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“One of the more delicate feats of great journalism is knowing how to be intensely present yet invisible. Stephania Taladrid has an extraordinary talent for releasing the storyteller in those she interviews; writing from the still eye of spiraling controversy or upheaval, she finds and protects the unforgettably human. Whether at an abortion clinic on the day Roe v. Wade is overturned or standing witness to the pain of Uvalde’s stricken parents, Taladrid draws out what otherwise would remain hidden.” 

About

Stephania Taladrid is a contributing writer at The New Yorker, where she covers Latino communities across the United States. She has written on topics ranging from the 2020 Presidential election to the mass shooting in Uvalde, Texas. For her reporting on the fall of Roe v. Wade, Taladrid was named a Pulitzer Prize finalist, won a Whiting Award in nonfiction, and was recognized as a finalist for the National Magazine Award for Public Interest.

In 2022, Taladrid reported and produced “American Scar,” a short documentary on the environmental implications of the border wall, which received a special mention from the jury at the film festival DOC NYC. She has also reported from Latin America and Spain, writing about the legacy of the Franco dictatorship, Venezuela’s humanitarian crisis, and foreign affairs.

Taladrid grew up in Mexico, the United States, Spain, and France, and earned a master’s degree in Latin American studies from the School of Foreign Service at Georgetown University. She has taught at Columbia University’s Graduate School of Journalism, and, before joining the magazine, she was a political speechwriter.

Stephania Taladrid es escritora en la revista The New Yorker y se especializa en comunidades Latinas en los Estados Unidos. Su cobertura abarca una variedad de temas, incluyendo las elecciones presidenciales de 2020 y la masacre de Uvalde en el Sur de Texas. En reconocimiento a su trabajo sobre la anulación de Roe v. Wade por el Tribunal Supremo, Taladrid fue nombrada finalista del Premio Pulitzer, ganó un Premio Whiting, y fue nominada al Premio Nacional de Revistas en la categoría de Interés Público.

En 2022, Taladrid escribió y produjo “American Scar”, un corto sobre las implicaciones medioambientales del muro fronterizo, el cual recibió una mención especial del jurado en el festival de cine DOC NYC. Más allá de su cobertura en los Estados Unidos, Taladrid ha trabajado en Latinoamérica y España, cubriendo, entre otros temas, el legado de la dictadura franquista, la crisis humanitaria en Venezuela, y la llegada de migrantes a México.

Taladrid creció en México, Estados Unidos, España y Francia, y obtuvo una maestría en estudios latinoamericanos de la Escuela de Servicio Exterior de la Universidad de Georgetown. Ha sido profesora en la Escuela de Periodismo de la Universidad de Columbia, y, antes de unirse a The New Yorker, fue escritora de discursos.

The Pulitzer

The Whiting Awards

The National Magazine Awards

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As long as our stories and voices continue to be written out of textbooks, omitted in film, TV, and print, and minimized in the halls of power, people will continue to see Latinos as something other than inherently American.

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A Panel on the Changing Landscape on the News

Reporting on Latinos: A Two-Day Symposium

A Reading by the 2023 Whiting Award Winners

Keynote Address at the Laurie Chair in Women’s Studies Symposium

A Conversation with Award-Winning Photographer Alejandro Cegarra on the State of the Immigration Debate

Big Sky Documentary Film Festival, Missoula, MT

Presentation of American Scar and Q&A with Filmmakers

Van Alen Sessions: Premiere Screening of Borderlands

A Conversation with Aaron Shulman, Author of “The Age of Disenchantments”

“An empathetic, intrepid reporter, who produces deeply nuanced work. Her stories about socioeconomics and border policy center on people who are often marginalized or overlooked in the political debate.”

Speaking Engagements

In a world where “never enough” dominates and feeling afraid has become second nature, vulnerability is subversive. Uncomfortable. It’s even a little dangerous at times. And without question, putting ourselves out there means there’s a far greater risk of getting criticized or feeling hurt. But when we step back and examine our lives, we will find that nothing is as uncomfortable, dangerous, or hurtful as standing on the outside looking in and wondering what it would be like if we had the courage to step into the arena. Daring Greatly is a practice and a powerful vision for letting ourselves be seen.

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Stephania Taladrid is a contributing writer at The New Yorker, where she covers Latino communities across the United States.