Beruflich Dokumente
Kultur Dokumente
TWENTY-FIRST CENTURY
Max P. Quayle
Dr. Maura MacNeil
Quayle 2
Research Methods
April 31, 2010
When it comes to social internet communication, there is becoming only one generation:
Users. The invisible nature of modern internet presence blurs the traditional lines between age
groups, allowing partnering and interaction within unlikely peer circles. The resulting literary
trend, which enjoyed twentieth century popularity when called “less is more,” has been
“tweeted,” “texted” and “chatted” down to the literary equivalent of a stump: Less, in the art of
creative non-fiction has become simply – less. A prevailing suspicion is that would-be writers
are actually producing the requisite numbers of keystrokes, but these are simply poured into the
slow rolling “thought eaters” of Facebook, Myspace and other social networking websites,
which in most cases, will never be seen again. Another view maintains that there is a dwindling
market for carefully crafted narrative nonfiction because a “click” or two will provide the outline
incapable, audience. Any work of writing that requires the reader to “turn” even a virtual page,
may be asking too much. Because there has been no lack of dramatic, socially impacting, world
changing events in this millennium, the quiet escape hatch of Internet self expression, may be
creating a lapse in the recording of reactions to these events: Much potentially excellent literary
Before another step is taken, we must consolidate the boundaries of the genre, “literary
journalism.” In 1973, conservative essayist and author, Tom Wolfe, got all the credit for a
movement that has been gathering strength since man first tried to etch out the day’s events in
stone and chalk. He organized and published The New Journalism, a collection of non-fiction
essays from writers of his day. For some time, this became the defining title for any piece of
journalism which employed techniques used by fiction writers to convey real stories.
Oxymoronic and anachronistic, the title has been nearly stripped of usage, leaving the slightly
high-brow, but intellectually comfortable “literary journalism” to head the genre. Surely, since
recorded history began, engravers, carvers–writers–of all types have been burdened with the
weight of recording facts that served to prove that they, and the surrounding world, actually
existed. By necessity, those who got the job done quickly, neatly and (supposedly) accurately got
not only the credit, but the honor of dictating directly into the books from which history is
presumed, and taught today. The resulting inverted pyramid style of reporting—a derivative of a
information first, followed by less and less about other observations until the smallest space on
the page is all that is left for the grit, feist and flavor of the events themselves. Indeed it might be
said that if all history were recorded as literary journalism, not only would we be less likely to
1
Progressive disclosure dictates introduction of information in a tiered fashion with most
pertinent information given first and most, followed by second an third etc. with less and less
detail as the presentation concludes. The flaw inherent is that some force other than the causal or
the audience dictates which information gets center stage. Slant, bias and opinion are freely
dispensed, and have been throughout journalistic history. The immersive nature of Literary
Journalism takes the time to present the whole picture-leaving interpretation to the reader.
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repeat the mistakes of the past, but we certainly would never forget the impact they had the first
time around.
For the purposes of this study, literary journalism, creative non-fiction, prose or
immersion reporting, “journalit,” literary or narrative nonfiction and a few others will all serve
the purpose of referring the reader to a non-fictitious, real-life reporting of an event or time that
actually happened (Royal, 2000). These accounts may be first-hand primary source documents,
as in personal essays, autobiographies etc., or a step away through the eyes of a researcher/writer
who gathers the facts from the first-hand primary sources—as found in some magazine articles,
books and the rarest of newspaper articles. In some cases, by necessity, a writer may rely purely
upon secondary sources, but they run the risk of crossing into the related snarl of historical
license, and they should clearly state the lack of primary sources in the introduction or abstract.
The literary journalist abides the ethical codes taken by reporters and journalists and stands ready
to be judged by these same standards2. It is the opinion of this author that anyone who seeks to
mislead by falsification will find a more lucrative career in the world of literary fiction than in
approach to fleshing out the voice in the literary journalism of the 21st century. While providing
creative nonfiction excerpts from both eras of the study, there will also be an interpretation of the
overarching voice of both the latter half of the twentieth century, as well as that of our day. This
2
The Society of Professional Journalists maintains this standard code of ethics at:
http://www.spj.org/ethicscode.asp
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component of the study will highlight reflections of social events in the writings of the respective
times, and will set forth a metric, or rubric by which the social influence of events can be tracked
within directly related literature. These conclusions draw from the research in and around the
field of literary journalism, and will closely follow the findings of Dr. Thomas B. Connery,
expanding on three areas he sets forth: Disciplinary boundaries of literary journalism, Historical
perspective of the value of older literary journalism, and a review of the bulk of scholarly books
on the topic of literary journalism (Connery, 1995). Since his time, he and a handful of
researchers have followed the field—crossing into the new millennium—publishing occasional
answers to their own questions. At least one “straddle” article will be considered—work
published on the cusp on the new millennium—to isolate the energy that naturally attends the
compiled to show a move toward writer education and training. However, preliminary inquiries
do not indicate an organized effort to raise literary journalism to any higher level than it currently
enjoys—a side note in English Composition, and brief mention in Journalism curriculums.
Finally, magazines are included to reveal the location of buried treasure. Harpers, The New
Yorker, Esquire and numerous and sundry periodicals are and have always been the receptacle of
the finest offerings of literary journalism; yet no effort is underway to catalogue, designate and
While clearly written to help the field of literary journalism by offering fresh perspectives
and new thinking, this study stands to reach out in other, unexpected ways to literarily journals,
and persons who cast their mind to the history of writing. Scholars who seek to understand social
reflections in literary journalism may also include economists, social scientists, writers,
3
Works by Cindy Royal and Brad Reagan, each published in 2000.
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marketers and sales executives due to its trend assessing value and forecasting potential. The
attention of other researchers in the field may domino to ignite a new fervor in classifying this
amorphous and unwieldy genre, and it is hoped that the leaving off point of this work will be the
start of many fruitful future inquires. The genre is its own best advocate, if in a small way the
work here contributes to more and better journalistic efforts which call the voice of the new
Millennium center-stage, even briefly, the work will have been well worth the while.
literature supports educating new writers in the techniques of those few writers who have forged
social frameworks for interpreting the reality of modern events. The names in literary journalism
have left a legacy of techniques, talents and dedication to principles which reveal their metal as
socially vocal individuals; their work has blazed the rough markings of a new trail through the
tangled forest of unbridled information which often surrounds world events. If their course is to
be traced, widened and proven effective, this study will be but one cobblestone in the broad path
This study strives to briefly outline the spectrum of literary journalism definitions, pin-
point cases where the genre has reflected major world events through the lens of a social voice in
the past century, compare these with creative nonfiction work in this century which appears to be
the reflection of world events, and to thereby define the voice that speaks for the new
millennium. Considering literary journalism as one of many optional delivery methods for a
story makes sense—for there certainly are other outlets to gain perspective on world and national
Quayle 7
events. When it comes to literary cultural expression however, there is no form more perfectly
suited to envelop the reader in a tapestry of the times than the archetypal personal essay,
narrative or first hand account. These sources are broad in swath, if narrow in stitch, effectively
showing there is no social event, effect, or even effort that cannot be tailored by the craft of the
literary journalist. Expanding the effectiveness of this distinct cultural voice will serve to slow
society’s entropic descent into sound-byte digestion of the events that define who we are.
Alongside creative non-fiction excerpts from both eras of the study, there will be an
interpretation of the overarching voice of both the latter half of the twentieth century, as well as
in our day. This component of the study will highlight reflections of social events in the writings
of the respective times, and will set forth a metric, or rubric, by which the social influence of
events can be tracked within directly related literature. These conclusions draw from the research
in and around the field of literary journalism, and will closely follow the findings of Dr. Thomas
journalism, historical perspective of the value of older literary journalism, and a review of the
bulk of scholarly books on the topic of literary journalism (Connery, 1995). Since his time, he
and a handful of researchers have followed the field – crossing into the new millennium—
publishing occasional answers to their own questions. At least one straddle article will be
considered—one or more written on the cusp on the new millennium—to isolate the energy that
naturally attends the turn of a century, and to serve as a point of inflection for trend changes.4
With the fertile mind as my guide, I expect to chart the unusual course through post modern
4
Works by Cindy Royal and Brad Reagan, each published in 2000.
Quayle 8
Central Question:
[Such a voice “spoke” for previous generations and charged eras of the 20th Century
through literary journalism. This past voice was formed by social reactions to
diverse and interconnected world events of war, social change and equality.]
Sub-questions:
Can analysis of literary journalism reveal a distinct voice in this young century?
How does technology play into the shape and volume of this voice?
Hypothesis:
A distinct social voice is not yet defined which encapsulates the impacting social events
of the 21st century. Through analysis of literary journalism of the 21st century a cultural voice
can be identified. There is an ‘internet effect’ component of this modern voice that was not part
of the identification of voices from past eras. This component is measurable due to the open
When I finally made up my mind to write and walked into my first real writing class, I
was asked to share my reason for being there. “I am a vagabond from another time,” I began, “I
write how things should be, when the real thing just isn’t that special.” I am grateful that was a
fiction class! I began a novel, loosely based on the adventures of my estranged older sister,
which grew to twelve chapters in a short time. Every one loved it—even my younger sister who
The ethical question arises: “What is the big deal?” If the theme and story line are true,
who cares if the details follow, strictly, the known realities? I took a trip to Tijuana many years
ago with a group of friends. We wanted a picture to remember the event, so we hired a street
vendor to snap a black and white of us gathered around a miniature zebra. I love that picture, and
have told the story of the miniature zebra many times. At some point someone noted that it was a
painted donkey. I debated, relented and accepted. Many years later I’m still unsure…my point is
that this particular inaccuracy does not change much. In fact, there is wholesomeness in
As I pursue the core of my research topic I need to keep my eye on the “donkey.” I will
be critiquing the works of others, lodging time sensitive comparisons and working to forge a
persuasion that there is an identifiable trend moving in the under-researched field of literary
journalism. As the arguments are built, layer upon layer, I will require the reader to offer me
disguises, embellishments and literary seductions based only upon a yearning that my findings
Quayle 10
were more noteworthy will do a profound disservice to my topic, and will disable the audience
from giving truly “informed consent” to my theories. In a word, this would be a betrayal.
Early studies in this emerging field have the potential—even likelihood—to become
precedent. My commitment to the journalists, future researchers and readers is to show the facets
that I have seen for myself first, then quote and discuss the views others have had, and finally,
Over the course of recent millennia while rhetorical discipline and proven research have
danced like two colliding galaxies, mingling traits and blurring their boundaries. Within this
arena, ethical margins have played the role of gravitational referee; seeing that citation,
interpretation and license leave the core of each discipline intact: Rhetoric to persuade, convince
and assert and research to confer a pattern of responsibility therein. It will be a fascinating
exercise to abide by these precepts while identifying examples of writing that have defined the
Writers desire to attract others to their way of thinking, especially after significant effort
was been invested. According to one source “we want to believe that our opinions are sound, yet
mistaken ideas, even dangerous ones, flourish because too many people accept too many
opinions based on too little evidence.”5 Knowing this, a temptation may arise to abuse the
ignorance of others, by introducing unfounded thinking and pressing our agenda without the
rigor of research. This I will not do, lest I risk undermining the foundations of restraint and
release the intellectual equivalent of anarchy. The goal will remain higher than the mere
5
To spare confusion between the research citations in the next two sections and that used in the preceding quote, I
submit it here: Booth, Wayne C., Gregory G. Columb, and Joseph M. Williams. The Craft of Research. 2nd ed.
Chicago: U of Chicago P, 2003. E-Print. (Course Text)
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accumulation of praise; the body of knowledge to which I contribute is greater than the sum of
<http://www.davidabrahamson.com/WWW/Articles/Lit-J_Technology.txt>.
Abstract:
The original text of a presentation given by the author to the annual conference of the
brief—definition for the genre of literary journalism is presented. The author sets in order
a non-arithmetic proportion that with the advent of a full blown online social
simply a deluge of both. Revision, as the key to achieving the pinnacle of the art, is
processing compliant, the other (Rosenbaum) a die-hard typist. Abrahamson extols the
decoupling of project-length and associated cost by virtue of the paperless medium of the
internet. Defines the early 21st century as the new golden age of literary journalism, and
Birkerts, Sven. "Reading in a Digital Age." TheAmericanScholar.org. Phi Beta Kappa Society,
digital-age/>.
Abstract:
psychology is followed by a complex proposal which likens the inner mind to a great
reality-based storyteller. Immersion in reading set forth as the window into this
of the brain.
Bloom, Lynn Z. "Compression: When Less Says More." Pedagogy 4.2 (2004): 300-
Abstract:
Article enhances the need to write qualitatively, not quantitatively for creative nonfiction.
viewpoint. Bloom cites the reader-response theory of Wolfgang Iser, concerning the
“unwritten” as stimulus for creative participation. Author offers six-point scheme used in
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crafting effective non-fiction. Author identifies the role of the student as an essential
insider in compressing his own work and that of others in peer review.
Chase, William M. "The Decline of the English Department." TheAmericanScholar.org. Phi Beta
<http://www.theamericanscholar.org/the-decline-of-the-english-department/>.
Abstract:
figures presented as reason for above. Earnings Potential in English and Literature cited
as cause for spiral. Deductive argument details causes and reactions and concludes with
pleas to return to the known literature in order to preserve the methods of the literary
Birkerts, Sven. "Reading in a Digital Age." TheAmericanScholar.org. Phi Beta Kappa Society,
digital-age/>.
Abstract:
proponent/advocate and investigating effort. Definition for the craft of literary journalism
is outlined in a historical context. Chronology of the genre is set forth. The balance
reduces to a dialogue describing, in the authors voice, the evolutionary course of literary
journalism. Major headings include: Patterns, Types, Names, Roots, Research, and an
extant list of Literary journalists complete with abstracts to their prominent works.
Abstract:
proponent/advocate and investigating effort. Definition for the craft of literary journalism
is outlined in a historical context. Chronology of the genre is set forth. The balance
reduces to a dialogue describing, in the authors voice, the evolutionary course of literary
journalism. Major headings include: Patterns, Types, Names, Roots, Research, and an
extant list of Literary journalists complete with abstracts to their prominent works.
Abstract:
Citing numerous baseline sources for the literary journalism genre, Connery proposes that
the field is in dire need of research work. The premise is that there is a wealth of literary
journalism spread throughout periodicals, which has not been ordered, indexed or even
counted. Bounding the challenge is a charge to apply these samples to world and cultural
events to seek corollary and cause. Endnotes contain an extant listing of authoritative
Advertising Research (1986): 57-65. Academic Search Premier. EBSCO. Web. 3 Apr.
2010.
Abstract:
This article reviews a number of studies which show the effectiveness of creative writing
as a developmental approach to advertising idea genesis. Cases are cited that immerse the
reader in the process vicariously, directly quoting the writing samples and explaining the
effective points of each. The paper emphasizes the importance of the “idiosyncratic
experiences” of the respondents rather than the “average” responses. The “soul” of a
Garret, George. "Creative Writing and American Publishing Now." Sewanee Review 100.4
Abstract:
A discussion of the current literature in literary journalism, both pro and con. Decries
tendency of genre to focus on writers not “writing.” Accurate insiders look at the
contemporary writing scene [1992], future predictions set forth. Dwindling ration of new
writers to posts available expressed. Literature reviews echo a need for more/better
literary journalism. Standards in the current market are reviewed. Advice to aspiring
writers given—along with warning of challenging prospects for success in the field.
Lewis, David, Dennis Rodgers, and Michael Woolcock. "The Fiction of Development: Literary
Studies 44.2 (2008): 198-216. Academic Search Premier. EBSCO. Web. 16 Apr. 2010.
Abstract:
representing social discussion, new thinking and analysis and then claims that fiction is a
convention in the areas of knowledge, narrative authority and representational form. The
core message draws from examples of literary fiction and shows the connections the
works provide which clarify given development topics. Fact and fiction are shown to
share at least some common traits, and arguments are place which question which form is
Mak, Geert. "Confrontation With Reality." Publishing Research Quarterly 14.2 (1998): 6.
Abstract:
form of literary nonfiction. Opening excerpt from the execution of exotic dancer and
accused double agent, Mata Hari is the example used to illustrate the historical and
reaction of societies to them, Mak shows an indistinct world view of the acceptance of
the genre. Strong argument for the granting of nonfiction authors the equal status of
fiction writers offered. Reality, he concludes, “is the encounter that binds.”
Muggli, Mark Z. "The Poetics of Joan Didion's Journalism." American Literature 59.3 (1987):
402-21. Print.
Abstract:
Didion, Muggli proceeds to the heart of an argument posed by critics of the genre that
Didion’s use of metonym and metaphor introduce more than appropriate journalistic
levels of inference and author projection. The arguments breaks down under the scrutiny
of case by case examples of Didion’s masterful use of the devices; blurring the need for
Quayle 18
fact when the focus of the work is of general classes of people and their predictable
tendencies. Emblem and symbol are defined and examples cited throughout recent works
and their use in literary journalism is supported. Conclusion cites need for “more
Reagan, Brad. "Details, Details." American Journalism Review 22.1 (2000): 50. Academic
Abstract:
balances early “new journalism” techniques with practical reporting guidance in the
modern electronic world. Successful reporters share their findings. Warnings about the
authenticity of sources resound. Piece leans toward Journalism as more exciting than
other genres.
<www.cindyroyal.com/litjour_croyal.doc>.
Abstract:
Spirited academic paper draws current thinking of internet influence on the genre of
literary journalism. Tom Wolfe used a point by point definition of creative nonfiction
works, and his work is broken into four distinct techniques. Royal uses clever
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comparisons to show the Wolfe footprint is applicable to the internet platform. Voice is
defined and described in terms of the choices by famous Literary Journalists (Capote,
Wolfe, Mailer, and Hemmingway), and conventions set forth in many sub-genres:
techniques. Blackhawk Down case study builds to conclusion recommending the Internet
Spinner, Jenny. "When "Macaroni and Cheese Is Good" Enough: Revelation in Creative
Nonfiction." Pedagogy 4.2 (2004): 316-320. Academic Search Premier. EBSCO. Web. 3
Apr. 2010.
Abstract:
Article discusses approaches used in the instructional role. Concept of the “personal
revelation” is presented along with arguments for its inclusion in teaching and writing
literature. Passion is cited as offspring of revelation. Author makes claim that any subject
and Other Essays. Port Washington, N.Y.: Kennikat, 1969. 142-49. Print.
Abstract:
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Article presents a skeleton of the body of a “modern” [1929] news outlet. Written from
the English perspective on the topic if effective journalism; the genre’s many formulae
are refreshed, and safe passage is outlined for the aspiring writer of news to follow. The
Charles Dickens standard is re-set. The piece stands extends the breakdown of the
educated news consumer from respectable citizen to the then modern-day gentry and
appropriate jabs are leveled which travel forward through time to our day. Conclusion
recommends that a specialist is needed to bring the true heart of a story, replete with
<http://www.davidabrahamson.com/WWW/Articles/Lit-J_Technology.txt>.
Dr. Abrahamson is very comfortable with all aspects of literary journalism, and his
appreciation and support for those who practice the art shines vividly through his words.
This talk provides two excellent definitions of the craft, along with some advice on form
—for those who would pursue it. His intimate knowledge with both greats and lesser
knowns in the field places this article as an index for connecting names in the field in
both the 20th and 21st centuries. Particularly, he asks and answers the question of what
influence the Internet will have upon literary journalism—a key component of my thesis.
Quayle 21
Birkerts, Sven. "Reading in a Digital Age." TheAmericanScholar.org. Phi Beta Kappa Society,
digital-age/>.
This piece speaks directly to the Internet effect on our brains. Connections are made
which define a concentration disorder and something called the “Google effect” – both of
which dovetail with my hypothesis that reductions in both supply and demand are
comprehension is set forth that may form the basis for some interview work as part of my
study on the shift in the market for literary journalism from past to present. A good
Bloom, Lynn Z. "Compression: When Less Says More." Pedagogy 4.2 (2004): 300-304.
Cozy and inviting, Ms. Bloom draws the reader to her parlor and sets a warm cup of tea
before them. Drawing upon her love for teaching, she sets her ideas out like a lesson
plan, but delivers them like a friend. Her belief in compression resounds with the current
trend to say more with less. I would cite this as a formative influence on the voice of
argument. Developing her message almost entirely on her experience of reducing her
Quayle 22
graphic twenty-one page description of her son’s traffic accident to 252 brilliantly potent
words, she delivers her point. Bloom then explicates the short piece highlighting the
“lean, muscular prose” she employs to do her “heavy lifting.” Capping her piece is a six-
point list of precepts designed to guide students through waves of expansion and
compression in their writing: Finding the “heart” of the story, key word/image
Chase, William M. "The Decline of the English Department." TheAmericanScholar.org. Phi Beta
<http://www.theamericanscholar.org/the-decline-of-the-english-department/>.
drop in the volume of production in literary journalism. Mr. Chase manages to justify the
students. He reminds those who write that we must be true to our roots, and acknowledge
that the patience shown us, rigor asked of us and necessity fueling our ambitions can all
the “baby Boomer” generation through the excellent books they were directed to read-
books which now are no longer visible on campus reading lists. Chase argues that good
reading begets good writing –and warns that deviation from time honored traditions in
classic reading, guided writing instruction and the forging of appropriate intellectual
Quayle 23
connections between these and civilized society must result in a time of literary
form and reason is laid out in superb detail. Examples with connotations are referenced
along with current theory on shades of literary journalism. Two distinct traditions are
identified: Life and Human Behavior—immersion optional, and Long Term Immersion—
the technique of reporting a lot of surrounding accuracies to “show” the focus in a setting
of supporting context. Curiously, Connery leans toward the, more creative, first category
and adds a curious afterthought by naming the device “American”. This piece of data
alone may introduce a strictly American diversion section to this body of work. The piece
concludes by listing and briefly discussing a trove of articles dedicated to setting forth a
A leading name in the area of literary journalism, Connery has laid out a barrage of the
finer points in the development of the genre. Written on the cusp of the internet explosion
the article provides a snapshot of where the craft has been, and how poorly it has been
researched. The theory that works of literary, or “prose” nonfiction, must be viewed in
light of the “media framework of [their] time,” draws this piece together with the Lewis,
and Mak (see entries) pieces here cited. Together an argument is inferred that the creative
facet of literary journalism is where the marker of history is to be found. My study will
define the term “social fiction” as it applies to the voice of such narratives. The article
concludes with a declaration that literary journalism is the cultural narrative of its
homeland, and cites other articles and essays to support this theme. Connery’s end notes
are a trove of the most recent (to 1994) thinking on this topic, and will be well used.
Advertising Research (1986): 57-65. Academic Search Premier. EBSCO. Web. 3 Apr.
2010.
advertising themes are so unrelated to product/service cores that often the product isn’t
even shown. Similarly, much modern creative journalism data is subject to highly varied
interpretation—a randomized effect. His work with random respondent descriptions may
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modern voice of creative non-fiction. His analysis of Levi’s jeans is of particular note;
Durgee shows that unusual responses outweighed the standard responses in their
effectiveness to personalize the product. Some of the least related comments were of the
type that some future commercials were made, i.e. “a warm bath” may have translated
into the image slipping off your Levi’s. Durgee taps into a diverse perception among
Garret, George. "Creative Writing and American Publishing Now." Sewanee Review 100.4
George Garret presents a problem that can be solved. This short article is a toungue in
cheek complaint—with names. Boldly striking at personal peeves, the author paints the
future of literary journalism, if the present course is not altered. More a motivational
journalism focusing more on writers than writings. Conclusion is filled with odd
references for a literary journalist to peruse, including work reviewing the crafting of
fiction, poetry and a return to the comprehensive study of the English language.
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Lewis, David, Dennis Rodgers, and Michael Woolcock. "The Fiction of Development: Literary
Studies 44.2 (2008): 198-216. Academic Search Premier. EBSCO. Web. 16 Apr. 2010.
development; Lewis, et al, argue that the ground that lies between fact and fiction is
carries the detail and emphasis of a work of literary journalism—with rolling similes and
sudden, effective metaphor. Crucial to bridging the gap between literary fiction and
literary journalism, the article establishes a framework for unifying the many different
shades of each. Long used as a delivery system for varieties of social understanding and
comprehension. The study rings familiar with works by Mak and Manis (see entries).
Unique to this study is a list of recommended reading which is proposed to support the
thesis. The list is a curious tool that I may exploit as literary evidence to emphasize that
much change was afoot at the turn of the new millennium; for much of the list are new
Mak, Geert. "Confrontation With Reality." Publishing Research Quarterly 14.2 (1998): 6.
Labeling literary nonfiction writing as the “grey zone,” Mak identifies the borderline
between literature and “something like journalism” as hazy and thin. This position places
Anchoring with a historical account of the execution on Mata Hari, he invites history to
audience on the power of language as the distinguisher between fact and fiction. The
Clearly a purist, he writes under the palpable gaze of fact, extolling source as the “holy
Muggli, Mark Z. "The Poetics of Joan Didion's Journalism." American Literature 59.3 (1987):
402-21. Print.
As articles go, this one is hefty. At thirty-odd pages (without notes), there is ample
review needed to truly encapsulated the work presented. Suffice it to say, Mark Muggli
would install Joan Didion at the top of the literary journalism heap. His personal affection
for her work is driving each page and he covers his bet well. Narrowly dividing the
literary “expressors” symbol and emblem, he tries to dissect the ghost line that divided
fact from fiction in interpretive expression of true events. By explicating work after work
he builds a case for the admission of personal flavor in the genre—and even identifies
where some have crossed the line. Certainly, Muggli has gone furthest to circumscribe
Quayle 28
the gray areas of literary journalism, and by doing so with the work of one author has set
a precedent. This work will become crucial to identifying voice in the 21st Century due to
its careful analysis of the writers use and freedom within the devices of emblem and
symbol.
Reagan, Brad. "Details, Details." American Journalism Review 22.1 (2000): 50. Academic
The how-to of compelling literary journalism, Details, Details tries to capture the silken
threads, which sustain the well-written story—but it does not. Brad Reagan instead
marches a series of successful literary journalists before us, focusing not on their talent,
but on their own unique management of the same facts everyone else has. Anne Hull (St.
Petersburg Times) uses index cards that will later be re-arranged to find a successful
upon receiving a plane crash assignment, reported directly to a mechanic who showed
him an identical plane from which he drew real setting and lifelike texture. Reagan builds
a case for connections, as they reveal the deeper, softer underbelly of the story. Five
bullet points are offered freely to anyone who feels they have the knack. He speaks of
“working the source” citing rapport, schmooze, and relentless digging as infrequently
successful compared to patience and genuine interest in people. The luxury of time
distinguishes the literary journalist from the rank and file reporter, but once good habits
are formed, sparkling prose can become second nature. A hybrid literary journalist is
Quayle 29
described in this piece, which may prove exceptional to my other findings that imply the
www.cindyroyal.com/litjour_croyal.doc>.
With a few a few strokes of the brush, Ms. Royal’s extensive paper could easily assume
my thesis. Luckily, it is nearly exactly 10 years old and thus ripe for revisiting. She has
set numerous precedents for objectively considering the effect of the internet on literary
journalism as a genre. Now that we are in the future she posted, her work will be of
particular value in setting forth the perceptions of the next ten years-which, in internet
fast forward may be consumed in the next couple of years. She Coins the Phrase
“journalit”, and leads the reader through an extensive genre definition masterfully. Hip
and ‘clicky’ with internet terms her work is valuable as a possible bridge between
liberal artists. Royal treats subjectivity and immersion in the context of the “now” world
of instant access to the world, showing the time travel effect of advancing faster in less
time that before the turn of the 21st Century. A critical study for parleying the reality of
the past into the framework of the future of literary journalism—the ‘internext’
Quayle 30
Spinner, Jenny. "When "Macaroni and Cheese Is Good" Enough: Revelation in Creative
Nonfiction." Pedagogy 4.2 (2004): 316-320. Academic Search Premier. EBSCO. Web. 3
Apr. 2010.
The details of her journey from trivial topics to juicier stories are Jenny Spinner’s
instruments. Espousing deeper digging, she reminds the reader how thin the surface
really is. Personal presence is prerequisite to existence in writing creative nonfiction, but
she warns of compulsive disclosure. This is a rare, direct correlation to what I refer to as
the “voice of the new millennium”. What may play out as the divorce effect, 9-11 effect,
or Gulf War and Desert Storm effect on writing in this century is tangible here. Control in
the issuance of the freedom of self asserts the writer in his/her role as guide to the reader.
From scowling students to Virginia Woolf, she explores and celebrates the breadth of the
creative nonfiction genre. She casts her lot in with older essayists citing Geoffrey Wolffs
disenchanting. This suggests the genre of the personal essay is better suited to a middle-
aged audience and speaks directly to what I will describe as the “loss of age” in current
with the necessity of artistic distance to properly treat a very personal subject—and this is
the voice I seek to isolate and verify, that the modern essayist/literary journalist disguises
him/herself to cut ties to their work leaving dead ends for the readers intuition concerning
authenticity in authorship.
Quayle 31
and Other Essays. Port Washington, N.Y.: Kennikat, 1969. 142-49. Print.
Intelligent and witty, this article represents thinking which is appropriate in its time
[1929] and today on the subject of audience receptivity of literary journalism. Watson
berates the schools of his day for turning out persons barely capable of grasping basic
intelligible thought, never mind complex and articulated reasoning. Written just prior to
the Great Depression, he captures a primary instance of writers accepting that journalism
might be spiraling toward short, blunt, depthless ‘imprintation.’ His foresight was eerily
accurate, and still applicable to writers who desire to weather the world of journalism.
stimulating journalism. His views are set within the framework of divisions found within
the ordinary news pressroom: managers, editors, typesetters and the writers. Elegant in
phraseology and rife with wit, Lacon Watson argues for change even as the powers of