Narrating the News: New Journalism and Literary Genre in by Karen Roggenkamp

By Karen Roggenkamp

Because of a burgeoning print market through the past due 19th century, city newspapers felt strain to create pleasing prose that appealed to readers, drawing on renowned literary genres similar to commute adventures, detective stories, and ancient romances as a fashion of framing the scoop for readers. utilizing present occasions for his or her resource records, journalists shaped their very own dramas in accordance with those who readers famous from a generally drawn literary tradition. the need to spin beautiful, well known stories occasionally got here on the cost of real details. This novel, commercialized, and sensationalistic variety of reporting, referred to as new journalism, was once heavily tied to American fiction. In Narrating the scoop Karen Roggenkamp examines 5 significant tales featured in 3 revered ny newspapers throughout the Nineties - the tale of 2 antebellum hoaxes, Nellie Bly's around-the-world trip, Lizzie Borden's sensational trial, Evangelina Cisneros's rescue from her Spanish captors, and the Janet Cooke Jimmy's international scandal - to demonstrate how new journalism manipulated particular segments of the literary industry. on very important subject matters in literary and cultural experiences - gender, expansionism, realism, and professionalization. in contrast to formerly released experiences of literature and journalism, which concentration in simple terms on a number of canonical figures, Roggenkamp seems to be at a part of the background of mass print communications extra often exposing the aggressive and reinforcing interaction among particular literary genres and their journalistic revisions. Narrating the scoop presents an unique, major contribution to the fields of literature, journalism historical past, and cultural experiences.

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The American edition of John Herschel’s Treatise on Astronomy, for example, appeared in . 26 The scientific discourses used in nonfictional works were the same as those used in fictional works, and it was this general delight in technical description and language that made American readers susceptible to hoaxes. ” Even after suspicions about the veracity of the moon stories spread in September , the Sun refused to admit publicly that it had pulled off an elaborate hoax at huge profit. Locke reputedly confessed his authorship of the hoax to a fellow journalist after that reporter applied to him for a full copy of the “original” text for his own paper.

Advertisement for Schenk’s Mandrake Pills Introduction In June  Joseph Pulitzer, editor of the NewYorkWorld, tried to capture the nation’s attention by staging an elaborate transportation-based stunt. He proposed sending a hot-air balloon westward from St. Louis; reporters at the newspapers he owned in both these cities would then keep readers captivated with mile-by-mile accounts of the journey. A cub reporter from Pittsburgh named Nellie Bly applied to Pulitzer to travel on the balloon, only to be rejected promptly.

The Balloon Hoax Poe’s response to the penny-paper world in  was characterized first by jealous defensiveness, then by aloof attack. Despite this posturing, nine years later Poe attempted to mimic and manipulate the very popular success he had criticized in , by writing another hoax and publishing it in, of all places, the New York Sun. Early in , Poe, finding himself in dire financial straits, had moved from Philadelphia to New York to seek new fortunes. Hoping to spark a public sensation and earn the wide audience  Narrating the News and public reputation that he simultaneously disparaged and craved, Poe attempted a large-scale hoax modeled on Locke’s earlier work.

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