Olivia Nuzzi's Failed Book Launch Ends in Frustrating Attempt to Please Everyone

Olivia Nuzzi, once a Washington correspondent known for covering high-profile, controversial figures such as Donald Trump and Robert F. Kennedy Jr., has found herself at the center of public scrutiny following a widely reported personal involvement with Kennedy. This shift from observer to subject has proven difficult for the journalist as she attempts to reenter the public eye through her new book, American Canto, published by Simon & Schuster.

Previously named West Coast editor of Vanity Fair, Nuzzi has only contributed an excerpt from her memoir during her tenure. While American Canto represents a departure from her earlier journalistic style, its launch reflects a misunderstanding of the demands of public attention. Nuzzi abandons the detached perspective of a reporter but does not fully commit to the candid openness expected of a memoirist.

The book positions itself as a reflection on Trump-era America a decade in, yet its rollout suggests that achieving the bold, shameless visibility associated with contemporary media personalities is far from straightforward. Nuzzi herself has stated in a podcast interview that she values shame and deliberately resisted advice to be shameless, acknowledging that others in the public sphere often embrace brazen exposure.

Critics argue that American Canto lacks the depth and honesty required to navigate her newfound notoriety. Its abstract, self-flattering prosefilled with statements like character is the thing you cannot outrun or outgun that spars with fate all alongfails to convey genuine self-reflection. Instead, it reads as a blend of posturing and vague profundity.

Nuzzis personal and professional history is intertwined with other media figures, including her former fianc Ryan Lizza, now running the Substack newsletter Telos News. Lizzas serialized accounts of their shared past and his own media ventures have garnered massive attention, contrasting with Nuzzis more reserved disclosures. While Lizzas posts offer provocative details and direct quotes, Nuzzi often refers to key figures obliquely, frustrating readers seeking clarity or scandal.

Reviews of American Canto have been largely critical, highlighting the contrast between the memoir and Nuzzis lighter, more self-aware work, such as her bullet-pointed newsletter piece, Signs Your Book Rollout Has Gone Awry. That piece demonstrates wit and conciseness absent from the book, suggesting Nuzzis strengths may lie in smaller, more nimble formats rather than a full-length memoir.

Nuzzis attempts at self-stagingsuch as posing in a Ford Mustang for a New York Times photo spreadunderscore the tension between personal branding and authentic storytelling. As an editor traditionally tasked with behind-the-scenes work, she now has little to present beyond her own experiences. The memoir is not a path back to journalistic credibility but rather an exposition of her current place in the media spotlight.

Similarly, Lizzas work blurs the lines between reporting and personal narrative, highlighting a broader shift in media where individual visibility and personal branding often eclipse traditional journalistic norms. Both Nuzzi and Lizza exemplify the modern challenge of balancing public intrigue with professional legitimacy in a media environment that rewards attention above all else.

Ultimately, their experiences reflect a larger reality: in an era dominated by spectacle and personal branding, attempting to navigate the space between observer and participant is fraught with difficulty. For Nuzzi, embracing her role fullyor at least acknowledging the consequences of her public exposuremay be the only way to move forward.

Author: Aiden Foster