Narrative Nonfiction by Akanksha Das

NARRATIVE

NONFICTION

In this Letter Issue editors f r o m

Defining Terms p. 4-5 Timeline p. 6-7

“New” vs “new new” Journalism p. 8-9

In-depth analysis of In Cold Blood and Beautiful Thing p. 10-11

t h e

arrative Nonficiton has waxed and N waned in popularity since the antebellum

period of the Civil War. Despite its long history, the genre has been forgotten and reintroduced as a “new” genre every couple of decades. In American literature and journalism, there have been three major eras in which the genre has thrived; from the 1890s to the 1930s, in the 1960s and early 70s, and in the genre’s recent popularity beginning in the mid-2000s (Hartsock Books and Beyond 573). (A more detailed history is available on pages 4 and 5.) With the three main eras there was also a shifting interest in the style and mode of narrative nonfiction, and as a result, narrative nonfiction acquired many names to characterizes these newer trends, such as “new” journalism, “gonzo journalism,” and “new new” journalism (Hartsock Books and Beyond). (A more comprehensive definition of these terms is provided on pages 2 and 3.) artsock defines narrative nonfiction as a “modal genre” rather than a “topical genre.” He explains that works of a “topical genre” are “defined by their subject matter,” and works of a “modal genre” are “defined by their critical perspective brought to bear on them” (Hartsock Books and Beyond). The nature of narrative nonfiction is such that works are better categorized by these

Akanksha and Karen present....

a genre study of narrative nonfiction “modes of discourse,” or modalities (Hartsock A History of American Literary Journalism 136). The two modes of narrative nonfiction are a journalistic modality that includes “exposition and argument” and the other, literary modality that includes “temporal narration and spatial description” (Hartsock A History of American Literary Journalism 136). A work can be placed into these categories by the author’s focus in creating the work. If an author challenges the style and form of nonfiction to read more like fiction, then the work is of a literary modality or as termed in the second era, “new” journalism. On the contrary, if an author’s primary focus is to inform and expose, and experiment with reportorial immersion techniques with less regard for form, then the work is of a journalistic modality and as termed as in the third era, “new new” journalism (Boynton xiii). An example of a work of literary modality in our magazine is Truman Capote’s In Cold Blood and an example of a work of journalistic modality is Sonia Faleiro’s Beautiful Thing. Through narrative techniques such as setting construction, point of view, and dialogue construction, we can determine the focus of In Cold Blood and Beautiful Thing, and thereby their modality. The modalities in Sonia Falerio’s Beautiful Thing and Truman Capote’s In Cold Blood, two works of narrative nonfiction, suggest a current trend of a journalistic modality over a literary modality.

“If an author challenges the style and form of nonfiction to read more like fiction, then the work is of a literary modality”

“If an author’s primary focus is to inform and expose...then the work is of a journalistic modality”

Sonia Faleiro author of Beautiful Thing

Narrative

Any work that claims to the creative techniques or short stories. Narrati referred to as Creativ Journalism although th literary or journalistic m narrative nonfiction h

Literary modality

When the primary focus of a work of narrative nonfiction is to challenge the form and style of writing nonficiton rather than to inform.

Creative nonfiction “New” journalism

“Gonzo” journalism Journalism that consistently challenged taken-for-granted assumptions about what constitutes reality by engaging in outrage. It is an example of creative nonfiction.

(narra-descriptive journalism) “The new journalism, though often reading like fiction is not fiction. It is, or should be, as reliable as the most reliable reportage although it seeks a larger truth than is possible through the mere compilation of the verifiable facts” (Talese [1970, 1993, xii).

Truman Capote In Cold Blood

Nonfiction

present factual events using s usually reserved for novels ive nonfiction is sometimes ve Nonfiction or Literary hese terms suggest either a modality, respectively, while has no such implications.

Journalistic modality When the primary focus of a work of narrative nonfiction is to report and inform at the expense of literary style.

end r T g n i t f Sh i

Literary Journalism

“New new” Journalism

Shifting Trend

“Differs from earlier “new” journalism because the contemporary ‘movements achievements are more reportorial than literary’” (Hartsock 577). “In other words, the writing tends to engage in more narrative summary and explication to make for a kind of ‘journalismhistory’ or simply tends to be more expository in the tradition of conventional feature writing” (Hartsock 578).

Sonia Faleiro Beautiful Thing

Defining Terms 5

The history of 1920s

1890s

1The900s

Although there was less work in this decade two seminal works influenced the third period of narrative nonfiction during the 1960s and 1970s or what was called“new” jour-

The calm had set over the practice

Literary journalism thrives

in the antebellum period of Civil War, initiating the first major era of “factual journalism.”

19 4

of narrative nonfiction by the First World War till the 1920s. One reason is because this was a period where “objective journalism” began to rise and gain fame.

nalism”

1930s

earliest instance of the term ‘literary journalist’ was used to name writers of narrative nonfiction with a more journalistic modality. This term came into light after a notable debate on whether journalism could be literature or in other words if narrative nonfiction could be a new genre.

In light of the

Great Depression,

narrative nonfiction began to thrive once again, hitting the next big era for this genre.

Nonetheless,

Ernest Hemingway kept narrative nonfiction alive.

Mark Twain

Bierce, Dreiser, Twain, Cahan, and Crane’s works were of a literary modality, and

“new” journalism were James Agee’s Let Us Now Praise Famous Men and John Hersey’s Hiroshima.

Use of narrative nonfiction fell mostly to magazines like

Davis and Bly’s were

of a journalistic modality. Their work appeared in newspapers and magazines.

The two major works that influenced

The New Republic

Ernest Hemmingway

and New Masses.

narrative nonfiction s

Despite lull in genre, narrative nonfiction, it still was a primary style of writing used by The New Yorker and Esquire magazines.

“New” journalism thrives in the early 1970s. Hunter S. Thompson’s work influences “gonzo” journalism. By the mid-1970s the genre still remained significant and in 1979 narra-descriptive journalism began to make headway as Jon Franklin introduced the potential of publishing narrative nonfiction in the daily report.

1960s

The third most important period of narrative nonfiction, termed the “new” journalism, appeared at another period of social turmoil (Cold War and the Vietnam War). Unlike the 1930s, much of the narrative nonfiction began to appear in mainstream magazines and separate books, which reflected the public’s greater acceptance of the genre.

trend favors a journalistic modality. Robert Boyntan coins the phrase, “New New Journalism” a new subset of “new” journalism. Sonia Faleiro’s work is an example of New New Journalism and in an interview acknowledged the genre’s increasing popularity with journalists like herself.

Other major practitioners of this genre besides Talese and Hamill are Michael Herr,

Tom Wolfe, Hunter S. Thompson and

Truman Capote

Truman Capote.

“New Journalism” attributed to Pete

Hamill who attempted

to characterize the trend in the mid-1960s and Gay Talese who by some is considered the “godfather” of the genre.

rrent Tren u C The current d

Thompson’s Fear and Loathing in Las Vegas was coined “gonzo” journalism by journalist Bill Cardoso.

Truman Capote’s In Cold Blood (1966)

Tom Wolfe’s

The Electric Kool-Aid Acid Test (1968)

Robert Boyntan

coined the term “New New” Journalism in 2005 in his book titled by the same name.

Sonia Faleiro’s

Beautiful Thing

is of the same sub-genre.

In the 1960s, the United States experienced social and political upheaval. Changes in gender roles, sexual liberty, the Vietnam and Cold War, the Civil Rights movements, the JKF assassination, and increased drug use helped to craft a new

“a larger truth” of the human experience

New Journalism

definition of American culture, which needed to be experienced rather than explained. As a result, the second era of narrative nonfiction erupted as authors sought “a larger truth” of the human experience, which was inaccessible through “the mere compilation of verifiable facts” (Hartsock Books and Beyond 575). The second wave of narrative nonfiction, coined “new” journalism by Pete Hamill and later Gay Talese shifted towards a more intimate, literary modality. Truman Capote in an interview with the New York Times stated that “the motivating factor in [his] choice in material... was altogether literary,” illustrating that his focus in In Cold Blood is style and form. This era also was the first where these narrative nonfiction works transitioned from literary journalistic pieces in newspapers to full-fledged books and featured articles, showing increased public appreciation for the genre.

Truman

Capote 8

“New New”

Journalism

Over time, reportorial elements took priority over experimentation of style and form, developing into the third and current era of narrative nonfiction (Hartsock Books and Beyond 573). This third era marks a return to the journalistic modality of the first era in which the purpose of narrative nonfiction was “to get the news so completely and to report it so humanly that the reader will see himself in the other fellow’s place” (Hartsock Books and Beyond 573). In an interview for The Inc. Blot,

“It was simply devastating, and I knew the violence of the ban had to be chronicled.”

Sonia Faleiro

Faleiro stated that she was inspired to write Beautiful Thing because she felt Leela’s story was “simply devastating, and [she] knew the violence of the [bar dancers] ban had to be chronicled” (Faleiro interview). Therefore, Faleiro was more interested in sharing Leela’s story and exposing the life of bar dancers in an attempt to “understand the cultural ‘Other’” (Hartscok Books and Beyond 574). Robert Boynton termed this era the “new new” journalism in 2005, a style of narrative nonfiction with a journalistic modality. This new style reexamined literary journalism from the 1890s and the 1960s and synthesized it with the methods and techniques of “new” journalism. As a result, these “new new” journalists “represent the continued maturation of...literary journalism” (Boynton xi). “New new” journalism focuses more on “‘how’ such practitioners get the story, not a on linguistic style as exemplified by such ‘new’ journalists” (Hartsock Books and Beyond 577). In other words, instead of experimenting with form and style, these journalists experiment more with “the way one gets the story. To that end, [‘new new’ journalists] have developed innovative immersion strategies” (Boynton xiii). The different foci between “new” and “new new” journalism can be determined through careful reading of the text in regards to setting construction, point of view, and dialogue 9

Scene Construction Within the first few sentences Capote and Faleiro set the scene and establish their foci. They do this through the use of first and third person. Capote’s detailed THE VILLAGE OF HONEYCOMB STANDS on

the high wheat plains of western Kansas, a lonesome area that other Kansans call “out there.” Some seventy miles east of the Colorado border, the countryside, with its hard blue skies and desert-clear air, has an atmosphere that is rather more Far West than Middle West. (3)

descriptions in the first paragraph introduces the work in a style that would more likely be seen in a novel, thus revealing the literary modality of the text. Conversely, Faleiro begins Beautiful Thing with

First person point of view casts authors role as narrator/reporter

No characters

Visual imagery

Subjective descriptions of setting creates a literary tone.

Leela told me she was beautiful. And as she assessed herself in front of a full-length mirror in a vest and the boxer shorts of the customer asleep on the bed beside her, I had no reason to disagree. (1) Sonia Faleiro’s Beautiful Thing

Truman Capote’s In Cold Blood

Point of View As mentioned in our examination of Capote and Faleiro’s setting construction, the two use points of view to construct their scenes, but by examining the narrative voice specifically, we can further analyze Capote and Faleiro's foci. Although “new” and “new new” journalists use both first person and third person points of view, Capote specifically uses the third person and Faleiro, the first to achieve their literary foci. In turn, Capote creates a work that reads very much like a novel or in other words creates a work of a

literary modality. Capote’s control over style and form is characteristic of “new” journalism. His decision to use the third person was very deliberate. From an interview in the New York Times, with George Plimpton Capote said the reason why he chose to use the first person was because he believes that for the “form to be entirely successful, the author should not appear in the work” or what he calls the “the I-I-I intrudes” (Capote interview). This highlights Capote’s emphasis on style. On the other hand, Faleiro uses first person to focus on the journalistic modality of Beautiful

In regard to his family, Mr. Clutter had just one serious cause for disquiet--his wife’s health. She was “nervous,” she suffered “little spells”--such were the sheltering expressions used by those close to her. Not the truth concerning “poor Bonnie’s afflictions” was in the least a secret; everyone knew she had been an on-and-off psychiatric patient the last half-dozen years. Yet even upon this shadowed terrain sunlight had very lately sparkled. (7)

her conversation Leela, introducing the work as a dialogue much like a journalistic interview, establishes the work’s journalistic modality. The excerpts below further illustrate this.

Truman Capote’s In Cold Blood

Quotations indicate words recieved from other people, but Capatoe does not give credit to those interviees for the sake of style. Capote’s addition to the story

Objecective descriptions of Leela’s appearance creates a sense of observation Setting description of clear characters and objects Objective descriptions of setting and characters creates a journalistsic

Thing. By using the first person narrative, readers can clearly see that Beautiful Thing is a compilation of quotations from interviews and intensive investigation, giving her interviewees and particularly Leela, the protagonist, more significance. As a result of emphasizing Leela, Faleiro places the focus of her novel on the investigation and the story rather than literary form. As mentioned, this focus is characteristic of “new” journalists. The excerpt below illustrates Capote’s use of third person narrative in comparison to Faleiro's use of first person.

‘A women in a silent bar is no less than Quotations are a vaishya,’ Leela told me. ‘And like all Leela’s exact words as Faleiro whores, she gets no respect because she accessed them deserves no respect. She wafts like a ghost, her face concealed by shadows, her voice never heard. Only her hands are of interest to anyone and these she must use until they Faleiro gives Leela control and credit erupt with sores.’ (14) for her words Sonia Faleiro’s Beautiful Thing

Dialogue Construction An examination of the dialogue construction can also be used to distinguish the focus of these two narrative nonfiction texts. In Capote’s In Cold Blood, the reconstruction of the dialogue highlights a focus on style and form. A specific example of this is Capote’s portrayal of Nancy Clutter’s conversations. In his first chapter “The Last to See Them Alive,” he recounts a scene where Nancy Clutter takes a phone call from her friend, Susan. It is understood that Capote was not present, but

a reader would have no way of knowing this based on the way he describes and recounts the scene. We know that Capote gained access to this conversation and was able to reconstruct it only through the detailed information he got from various witnesses, such as Susan (Capote interview). But instead of portraying the conversation as Susan’s memory, Capote chooses to recreate the scene altogether, thereby showing his emphases on style and form. Alternatively, because Faleiro’s focus is to inform she makes a clear

“Nancy!” Kenyon called. “Susan on the phone.” Susan Kidwell, her confidante. Again she answered in the kitchen. “Tell,” said Susan, who invariably launched a telephone session with this command. “And, to begin, tell why you were flirting with Jerry Roth.” Like Bobby, Jerry Rother was a school basketball star. “Last night? Good grief, I wasn’t flirting. You mean because we were holding hands? He just came backstage during the show. And I was so nervous. So he held my hand. To give me courage.” “Very sweet. Then what?” (19-20)

distinction of who is speaking and when they speak. In order to do this, instead of reconstructing events to read like she is an outside observer, she uses Leela’s direct quotations. This allows the readers to see the events through Leela’s perception and memory, just the way Faleiro accessed them. Faleiro’s decision to use Leela’s words and give her credit shows readers her emphasis on the story rather than her writing style. The following excerpts are examples of the aforementioned methods of dialogue construction.

Capote completely restructures the conversation. Rather than Susan speaking to him and recounting the converstaion, Capote places readers right at the time it happened.

Truman Capote’s In Cold

Leela is the clear speaker here as she recounts her memory of her childhood.

‘So I said, “No. No, Manohar, I don’t want to be an actress.” He said nothing. Some days passed. One evening he came home and again he said to me, “Let’s make a film.” Again I said “No”, confidentlike. “Okay,” he replied, ‘but if you don’t act in my

Faleiro recounts Leela’s past as Leela tells her rahter than recontructing it as if the readers were present.

film then the police will arrest you for being a disobedient daughter and push you into lock-up.” I started to cry. “Is he lying?” I asked my mother.’ (28)

Sonia Faleiro’s Beautiful Thing

Although Capote’s In Cold Blood and Sonia Faleiro’s Beautiful Thing are ultimately the same genre of narrative nonfiction, their different modalities represent the shifting focus of the genre and its current popularity in contemporary journalism. As the in-depth analysis of the two texts has shown, setting construction, point of view and dialogue construction have a role in determining the modality of these two works.

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