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a{-webk-text-ratn:unrle;text-ratn:unrle;text-ratn-thickns:0.0625rem;text-ratn-lor:#FF3A30;text-unrle-offset:0.25rem;lor:#000000;-webk-transn:all 0.3s ease--out;transn:all 0.3s ease--out;} a:hover{lor:#595959;text-ratn-lor:borr-lk-body-hover;}</style><div class="css-2qf7xf exadjwu8"><p>A treatise on the Varieti of Realistic Experience.</p></div><style data-emotn="css 18k4ks7">{lor:#161616;font-fay:Lsanne,Lsanne-fallback,Arial,sans-serif;letter-spacg:0.02rem;marg-bottom:0.625rem;paddg-right:0.3125rem;text-transform:upperse;}@media(max-width: 48rem){{font-size:0.70003rem;le-height:1.4;}}@media(m-width: 40.625rem){{font-size:0.70003rem;le-height:1.3;}} span{font-fay:Lsanne,Lsanne-fallback,Arial,sans-serif;letter-spacg:0rem;text-transform:palize;}@media(max-width: 48rem){ span{le-height:2rem;font-size:0.875rem;}}@media(m-width: 48rem){ span{le-height:2rem;font-size:0.875rem;}}@media(m-width: 64rem){ span{le-height:2rem;font-size:0.875rem;}}</style><div class="css-18k4ks7 exadjwu7"><style 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href="/thor/8806/tom-wolfe/" class="css-7l5upj e1c1bym14">Tom Wolfe</a></span><style data-emotn="css 1bcsdhu">{display:le-block;font-fay:Lsanne,Lsanne-fallback,Arial,sans-serif;marg-left:0.625rem;text-transform:upperse;}@media(max-width: 48rem){{font-size:0.75rem;le-height:1.3;}}@media(m-width: 48rem){{font-size:0.75rem;le-height:1.3;}}@media(m-width: 64rem){{font-size:0.75rem;le-height:1.3;}}</style><time class="css-1bcsdhu exadjwu6">Published: May 15, 2018</time></addrs></div><style data-emotn="css wkpw2c">{display:-webk-box;display:-webk-flex;display:-ms-flexbox;display:flex;-webk-flex-directn:lumn;-ms-flex-directn:lumn;flex-directn:lumn;-webk-box-pack:center;-ms-flex-pack:center;-webk-jtify-ntent:center;jtify-ntent:center;-webk-align-ems:center;-webk-box-align:center;-ms-flex-align:center;align-ems:center;}</style><div class="no-prt css-wkpw2c exadjwu15"><style data-emotn="css 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149neno">{marg-left:to;marg-right:to;marg-bottom:0.9375rem;max-width:m(lc(20.625rem * 2 - 1rem), lc(100vw - 1rem * 2));} .e152u5os0{marg-left:lc((100vw - m(lc(20.625rem * 2 - 1rem), lc(100vw - 1rem * 2)))/-2);width:100vw;}@media(m-width: 48rem) and (max-width: 61.25rem){ .e152u5os0{marg-left:lc(lc((100vw - m(lc(20.625rem * 2 - 1rem), lc(100vw - 1rem * 2)))/-2) - 3.5rem);}}@media(m-width: 90rem){ .e152u5os0{paddg-left:0.1rem;paddg-right:0.1rem;marg-left:lc(lc((100vw - m(lc(20.625rem * 2 - 1rem), lc(100vw - 1rem * 2)))/-2));}}</style><div class="longform-ntaer ntent-ntaer article-ntaer css-149neno ewisyje2"><style data-emotn="css woto36">{font-fay:Charter,Geia,Tim,Serif;font-size:1.1875rem;le-height:1.6;paddg-left:0rem;paddg-right:0rem;posn:relative;}@media(m-width: 48rem){{paddg-left:3.5rem;paddg-right:3.5rem;}}@media(m-width: 48rem) and (max-width: 61.25rem){{max-width:45.25rem;marg-left:to;marg-right:to;}}@media(m-width: 61.25rem){{paddg-left:0rem;paddg-right:0rem;}}@media(m-width: 73.75rem) and (max-width: 100rem){{paddg-left:0rem;paddg-right:0rem;}}@media(m-width: 90rem){{paddg-left:0rem;paddg-right:0rem;}} em{font-style:alic;font-fay:Charter,Geia,Tim,Serif;} strong{font-fay:Charter,Geia,Tim,Serif;font-weight:bold;}{clear:both;ntent:" ";display:block;font-size:0.7rem;le-height:1.5rem;height:0rem;visibily:hidn;}</style><div class="article-body-ntent article-body longform-body css-woto36 ewisyje7"><style data-emotn="css aeyldl">{font-fay:Charter,Geia,Tim,Serif;font-size:1.1875rem;le-height:1.6;} strong{font-fay:Charter,Geia,Tim,Serif;font-weight:bold;} em{font-style:alic;font-fay:Charter,Geia,Tim,Serif;}</style><p data-no-id="0" class="css-aeyldl et3p2gv0"><em>This article origally appeared the December 1972 issue of Esquire. </em><br /></p><style data-emotn="css am5pt0">{font-fay:Charter,Geia,Tim,Serif;font-size:1.1875rem;le-height:1.6;}{float:left;text-transform:upperse;font-weight:bold;marg-right:0.9375rem;marg-bottom:-0.625rem;marg-top:0;}{font-fay:Glanz,Glanz-fallback,Tim,Serif;font-size:6.25rem;font-weight:normal;le-height:0.75;marg-right:0;paddg:0.6rem 0.75rem 0 0;}@-moz-document url-prefix(){{marg-top:0.625rem;}}@media(max-width: 48rem){{marg-right:0.3125rem;}}@media(m-width: 64rem){{le-height:0.75;}} strong{font-fay:Charter,Geia,Tim,Serif;font-weight:bold;} em{font-style:alic;font-fay:Charter,Geia,Tim,Serif;}</style><p data-no-id="1" class="body-dropp css-am5pt0 et3p2gv0">I have no ia who ed the term “the New Journalism” or even when was ed. Seymour Krim tells me that he first heard ed 1965 when he was edor of <em>Nugget </em>and Pete Hal lled him and said he wanted to wre an article lled “The New Journalism” about people like Jimmy Brl and Gay Tale. It was late 1966 when you first started hearg people talk about “the New Journalism” nversatn, as bt I n remember. I don’t know for sure.... To tell the tth, I’ve never even liked the term. Any movement, group, party, program, philosophy or theory that go unr a name wh “New” is jt beggg for trouble. The garbage barge of history is already full of them: the New Humanism, the New Poetry, the New Cricism, the New Conservativism, the New Frontier, il Stilo Novo ... The World Tomorrow.... Neverthels, the New Journalism was the term that ught on eventually. At the time, the mid-Sixti, one was aware only that all of a sudn there was some sort of artistic excement journalism, and that was a new thg self.</p><div supprsHydratnWarng data-no-id="2" data-embed="edorial-lk" class="embed css-0 e9hzx6g0"><style data-emotn="css 1643r8a">{borr:none;marg-top:1.875rem;marg-bottom:1.875rem;paddg:0rem;}</style><asi class="css-1643r8a e6pr2lz5"><style data-emotn="css l3w2xc">{display:le-block;font-weight:normal;marg:0rem;borr-top:0.25rem solid #15263D;paddg-right:1.1rem;paddg-top:0.4375rem;text-transform:lowerse;font-fay:Lsanne,Lsanne-fallback,Arial,sans-serif;font-size:0.875rem;le-height:1.3;}</style><h6 class="css-l3w2xc e6pr2lz3"><style data-emotn="css 156fvc1">{borr-bottom:0.4375rem solid #FF3A30;borr-right:0.4375rem solid transparent;ntent:'';display:le-block;height:0;marg-right:0.5rem;width:0;}</style><span aria-hidn="te" class="css-156fvc1 eagam8p0"></span><style data-emotn="css 8lle59">{max-width:lc(100% - 120px - .625rem);}</style><span class="css-8lle59 e6pr2lz1">Related Stori</span><span aria-hidn="te" class="css-0 eagam8p1"></span></h6><style data-emotn="css c4s2gi">{paddg:0rem;marg:0rem;list-style:none;}</style><ul class="css-c4s2gi e6pr2lz4"><style data-emotn="css 79zw4t">{font-fay:Lsanne,Lsanne-fallback,Arial,sans-serif;font-size:1rem;le-height:2rem;paddg-top:0.625rem;}@media(max-width: 48rem){{font-size:0.9375rem;le-height:1.3;}}@media(m-width: 48rem){{le-height:1.4;}}@media(m-width: 64rem){{le-height:1.4;}} a{-webk-text-ratn:none;text-ratn:none;lor:her;-webk-transn:all 0.3s ease--out;transn:all 0.3s ease--out;} a:hover{lor:#595959;}</style><li class="css-79zw4t e6pr2lz2"><style data-emotn="css 1bn7a5e">{-webk-text-ratn:none;text-ratn:none;display:-webk-box;display:-webk-flex;display:-ms-flexbox;display:flex;-webk-box-flex-wrap:wrap;-webk-flex-wrap:wrap;-ms-flex-wrap:wrap;flex-wrap:wrap;-webk-flex-directn:row;-ms-flex-directn:row;flex-directn:row;-webk-box-pack:start;-ms-flex-pack:start;-webk-jtify-ntent:flex-start;jtify-ntent:flex-start;-webk-align-ems:center;-webk-box-align:center;-ms-flex-align:center;align-ems:center;}</style><a href="/entertament/books/a20704766/tom-wolfe-obuary/" data-vars-ga-ll-to-actn="Tom Wolfe Has Died " data-vars-ga-ux-element="Edorial Lks" data-vars-ga-outbound-lk=" class="css-1bn7a5e e1c1bym14"><span aria-hidn="te" class="css-0 eagam8p0"></span><style data-emotn="css 1l0u1">{marg-right:0.625rem;height:to;}</style><img src="" alt="Su, Furnure, Stg, Room, Whe-llar worker, Formal wear, Fashn sign, " tle="Su, Furnure, Stg, Room, Whe-llar worker, Formal wear, Fashn sign, " width="120" height="100%" dg="async" loadg="lazy" image-align="left" class="css-1l0u1 e6pr2lz0" /><span class="css-8lle59 e6pr2lz1">Tom Wolfe Has Died </span><span aria-hidn="te" class="css-0 eagam8p1"></span></a></li><li class="css-79zw4t e6pr2lz2"><a href="/entertament/a34610/tom-wolfe-silin-valley-story/" data-vars-ga-ll-to-actn="Tom Wolfe on the Birth of Silin Valley" data-vars-ga-ux-element="Edorial Lks" data-vars-ga-outbound-lk=" class="css-1bn7a5e e1c1bym14"><span aria-hidn="te" class="css-0 eagam8p0"></span><img src="" alt="this image is not available" tle="Tom Wolfe on the Birth of Silin Valley" width="120" height="100%" dg="async" loadg="lazy" image-align="left" class="css-1l0u1 e6pr2lz0" /><span class="css-8lle59 e6pr2lz1">Tom Wolfe on the Birth of Silin Valley</span><span aria-hidn="te" class="css-0 eagam8p1"></span></a></li><li class="css-79zw4t e6pr2lz2"><a href="/news-polics/a38216/tom-wolfe-1015/" data-vars-ga-ll-to-actn="The Radil Power of Tom Wolfe" data-vars-ga-ux-element="Edorial Lks" data-vars-ga-outbound-lk=" class="css-1bn7a5e e1c1bym14"><span aria-hidn="te" class="css-0 eagam8p0"></span><img src="" alt="this image is not available" tle="The Radil Power of Tom Wolfe" width="120" height="100%" dg="async" loadg="lazy" image-align="left" class="css-1l0u1 e6pr2lz0" /><span class="css-8lle59 e6pr2lz1">The Radil Power of Tom Wolfe</span><span aria-hidn="te" class="css-0 eagam8p1"></span></a></li></ul></asi></div><p data-no-id="3" class="css-aeyldl et3p2gv0">I didn’t know what history, if any, lay behd . I wasn’t terted the long view jt then. All I knew was what certa wrers were dog at Esquire, Thomas B. Man, Brock Brower, Terry Southern and, above all, Gay Tale ... even a uple of novelists were on , Norman Mailer and Jam Baldw, wrg nonfictn for Esquire ... and, of urse, the wrers for my own Sunday supplement, <em>New York</em>, chiefly Brl, but also Robert Christg, Doon Arb, Gail Sheehy, Tom Gallagher, Robert Benton and David Newman. I was turng out articl as fast as I uld wre and checkg out all the people to see what new sps they had e up wh. I was pletely wrapped up this new excement that was the air. It was a regular ltle league we had gog.</p><p data-no-id="4" class="css-aeyldl et3p2gv0">As a rult I never had the slightt ia that what we were dog might have an impact on the lerary world or, for that matter, any sphere outsi the small world of feature journalism. I should have known better, however. By 1966 we had already been paid lerary tribute s sh forms: namely, bterns, envy and rentment.</p><style data-emotn="css 1736von">{--data-embed-display:flex;-webk-align-ems:center;-webk-box-align:center;-ms-flex-align:center;align-ems:center;clear:both;display:-webk-box;display:-webk-flex;display:-ms-flexbox;display:flex;marg-bottom:0.9375rem;marg-left:to;marg-right:to;width:100%;}@media(m-width: 20rem){{width:100%;marg:0 to 0.9375rem;}}@media(m-width: 30rem){{width:100%;marg:0 to 0.9375rem;}}@media(m-width: 40.625rem){{width:100%;marg:0 to 0.9375rem;}}@media(m-width: 48rem){{width:100%;marg:0 to 0.9375rem;}}@media(m-width: 64rem){{width:100%;marg:0 to 0.9375rem;}}@media(m-width: 73.75rem){{width:100%;marg:0 to 0.9375rem;}}@media(m-width: 75rem){{width:100%;marg:0 to 0.9375rem;}}@media(m-width: 90rem){{width:100%;marg:0 to 0.9375rem;}} a span{right:1rem;} img{width:to;height:85vh;} a{display:-webk-le-box;display:-webk-le-flex;display:-ms-le-flexbox;display:le-flex;posn:var(--posn, relative);} img:not(.ewcw41w1){display:block;width:100%;height:to;-webk-align-self:flex-start;-ms-flex-em-align:flex-start;align-self:flex-start;}</style><div size="medium" data-embed="body-image" data-no-id="5" class="align-center size-medium embed css-1736von e1xqj1sx4"><style data-emotn="css uwraif">{width:100%;display:-webk-le-box;display:-webk-le-flex;display:-ms-le-flexbox;display:le-flex;-webk-flex-directn:lumn;-ms-flex-directn:lumn;flex-directn:lumn;marg-left:to;marg-right:to;-webk-box-pack:center;-ms-flex-pack:center;-webk-jtify-ntent:center;jtify-ntent:center;}</style><div class="css-uwraif e1xqj1sx3"><div class="css-p7qblm ewcw41w0"><img alt="Black-and-whe, Pianist, Mician, Photography, Technology, Vehicle, Electronic vice, Monochrome photography, Car, Style, " tle="Black-and-whe, Pianist, Mician, Photography, Technology, Vehicle, Electronic vice, Monochrome photography, Car, Style, " loadg="lazy" width="2000" height="1340" dg="async" data-nimg="1" style="lor: transparent; width: 100%; height: to;" siz="100vw" srcSet=" 640w, 980w, 1120w, 1200w, 1920w" src="" class="css-0 exi4f7p0" /><a target="_blank" rel="noopener" href="//" class="ptert css-1i6sckr e1c1bym14"><img data-dynamic-svg src="/_assets/sign-tokens/e/static/ins/social/" loadg="lazy" alt="ptert in" height="to" width="to" class="css-1l3i1cl ewcw41w1" /></a></div><style data-emotn="css swqnqv">@media(m-width: 20rem){{paddg-left:0rem;}}@media(m-width: 30rem){{paddg-left:0rem;}}@media(m-width: 40.625rem){{paddg-left:0rem;}}@media(m-width: 48rem){{paddg-left:0rem;}}@media(m-width: 64rem){{paddg-left:0rem;}}@media(m-width: 73.75rem){{paddg-left:0rem;}}@media(m-width: 75rem){{paddg-left:0rem;}}@media(m-width: 90rem){{paddg-left:0rem;}}</style><div class="css-swqnqv e1xqj1sx2"><style data-emotn="css 8h7i7x">{width:0;m-width:100%;paddg-top:0.625rem;letter-spacg:0.02rem;font-fay:Lsanne,Lsanne-fallback,Arial,sans-serif;font-size:0.875rem;le-height:1.3;} em, i{font-fay:her;font-style:alic;}</style><div class="css-8h7i7x e1xqj1sx1">The thor</div><figptn class="css-1am3yn9 enfs9c50"><span class="css-1mcfn5x e6iqd1">Getty Imag</span></figptn></div></div></div><p data-no-id="6" class="css-aeyldl et3p2gv0">This had all e burstg forth durg a cur episo known as <em>The New Yorker</em> affair. In April of 1965, the New York <em>Herald Tribune</em>’s Sunday magaze, <em>New York</em>, I had ma what I fancied was some lighthearted fun of <em>The New Yorker </em>magaze wh a two-part article entled “Ty Mummi! The Te Story of the Ruler of 43rd Street’s Land of The Walkg Dead!” A very droll <em>sportif </em>performance, you unrstand. Whout gog to the whole beanball ntt I n tell you that there were many good souls who did not nsir this article eher lighthearted or <em>sportif</em>. In fact, ed a hulkg furor. In the midst of the Kentucky lonels of both Journalism and Lerature lnched their first attack on this accursed Low Rent rabble at the door, the magaze wrers workg the damnable new form….</p><p data-no-id="7" class="css-aeyldl et3p2gv0">The longt attacks me two fairly new but highly nservative perdils. One was mounted by what had already bee the major an of tradnal newspaper journalism the Uned Stat, the <em>Columbia Journalism Review</em>, and the other by the major an of Ameri’s olr lerary sayists and “men of letters,” <em>The New York Review of Books</em>. They prented lists of “errors” my piece about <em>The New Yorker</em>, marvelo lists <strong>[1]</strong> as arne and mystifyg as a bill om the body shop—wherpon they nclud that <em>there </em>you had the damnable new genre, this “bastard form,” this “Parajournalism,” a tag they award not only to me and to my magaze <em>New York </em>and all s works but also to Brl, Tale, Dick Schaap and, as long as they were up, Esquire <strong>[2]</strong>. Whether or not one accepted the lists, the strategy self was revealg. My article on <em>The New Yorker</em> had not even been an example of the new genre; ed neher the reportg techniqu nor the lerary techniqu; unrneath a b of red-flock<em> Police Gazette</em> rhetoric, was a tradnal crique, a needle, an attack, an “say” of the old school. It had ltle or nothg to do wh anythg I had wrten before. It certaly had nothg to do wh any other wrer’s work. And yet I thk the journalists and lerati who were so fur were scere. I thk they looked at the work a dozen or so wrers, Brl, Tale and myself among them, were dog for<em> New York</em> and Esquire, and they were baffled, dazzled.... They had jt about the same stctive, fensive reactn I had had three years before when I read a remarkable piece by Gay Tale about Joe Louis.... This <em>n’t </em>be right.... The people mt be pipg , wgg , makg up the dialogue.... Christ, maybe they’re makg up whole scen, the unscpulo geeks (I’m tellg you, Ump, those are<em> sp</em>balls they’re throwg). They need to believe, short, that the new form was illegimate ... a “bastard form.”</p><div supprsHydratnWarng data-no-id="8" data-embed="pullquote" class="embed css-0 e9hzx6g0"><style data-emotn="css 1eiql25">{text-align:center;marg:0rem;paddg-top:0.9375rem;paddg-bottom:0.9375rem;}</style><blockquote class="css-1eiql25 e1pe3zr91"><style data-emotn="css ow0dpz">{borr:0.3125rem solid #FF3A30;borr-radi:100%;ntent:'';display:block;height:2.1875rem;left:50%;marg:-0.99rem to 0 -1.33rem;posn:absolute;width:2.1875rem;}</style><span aria-hidn="te" class="css-ow0dpz eagam8p0"></span><style data-emotn="css la9czl">{font-fay:Lsanne,Lsanne-fallback,Arial,sans-serif;font-size:1.625rem;le-height:1.2;marg:0rem;}@media(max-width: 48rem){{font-size:1.75rem;le-height:1.2;}}@media(m-width: 64rem){{font-size:2.375rem;le-height:1.2;}} b, strong{font-fay:her;font-weight:bold;} em, i{font-fay:her;font-style:alic;}{ntent:'"';display:block;font-fay:Lsanne,Lsanne-fallback,Arial,sans-serif;font-size:3.4375rem;le-height:0.72;font-style:alic;paddg:0.3125rem 0.875rem 0 0;}</style><blockquote class="css-la9czl e1pe3zr90"> In the midst of the Kentucky lonels of both Journalism and Lerature lnched their first attack on this accursed Low Rent rabble at the door, the magaze wrers workg the damnable new form...</blockquote><span aria-hidn="te" class="css-0 eagam8p1"></span></blockquote></div><p data-no-id="9" class="css-aeyldl et3p2gv0">Why newspaper people were upset was no mystery. They were better than railroad men at ristg anythg labeled new. The average newspaper edor’s ia of a major novatn was the Cashword Puzzle. The lerary opposn was more plex, however. Lookg back on one n see that what had happened was this: the sudn arrival of this new style of journalism, om out of nowhere, had ed a stat panic the lerary muny. Throughout the twentieth century lerary people had grown ed to a very stable and apparently eternal stat stcture. It was somewhat like a class stcture on the eighteenth-century mol that there was a chance for you to pete but only wh people of your own class. The lerary upper class were the novelists; the ocsnal playwright or poet might be up there, too, but maly was the novelists. They were regard as the only “creative” wrers, the only lerary artists. They had exclive entry to the soul of man, the profound emotns, the eternal mysteri, and so forth and so on.... The middle class were the “men of letters,” the lerary sayists, the more thorative crics; the ocsnal bgrapher, historian or smilly cled scientist also, but maly the men of letters. Their provce was analysis, “sights,” the play of tellect. They were not the same class wh the novelists, as they well knew, but they were the reigng practners of nonfictn.... The lower class were the journalists, and they were so low down the stcture that they were barely noticed at all. They were regard chiefly as day laborers who dug up slags of raw rmatn for wrers of higher “sensibily” to make better e of. As for people who wrote for popular (“slick”) magaz and Sunday supplements, your so-lled ee-lance wrers—except for a few people on <em>The New Yorker</em>, they weren’t even the game. They were the lumpenprol.</p><style data-emotn="css 1mtk2uq">{--data-embed-display:flex;-webk-align-ems:center;-webk-box-align:center;-ms-flex-align:center;align-ems:center;display:-webk-box;display:-webk-flex;display:-ms-flexbox;display:flex;marg-bottom:0.9375rem;}@media(m-width: 20rem){{clear:both;marg-left:to;marg-right:to;width:100%;}}@media(m-width: 30rem){{clear:both;marg-left:to;marg-right:to;width:100%;}}@media(m-width: 40.625rem){{width:70%;marg-left:1rem;marg-right:0rem;float:right;clear:right;}}@media(m-width: 48rem){{width:70%;marg-left:1rem;marg-right:0rem;float:right;clear:right;}}@media(m-width: 64rem){{width:60%;marg-left:1rem;marg-right:0rem;float:right;clear:right;}}@media(m-width: 73.75rem){{width:60%;marg-left:1rem;marg-right:lc(-30% - 1rem);float:right;clear:right;}}@media(m-width: 75rem){{width:60%;marg-left:1rem;marg-right:lc(-30% - 1rem);float:right;clear:right;}}@media(m-width: 90rem){{width:60%;marg-left:1rem;marg-right:lc(-30% - 1rem);float:right;clear:right;}} a span{right:1rem;} img{width:to;height:85vh;} a{display:-webk-le-box;display:-webk-le-flex;display:-ms-le-flexbox;display:le-flex;posn:var(--posn, relative);} img:not(.ewcw41w1){display:block;width:100%;height:to;-webk-align-self:flex-start;-ms-flex-em-align:flex-start;align-self:flex-start;}</style><div size="large" data-embed="body-image" data-no-id="10" class="align-right size-large embed css-1mtk2uq e1xqj1sx4"><div class="css-uwraif e1xqj1sx3"><div class="css-p7qblm ewcw41w0"><img alt="Stg, Snapshot, Black-and-whe, Monochrome, Photography, Style, " tle="Stg, Snapshot, Black-and-whe, Monochrome, Photography, Style, " loadg="lazy" width="2000" height="3005" dg="async" data-nimg="1" style="lor: transparent; width: 100%; height: to;" siz="100vw" srcSet=" 640w, 980w, 1120w, 1200w, 1920w" src="" class="css-0 exi4f7p0" /><a target="_blank" rel="noopener" href="//" class="ptert css-1i6sckr e1c1bym14"><img data-dynamic-svg src="/_assets/sign-tokens/e/static/ins/social/" loadg="lazy" alt="ptert in" height="to" width="to" class="css-1l3i1cl ewcw41w1" /></a></div><style data-emotn="css 78jldq">{paddg-left:0rem;}</style><div class="css-78jldq e1xqj1sx2"><div class="css-8h7i7x e1xqj1sx1">Gay Tale</div><figptn class="css-1am3yn9 enfs9c50"><span class="css-1mcfn5x e6iqd1">Getty Imag</span></figptn></div></div></div><p data-no-id="11" class="css-aeyldl et3p2gv0">And so all of a sudn, the mid-Sixti, here a bunch of the lumpenprol, no ls, a bunch of slick-magaze and Sunday-supplement wrers wh no lerary crentials whatsoever most s—only they’re g all the techniqu of the novelists, even the most sophistited on—and on top of that they’re helpg themselv to the sights of the men of letters while they’re at —and at the same time they’re still dog their low-life legwork, their “diggg,” their htlg, their damnable Locker Room Genre reportg—they’re takg on <em>all </em>of the rol at the same time— other words, they’re ignorg lerary class l that have been almost a century the makg.</p><style data-emotn="css qplj0i">{font-fay:Lsanne,Lsanne-fallback,Arial,sans-serif;font-weight:normal;marg-bottom:0.625rem;marg-top:0.625rem;}@media(max-width: 48rem){{font-size:2.125rem;le-height:1.2;}}@media(m-width: 48rem){{font-size:2.25rem;le-height:1.3;}}@media(m-width: 64rem){{font-size:2.5rem;le-height:1.1;}} b, strong{font-fay:her;font-weight:bold;} em, i{font-fay:her;font-style:alic;}</style><h2 data-no-id="12" class="css-qplj0i et3p2gv0"><em>Read more inic Esquire stori on <style data-emotn="css umdwtv">{-webk-text-ratn:unrle;text-ratn:unrle;text-ratn-thickns:.0625rem;text-ratn-lor:#FF3A30;text-unrle-offset:0.25rem;lor:her;-webk-transn:background 0.4s;transn:background 0.4s;background:lear-gradient(#ffffff, #ffffff 50%, #d5dbe3 50%, #d5dbe3);-webk-background-size:100% 200%;background-size:100% 200%;}{lor:#000000;text-ratn-lor:borr-lk-body-hover;-webk-background-posn:100% 100%;background-posn:100% 100%;}</style><a href=" target="_blank" data-vars-ga-outbound-lk=" data-vars-ga-ux-element="Hyperlk" data-vars-ga-ll-to-actn="Esquire Classic" class="body-lk css-umdwtv et3p2gv0">Esquire Classic</a>.</em></h2><p data-no-id="13" class="css-aeyldl et3p2gv0">The panic h the men of letters first. If the lumpenprol won their pot, if their new form achieved any sort of lerary rpectabily, if were somehow accepted as “creative,” the men of letters stood to lose even their posns as the reigng practners of nonfictn. They would get bumped down to Lower Middle Class. This was already begng to happen. The first ditn I had me an article the June, 1966, <em>Atlantic </em>by Dan Wakefield, entled “The Personal Voice and the Impersonal Eye.” The gist of the piece was that this was the first perd anybody’s memory when people the lerary world were begng to talk about nonfictn as a ser artistic form. Norman Podhoretz had wrten a piece <em>Harper’s </em> 1958 claimg a siar stat for the “discursive prose” of the late Fifti, says by people like Jam Baldw and Isaac Rosenfeld. But the excement Wakefield was talkg about had nothg to do wh says or any other tradnal nonfictn. Que the ntrary; Wakefield attributed the new prtige of nonfictn to two books of an entirely different sort:<em> In Cold Blood</em>, by Tman Capote, and a llectn of magaze articl wh a tle allerative trochaic pentameter that I am sure would e to me if I dwelled upon .</p><div supprsHydratnWarng data-no-id="14" data-embed="pullquote" class="embed css-0 e9hzx6g0"><blockquote class="css-1eiql25 e1pe3zr91"><span aria-hidn="te" class="css-ow0dpz eagam8p0"></span><blockquote class="css-la9czl e1pe3zr90">All of a sudn, here a bunch of the lumpenprol, ignorg lerary class l that have been almost a century the makg.</blockquote><span aria-hidn="te" class="css-0 eagam8p1"></span></blockquote></div><p data-no-id="15" class="css-aeyldl et3p2gv0">Capote’s story of the life and ath of two drifters who blew the heads off a wealthy farm fay Kansas ran as a serial <em>The New Yorker</em> the Fall of 1965 and me out book form Febary of 1966. It was a sensatn—and a terrible jolt to all who expected the accursed New Journalism or Parajournalism to sp self out like a fad. Here, after all, was not some obscure journalist, some ee-lance wrer, but a novelist of long standg ... whose reer had been the doldms ... and who sudnly, wh this one stroke, wh this turn to the damnable new form of journalism, not only rcated his reputatn but elevated higher than ever before ... and beme a celebry of the most amazg magnu the barga. People of all sorts read <em>In Cold Blood</em>, people at every level of taste. Everybody was absorbed . Capote himself didn’t ll journalism; far om ; he said he had vented a new lerary genre, “the nonfictn novel.” Neverthels, his succs gave the New Journalism, as would soon be lled, an overwhelmg momentum.</p><p data-no-id="16" class="css-aeyldl et3p2gv0">Capote had spent five years rearchg his story and terviewg the killers prison, and so on, a very meticulo and imprsive job. But 1966 you started seeg feats of reportg that were extraordary, spectacular. Here me a breed of journalists who somehow had the moxie to talk their way si of any i, even closed societi, and hang on for ar life. A marvelo maniac named John Sack talked the Army to lettg him jo an fantry pany at Fort Dix, M Company, 1st Advanced Infantry Trag Briga—not as a rec but as a reporter—and go through trag wh them and then to Vietnam and to battle. The rult was a book lled<em> M</em> (appearg first Esquire), a nonfictn <em>Catch-22</em> and, for my money, still the ft book any genre published about the war. Gee Plimpton went to trag wh a profsnal football team, the Detro Lns, the role of reporter playg rookie quarterback, roomg wh the players, gog through their workouts and fally playg quarterback for them a preason game— orr to wre <em>Paper Ln</em>. Like Capote’s book, <em>Paper Ln</em> was read by people at every level of taste and had perhaps the greatt lerary impact of any wrg about sports sce Rg Lardner’s short stori. But the all-time ee-lance wrer’s Brass Stud Award went that year to an obscure California journalist named Hunter Thompson who “ran” wh the Hell’s Angels for eighteen months—as a reporter and not a member, which might have been safer— orr to wre <em>Hell’s Angels: The Strange and Terrible Saga of the Outlaw Motorcycle Gang</em>. The Angels wrote his last chapter for him by stompg him half to ath a roadhoe fifty om Santa Rosa. All through the book Thompson had been searchg for the sgle psychologil or soclogil sight that would sum up all he had seen, the sgle goln <em>aperçu</em>; and as he lay sprawled there on the floor ughg up blood and teeth, the le he had been lookg for me to him a brilliant flash om out of the heart of darkns: “Extermate all the bt!”</p><div size="medium" data-embed="body-image" data-no-id="17" class="align-center size-medium embed css-1736von e1xqj1sx4"><div class="css-uwraif e1xqj1sx3"><div class="css-p7qblm ewcw41w0"><img alt="Photograph, Black, Black-and-whe, Monochrome, Monochrome photography, Snapshot, Photography, Stock photography, Font, Room, " tle="Photograph, Black, Black-and-whe, Monochrome, Monochrome photography, Snapshot, Photography, Stock photography, Font, Room, " loadg="lazy" width="2000" height="1370" dg="async" data-nimg="1" style="lor: transparent; width: 100%; height: to;" siz="100vw" srcSet=" 640w, 980w, 1120w, 1200w, 1920w" src="" class="css-0 exi4f7p0" /><a target="_blank" rel="noopener" href="//" class="ptert css-1i6sckr e1c1bym14"><img data-dynamic-svg src="/_assets/sign-tokens/e/static/ins/social/" loadg="lazy" alt="ptert in" height="to" width="to" class="css-1l3i1cl ewcw41w1" /></a></div><div class="css-swqnqv e1xqj1sx2"><div class="css-8h7i7x e1xqj1sx1">A wdow display 1966</div><figptn class="css-1am3yn9 enfs9c50"><span class="css-1mcfn5x e6iqd1">Getty Imag</span></figptn></div></div></div><p data-no-id="18" class="css-aeyldl et3p2gv0">At about the same time, 1966 and 1967, Joan Didn was wrg those strange Gothic articl of hers about California that were eventually llected <em>Slouchg Towards Bethlehem</em>. Rex Reed was wrg his celebry terviews—this was an old journalistic exercise, of urse, but no one had ever que so diligently addrsed himself to the qutn of, “What is So-and-so really like?” (Simone Signoret, as I rell, turned out to have the neck, shoulrs and upper back of a middle lebacker.) Jam Mills was pullg off some amazg reportg feats of his own for <em>Life </em> piec such as “The Panic Needle Park,” “The Detective,” and “The Prosecutor.” The wrer-reporter team of Garry Wills and Ovid Demaris was dog a seri of brilliant piec for Esquire, culmatg “You All Know Me—I’m Jack Ruby!”</p><div supprsHydratnWarng data-no-id="19" data-embed="pullquote" class="embed css-0 e9hzx6g0"><blockquote class="css-1eiql25 e1pe3zr91"><span aria-hidn="te" class="css-ow0dpz eagam8p0"></span><blockquote class="css-la9czl e1pe3zr90">Here me a breed of journalists who somehow had the moxie to talk their way si of any i, even closed societi, and hang on for ar life. </blockquote><span aria-hidn="te" class="css-0 eagam8p1"></span></blockquote></div><p data-no-id="20" class="css-aeyldl et3p2gv0">And then, early 1968, another novelist turned to nonfictn, and wh a succs that s own way was as spectacular as Capote’s two years before. This was Norman Mailer wrg a memoir about an antiwar monstratn he had bee volved , “The Steps of the Pentagon.” The memoir, or tobgraphy, is an old genre of nonfictn, of urse, but this piece was wrten soon enough after the event to have a journalistic impact. It took up an entire issue of <em>Harper’s Magaze </em>and me out a few months later unr the tle of <em>The Armi Of The Night</em>. Unlike Capote’s book, Mailer’s was not a popular succs; but wh the lerary muny and among tellectuals generally uldn’t have been a more tremendo <em>succès d’time</em>. At the time Mailer’s reputatn had been terratg the wake of two ept novels lled <em>An Amerin Dream</em> (1965) and<em> Why Are We In Vietnam?</em> (1967). He was beg tegorized somewhat nscendgly as a journalist, bee his nonfictn, chiefly Esquire, was obvly his better work. <em>The Armi Of The Night</em> changed all that a flash. Like Capote, Mailer had a dread of the tag that had been put on him—“journalist”—and had subtled his book “The Novel as History; History as the Novel.” But the lson was one that nobody the lerary world uld miss. Here was another novelist who had turned to some form of accursed journalism, no matter what name you gave , and had not only revived his reputatn but raised to a pot higher than had ever been his life.</p><p data-no-id="21" class="css-aeyldl et3p2gv0">By 1969 no one the lerary world uld simply dismiss this new journalism as an ferr genre. The suatn was somewhat siar to the suatn of the novel England the 1850’s. It was yet to be nonized, sanctified and given a theology, but wrers themselv uld already feel the new Power flowg.</p><div size="large" data-embed="body-image" data-no-id="22" class="align-right size-large embed css-1mtk2uq e1xqj1sx4"><div class="css-uwraif e1xqj1sx3"><div class="css-p7qblm ewcw41w0"><img alt="Eyewear, Photograph, People, Black-and-whe, Monochrome, Glass, Sunglass, Cool, Monochrome photography, Photography, " tle="Eyewear, Photograph, People, Black-and-whe, Monochrome, Glass, Sunglass, Cool, Monochrome photography, Photography, " loadg="lazy" width="1932" height="2928" dg="async" data-nimg="1" style="lor: transparent; width: 100%; height: to;" siz="100vw" srcSet=" 640w, 980w, 1120w, 1200w, 1920w" src="" class="css-0 exi4f7p0" /><a target="_blank" rel="noopener" href="//" class="ptert css-1i6sckr e1c1bym14"><img data-dynamic-svg src="/_assets/sign-tokens/e/static/ins/social/" loadg="lazy" alt="ptert in" height="to" width="to" class="css-1l3i1cl ewcw41w1" /></a></div><div class="css-78jldq e1xqj1sx2"><div class="css-8h7i7x e1xqj1sx1">Joan Didn</div><figptn class="css-1am3yn9 enfs9c50"><span class="css-1mcfn5x e6iqd1">Getty Imag</span></figptn></div></div></div><p data-no-id="23" class="css-aeyldl et3p2gv0">The siary between the early days of the novel and the early days of the New Journalism is not merely cintal. In both s we are watchg the same procs. We are watchg a group of wrers g along, workg a genre regard as Lower Class (the novel before the 1850’s, slick-magaze journalism before the 1960’s), who disver the joys of tailed realism and s strange powers. Many of them seem to be love wh realism for s own sake; and never md the “sacred llgs” of lerature. They seem to be sayg: “Hey! Come here! This is the way people are livg now—jt the way I’m gog to show you! It may astound you, disgt you, light you or aroe your ntempt or make you lgh.... Neverthels, this is what ’s like! It’s <em>all </em>right here! You won’t be bored! Take a look!”</p><p data-no-id="24" class="css-aeyldl et3p2gv0">As I hardly have to tell you, that is not exactly the way ser novelists regard the task of the novel today. In this , the Seventi, The Novel will be celebratg the one-hundredth anniversary of s nonizatn as the spirual genre. Novelists today keep g words like “myth,” “fable” and “magic.” That state of md known as “the sacred office of the novelist” had origated Europe the 1870’s and didn’t take hold the Amerin lerary world until after the Send World War. But soon ma up for lost time. What kd of novel should a sacred officer wre? In 1948 Lnel Trillg prented the theory that the novel of social realism (which had flourished Ameri throughout the 1930’s) was fished bee the eight tra of history had passed by. The argument was that such novels were a product of the rise of the bourgeoisie the neteenth century at the height of palism. But now bourgeois society was breakg up, agmentg. A novelist uld no longer portray a part of that society and hope to pture the Zegeist; all he would be left wh was one of the broken piec. The only hope was a new kd of novel (his ndidate was the novel of ias). This theory ught on among young novelists wh an astonishg grip. Whole reers were altered. All those wrers hangg out the lerary pubs New York such as the Whe Horse Tavern shed off to wre every kd of novel you uld image, so long as wasn’t the so-lled “big novel” of manners and society. The next thg one knew, they were to novels of ias, Frdian novels, surrealistic novels (“black edy”), Kafkaque novels and, more recently, the tatonic novel or novel of immobily, the sort that begs: “In orr to get started, he went to live alone on an island and shot himself.” (Openg le of a Robert Coover short story.)</p><div supprsHydratnWarng data-no-id="25" data-embed="pullquote" class="embed css-0 e9hzx6g0"><blockquote class="css-1eiql25 e1pe3zr91"><span aria-hidn="te" class="css-ow0dpz eagam8p0"></span><blockquote class="css-la9czl e1pe3zr90"> A novelist uld no longer portray a part of that society and hope to pture the Zegeist; all he would be left wh was one of the broken piec. The only hope was a new kd of novel.</blockquote><span aria-hidn="te" class="css-0 eagam8p1"></span></blockquote></div><p data-no-id="26" class="css-aeyldl et3p2gv0">As a rult, by the Sixti, about the time I me to New York, the most ser, amb and, prumably, talented novelists had abandoned the richt terra of the novel: namely, society, the social table, manners and morals, the whole bs of “the way we live now,” Trollope’s phrase. There is no novelist who will be remembered as the novelist who ptured the Sixti Ameri, or even New York, the sense that Thackeray was the chronicler of London the 1840’s and Balzac was the chronicler of Paris and all of France after the fall of the Empire. Balzac prid himself on beg “the secretary of French society.” Most ser Amerin novelists would rather cut their wrists than be known as “the secretary of Amerin society,” and not merely bee of iologil nsiratns. Wh fable, myth and the sacred office to thk about—who wants such a menial role?</p><p data-no-id="27" class="css-aeyldl et3p2gv0">That was marvelo for journalists—I n tell you that. The Sixti was one of the most extraordary s Amerin history terms of manners and morals. Manners and morals <em>were </em>the history of the Sixti. A hundred years om now when historians wre about the 1960’s Ameri (always assumg, to paraphrase Céle, that the Che will still give a damn about Amerin history), they won’t wre about as the of the war Vietnam or of space exploratn or of polil assassatns ... but as the when manners and morals, styl of livg, attus toward the world changed the untry more ccially than any polil events ... all the chang that were labeled, however clumsily, wh such tags as “the generatn gap,” “the unter culture,” “black nscns,” “sexual permissivens,” “the ath of God,” ... the abandonment of proprieti, pieti, ms nnoted by “go-go funds,” “fast money,” swger groovy hippie drop-out pop Beatl Andy Baby Jane Bernie Huey Eldridge LSD marathon enunter stone unrground rip-off.... This whole si of Amerin life that ghed forth when postwar Amerin affluence fally blew the lid off—all this novelists turned away om, gave up by flt. That left a huge gap Amerin letters, a gap big enough to drive an ungaly Reo rig like the New Journalism through.</p><div size="medium" data-embed="body-image" data-no-id="28" class="align-center size-medium embed css-1736von e1xqj1sx4"><div class="css-uwraif e1xqj1sx3"><div class="css-p7qblm ewcw41w0"><img alt="Landspe, Grassland, Shotgun, Hill, Fell, Sneakers, Meadow, Air gun, Shootg, Prairie, " tle="Landspe, Grassland, Shotgun, Hill, Fell, Sneakers, Meadow, Air gun, Shootg, Prairie, " loadg="lazy" width="2000" height="1491" dg="async" data-nimg="1" style="lor: transparent; width: 100%; height: to;" siz="100vw" srcSet=" 640w, 980w, 1120w, 1200w, 1920w" src="" class="css-0 exi4f7p0" /><a target="_blank" rel="noopener" href="//" class="ptert css-1i6sckr e1c1bym14"><img data-dynamic-svg src="/_assets/sign-tokens/e/static/ins/social/" loadg="lazy" alt="ptert in" height="to" width="to" class="css-1l3i1cl ewcw41w1" /></a></div><div class="css-swqnqv e1xqj1sx2"><div class="css-8h7i7x e1xqj1sx1">Hunter S. Thompson</div><figptn class="css-1am3yn9 enfs9c50"><span class="css-1mcfn5x e6iqd1">Getty Imag</span></figptn></div></div></div><p data-no-id="29" class="css-aeyldl et3p2gv0">When I reached New York the early Sixti, I uldn’t believe the scene I saw spread out before me. New York was panmonium wh a big gr on. Among people wh money—and they seemed to be multiplyg like shad— was the wilst, loonit time sce the 1920’s ... a universe of creamy forty-five-year-old fashnable fatti wh walnut-shell ey out on the giblet slab wearg the hip-huggers and the mis and the Ltle Egypt ey and the siburns and the boots and the bells and the love beads, dog the Wati and the Funky Broadway and jigglg and grng and sweatg and sweatg and grng and jigglg until the onset of dawn or sale pletn, whichever me first.... It was a hulkg rnival. But what really amazed me was that as a wrer I had practilly all to myself. As fast as I uld possibly do , I was turng out articl on this amazg spectacle that I saw bubblg and screamg right there ont of my wonrg ey—New York!—and all the while I jt knew that some enterprisg novelist was gog to e along and do this whole marvelo scene wh one gigantic darg bold stroke. It was so ready, so <em>ripe</em>—beckong ... but never happened. To my great amazement New York simply remaed the journalist’s bonanza. For that matter, novelists seemed to shy away om the life of the great ci altogether. The thought of tacklg such a subject seemed to terrify them, nfe them, make them doubt their own powers. And bis, would have meant tacklg social realism as well.</p><p data-no-id="30" class="css-aeyldl et3p2gv0">To my even greater amazement I had the same experience when I me upon 1960’s California. This was the very cubator of new styl of livg, and the styl were right there for all to see, richetg off every eyeball—and aga we—a few journalists workg the new form—had all to ourselv, even the psychelic movement, whose wav are still felt every part of the untry, every grammar school even, like the tergalactic pulse. I wrote <em>The Electric Kool-Aid Acid Tt</em> and then waed for the novels that I was sure would e pourg out of the psychelic experience ... but they never me forth, eher. I learned later that publishers had been wag, too. They had been practilly cryg for novels by the new wrers who mt be out there somewhere, the new wrers who would do the big novels of the hippie life or mp life or radil movements or the war Vietnam or dope or sex or black ancy or enunter groups or the whole whirlpool all at once. They waed, and all they got was the Prce of Alienatn ... sailg off to Lonome Island on his Tarot boat wh his back turned and his Timels pe on, reekg of mphor balls.</p><p data-no-id="31" class="css-aeyldl et3p2gv0">Amazg, as I say. If nothg else had done , that would have. We—New Journalists—Parajournalists—had the whole crazed obscene uproar Mammon-faced dg-soaked m-m lt-oozg Sixti Ameri all to ourselv.</p><style data-emotn="css 18pb4rg">{borr:0;borr-bottom:th solid black;marg:1.875rem 0;clear:both;}</style><hr data-no-id="32" class="css-18pb4rg et3p2gv0" /><p data-no-id="33" class="body-dropp css-am5pt0 et3p2gv0">So the novelists had been kd enough to leave behd for our boys que a nice ltle body of material: the whole of Amerin society, effect. It only remaed to be seen if magaze wrers uld master the techniqu, nonfictn, that had given the novel of social realism such power. And here we e to a fe piece of irony. In abandong social realism novelists also abandoned certa val matters of technique. As a rult, by 1969 was obv that the magaze wrers—the very lumpenprol themselv!—had also gaed a technil edge on novelists. It was marvelo. For journalists to take Technique away om the novelists—somehow remd me of Edmund Wilson’s old exhortatn the early 1930’s: Let’s take munism away om the Communists.</p><div supprsHydratnWarng data-no-id="34" data-embed="pullquote" class="embed css-0 e9hzx6g0"><blockquote class="css-1eiql25 e1pe3zr91"><span aria-hidn="te" class="css-ow0dpz eagam8p0"></span><blockquote class="css-la9czl e1pe3zr90">For journalists to take Technique away om the novelists—somehow remd me of Edmund Wilson’s old exhortatn: Let’s take munism away om the Communists.</blockquote><span aria-hidn="te" class="css-0 eagam8p1"></span></blockquote></div><p data-no-id="35" class="css-aeyldl et3p2gv0">If you follow the progrs of the New Journalism closely through the 1960’s, you see an tertg thg happeng. You see journalists learng the techniqu of realism—particularly of the sort found Fieldg, Smollett, Balzac, Dickens and Gogol—om scratch. By trial and error, by “stct” rather than theory, journalists began to disver the vic that gave the realistic novel s unique power, varly known as s “immediacy,” s “ncrete realy,” s “emotnal volvement,” s “grippg” or “absorbg” qualy.</p><div size="large" data-embed="body-image" data-no-id="36" class="align-right size-large embed css-1mtk2uq e1xqj1sx4"><div class="css-uwraif e1xqj1sx3"><div class="css-p7qblm ewcw41w0"><img alt="Photograph, Whe, Standg, Snapshot, Black-and-whe, Street, Monochrome, Photography, Su, Inastcture, " tle="Photograph, Whe, Standg, Snapshot, Black-and-whe, Street, Monochrome, Photography, Su, Inastcture, " loadg="lazy" width="2000" height="3025" dg="async" data-nimg="1" style="lor: transparent; width: 100%; height: to;" siz="100vw" srcSet=" 640w, 980w, 1120w, 1200w, 1920w" src="" class="css-0 exi4f7p0" /><a target="_blank" rel="noopener" href="//" class="ptert css-1i6sckr e1c1bym14"><img data-dynamic-svg src="/_assets/sign-tokens/e/static/ins/social/" loadg="lazy" alt="ptert in" height="to" width="to" class="css-1l3i1cl ewcw41w1" /></a></div><div class="css-78jldq e1xqj1sx2"><div class="css-8h7i7x e1xqj1sx1">The thor New York</div><figptn class="css-1am3yn9 enfs9c50"><span class="css-1mcfn5x e6iqd1">Getty Imag</span></figptn></div></div></div><p data-no-id="37" class="css-aeyldl et3p2gv0">This extraordary power was rived maly om jt four vic, they disvered. The basic one was scene-by-scene nstctn, tellg the story by movg om scene to scene and rortg as ltle as possible to sheer historil narrative. Hence the sometim extraordary feats of reportg that the new journalists unrtook: so that they uld actually wns the scen other people’s liv as they took place—and rerd the dialogue full, which was vice No. 2. Magaze wrers, like the early novelists, learned by trial and error somethg that has sce been monstrated amic studi: namely, that realistic dialogue volv the rear more pletely than any other sgle vice. It also tablish and f character more quickly and effectively than any other sgle vice. (Dickens has a way of fixg a character your md so that you have the feelg he has scribed every ch of his appearance—only to go back and disver that he actually took re of the physil scriptn two or three sentenc; the rt he has acplished wh dialogue.) Journalists were workg on dialogue of the fullt, most pletely revealg sort the very moment when novelists were cuttg back, g dialogue more and more cryptic, fey and curly abstract ways.</p><p data-no-id="38" class="css-aeyldl et3p2gv0">The third vice was the so-lled “third-person pot of view,” the technique of prentg every scene to the rear through the ey of a particular character, givg the rear the feelg of beg si the character’s md and experiencg the emotnal realy of the scene as he experienc . Journalists had often ed the first-person pot of view—“I was there”—jt as tobgraphers, memoirists and novelists had. This is very limg for the journalist, however, sce he n brg the rear si the md of only one character—himself—a pot of view that often prov irrelevant to the story and irratg to the rear. Yet how uld a journalist, wrg nonfictn, accurately perate the thoughts of another person?</p><p data-no-id="39" class="css-aeyldl et3p2gv0">The answer proved to be marveloly simple: terview him about his thoughts and emotns, along wh everythg else. This was what Gay Tale did orr to wre <em>Honor Thy Father</em>. In <em>M</em>, John Sack had gone a step further and ed both third-person pot of view and the terr monologue to a limed extent.</p><div supprsHydratnWarng data-no-id="40" data-embed="pullquote" class="embed css-0 e9hzx6g0"><blockquote class="css-1eiql25 e1pe3zr91"><span aria-hidn="te" class="css-ow0dpz eagam8p0"></span><blockquote class="css-la9czl e1pe3zr90">By trial and error, by “stct” rather than theory, journalists began to disver the vic that gave the realistic novel s unique power.</blockquote><span aria-hidn="te" class="css-0 eagam8p1"></span></blockquote></div><p data-no-id="41" class="css-aeyldl et3p2gv0">The fourth vice has always been the least unrstood. This is the rerdg of everyday gtur, habs, manners, ctoms, styl of furnure, clothg, ratn, styl of travelg, eatg, keepg hoe, mos of behavg toward children, servants, superrs, ferrs, peers, pl the var looks, glanc, pos, styl of walkg and other symbolic tails that might exist wh a scene. Symbolic of what? Symbolic, generally, of people’s <em>stat life</em>, g that term the broad sense of the entire pattern of behavr and posssns through which people exprs their posn the world or what they thk is or what they hope to be. The rerdg of such tails is not mere embroiry prose. It li as close to the center of the power of realism as any other vice lerature. It is the very sence of the “absorbg” power of Balzac, for example. Balzac barely ed pot of view at all the refed sense that Henry Jam ed later on. And yet the rear away feelg that he has been even more pletely “si” Balzac’s characters than Jam’s. Why? Here is the sort of thg Balzac do over and over. Before troducg you to Monsir and Madame Marneffe personally ( <em>Coe Bette</em>) he brgs you to their drawg room and nducts a social topsy: “The furnure vered fad tton velvet, the plaster statuett masqueradg as Florente bronz, the clumsily rved pated chanlier wh s ndle rgs of mold glass, the rpet, a barga whose low price was explaed too late by the quanty of tton , which was now visible to the naked eye—everythg the room, to the very curtas (which would have tght you that the handsome appearance of wool damask lasts for only three years)”—everythg the room begs to absorb one to the liv of a pair of down-at-the-heel social climbers, Monsir and Madame Marneffe. Balzac pil up the tails so relentlsly and at the same time so meticuloly—there is srcely a tail the later Balzac that do not illumate some pot of stat—that he triggers the rear’s memori of his own stat life, his own ambns, securi, lights, disasters, pl the thoand and one small huiatns and the stat ups of everyday life, and triggers them over and over until he creat an atmosphere as rich and volvg as the Joycean e of pot of view.</p><p data-no-id="42" class="css-aeyldl et3p2gv0">I am fascated by the fact that experimenters the physlogy of the bra, still the great terra gna of the scienc, seem to be headg toward the theory that the human md or psyche do not have a discrete, ternal existence. It is not a posssn locked si your skull. Durg every moment of nscns is lked directly to external clu as to your stat a social and not merely a physil sense and nnot velop or survive whout them. If this turns out to be so, uld expla how novelists such as Balzac, Gogol, Dickens and Dostoevsky were able to be so “volvg” whout g pot of view wh the sophistitn of Flbert or Jam or Joyce.</p><div size="medium" data-embed="body-image" data-no-id="43" class="align-center size-medium embed css-1736von e1xqj1sx4"><div class="css-uwraif e1xqj1sx3"><div class="css-p7qblm ewcw41w0"><img alt="Library, Bookse, Booksellg, Public library, Buildg, Shelvg, Retail, Black-and-whe, Furnure, Book, " tle="Library, Bookse, Booksellg, Public library, Buildg, Shelvg, Retail, Black-and-whe, Furnure, Book, " loadg="lazy" width="2000" height="1522" dg="async" data-nimg="1" style="lor: transparent; width: 100%; height: to;" siz="100vw" srcSet=" 640w, 980w, 1120w, 1200w, 1920w" src="" class="css-0 exi4f7p0" /><a target="_blank" rel="noopener" href="//" class="ptert css-1i6sckr e1c1bym14"><img data-dynamic-svg src="/_assets/sign-tokens/e/static/ins/social/" loadg="lazy" alt="ptert in" height="to" width="to" class="css-1l3i1cl ewcw41w1" /></a></div><div class="css-swqnqv e1xqj1sx2"><div class="css-8h7i7x e1xqj1sx1">Jam Joyce a bookstore</div><figptn class="css-1am3yn9 enfs9c50"><span class="css-1mcfn5x e6iqd1">Getty Imag</span></figptn></div></div></div><p data-no-id="44" class="css-aeyldl et3p2gv0">I have never heard a journalist talk about the rerdg of stat life any way that showed he even thought of as a separate vice. It is simply somethg that journalists the new form have gravated toward. That rather elementary and joyo ambn to show the rear <em>real life</em>—“Come here! Look! This is the way people live the days! The are the thgs they do!”—leads to naturally. In any se, the rult is the same. While so many novelists abandon the task altogether—and at the same time give up two thirds of the power of dialogue—journalists ntue to experiment wh all the vic of realism, revvg them up, tryg to e them a bigger way, wh the full passn of nocents and disverers.</p><p data-no-id="45" class="css-aeyldl et3p2gv0">Their nocence has kept them ee. Even novelists who try the new form ... sudnly relax and treat themselv to forbidn sweets. If they want to dulge a cravg for Victorian rhetoric or for a Humphrey Clkerism such as, “At this pot the attentive rear may wonr how our hero uld possibly…”—they go ahead and do , as Mailer do <em>The Armi Of The Night</em> wh nsirable charm. In this new journalism there are no sacerdotal l; not yet any se.... If the journalist wants to shift om third-person pot of view to first-person pot of view the same scene, or and out of different characters’ pots of view, or even om the narrator’s omniscient voice to someone else’s stream of nscns—as occurs <em>The Electric Kool-Aid Acid Tt</em>—he do . For the blsed Visigoths there is still only the outlaw’s le regardg technique: take, e, improvise. The rult is a form that is not merely<em> like a novel</em>. It nsum vic that happen to have origated wh the novel and mix them wh every other vice known to prose. And all the while, que beyond matters of technique, enjoys an advantage so obv, so built-, one almost fets what a power has: the simple fact that the rear knows<em> all this actually happened</em>. The disclaimers have been erased. The screen is gone. The wrer is one step closer to the absolute volvement of the rear that Henry Jam and Jam Joyce dreamed of and never achieved.</p><div supprsHydratnWarng data-no-id="46" data-embed="pullquote" class="embed css-0 e9hzx6g0"><blockquote class="css-1eiql25 e1pe3zr91"><span aria-hidn="te" class="css-ow0dpz eagam8p0"></span><blockquote class="css-la9czl e1pe3zr90">The New Journalism enjoys an advantage so obv, so built-, one almost fets what a power has: the simple fact that the rear knows <em>all this actually happened</em>.</blockquote><span aria-hidn="te" class="css-0 eagam8p1"></span></blockquote></div><p data-no-id="47" class="css-aeyldl et3p2gv0">Novelists have ma a disastro mislculatn over the past twenty years about the nature of realism. Their view of the matter is pretty well summed up by the edor of the<em> Partisan Review</em>, William Phillips: “In fact, realism is jt another formal vice, not a permanent method for alg wh experience.” I spect that precisely the oppose is te. If our iends the gnive psychologists ever reach the pot of knowg for sure, I thk they will tell somethg on this orr: the troductn of realism to lerature by people like Richardson, Fieldg and Smollett was like the troductn of electricy to mache technology. It was <em>not </em>jt another vice. It raised the state of the art to a new magnu. The effect of realism on the emotns was somethg that had never been nceived of before. No one was ever moved to tears by readg about the unhappy fat of hero and hero Homer, Sophocl, Molière, Race, Sydney, Spenser or Shakpeare. But even the impecble Lord Jefey, edor of the <em>Edburgh Review</em>, had cried—actually blubbered, boohooed, snuffled and sighed—over the ath of Dickens’ Ltle Nell <em>The Old Cursy Shop</em>.</p><p data-no-id="48" class="css-aeyldl et3p2gv0">One don’t have to admire Dickens or any of the other wrers who first monstrated this power orr to appreciate the pot. For wrers to give up this unique power the qut for a more sophistited kd of fictn— is as if an engeer were to set out to velop a more sophistited mache technology by first of all disrdg the prciple of electricy. In any se, journalists now enjoy a tremendo technil advantage. They have all the juice. This is not to say they have ma maximum e of . The work done journalism over the past ten years easily outdazzl the work done fictn, but that is sayg very ltle. All that one n say is that the material and the techniqu are now available, and the time is right.</p><style data-emotn="css gv3b6u">{--data-embed-display:flex;-webk-align-ems:center;-webk-box-align:center;-ms-flex-align:center;align-ems:center;display:-webk-box;display:-webk-flex;display:-ms-flexbox;display:flex;marg-bottom:0.9375rem;}@media(m-width: 20rem){{clear:both;marg-left:to;marg-right:to;width:100%;}}@media(m-width: 30rem){{clear:both;marg-left:to;marg-right:to;width:100%;}}@media(m-width: 40.625rem){{width:70%;marg-right:1rem;marg-left:0rem;float:left;clear:left;}}@media(m-width: 48rem){{width:70%;marg-right:1rem;marg-left:0rem;float:left;clear:left;}}@media(m-width: 64rem){{width:60%;marg-right:1rem;marg-left:0rem;float:left;clear:left;}}@media(m-width: 73.75rem){{width:60%;marg-right:1rem;marg-left:lc(-30% - 1rem);float:left;clear:left;}}@media(m-width: 75rem){{width:60%;marg-right:1rem;marg-left:lc(-30% - 1rem);float:left;clear:left;}}@media(m-width: 90rem){{width:60%;marg-right:1rem;marg-left:lc(-30% - 1rem);float:left;clear:left;}} a span{right:1rem;} img{width:to;height:85vh;} a{display:-webk-le-box;display:-webk-le-flex;display:-ms-le-flexbox;display:le-flex;posn:var(--posn, relative);} img:not(.ewcw41w1){display:block;width:100%;height:to;-webk-align-self:flex-start;-ms-flex-em-align:flex-start;align-self:flex-start;}</style><div size="large" data-embed="body-image" data-no-id="49" class="align-left size-large embed css-gv3b6u e1xqj1sx4"><div class="css-uwraif e1xqj1sx3"><div class="css-p7qblm ewcw41w0"><img alt="Jazz pianist, Pianist, Composer, Mician, Player piano, " tle="Jazz pianist, Pianist, Composer, Mician, Player piano, " loadg="lazy" width="2000" height="2722" dg="async" data-nimg="1" style="lor: transparent; width: 100%; height: to;" siz="100vw" srcSet=" 640w, 980w, 1120w, 1200w, 1920w" src="" class="css-0 exi4f7p0" /><a target="_blank" rel="noopener" href="//" class="ptert css-1i6sckr e1c1bym14"><img data-dynamic-svg src="/_assets/sign-tokens/e/static/ins/social/" loadg="lazy" alt="ptert in" height="to" width="to" class="css-1l3i1cl ewcw41w1" /></a></div><div class="css-78jldq e1xqj1sx2"><div class="css-8h7i7x e1xqj1sx1">Charl Dickens</div><figptn class="css-1am3yn9 enfs9c50"><span class="css-1mcfn5x e6iqd1">Getty Imag</span></figptn></div></div></div><p data-no-id="50" class="css-aeyldl et3p2gv0">The stat crisis that first h lerature’s middle class, the sayists or “men of letters,” has now h the novelists themselv. Some have turned directly to nonfictn. Some, such as Gore Vidal, Herbert Gold, William Styron and Ronald Senick, have tried forms that land on a cur ground between, part fictn and part nonfictn. Still others have begun to pay homage to the power of the New Journalism by puttg real people, wh their real nam, to fictnal suatns.... They’re all sweatg bullets.... Actually I wouldn’t say the novel is ad. It’s the kd of ment that don’t mean much any se. It is only the prevailg fashns among novelists that are washed up. I thk there is a tremendo future for a sort of novel that will be lled the journalistic novel or perhaps documentary novel, novels of tense social realism based upon the same pastakg reportg that go to the New Journalism. I see no reason why novelists who look down on Arthur Hailey’s work uldn’t do the same sort of reportg and rearch he do—and wre better, if they’re able. There are certa areas of life that journalism still nnot move to easily, particularly for reasons of vasn of privacy, and is this marg that the novel will be able to grow the future.</p><p data-no-id="51" class="css-aeyldl et3p2gv0">When we talk about the “rise” or “ath” of lerary genr, we are talkg about stat, maly. The novel no longer has the supreme stat enjoyed for nety years (1875-1965), but neher has the New Journalism won for self. The stat of the New Journalism is not secure by any means. In some quarters the ntempt for is boundls ... even breathtakg.... Wh any luck at all the new genre will never be sanctified, never be exalted, never given a theology. I probably shouldn’t even go around talkg up the way I have this piece. All I meant to say when I started out was that the New Journalism n no longer be ignored an artistic sense. The rt I take back.... The hell wh .... Let chaos reign ... lour mic, more we.... The hell wh the standgs.... The top ng is up for grabs. All the old tradns are exhsted, and no new one is yet tablished. All bets are off! the odds are nceled! ’s anybody’s ball game!... the hors are all dgged! the track is glass!... and out of such glor chaos may e, om the most unexpected source, the most unexpected form, some nice new fat Star Streamer Rockets that will light up the sky.</p><div supprsHydratnWarng data-no-id="52" data-embed="edorial-lk" class="embed css-0 e9hzx6g0"><asi class="css-1643r8a e6pr2lz5"><h6 class="css-l3w2xc e6pr2lz3"><span aria-hidn="te" class="css-156fvc1 eagam8p0"></span><span class="css-8lle59 e6pr2lz1">Related Story</span><span aria-hidn="te" class="css-0 eagam8p1"></span></h6><ul class="css-c4s2gi e6pr2lz4"><li class="css-79zw4t e6pr2lz2"><a href="/entertament/a19831/tom-wolfe-robert-noyce-15127164/" data-vars-ga-ll-to-actn="Tom Wolfe's Last (and Bt) Magaze Story" data-vars-ga-ux-element="Edorial Lks" data-vars-ga-outbound-lk=" class="css-1bn7a5e e1c1bym14"><span aria-hidn="te" class="css-0 eagam8p0"></span><img src="" alt="this image is not available" tle="Tom Wolfe's Last (and Bt) Magaze Story" width="120" height="100%" dg="async" loadg="lazy" image-align="left" class="css-1l0u1 e6pr2lz0" /><span class="css-8lle59 e6pr2lz1">Tom Wolfe's Last (and Bt) Magaze Story</span><span aria-hidn="te" class="css-0 eagam8p1"></span></a></li></ul></asi></div><hr data-no-id="53" class="css-18pb4rg et3p2gv0" /><p data-no-id="54" class="css-aeyldl et3p2gv0"><strong>1.</strong> Prepared, both stanc, by <em>New Yorker</em> staff members, if one need ed.</p><p data-no-id="55" class="css-aeyldl et3p2gv0"><strong>2.</strong> The first of two <em>New York Review of Books</em> articl on “Parajournalism” (Augt, 1965) said: “The genre origated Esquire but now appears most flamboyantly the <em>New York Herald Tribune</em>” ... “Dick Schaap is one of the <em>Trib</em>’s parajournalists” .... “Another is Jimmy Brl ... the tough-guy-wh-the-heart-of-schmaltz bard of the ltle man and the big celeb”.... Later the piece spoke of “Gay Tale, an Esquire alumn who now parajournaliz mostly The <em>Tim</em>, a more dignified way, of urse” .... “But the kg of the ts is, of urse, Tom Wolfe, an Esquire alumn who wr mostly for the <em>Trib</em>’s Sunday magaze, <em>New York</em>, which is eded by a former Esquire edor, Clay Felker....”</p><style data-emotn="css 2ok9l4">{marg-top:1.875rem;borr-top:th solid #595959;}</style><div data-jam-id="thor-b" class="css-2ok9l4 e13rjwo40"></div><style data-emotn="css ciejky">{clear:both;marg-top:1.25rem;}</style><div id="journey-le" class="css-ciejky e1cslvxz0"></div><style data-emotn="css 79elbk">{posn:relative;}</style><div class="css-79elbk eg8z2o90"><div class="css-79elbk e1tp40ll1"><div data-anchor-id="P0-0" class="css-0 e1tp40ll0"></div></div><style data-emotn="css hi6ssp">{display:block;grid-area:article_body;grid-lumn:article_body-start/article_body-end;grid-row:to;jtify-self:center;marg:1.25rem 0 0;}@media prt{{display:none;}}@media(max-width: 30rem){{width:100%;}}@media(max-width: 61.25rem){{m-height:28rem;}}@media(m-width: 30rem){{width:488px;}}@media(m-width: 40.625rem){{width:612px;}}@media(m-width: 64rem){{max-width:40.25rem;}}</style><div class="css-hi6ssp eg8z2o92"></div></div></div></div><div></div><div data-teractive="WatchNext-1" class="css-0 e10xr3vp6"><style data-emotn="css 1pqv15d">{marg-bottom:1.875rem;marg-top:1.875rem;paddg:0 0.938rem;}@media(m-width: 40.625rem){{paddg:0 2.5rem;}}</style><div data-embed="watch-next" class="css-1pqv15d e10xr3vp5"><style data-emotn="css 604vx7">{text-align:center;marg:0 to;max-width:60rem;borr-top:0.125rem solid #15263D;}</style><div class="css-604vx7 e10xr3vp4"><style data-emotn="css 1sowyjy">{marg-bottom:1.25rem;}</style><div class="css-1sowyjy e10xr3vp3"><style data-emotn="css ju94x7">{marg:0rem;font-weight:normal;background-lor:#ffffff;lor:#000;borr:0.125rem solid #15263D;text-align:left;width:-webk-f-ntent;width:-moz-f-ntent;width:f-ntent;borr-radi:2rem;display:block;font-fay:Lsanne,Lsanne-fallback,Arial,sans-serif;font-size:0.70028rem;le-height:1.2;letter-spacg:0.04rem;marg-top:-1rem;paddg:0.5rem 0.9375rem 0.25rem;text-transform:upperse;}</style><h6 class="css-ju94x7 e10xr3vp2"><span aria-hidn="te" class="css-0 eagam8p0"></span><span class="css-0 e10xr3vp1">Watch Next</span><span aria-hidn="te" class="css-0 eagam8p1"></span></h6><style data-emotn="css un61">{-webk-align-ems:center;-webk-box-align:center;-ms-flex-align:center;align-ems:center;display:-webk-box;display:-webk-flex;display:-ms-flexbox;display:flex;font-fay:Lsanne,Lsanne-fallback,Arial,sans-serif;font-weight:normal;-webk-box-pack:center;-ms-flex-pack:center;-webk-jtify-ntent:center;jtify-ntent:center;marg:0rem;m-height:to;paddg-top:1rem;text-align:left;}@media(max-width: 48rem){{font-size:1.5rem;le-height:1.1;}}@media(m-width: 48rem){{font-size:1.875rem;le-height:1.3;}}@media(m-width: 64rem){{font-size:2.125rem;le-height:1.2;}}</style><h6 class="css-un61 e10xr3vp0"> </h6></div><style data-emotn="css b3y6x">{marg-bottom:0.9375rem;--aspect-rat:56.25%;} {posn:absolute;marg:0rem;}{ntent:"";display:block;height:0rem;width:100%;}@media(max-width: 30rem){{paddg-bottom:lc((45% / 1.16) + 20px + 1.66em);}}@media(m-width: 30rem) and (max-width: 48rem){{paddg-bottom:lc((45% / 1.43) + 20px + 1.66em);}}@media(m-width: 40.625rem) and (max-width: 64rem){{paddg-bottom:lc((33% / 1.40) + 20px + 1.66em);}}@media(m-width: 48rem){{paddg-bottom:lc((25% / 1.36) + 20px + 1.66em);}}@media(m-width: 64rem){{paddg-bottom:lc((25% / 1.46) + 20px + 1.66em);}}</style><div class="__rp-ntaer css-b3y6x e6l0f0"><style data-emotn="css 1yu8e3d">{marg-bottom:0.9375rem;width:100%;height:100%;} .__rp-ntaer{height:to;}</style><div data-embed="embed-vio" class="vio-player css-1yu8e3d e1ou1fny0"><style data-emotn="css 1uds6oo">{height:100%;width:100%;posn:relative;}</style><div class="css-1uds6oo e1f7ylgd6"><style data-emotn="css w2pm9t">{background-lor:rgba(0, 0, 0, 0.4);borr:.1875rem solid whe;borr-radi:50%;lor:#fff;cursor:poter;height:3.75rem;left:50%;posn:absolute;-webk-transform:translate(-50%,-50%);-moz-transform:translate(-50%,-50%);-ms-transform:translate(-50%,-50%);transform:translate(-50%,-50%);-webk-transn:all 0.4s;transn:all 0.4s;width:3.75rem;z-x:1;}.e1f7ylgd6:hover {background-lor:rgba(33, 150, 245, 0.8);lor:#ffffff;}@media(m-width: 20rem){{top:26%;}}@media(m-width: 30rem){{top:29.5%;}}@media(m-width: 40.625rem){{top:32.5%;}}@media(m-width: 48rem){{top:34.5%;height:5.625rem;width:5.625rem;borr:.28125rem solid whe;}}@media(m-width: 64rem){{top:35%;}}@media(m-width: 75rem){{top:35.8%;}}</style><button aria-label="Play Vio" class="css-w2pm9t e1f7ylgd1"><style data-emotn="css 1lhf7lq">{fill:#ffffff;height:1.4rem;vertil-align:middle;width:1.45rem;}@media(m-width: 48rem){{width:2.3125rem;height:3rem;}}</style><svg xmlns=" width="24" height="24" viewBox="0 0 24 24" style="fill: var(--primary, #000);" role="img" tle="Play" class="css-1lhf7lq e1f7ylgd2"><tle>play in
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