By Doug Underwood
Literary journalism is a wealthy box of analysis that has performed a huge position within the construction of the English and American literary canons. during this unique and fascinating examine, Doug Underwood specializes in the numerous impressive journalists-turned-novelists stumbled on on the margins of truth and fiction because the early eighteenth century, while the radical and the economic periodical started to become robust cultural forces. Writers from either side of the Atlantic are mentioned, from Daniel Defoe to Charles Dickens, and from Mark Twain to Joan Didion. Underwood indicates what percentage literary reputations are equipped on journalistic foundations of analysis and reporting, and the way this affects on questions of realism and authenticity in the course of the paintings of many canonical authors. This publication can be of significant curiosity to researchers and scholars of British and American literature.
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Extra resources for Journalism and the Novel: Truth and Fiction, 1700-2000
Example text
In this chapter, I suggest that there may be advantages to expanding the study of journalism’s influence upon the fiction, as well as the non-fiction, writing tradition as a way to gauge the profession’s and its practitioners’ full influence upon literary history. Chapter four traces the impact of journalistic activities upon the late-life careers of the journalist-literary figures, their frustrations with and continued attraction to the practice of journalism throughout their writing lives, as well as critics’ tendency to dismiss them when they turned from novel-writing to journalism.
J. Perelman, but they were heavily influenced by a host of less remembered writers who as newspaper and regional humorists were models for the ongoing tradition of journalistic humor-writing, including Finley Peter Dunne, Artemus Ward (Charles Farrar Browne), George Ade, Eugene Field, Don Marquis, and Franklin Pierce Adams, with his influential “Conning Tower” column in the New York World. In some instances (such as in the case of Ward and Adams) these newspaper humorists Introduction 25 helped promote the careers of their now more famous proteges.
Defoe, Swift, Fielding, Smollett, Goldsmith (and, to a lesser degree, Samuel Richardson) all produced their ground-breaking fictional works using writing techniques that they also used in their notable careers as journalists of that era (Richardson was a commercial printer but engaged in very little journalism as such). The now recognized fictional “classics” that these five eighteenth-century journalist-literary figures produced – Defoe’s Robinson Crusoe, Moll Flanders, A Journal of the Plague Year, and Roxana; Swift’s Gulliver’s Travels; Fielding’s Joseph Andrews, Tom Jones, and Amelia; Smollett’s Roderick Random, Peregrine Pickle, and Humphry Clinker, and Goldsmith’s The Vicar of Wakefield – are intimately connected to the world of eighteenth-century journalism, and the writing style, authorial voice, and literary viewpoint manifested in those early novels reflect the practices of a time when journalism often looked like what we call fiction today and fiction could look like journalism.