The Gang That Wouldn't Write Straight: Wolfe, Thompson, Didion, Capote, and the New Journalism Revolution
by Marc Weingarten · 12 Dec 2006 · 363pp · 123,076 words
of creative nonfiction, the greatest literary movement since the American fiction renaissance of the 1920s. The first rule of what came to be known as New Journalism was that the old rules didn’t apply. The leaders of the movement had all been reared in the traditional methods of fact gathering, but
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’t yet been explored to its fullest, they began to think like novelists. As soon as Wolfe codified this new reporting tendency with the name “New Journalism” in the 1973 anthology that he co-edited with E. W. Johnson, critics emerged to strike it down, confusing Wolfe’s theorizing with self-promotion
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. There’s no fixed definition for New Journalism, granted, and its critics have often pointed to its maddeningly indeterminate meaning as a major shortcoming. How can you have a movement when no one
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knows what that movement represents? Is New Journalism the participatory gonzo journalism of Hunter S. Thompson? Jimmy Breslin’s impressionistic rogue’s tales? Tom Wolfe’s jittery gyroscopic prose? The answer is that
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afford to miss an issue, lest they miss out on something. And a new generation of writers was reading as well. The greatest work of New Journalism’s golden era—the last, great good time of American journalism, which roughly spans the years 1962 to 1977—left a profound impression on what
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best lessons of their elders and carry on the tradition today. This is how it all went down…. RADICAL LIT: SOME ROOTS OF A REVOLUTION “New Journalism” is a slippery phrase. When Tom Wolfe made it the title of a 1973 anthology featuring pieces from such writers as Gay Talese, Hunter Thompson
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Wolfe for trying to trademark a technique that had existed for over two hundred years. They contended that there was nothing new about New Journalism. They were both right. New Journalism had been flitting around the edges of American and British journalism since the earliest newspaper days. It was also true that writers such
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saw fit. The success of the Boz series would give creative license for other writers to do the same. It’s a stone fact that New Journalism emerged from the gutter, not only via reformist-minded writers with real concerns but also via exploiters who milked the class-based prejudices of the
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profit. The literary art of the scandal sheet can’t be overlooked. Tom Wolfe has always regarded the best tabloid reporting as the apotheosis of New Journalism. It’s where the high-beam writing style, the racy description and zippy dialogue, really ratcheted up to full throttle. In the nineteenth century, the
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bumps of his narrative, conflating characters into composites, or creating them out of whole cloth if necessary. This was to became a major tenet of New Journalism three decades later—blurring facts and characters like a watercolorist to arrive at some greater emotional or philosophical truth. To this day, journalists grapple with
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the notion of creating composites, and gifted writers such as Gail Sheehy have been harshly criticized for doing so. For traditional journalists and critics of New Journalism, it’s the antithesis of the well-ordered inverted pyramid technique, but Orwell’s story throws the pyramid’s limitations into bold relief. Lazy journalists
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” was a piece that drew from forty-three interviews Hersey conducted with returning soldiers. “Joe Is Home Now” is a key precursor to the wartime New Journalism of John Sack and Michael Herr. Hersey makes no pretense about the story being factual. “I guess I’d been thinking from the beginning, and
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the particulars of the struggle, the small acts of self-sacrifice and resourcefulness that become crucial to his characters’ survival. What makes “Hiroshima” a crucial New Journalism antecedent, among other things, is the way Hersey assiduously describes his characters’ internal reactions, the thoughts racing through their heads when the “noiseless flash” makes
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piece, personality profile, and polemic. It was unmistakably journalism, but a newspaper editor would be hard-pressed to place it. Years later, when the term “New Journalism” became commonplace, Mailer admitted that “Superman Comes to the Supermarket” fell squarely into that rubric of creative reportage. What Mailer had contributed to the form
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fun at Esquire, but he wasted little time in establishing a new beachhead for himself. He returned to his newspaper roots and jump-started the New Journalism in an unprecedented fashion. KING JAMES AND THE MAN IN THE ICE CREAM SUIT By the time Arnold Gingrich showed Clay Felker the door, the
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himself. “When I reached New York in the sixties, I couldn’t believe the scene I saw spread out before me,” Wolfe wrote in the New Journalism anthology. “New York was pandemonium with a big grin on.” What fascinated Wolfe were the myriad ways in which people with money were carving out
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family, 1964’s Sometimes a Great Notion. Wolfe was a big fan of Cuckoo’s Nest—he could tell that Kesey had done his homework, New Journalism-style—but as it turned out, Kesey’s life story was every bit as intriguing. Ken Kesey was raised on a farm that his father
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across as strongly.” Published by New American Library in February 1967, M was the first great Vietnam book, and it’s unquestionably the first great New Journalism war book. Layer by layer, Sack peels away M Company’s thin veneer of resolve and courage, because it was absurd to pretend that soldiers
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, write some leisurely notes, maybe not write anything at all. He was drawn to what Esquire writer Garry Wills regarded as a key tenet of New Journalism, the centrifugal instinct … to “get to the sidelines and watch,” and that yielded his best material. “A lot of us never really knew what Michael
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the early 1960s, folded on May 5, 1967, in the midst of a labor dispute involving the newspaper merger. Felker’s great experiment in newspaper New Journalism seemed over as well. Felker had been tipped off to the Trib’s demise by Jimmy Breslin, who called him the night before the announcement
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draft, written on the spot at top speed and basically un-revised, edited, chopped, larded, etc. for publication…. Raoul Duke is pushing the frontiers of “new journalism” a lot further than anything you’ll find in Hell’s Angels. Fear and Loathing in Las Vegas: A Savage Journey to the Heart of
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top, the result of morphing his fictional aspirations into his journalism.” Tom Wolfe, whom Thompson regarded as his closest competitor, declared it a masterpiece of New Journalism, a “scorching, epochal sensation.” It should have been time for some well-earned gloating, but with critical approbation came a number of complications. First and
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buying a responsive audience and I could provide it for them.” Without Breslin’s moral conscience and Wolfe’s keen satirical eye, New York’s New Journalism was now being adulterated in the service of sensationalism. In the skillful hands of regulars such as Gail Sheehy or Julie Baumgold
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, New Journalism was a powerful tool, but it had to be wielded carefully. Given the freewheeling artistic license Felker permitted, the temptation to embellish the facts could
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be tempting. The first rule of New Journalism as laid down by Tom Wolfe, who published his anthology The New Journalism in 1973, was that whenever the style roamed freely, the facts had to be unassailable. Otherwise, the technique collapses
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wrote about events he didn’t witness firsthand, however, it created a credibility crisis for the magazine and called into question the whole enterprise of New Journalism. Sheehy’s most ambitious undertaking for New York to date was a sprawling, multipart examination of prostitution in New York—not only Times Square and
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regarded its biggest stars with skepticism and a twinge of jealousy, Sheehy’s gaffe was the beginning of the end of New Journalism. “New Journalism is rising,” the Wall Street Journal wrote, “but its believability is declining.” It was hard to dispute that, in the absence of a published disclosure
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or some explanation of Sheehy’s methods, “Redpants and Sugar-man” was New Journalism run amok. Sheehy wasn’t the only New York writer whose methods were called into question during the post-Breslin era. Two profiles by Aaron
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’s research involved working as the night manager in two different massage parlors in Manhattan, the Middle Earth and the Fifth Season; Latham, in true New Journalism fashion, decided to accompany Talese on his rounds in the summer of 1973. The piece, “An Evening in the Nude with Gay Talese,” shocked readers
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compassion that he brought to the subject of professional sex, but Latham was merely abiding by New York’s new code of sensationalism, in which New Journalism was callously exploited. It was what Hunter Thompson had carped about in Hell’s Angels, the “supercharged hokum” of the mainstream press resorting to certain
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discouraged by scrupulous editors; they were career builders for magazine writers now, and big draws for advertisers. It just got ugly in the 1970s for New Journalism, a process that was hastened by the decline of general-interest magazines. So what happened? Television, mostly, which siphoned away readers and ad dollars, turned
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, and women’s lib just wasn’t sexy enough for male journalists to cover with the same rigor and passion that they reserved for wars. New Journalism as Wolfe envisioned it—as the great literary movement of the postwar era—died a long time ago, but its influence is everywhere. Once a
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University’s magazine journalism program, Robert S. Boynton, interviewed the authors of these and other recent nonfiction classics for a 2005 book called The New New Journalism. With the exception of Jimmy Breslin, who continued to write a weekly column until retiring from newspaper work in November 2004
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, New Journalism’s greatest practitioners moved on to other pursuits. Tom Wolfe virtually gave up journalism to devote himself to novels such as The Bonfire of the
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3, 1966. 1. RADICAL LIT: SOME ROOTS OF A REVOLUTION “In New York in the early 1960s”: Tom Wolfe and E. W Johnson, eds., The New Journalism (New York: Harper & Row, 1973), 47. Roots of print journalism: Franklin Luther Mott, American Journalism: A History, 1690-1960 (New York: Macmillan, 1962); George Boyce
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, sir?”: Ibid., “Jerry the Booster,”42. “into a shape like a bowling ball”: Tom Wolfe and E. W Johnson, eds., The New Journalism (New York: Harper & Row, 1973); Tom Wolfe, “The New Journalism,”13. The New York Times’s metropolitan editor A. M. Rosenthal: Jimmy Breslin: The Art of Climbing Tenement Stairs, radio documentary
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my model”: Elaine Dundy, “Tom Wolfe … But Exactly, Yes!”Vogue, April 15, 1966. “This must be the place!”: Wolfe and Johnson, eds., The New Journalism; Tom Wolfe, “The New Journalism,”4. “electrical conduits,” “industrial sludge,” “big pie factory”: Ibid. “I still get a terrific kick”: Joe David Bellamy, “Sitting Up with Tom Wolfe,”Writer
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, “600 at NYU Stage Lusty Rent Strike,”New York Herald Tribune, April 13, 1962. “usual non-fiction narrator”: Wolfe and Johnson, eds., Tom Wolfe, “The New Journalism,”The New Journalism, 17. “Is that Joan Morse”: Wolfe, “The Saturday Route,”The Kandy-Kolored Tangerine-Flake Streamline Baby (New York: Farrar, Straus and Giroux, 1965), 223
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. “When I reached New York in the sixties”: Wolfe and Johnson, eds., Tom Wolfe, “The New Journalism,”The New Journalism, 30. “When great fame”: Tom Wolfe, The Pump House Gang (New York: Farrar, Straus and Giroux, 1968; Bantam edition, 1978), 8. “Here you are
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rich”: Gail Sheehy, Hustling: Prostitution in Our Wide-Open Society (New York: Dell, 1973), 31. “the original Redpants made an appointment”:“The Hooker’s Boswell.” “New Journalism is rising”: Ibid. “Amy reached out and took hold”: Aaron Latham, “An Evening in the Nude with Gay Talese,”New York, July 9, 1973. But
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. Boyce, George, James Curran, and Pauline Wingate. Newspaper History from the Seventeenth Century to the Present Day (Constable London, 1978). Boynton, Robert S. The New New Journalism: Conversations with America’s Best Nonfiction Writers on Their Craft (Vintage New York, 2005). Breslin, Jimmy. The World of Jimmy Breslin (Viking, New York 1967
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& Madmen, Clutter & Vine (Bantam Books, New York 1977). _____. Hooking Up (Farrar, Straus and Giroux, New York 2000). Wolfe, Tom, and E. W. Johnson, eds. The New Journalism (Harper & Row, New York 1973). Yagoda, Ben. About Town: The New Yorker and the World It Made (Scribner, New York 2000). Zamiatin, Eugene. We (Dutton
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., New York, in 2005. Library of Congress Cataloging-in-Publication Data Weingarten, Marc. The gang that wouldn’t write straight: Wolfe, Thompson, Didion, and the New Journalism revolution / Marc Weingarten 1. American prose literature—20th century—History and criticism. 2. Reportage literature, America—History and criticism. 3. Journalism-United States—History—20th
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Third World America: How Our Politicians Are Abandoning the Middle Class and Betraying the American Dream
by Arianna Huffington · 7 Sep 2010 · 300pp · 78,475 words
The Bohemians: Mark Twain and the San Francisco Writers Who Reinvented American Literature
by Ben Tarnoff · 20 Mar 2014 · 404pp · 118,759 words
The Undoing Project: A Friendship That Changed Our Minds
by Michael Lewis · 6 Dec 2016 · 336pp · 113,519 words
The Music of the Primes
by Marcus Du Sautoy · 26 Apr 2004 · 434pp · 135,226 words
Consumed: How Markets Corrupt Children, Infantilize Adults, and Swallow Citizens Whole
by Benjamin R. Barber · 1 Jan 2007 · 498pp · 145,708 words
A World Beneath the Sands: The Golden Age of Egyptology
by Toby Wilkinson · 19 Oct 2020
Before the Storm: Barry Goldwater and the Unmaking of the American Consensus
by Rick Perlstein · 17 Mar 2009 · 1,037pp · 294,916 words
Full Catastrophe Living (Revised Edition): Using the Wisdom of Your Body and Mind to Face Stress, Pain, and Illness
by Jon Kabat-Zinn · 23 Sep 2013 · 706pp · 237,378 words
The Gods of New York: Egotists, Idealists, Opportunists, and the Birth of the Modern City: 1986-1990
by Jonathan Mahler · 11 Aug 2025 · 559pp · 164,804 words
The Death of Truth: Notes on Falsehood in the Age of Trump
by Michiko Kakutani · 17 Jul 2018 · 137pp · 38,925 words
The Great Wave: The Era of Radical Disruption and the Rise of the Outsider
by Michiko Kakutani · 20 Feb 2024 · 262pp · 69,328 words
The Tunnel Through Time: A New Route for an Old London Journey
by Gillian Tindall · 14 Sep 2016 · 322pp · 100,632 words
Titan: The Life of John D. Rockefeller, Sr.
by Ron Chernow · 1 Jan 1997 · 1,106pp · 335,322 words
Symmetry and the Monster
by Ronan, Mark · 14 Sep 2006 · 212pp · 65,900 words
Chasing the Moon: The People, the Politics, and the Promise That Launched America Into the Space Age
by Robert Stone and Alan Andres · 3 Jun 2019
Leaving Orbit: Notes From the Last Days of American Spaceflight
by Margaret Lazarus Dean · 18 May 2015 · 338pp · 112,127 words
Four Thousand Weeks: Time Management for Mortals
by Oliver Burkeman · 9 Aug 2021 · 206pp · 68,757 words
The Postman
by David Brin · 1 Jan 1985 · 341pp · 93,764 words
Darwin's Dangerous Idea: Evolution and the Meanings of Life
by Daniel C. Dennett · 15 Jan 1995 · 846pp · 232,630 words
Hunger: The Oldest Problem
by Martin Caparros · 14 Jan 2020 · 684pp · 212,486 words
Greed and Glory on Wall Street: The Fall of the House of Lehman
by Ken Auletta · 28 Sep 2015 · 349pp · 104,796 words
The Decadent Society: How We Became the Victims of Our Own Success
by Ross Douthat · 25 Feb 2020 · 324pp · 80,217 words
The Lion's Gate: On the Front Lines of the Six Day War
by Steven Pressfield · 5 May 2014 · 531pp · 139,948 words
Traders, Guns & Money: Knowns and Unknowns in the Dazzling World of Derivatives
by Satyajit Das · 15 Nov 2006 · 349pp · 134,041 words
Big Data at Work: Dispelling the Myths, Uncovering the Opportunities
by Thomas H. Davenport · 4 Feb 2014
Like Dreamers: The Story of the Israeli Paratroopers Who Reunited Jerusalem and Divided a Nation
by Yossi Klein Halevi · 4 Nov 2014 · 752pp · 201,334 words
March of the Lemmings: Brexit in Print and Performance 2016–2019
by Stewart Lee · 2 Sep 2019 · 382pp · 117,536 words
Isn't That Rich?: Life Among the 1 Percent
by Richard Kirshenbaum and Michael Gross · 9 Jun 2015 · 197pp · 53,292 words
Small Change: Why Business Won't Save the World
by Michael Edwards · 4 Jan 2010
For the Win
by Cory Doctorow · 11 May 2010 · 624pp · 180,416 words
Making Ideas Happen: Overcoming the Obstacles Between Vision and Reality
by Scott Belsky · 31 Mar 2010 · 223pp · 63,484 words
Fly by Wire: The Geese, the Glide, the Miracle on the Hudson
by William Langewiesche · 10 Nov 2009 · 175pp · 54,028 words
Coastal California Travel Guide
by Lonely Planet
The Fractalist
by Benoit Mandelbrot · 30 Oct 2012
Against Technoableism: Rethinking Who Needs Improvement
by Ashley Shew · 18 Sep 2023 · 154pp · 43,956 words
Where We Are: The State of Britain Now
by Roger Scruton · 16 Nov 2017 · 190pp · 56,531 words
Frommer's San Diego 2011
by Mark Hiss · 2 Jan 2007