Sometimes she was warm, but other times she’d act more distant towards Carter. It took time to navigate their relationship.
The biggest conflict Carter ever faced with Wintour involved Wintour’s ideas for restructuring the Condé Nast team. She wanted all of the editors, writers, and fact checkers to be pooled. Carter didn’t want to share his team with the other publications and argued against the change. Because the company sided with Wintour’s restructuring, Carter decided to retire. He and his wife Anna Scott spent some time abroad. While away, Carter began to plan his exit from Vanity Fair, determined “to control the narrative” (387).
Carter continues to reflect on his decision to leave Vanity Fair. While in the South of France with Anna, he kept mulling over whether to stay at the magazine. A friend suggested he buy Vanity Fair instead of retiring, but Carter imagined a different future for himself. Instead, he wanted to relocate to Opio, a tiny town on the French Riviera, with Anna and lead a quieter life. He settled on retirement and asked his friends and colleagues Chris, Aimée, and Beth for help. They made a plan for how he could leave gracefully. Finally, he returned to New York and went through with his retirement.
After retirement, Carter spent his days reading and napping. However, he quickly grew tired of this lifestyle and started to think about new projects. He soon got the idea for a new publication, Air Mail. With the help of friends and colleagues, he launched the magazine. Air Mail is an international dispatch that offers online coverage of overseas stories. Since its inception, the publication has operated independently of Google and Facebook. It has lasted for six years so far and even survived the pandemic.
Carter shifts his focus to his family and marriage. He is still happily married to Anna. He has good relationships with all of his five children and describes each of their accomplishments. He has been a car fanatic since he was young, and he describes his favorite cars and what he enjoys about them. He also muses on his love of canoeing. In his retirement, he has pursued these hobbies with more ardor. He also bought a new house with Anna and continues to own the Waverly Inn.
Carter reflects on his editorial career over the years. He lists the accomplishments he made and risks he took. He remarks on the lessons he learned, too. He lists some of his favorite issues, covers, and profiles he did while with Vanity Fair. He also reflects on his more recent work with Air Mail. Although it’s been difficult to start a new company in his older age, he’s done so because he loves editing. Sometimes he wishes he’d chosen a simpler life, but these regrets never last long.
In light of everything he’s learned from his editorial career, Carter has made a list of rules for living. His friend once recommended he write a book of these rules, but he’s decided to share some of them in his memoir instead. His rules involve how to choose the right romantic partners, how to form healthy connections, how to deal with conflict, how to value yourself, how to enjoy life, and how to be graceful and self-possessed. He also offers advice on learning from failure and valuing your time. His closing rule is to never leave home without a handkerchief; he then lists all of the reasons why a handkerchief can be useful.
In the final chapters, Carter assumes a reflective stance. These final chapters also lean more heavily into humor. Carter’s incorporation of humor writing or witty anecdotal accounts shift the memoir’s tone in anticipation of its conclusion. Examples of this formal technique include Carter’s accounts of his run-ins with Donald Trump, Trump’s anger over Carter’s public digs at his small hands, Trump’s incendiary tweets, Anna Wintour’s unpredictable moods, and Wintour’s off-beat scheduling and sartorial choices. Such anecdotes imply that while Carter was facing many high-stakes social, cultural, and political issues while at Vanity Fair, his career was also defined by amusing instances that encapsulated the contemporary experience. At the same time, the memoir’s final chapters also effect a confessional tone; in particular, Carter admits the mistakes that he made as editor and the conflicts he wishes that he could have resolved. Such instances include the magazine’s libel battles and its coverage of figures like Mohamad al-Fayed and Jeffrey Epstein. The collision of Carter’s humorous and confessional tones portrays Carter as a sympathetic figure. While he has been immersed in a world of money, power, and celebrity since his early twenties, he is also capable of introspection and self-reinvention.
Carter’s closing remarks also reiterate The Evolution of Print Journalism in the Digital Era. Carter attempts to summarize the scope of his work throughout these chapters, a technique which captures how the publishing industry has changed since his first editorial job with The Canadian Review. Carter assumes a more omniscient stance when describing his work over the years:
I’ve been an editor now off and on for more than half a century. I was one of the youngest editors when I began and I’m one of the oldest now. Reichard Nixon was president when I was editing The Canadian Review. I’ve been doing this same job through fifteen administrations. There were no computers when we started, and obviously there was no internet. Phones were rotary and pay was pathetic (401).
The passage goes on to describe (with a similarly incisive tone) how these more primitive aspects of the industry mutated during Carter’s time as an editor. In presenting this abstract of his work, Carter is capturing the evolution of the entire industry over the course of an entire era.
Carter shifts his point of view and authorial tone once more in his final epilogue section, this time directing his reflections towards the reader. The epilogue is structured as a list of what Carter deems “a haphazard set of rules that helped [him] navigate life and not look like too much of a fool in doing so” (404). These “rules for living” use the imperative mood and offer helpful tips on how to establish healthy relationships, take risks, and care for oneself. This section embraces humor, sarcasm, and wit—thus closing the memoir on a lighthearted, accessible note. While Carter does make room for his accomplishments in his closing statements, he shies away from taking himself too seriously. He doesn’t claim ultimate authority over editorial life or the publishing world, instead sharing tips on how to enjoy life in general in a casual, conversational tone. These remarks reiterate the text’s genre and aim to make Carter’s story applicable and appealing to a range of readers.



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