The Journalistic Imagination: Literary Journalists from by Richard Keeble, Sharon Wheeler

By Richard Keeble, Sharon Wheeler

Concentrating on the missed journalism of writers extra well-known for his or her novels or performs, this new booklet explores the explicit features of journalism in the public sphere, and rejoice the literary traits of journalism as a style. Key positive factors comprise: a global concentration taking in writers from the united kingdom, america and France essays that includes a variety of very hot writers (such as Dickens, Orwell, Angela Carter, Truman Capote) and methods them from extraordinarily unique angles. Each chapter starts off with a concise biography to assist contextualise the the journalist in query and includes references and urged extra analyzing for students.  Any scholar or instructor of journalism or media experiences should want to upload this publication to their analyzing checklist.

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Additional info for The Journalistic Imagination: Literary Journalists from Defoe to Capote and Carter

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Jones (op. : 370–1) writes of his belief that ‘life is lived through the imagination’, and of his consummate professionalism when it came to writing. 29 His style, though it is undoubtedly poetic, is distinctively theatrical at times, or rather actorly. It often sounds spoken, rhetorical, immediate, and readers are addressed as if they were members of an audience. The opening of ‘On living to one’s self’ sounds very much like a soliloquy in the scrupulously concrete details of its self-presentation: I never was in a better place or humour than I am at present for writing on this subject.

In one of his own disquisitions on style, ‘On gusto’, Hazlitt praises in painters qualities which can be found in his own writing. 2 In his acclaimed biography, Stanley Jones (1991) writes that Hazlitt’s style was something he honed over time. : 105). For Jones, Hazlitt’s style represents a Romantic rejection of the Enlightenment, associated with political radicalism. For Tom Paulin, who defines Hazlitt’s style as distinctively republican, it is also deeply literary, containing a ‘Shakespearean richness’ of allusion (1998: 184), and Hazlitt was, of course, also a well-known reviewer of his literary contemporaries.

It brings to his essays a sense of writing in company, and contributes to what Tom Paulin (1998: 27) has identified as their multivoiced or bricolage effect. It enacts a collaborative model of authorship, which proceeds not through superseding other writers but by paying tribute to them. One of the contemporary writers whom Hazlitt most admires is his friend and fellow literary journalist Charles Lamb. 13 In this respect, it is the ephemeral productions of Lamb that stand as a locus of literary value for Hazlitt, not the pronouncements of his poetic contemporaries.

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