David Samuels is an American writer of both fiction and non-fiction, born in 1967. He is the founder and editor of County Highway, a magazine styled after 19th-century broadsheets. Samuels has a significant career in journalism, contributing to prominent publications such as The New York Times Magazine, Harper's Magazine, The Atlantic, and The New Yorker. His educational background includes a BA in history from Harvard College and a master's degree in history from Princeton University.

Samuels' journalistic approach is often described as a modern take on New Journalism, blending personal observation with rigorous reporting and a keen eye for language. He has covered a diverse range of subjects, from political figures and cultural phenomena to extreme subcultures and criminal enterprises. His work has been recognized with awards and anthologies, and he has been a finalist for the National Magazine Award. Despite his critical acclaim, his work has occasionally sparked controversy and debate, leading to public discussions and apologies.

David Samuels has established himself as a prominent journalist, with his work frequently appearing in prestigious magazines. He served as a contributing editor at Harper's Magazine for over two decades and has written numerous features for The New Yorker. His articles have graced the covers of The Atlantic and The New York Times Magazine. Critics often compare his style to the New Journalism movement of the 1960s, characterized by its blend of first-person narrative, detailed research, and attention to linguistic nuance. Samuels often tackles subjects that delve into the intricacies of specific events or explore unusual subcultures and individuals with complex identities. His reporting has been recognized for its depth, leading to accolades such as being a finalist for the National Magazine Award for a profile of Yasser Arafat.

Throughout his career, Samuels has produced notable pieces that have garnered significant attention. His early work included a widely discussed 1991 cover story on rap music for The New Republic, which posited that its primary audience was white suburban teenagers. More recently, his profile of Ben Rhodes, a White House speechwriter, sparked considerable debate in the digital press, prompting an unusual response from Samuels in The New York Times. He has also written deeply personal accounts, such as an encounter with musician Neil Young that touched upon his son's sensory processing disorder. Some of his reporting, like an article on the Pink Panthers jewel thieves, has drawn criticism for its portrayal of criminal activity, with one Interpol official questioning the focus on the perpetrators over the victims.

Samuels' writing has been lauded by critics for its intelligence, lucidity, and narrative skill. He has been described as a "master of the new old journalism" and praised for his ability to extract social and moral implications from seemingly minor interactions. Comparisons have been drawn to acclaimed writers such as Joan Didion and Tom Wolfe, with critics noting his talent for investigating the complexities of American life and the sense of existential drift experienced by individuals. His work is seen as part of a tradition of American literary journalism, capturing the essence of self-invention and self-deception that defines aspects of the national character. His French collection of journalism was even dubbed "neo-gonzo journalism" by the French press.

“Yes, I want to take full responsibility for destroying The Atlantic, (an) 150-year-old pillar of American journalism. ... now it's gone, thanks to me.”

“He is a jackass. But he's talented”

“The victim is not the man wielding the gun, however colourful his alleged derring-do. The victim in an armed robbery is the person lying on a shop floor with a gun pointed at his head.”