{"id":843,"date":"2012-02-03T21:16:51","date_gmt":"2012-02-03T21:16:51","guid":{"rendered":"https:\/\/niemanstoryboard.org\/2012\/02\/03\/audio-danger-npr-kelly-mcevers-on-trauma-and-the-calculus-of-risk\/"},"modified":"2025-02-14T18:39:18","modified_gmt":"2025-02-14T18:39:18","slug":"audio-danger-npr-kelly-mcevers-on-trauma-and-the-calculus-of-risk","status":"publish","type":"post","link":"https:\/\/niemanstoryboard.org\/2012\/02\/03\/audio-danger-npr-kelly-mcevers-on-trauma-and-the-calculus-of-risk\/","title":{"rendered":"Audio danger: NPR\u2019s Kelly McEvers on trauma and the calculus of risk"},"content":{"rendered":" \n
\n
\n [The second installment in an ongoing series<\/a> of posts by Julia Barton about audio narratives. \u2013Ed.]

The title of this series, \u201cAudio danger,\u201d is mostly tongue-in-cheek. But not in the case of Kelly McEvers. McEvers<\/a> now works as <\/span>one of NPR\u2019s correspondents in the Middle East, and she\u2019s opened the network\u2019s first bureau in Beirut. But I first ran across her name in 2006, when she was a freelance journalist in Russia on an International Reporting Project<\/a> fellowship. McEvers had been detained in Dagestan, a rough part of the North Caucasus\u00a0along the Caspian Sea. Local officials with the FSB, the federal security services, accused her of traveling in neighboring Chechnya.

\u201cThey interrogated me for like 14 hours a day, and then at night they\u2019d say, \u2018You\u2019re free to go,\u2019 but they had my passport. And then they would follow me home. The car would stay parked out front for a few hours, and then they would call the next morning and say, \u2018It\u2019s time to go.\u2019 \u201d

McEvers didn\u2019t suffer any violence during the four-day ordeal, but the threat of it was very real. (She also had to surrender<\/a> all of her notes and equipment before she was allowed to leave Dagestan).

\"\"These days, McEvers interviews many people who\u2019ve been through horrible experiences: child brides who\u2019ve survived rape <\/span>in Yemen<\/a>; protesters tortured in Syria<\/a>. McEvers lets their stories unfold with an understanding of the way real danger \u2013 unlike the kind we often see in the movies \u2013 has deep effects that can make it hard to talk about.

\u201cI can see when someone has experienced trauma,\u201d McEvers says. \u201cI think I\u2019m able to empathize a lot more with people because I have been through some of this stuff.\u00a0 Nothing like what they\u2019ve been through \u2013 I mean, people aren\u2019t cutting my relatives into pieces. But I know what it\u2019s like to just be numb, or to blame yourself.\u201d

McEvers\u2019 patience paid off last year with this feature<\/a> she pursued for months in Iraq. It introduces us to Uhud, a 19-year-old woman from a tribal area of Diyala, northeast of Baghdad. Uhud fell prey to a sex-trafficking scam, the details of which we will never figure out. That confusion, in fact, is central to the story.

\u201cSome of what we\u2019re about to tell you might not actually be true,\u201d McEvers says at the very top of the piece. \u201cThe reasons for this will become clear as the story unfolds.\u201d

According to Uhud\u2019s convoluted account, she was kidnapped at gunpoint while out shopping, then beaten and later taken to Irbil, in Kurdistan. There she says she worked in a Christian-owned caf\u00e9 somehow affiliated with a brothel. A famous soccer player later rescued her, Uhud says, and a few months later she ended up back home in Diyala.

\u201cWhen she first came, the whole family had one thing in mind: We\u00a0assumed she had been raped. So we thought of killing her,\u201d one male relative tells McEvers in a matter-of-fact way, via an interpreter. \u201cShe has a brother who would kill her as easily as drinking a glass of water. But then we calmed things down.\u201d

Sort of. When we revisit Uhud a few months later, she\u2019s basically living under family house arrest. She says an uncle spits on her whenever he sees her and threatens to slit her throat if her story doesn\u2019t check out. As McEvers leaves Uhud, she\u2019s up on the roof setting pet pigeons free. \u201cThey fly in the sky for a while, then they come back home,\u201d McEvers translates for Uhud over the sound of flapping wings.

We\u2019ll never know Uhud\u2019s real story, but of course that\u2019s not the point: By\u00a0living with her for seven minutes, we viscerally feel the way shame and sex-trafficking thrive off one another.

Foreign correspondents for radio face special hurdles. The people they interview often don\u2019t speak English, so we lose the direct narrative force that propels so many audio stories. And most of us have never been to places like war-torn Iraq, so even with great descriptive copy, our minds still tend to fill in the background with stereotypical images from TV news or \u201cNational Geographic\u201d: deserts, burqas, bullet-pocked walls.

Of course, correspondents can\u2019t only focus on personal narratives, and McEvers does her share of big-picture, geopolitical reporting. But stories like Uhud\u2019s are one way to slice through the obstacle of listener confusion (and, let\u2019s face it, indifference) when it comes to reports from abroad.

\u201cI try to make those personal stories have a larger point, but just to reach that point through personal narratives. People in Dubuque are going to remember that more than a talking head,\u201d McEvers says.

And radio has one major advantage when it comes to McEvers\u2019 frequent focus on the plight of women in the Middle East.

\u201cA microphone is so much easier than a camera,\u201d she says. \u201cYou never get to take pictures of these women. Never. Especially those women with a shameful story.\u201d McEvers sometimes spends a lot of time explaining to her sources how they will sound on the other end in America. \u201cYou know, \u2018It\u2019s just your voice \u2013 it\u2019s going to be dubbed into English.\u2019 I draw pictures of what it\u2019s going to sound like, (their voices) fading under (the translation).\u201d\u00a0 Sometimes reluctant sources will agree to whisper<\/a>, or speak broken English, to hide their identities further.

But especially as the Arab world changes so rapidly, McEvers says she can face a different problem \u2013 people so desperate for someone to hear their stories, they won\u2019t let her leave. \u201cIn Iraq, there are so many widows, or mothers who\u2019ve lost children. No one\u2019s listening to them.\u201d

These days McEvers\u2019 own personal narrative is affecting the way she thinks about trauma and danger in her profession. She now has a 2-year-old daughter.\u00a0Questions about her ordeal seven years ago in Dagestan elicit a snort.

\u201cIt should\u2019ve been instructive, but it\u2019s not. I didn\u2019t learn my lesson,\u201d she says. \u201cBut none of us do.\u201d It\u2019s something few foreign correspondents talk about openly, McEvers says: Simply put, editors \u2013 and by proxy, the rest of us \u2013 too often reward them for putting their lives at risk in pursuit of the story.

\u201cWhen you have little children, you think a lot about positive and negative reinforcement,\u201d she says. \u201cAnd we foreign correspondents are positively reinforced for bad behavior.\u201d

Julia Barton (@bartona104<\/a>) is an editor, media trainer, producer and writer who spearheads the \u201cAudio danger<\/a>\u201d series on Storyboard.<\/em>\n <\/div>\n <\/div>\n","protected":false},"excerpt":{"rendered":"

[The second installment in an ongoing series of posts by Julia Barton about audio narratives. \u2013Ed.] The title of this series, \u201cAudio danger,\u201d is mostly tongue-in-cheek. But not in the case of Kelly McEvers. McEvers now works as one of NPR\u2019s correspondents in the Middle East, and she\u2019s opened the network\u2019s first bureau in Beirut. […]<\/p>\n","protected":false},"author":1,"featured_media":3698,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[23],"tags":[425],"topics":[],"authors":[92],"issue":[],"class_list":["post-843","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-digital-storytelling","tag-podcasts","authors-julia-barton"],"acf":[],"yoast_head":"\nAudio danger: NPR\u2019s Kelly McEvers on trauma and the calculus of risk - Nieman Storyboard<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/niemanstoryboard.org\/2012\/02\/03\/audio-danger-npr-kelly-mcevers-on-trauma-and-the-calculus-of-risk\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Audio danger: NPR\u2019s Kelly McEvers on trauma and the calculus of risk - Nieman Storyboard\" \/>\n<meta property=\"og:description\" content=\"[The second installment in an ongoing series of posts by Julia Barton about audio narratives. \u2013Ed.] The title of this series, \u201cAudio danger,\u201d is mostly tongue-in-cheek. 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