By Doug Underwood
Literary journalism is a wealthy box of analysis that has performed a massive position within the construction of the English and American literary canons. during this unique and interesting research, Doug Underwood specializes in the various striking journalists-turned-novelists chanced on on the margins of truth and fiction because the early eighteenth century, while the unconventional and the economic periodical started to become strong 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 exhibits what number literary reputations are equipped on journalistic foundations of analysis and reporting, and the way this affects on questions of realism and authenticity during the paintings of many canonical authors. This e-book can be of serious curiosity to researchers and scholars of British and American literature.
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Additional resources for Journalism and the Novel: Truth and Fiction, 1700-2000
In expanding the understanding of the contribution of journalism to the literary tradition, I hope that this study may help to put the dilemmas of today’s media organizations into a broader historical context and might prove useful to those who want to see the possibilities for creative solutions to journalism’s troubles. Writers who have been connected to journalism, I believe, deserve greater attention for their role in the development of the literary canon. The great literary works that have been created upon a journalistic foundation make up an impressive part of the literary legacy in the US and the British Isles.
G. Wodehouse, and S. 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.
I also included a number of important twentieth-century critics – including Dell, Wilson, and McCarthy – largely because they also wrote novels (which, interestingly, did not always meet with critical approval) or because (as in the case of George Jean Nathan) they are such central figures in the publishing life of many other journalist-literary figures. I have included a number of contemporary writers in my analysis whose place in the literary canon is far from a settled issue. It is difficult to assess who of those writing today will achieve durability of literary reputation, and I decided to try to apply some empirical measures to the discussion.