Month: February 2024

“The New New Journalism” by Robert S. Boynton presents a comprehensive exploration into the evolution of American literary journalism since the 1960s, building upon the foundation laid by Tom Wolfe and others who championed the original New Journalism movement. This book, published in 2005, profiles a generation of journalists who have continued and expanded upon the narrative techniques and deep reportorial practices characteristic of their predecessors. Through in-depth interviews with 19 leading practitioners, including Ted Conover, Susan Orlean, and Jon Krakauer, Boynton elucidates the methodologies, philosophies, and intricacies of what he terms “The New New Journalism.”

These journalists distinguish themselves by their immersive reporting methods, often spending extensive periods with their subjects, delving into the complexities of the topics they cover, and employing narrative techniques more commonly found in fiction to craft compelling nonfiction stories. The book emphasizes the rigorous approach to factual accuracy and the ethical considerations these journalists navigate in their quest to tell true stories that are as engaging as they are informative.

Boynton’s analysis begins with a historical overview, tracing the lineage of literary journalism from its precursors in the early 20th century to the New Journalism of the 1960s and 70s, and finally to the contemporary scene. He identifies a shift in focus from the flamboyant style and celebrity culture that partly defined the earlier movement to a more subdued, yet deeply investigative approach that prioritizes the stories of ordinary people caught in extraordinary circumstances. This shift reflects broader changes in American society and the media landscape, including the rise of digital media and the changing economic conditions of print journalism.

The heart of the book lies in its detailed portraits of the journalists themselves. Through these interviews, Boynton reveals how each writer approaches their craft, from the initial conception of a story idea to the exhaustive process of reporting, writing, and revising. He delves into the personal motivations that drive these journalists to pursue their stories, often at great personal cost and risk. The profiles also highlight the diverse subjects these journalists tackle, ranging from the intricacies of subcultures and communities to the broad sweep of political and social movements.

Boynton does not shy away from the challenges and criticisms faced by the New New Journalists, including debates over the subjective nature of their narratives, the potential for exploitation of subjects, and the tension between storytelling and journalistic objectivity. He argues, however, that these journalists have developed sophisticated methods to address these concerns, striving to maintain the delicate balance between being closely involved with their subjects and retaining enough distance to ensure journalistic integrity.

The book concludes with a reflection on the future of literary journalism in an era of rapidly evolving media. Boynton suggests that despite the uncertainties facing the publishing industry, the fundamental human desire for compelling, well-told stories ensures that there will always be a place for the kind of in-depth, narrative-driven journalism that the New New Journalists exemplify.

In “The New New Journalism,” Boynton offers a rich and nuanced understanding of a significant current in American journalism. By focusing on the practitioners who are reshaping literary journalism for the 21st century, he not only pays homage to their work but also provides valuable insights into the art and craft of storytelling within the nonfiction realm. This book serves as both a critical study and a celebration of a genre that continues to push the boundaries of how we understand the world and each other through the medium of written word.

[Written and illustrated with the help of ChatGPT 4 and Dall-e 2.]

“The New Journalism,” edited by Tom Wolfe and E.W. Johnson, emerged as a seminal anthology that carved out a distinct niche for a style of journalism that had been gaining momentum throughout the 1960s and 1970s. This collection, first published in 1973, not only served as a manifesto for this burgeoning movement but also showcased the works of its most brilliant practitioners. The anthology includes pieces from notable writers such as Joan Didion, Hunter S. Thompson, Gay Talese, and Wolfe himself, among others. These journalists pushed the boundaries of traditional reporting, introducing techniques more commonly found in novels and non-fiction narratives, thus creating a hybrid genre that Wolfe championed as “The New Journalism.”

The essence of The New Journalism lies in its radical departure from the detached, objective reporting that had characterized much of journalism up until then. Wolfe and his contemporaries sought to inject a more vivid, immersive form of storytelling into the reportage of real events and personalities. This involved adopting several literary techniques: detailed scene setting, extensive dialogue, third-person point of view, and deep focus on characters, including their inner thoughts and feelings. By employing these methods, the journalists aimed to produce a narrative that was as engaging and character-driven as any work of fiction, yet firmly rooted in factual reporting.

Wolfe opens the anthology with a lengthy introductory essay, which serves both as a manifesto for the New Journalism and as a guide on how to apply its techniques. He argues that the aim was to provide a more nuanced, immersive, and engaging account of real events and people than what traditional journalism could offer. Wolfe contends that the New Journalism arose partly in response to the limitations of both the novel and conventional journalism in capturing the complexities and vibrancies of American life during a period of intense social, political, and cultural upheaval.

The works featured in the anthology cover a wide array of subjects, from political rallies and cultural revolutions to the lives of ordinary Americans caught in extraordinary circumstances. Each piece exemplifies the potential of New Journalism to delve deeper into the human condition and societal trends than traditional reportage might allow. For instance, Gay Talese’s “Frank Sinatra Has a Cold” paints a detailed portrait of the iconic singer without ever securing an interview with him, instead relying on observations of Sinatra’s entourage and the environments he inhabits to reveal his personality and status.

Hunter S. Thompson’s contributions showcase another facet of New Journalism: gonzo journalism, a highly subjective blend of reportage and personal narrative, often blurring the lines between observer and participant. Thompson’s work, characterized by its wild, drug-fueled narratives, demonstrates the extremes to which New Journalism could be taken, challenging the very notion of journalistic objectivity.

Joan Didion’s essays, on the other hand, reflect a more introspective and analytical approach, offering deep dives into the cultural and psychological landscapes of her subjects. Her meticulous observation and lyrical prose exemplify the New Journalism’s capacity for bringing emotional depth and literary quality to journalistic writing.

The anthology, while celebrating the innovations of New Journalism, also sparked debates about the ethics and reliability of blending factual reporting with narrative techniques traditionally associated with fiction. Critics argued that the subjective nature of this style could compromise the accuracy and objectivity expected of journalistic endeavors. However, Wolfe and his fellow new journalists maintained that their approach allowed for a fuller, more vivid representation of reality, arguing that objectivity in journalism was often a guise for superficial reporting.

In summary, “The New Journalism” by Tom Wolfe and E.W. Johnson stands as a landmark publication that not only defined a new era in journalistic writing but also challenged previous conceptions of reporting and storytelling. Through its showcase of groundbreaking works, the anthology demonstrates how adopting literary techniques can enrich the factual narrative, offering readers a more immersive and engaging view of the world. Wolfe and his contemporaries did not merely report on events; they transformed journalism into an art form, expanding the possibilities of how stories about real life could be told.

[Written and illustrated with the help of ChatGPT 4 and Dall-E 2.]