Gay Talese never fully accepted the title ‘New Journalism’

Critics of New Journalism believe the form shares unreliable information

After Gay Talese’s 2016 book on Gerald Foos was found to lack factual accuracy, criticism of New Journalism returned to the limelight. Some believe the narrative focus requires abandoning the facts and leaves too much room for writers to make up material rather than present what actually happened.

Writer Gay Talese has unorthodox practices for researching his stories

Since Talese began working at the New York Times in the 1950s, he has woven eccentric details into his stories about the people he covers. His immersive journalistic methods, such as living in a nudist colony, sparked controversy, but also helped him uncover aspects of people's lives.

Tom Wolfe wrote a humorous account of the birth of New Journalism

Wolfe explains the style came from journalists attempting to make fact-based reporting read like a novel, arguing that traditional reporting left readers “bored to tears.” Instead of emphasizing an objective point of view, Wolfe favored detailed descriptions that established complex characters, painted interesting scenes, and shared dialogue.

One journalist argued New Journalism writers prioritized ego over public service

Michael J. Arlen wrote a critique of the then-fashionable and popular form for The Atlantic in 1972, warning about the risk of emphasizing a writer’s perspective over facts. While Arlen applauded the innovation of the style, he believed focusing on voice and perspective could be irresponsible.

Gay Talese ran up expenses close to $5,000 to pursue ‘Frank Sinatra Has a Cold’

In this retrospective, Talese reflects on the making of the legendary article that pioneered a new literary style. He offers his critiques of the modern state of profiles, arguing the industry no longer produces compelling work.

Gonzo Journalism places the author at the center of the events

Some may describe Gonzo as a more daring style of subjective reporting than New Journalism, as it prioritizes the personal experience and opinions of the writer. Gonzo pieces also tend to feature hyperbole, comedy and taboo subjects.

Gay Talese's 1966 Frank Sinatra profile was written without an interview with Sinatra

After numerous rejections from Sinatra, Esquire, and writer Gay Talese continued to pursue the profile, gathering information from observing Sinatra and interviewing friends and fans of his. Readers (and future writers) admired the way Talese captured the many layers of Sinatra’s personality from his generosity to his short temper.

Olivia Nuzzi serves as a modern example of New Journalism

Writer Lily Isaacs argues that Nuzzi, a political journalist known for engaging in personal relationships with her subjects, can be viewed as an inheritor of New Journalism. Isaacs claims Nuzzi’s departure from purely objective reporting has informed her profiles, leading to intimate insights into her subjects' psychology.

'Frank Sinatra Has a Cold' is one of the seminal works of New Journalism

The profile broke with convention by focusing on the story of pursuing the story rather than one that celebrated the subject. Vanity Fair called it "the greatest literary-nonfiction story of the 20th century." (Some users may experience a paywall.)

‘The Kandy-Kolored Tangerine-Flake Streamline Baby’ was a letter to an editor

Wolfe pitched a story about custom-made cars to Esquire with a satirical angle. While struggling to actually put the piece together, he explained to the editor what he wanted it to be. The editor published the letter as is, removing the greeting. The seminal article became a book of essays.

The novel broke new ground by offering realistic stories

In this brief interview, Terry Castle, an English professor at Stanford, explains the origins of the early British novel. Castle details how the novel was produced for a newly literate middle class interested in recognizable characters and stories “about life as they knew it” rather than Greek and Roman myths or medieval romances. She also explains why a newly enfranchised female demographic was attracted to the fiction of writers like Jane Austen and Virginia Woolf.

Is streaming the new novel?

Ever since the rise of “prestige television” in the early 2000s, critics and viewers alike have argued that TV has replaced the novel by becoming the most significant storytelling medium, citing the cultural importance of shows like “The Sopranos,” “The Wire,” and “Succession.” This essay notes that streaming has strengthened that argument, turning episodes into chapters, and explains why this has been bad for storytelling in both forms.

Joseph Pulitzer created modern journalism

Long before there was cable news, there were newspapers, and Joseph Pulitzer was their king. A Hungarian immigrant, Pulitzer began his career as a reporter himself before buying a newspaper that he could shape with his editorial vision. Pulitzer's papers were bold, provocative, and visually striking, setting a new standard for newspapers nationwide as they moved into the 20th century.

Novelist Jean Toomer was uncomfortable with the term 'Negro writer'

Toomer's modernist novel "Cane" is, among critics, one of the great works of the Harlem Renaissance. Toomer, however, was uncomfortable with his work being labeled as "Negro," including in Alain Locke's movement-defining collection "The New Negro." He found the title both reductive and inaccurate: He was mixed-race, telling writer Claude McKay that he was "French, Dutch, Welsh, Negro, German, Jewish and Indian," and preferred to be considered "American."

Listen to Gay Talese read from ‘Frank Sinatra Has a Cold’

The writer revisits his 1966 profile on Frank Sinatra, one of the most popular magazine stories ever written. The story uncovered aspects of Sinatra’s life previously unknown to most people, such as having a personal staff of 75 people, including one person to take care of his hairpieces.

‘The Kentucky Derby Is Decadent and Depraved’ signaled the birth of Gonzo Journalism

The 1970 essay opens with a crude conversation between Hunter S. Thompson, the author, and a man at an airport bar. Thompson’s first-person account places him as an active participant. Instead of focusing on the race itself, Thompson paints vivid details of his experience with the hedonistic scene surrounding it.

In 1969, a group of reporters wrote an intentionally bad and salacious novel under a pen name to prove that sex sells more than quality. It sold 20,000 copies within a few months and spent 13 weeks on the New York Times Bestseller list.

'Shipping Out' can be viewed as a more recent example of subjective journalism

Later retitled "A Supposedly Fun Thing I'll Never Do Again," Wallace's essay details his existential experience on a cruise ship with biting wit. Arguably more Gonzo than New Journalism, Wallace laments the pressure to have fun in the commercialized cruise atmosphere that brings out feelings of dread more than pleasure.

Why some writers believe there's a new romanticism

Journalist and novelist Ross Barkan argues that a crushing political system and alienating technology have led people to become more interested in the offline, analog world and the beauty of nature and emotion. In this essay, he defines this as "the new romanticism," and predicts it will come to define the culture of the 2020s.

How a Seattle scenester pranked The New York Times with ridiculous grunge 'slang'

In 1992, The New York Times was eager to report on the grunge phenomenon. When a Times reporter called Megan Jasper, who'd previously worked at Sub Pop, she decided to have some fun, feeding him a fake "Lexicon of Grunge."

Joseph Pulitzer mainstreamed yellow journalism

One way Joseph Pulitzer revolutionized the newspaper industry was by developing an approach to reporting that relied on sensationalism and could be a little loose with the facts. Pulitzer and rival William Randolph Hearst pushed that sensationalism to the next level in their competition to attract readers.

Journalism's real drama made 'All the President's Men' irresistible for Robert Redford

Robert Redford was drawn to Watergate not by Nixon, but by the partnership of two contrasting journalists—Woodward and Bernstein. In the interview, he explains how he shaped the film's documentary style to spotlight the story rather than the scandal.

Talese’s story on Joe DiMaggio examined the sports star’s life post-retirement

The profile, written in the aftermath of his popular “Frank Sinatra Has a Cold,” similarly offered a close look at an American icon after their prime. In DiMaggio’s story, however, the Yankees player seeks to vanish into obscurity and live a quiet life, golfing and mourning his ex-wife Marilyn Monroe.

How the New Yorker went from poker game to powerhouse

After 100 years in print, the New Yorker is still going strong, publishing weekly issues featuring the best in long-form journalism, cultural criticism, and short fiction. This history of the magazine's founding and early years shows how its balance of high and lowbrow culture, along with a fortuitous game of poker, led to its longstanding success.

Science fiction or new technology?

Dystopian literature is no longer relegated to the page, with innovations like the Tesla Cybertruck and Meta virtual reality headsets mirroring the aesthetics of texts like "The Running Man" and "Neuromancer." In this essay, Casey Michael Henry argues that the images from these works remain while their messages have faded.

On social media, satire is often mistaken for news

A 2018 study found that satire was often mistaken for legitimate fact, with stories from outlets like The Onion being shared widely without any understanding of their satirical intent. Likewise, the study found that media outlets often mislabeled satire as "fake news," a label that implies disinformation rather than social commentary.

Dylan was called 'the voice of his generation,' but rejected the title

By the mid-60s, Dylan made it clear he had no desire to be a spokesman for anyone but himself. He found the title stifling and believed it would prevent him from creating authentic art.

The history of real-life crime magazines

Before podcasts and streaming services, details of true crime cases could be found smushed between glossy magazine pages. "True Detective Mysteries," a magazine of fictional crime retellings that debuted in 1924, quickly pivoted to sharing detailed reporting of real criminal cases after seeing what drove sales. Rebranding itself as "True Detective," the magazine launched dozens of imitators and only shut down publishing in January 2024.

O'Connor believed grotesque fiction was realistic

O'Connor argued that although the style might not be recognizable to all readers, "the grotesque" attempts to reckon with life's inherent mystery. "Of course, I have found that anything that comes out of the South is going to be called grotesque by the Northern reader," she said, "unless it is grotesque, in which case it is going to be called realistic."

Craig Claiborne invented the modern food critic

The New York Times critic began his column "Directory to Dining" in 1962. While there had been restaurant reviews before then, Claiborne's ethical standards and appreciation for a variety of cuisines established a new kind of food critic and, in the process, a new kind of eater. (Some readers may experience a paywall.)

One podcast professional believes the format needs a new name

In the past few years, the podcast has moved from a purely audio-driven medium to one that doesn’t appear all that different from a television talkshow. Audio engineer Dennis Funk proposes renaming the classic podcast—an artful audio documentary—to distinguish it from the junk posing as the genuine article.

A writer's reflection on 'The Falling Man' - the man who fell from the World Trade Center

In an excerpt from his ‘Press Box’ interview with Bryan Curtis, writer Tom Junod discusses his Esquire story about the image of a man who fell or jumped from the North Tower on Sept. 11, 2001.

Read the New York Times Magazine’s 1985 cover story on Basquiat

The profile, entitled “New Art, New Money,” captures the artist in the middle of his rise to fame. It also hints at some of his frustrations with that position. In talking about the demands a gallery placed on him, he said, ''I wanted to be a star … not a gallery mascot.'' (Some readers may experience a paywall.)

Pulitzer's newspapers were intended for the masses

His newspapers, the St. Louis Post-Dispatch and the New York World, transformed journalism by marketing to a mass audience rather than just the elite.

‘The Kandy-Kolored Tangerine-Flake Streamline Baby’ mapped a major transition

The hilarious 1963 story offered insight into how Americans were shifting away from elite interests to “low culture” by focusing on customized cars and their teen enthusiasts in Southern California. Wolfe pokes fun at the trend while also recognizing young people’s post-war desire for freedom, individualism and creativity.

John Hersey’s ‘Hiroshima’ focused on the stories of atomic bomb victims

The nonfiction book is considered one of the earliest pieces of New Journalism and an arresting case against nuclear warfare. Describing the pain, wounds and trauma of six ordinary citizens, “Hiroshima” played a powerful role in American perception of the war by focusing on its human toll.

Novels sometimes use unreliable narrators

When we read a book, we’re effectively forced to take the narrator’s word for what’s unfolding. But what if that narrator has a biased take on those events? What if, in a general sense, that narrator can’t be trusted? Enter the unreliable narrator, a strategic way of shaping a story that adds an additional layer to the narrative.

The Times Square New Year's celebration originated as a party for The New York Times

The paper moved to the area, originally called Longacre Square, in 1904 and lobbied the city to rename it after the publication. The paper’s publisher, Alfred Ochs, threw a massive all-day party on New Year’s Eve to celebrate the opening of the paper’s headquarters, establishing the location as a destination for the holiday.

Truman Capote's 'In Cold Blood,' a pioneer of the true crime genre, isn't wholly accurate

The nonfiction novel "In Cold Blood" influenced true crime's narrative and investigative bend and was supposedly only 92% accurate. Journalist Ben Yagoda reflects on its accuracy after finding the fact-checking file for the four-part series published before the story was converted into hardback. Yagoda says the inaccuracies are "especially striking" because the story was originally published in one of the magazines credited with establishing fact-checking as a practice. (Some users may experience a paywall.)

James Frey's 'A Million Little Pieces' was marketed as memoir but revealed as fiction

The addiction book became a huge success after being added to Oprah Winfrey's book club. After it was revealed to be fiction in 2005, Oprah invited Frey on her show and criticized him for deceiving her and his readers.

Kurt Vonnegut sought to invert the 'shapes of stories'

Kurt Vonnegut is among the most popular postmodernists, renowned for his humor and willingness to move between genres. This clip from a lecture on narrative is a perfect example of those tendencies, with Vonnegut diagramming typical story structures only to mock their predictability. It's not only an enlightening look at the way stories are told—it's also just good comedy.

Sometimes, an award isn't given for a category

When the Pulitzers decided not to issue a 2021 award for editorial cartooning, it was surprising, but not unheard of. In fact, the same thing happened in 2012, when the Pulitzer board ignored the jury's recommendations for the fiction prize.

Novels often use perspective as a narrative device

Classic novels like "The Great Gatsby," "Passing," and "Heart of Darkness" are told from characters' limited perspectives, inviting readers to consider how that narrator might be intentionally or unintentionally crafting the story in a particular way.

A teenage Dickens found work as a political journalist

Dickens found work as a reporter for the Mirror of Parliament, a weekly newspaper focused on the British legislature. After a few years, he moved to the Morning Chronicle, where he began producing his creative work. Professor John Drew, author of "Dickens, the Journalist," said that the writer "realized he could wield a much more direct, if not more glamorous kind of power, by using his position as a leading writer of fiction and a magazine editor."

Winning Pulitzers doesn't attract readers to newspapers.

Twain ruthlessly criticized other writers

The writer was known for lambasting popular writers of his time, including Jane Austen and Robert Louis Stevenson. One of his most famous takedowns is “Fenimore Cooper’s Literary Offences,” an essay that simultaneously mocks Cooper’s popular adventure tales and satirizes the pretentiousness of literary criticism. Remarking on Cooper’s novel “The Deerslayer,” Twain wrote, “its conversations are—oh! Indescribable; its love-scenes odious; its English a crime against the language.”

The 21st-century novel is increasingly autofictional

Although autofiction, a literary genre blending autobiography and fiction, has been around for millennia, it has become a popular mode in the 21st century. This extensive study of the genre—which analyzes works by Megan Boyle, Tao Lin, and others—argues that the form has become more prevalent because it mirrors the defining technology of the times: social media.

Watch writer John Steinbeck's Nobel Prize acceptance speech.

Twain read (and lampooned) classic literature

Ever the ironist, Twain claimed to have “ no liking for novels or stories.” Obviously, that was untrue: He read widely, devouring books by Charles Dickens, slave narratives, and texts on astronomy. He also loved John Milton’s “Paradise Lost,” which he called “something everybody wants to have read and nobody wants to read.”

New York Times Co. v. Sullivan transformed libel law and the relationship between the press and public officials

The 1964 case arose when an Alabama official sued The New York Times over a civil rights advertisement he claimed was defamatory. The ruling makes it very difficult for public officials to win libel suits against the press unless they can prove deliberate falsehood.