Down and Out in Paris and London Study Guide

Down and Out in Paris and London is the first full-length work by English novelist, essayist, and journalist George Orwell. Published in 1933, the novel is a combination of fiction and factual autobiography in which Orwell describes and partially-fictionalizes his experiences of poverty. Through the observations on social injustice articulated in Down and Out, Orwell set the stage for his later major works of political observation and criticism: the allegorical novella Animal Farm and the dystopian novel Nineteen Eighty-Four. Fast Facts: Down and Out in Paris and London Author:  George OrwellPublisher:  Victor Gollancz (London)Year Published:  1933Genre:  Memoir/AutobiographicalSetting:  The late 1920s in  Paris and LondonType of Work:  NovelOriginal language:  EnglishMajor Themes:  Poverty and societys treatment of the poorMain Characters:  An unnamed narrator, Boris, Paddy Jacques, The Patron, Valenti, Bozo Summary of Plot Down and Out in Paris and London begins as the story’s unnamed narrator, a British man in his early twenties, is living in the Latin Quarter of Paris during 1928. In keeping with the novel’s main theme of poverty, the narrator  finds himself nearly out of funds after being robbed by one of his many eccentric neighbors. After briefly working as an English teacher and a restaurant plongeur (pot-washer), the narrator finds that he must pawn  his clothes and other belongings to avoid starvation. Sensing that the stress of the daily struggle to survive without regular income might be affecting his mental and physical health, the narrator reaches out to an old friend back in his hometown of London. When his friend sends him money to get his clothes out of hock and help him find a job, the narrator decides to leave Paris and move back to London. The year is 1929, and the American  Great Depression is just beginning to hurt economies around the world. Once back in London, the narrator works briefly as a caregiver for an invalid. When his patient leaves England, the narrator is forced to live on the streets or in Salvation Army charity hostels. Due to vagrancy laws of the day, he must remain on the move, spending his days as a beggar in search of free housing, soup kitchens, and handouts. As he wanders London, the narrators  interactions with fellow beggars as well as charitable (and not so charitable) individuals and institutions give him a newfound understanding of the struggles of people living on the margins.  Ã‚   Major Characters The Narrator:  The unnamed narrator is a struggling writer and part-time English tutor in his early twenties. He works at several menial jobs in Paris before accepting the charity of a friend and moving back to his hometown of London, where he looks for work but remains largely unemployed. Through his daily efforts to scrape up food and housing, the narrator comes to appreciate the constant humiliations of poverty. Unlike many of the characters he encounters, the narrator is a well-educated English aristocrat. He ultimately concludes and societal norms prevent the poor from breaking free of the cycle of poverty.   Boris:  The narrators  close friend and roommate in Paris, Boris is a former Russian soldier in his mid-thirties. Once the picture of health and virility, Boris has become obese and partially crippled by arthritis. Despite his disabling pain, Boris is a perpetual optimist who helps the narrator plot schemes to escape their poverty. Boris’ plans eventually succeed in finding work for two of them at Hotel X and later at the Auberge de Jehan Cottard restaurant. After the narrator has returned to Paris, he learns that Boris had achieved his often-expressed lifelong dreams of earning 100 francs a day waiting tables and moving in with a woman â€Å"who never smells of garlic.†Ã‚  Ã‚   Valenti: A kind, good-looking 24-year-old waiter, Valenti worked with the narrator  at Hotel X in Paris. The narrator admired Valenti for being one of his only acquaintances who had succeeded at working his way out of poverty. Valenti knew that only hard work could break the chains of poverty. Ironically, Valenti had learned this lesson when on the verge of starvation, he prayed to what he believed to the picture of a saint for food and money. His prayers, however, had gone unanswered because the picture turned out to be that of a local prostitute. Mario: Another of the narrators  co-workers at Hotel X, Mario has been working as a waiter for 14 years. An outgoing and expressive Italian, Mario is an expert at his job, often singing arias from then opera â€Å"Rigoletto† as he works in order to increase his tips. Unlike most of the other characters the narrator encounters on the streets of Paris, Mario is the epitome of resourcefulness or â€Å"dà ©brouillard.† The Patron: The owner of the Auberge de Jehan Cottard restaurant where the narrator and Boris work, the Patron is a pudgy, well dressed Russian man who uses far too much cologne for the narrators taste. The Patron bores the narrator with stories of golf and how his work as a restaurateur prevents him from playing the game he loves. The narrator, however, sees that the Patron’s real game and main occupation is cheating people. He tricks the narrator and Boris into remodeling his restaurant for free by lying to them about the constantly-impending opening date.  Ã‚   Paddy Jacques: After the narrator  moves back to London, his first stay in a free hostel unites him with Paddy Jacques, an Irishman who knows the ins-and-outs of the city’s charitable facilities. Though he feels shame about it, Paddy Jacques has become an expert at begging and is eager to share whatever food and money he gets. Given Paddy Jacques’ determination to avoid education, the narrator views him as a prototypical laborer whose inability to find steady work has doomed him to poverty. Bozo: Crippled while working as a house painter, Paddy Jacques’s best friend Bozo now survives by drawing art on the streets and sidewalks of London in return for handouts. Despite being broken both financially and physically, Bozo never surrenders to self-pity. As a dedicated atheist, Bozo refuses all forms of religious charity and never hesitates to express his views on art, astrology, and politics. The narrator  admires Bozo’s refusal to allow poverty to change his uniquely independent personality. Main Themes The Inescapability of Poverty:  Most  of the people the narrator encounters truly want to escape poverty and work hard trying to do so, but constantly fail due to events and circumstances beyond their control. The novel argues that the poor are victims of circumstance and society. Appreciation for the ‘Work’ of Poverty: While observing the daily lives of London street dwellers, the narrator concludes that  beggars and working men toil in much the same way, and that beggars work in worse circumstances and often with their very survival at stake. The fact that their performances or goods have no value should make no difference because, as the narrator suggests, neither does the work of many regular businessmen, who [are distinguished by] their incomes and nothing else, and the average millionaire is only the average dishwasher dressed in a new suit.† The ‘Freedom’ of Poverty: Despite the many evils of poverty, the narrator concludes that poverty does afford its victims a certain degree of freedom. Specifically, the book contends that the poor are free from worrying about respectability. This conclusion is drawn from the narrators many encounters with eccentric individuals on the streets of Paris and London. The narrator writes, Poverty frees them from ordinary standards of behavior, just as money frees people from work.† Literary Style Down and Out in Paris and London is an autobiographical memoir combining factual events with literary embellishment and social commentary. While the genre of book is mainly non-fiction, Orwell applies the fiction writer’s techniques of exaggerating events and rearranging their chronological order in an effort to make the narrative more compelling. In the introduction to the French version published in 1935, Orwell wrote, â€Å"I think I can say that I have exaggerated nothing except in so far as all writers exaggerate by selecting. I did not feel that I had to describe events in the exact order in which they happened, but everything I have described did take place at one time or another.† As a depiction of what it was like to be poverty-stricken in France and England before the implementation of post-World War I welfare programs, the book is widely considered as a classic example of the semi-historical documentary with a clearly-identifiable point of view. Historical Context Orwell was part of the  Lost Generation, a group of young expatriate writers attracted to Paris during the 1920s by the city’s Bohemian atmosphere of personal freedom and artistic creativity. Examples of their best-known novels include  The Sun Also Rises  by  Ernest Hemingway  and  The Great Gatsby  by  F. Scott Fitzgerald. The events in Down and Out in  Paris and London take place shortly after the end of the â€Å"Roaring Twenties† following World War I. Famously depicted in literature by the Lost Generation writers, this euphoric period of financial prosperity and excessive self-indulgence soon gave way to dismal poverty as the effects of America’s Great Depression spread to Europe. By the time he started to write the novel in 1927, 20% of the population of the United Kingdom was unemployed. Key Quotes Though they were written more than 85 years ago, many of Orwells insights about poverty and social injustice still ring true today. â€Å"The evil of poverty is not so much that it makes a man suffer as that it rots him physically and spiritually.†Ã¢â‚¬Å"It is curious how people take it for granted that they have a right to preach at you and pray over you as soon as your income falls below a certain level.†It is worth saying something about the social position of beggars, for when one has consorted with them, and found that they are ordinary human beings, one cannot help being struck by the curious attitude that society takes towards them.†Ã¢â‚¬Å"For, when you are approaching poverty, you make one discovery which outweighs some of the others. You discover boredom and mean complications and the beginnings of hunger, but you also discover the great redeeming feature of poverty: the fact that it annihilates the future. Within certain limits, it is actually true that the less money you have, the less you worry.†

Malcolm X - 2078 Words

Year 12 Modern History Individual History Essay To what extent did Malcolm X play a positive role in the Civil Rights Movement of the 1950s and the 1960s in America? Word Count: 1923 words To a limited extent Malcolm X played a positive role in the Civil Rights Movement of the 1950s and 1960s in America. Malcolm X was an African-American Muslim minister, leader and human rights activist. During the Civil Rights Movement of the 1950s and 60s Malcolm X became one of the most prominent advocates for the rights of African Americans. As a proponent of self-defense, he was able to strengthen the notion of equality and inspire African Americans to vigorously resist racism. Furthermore, his advocacy of Black Nationalism successfully†¦show more content†¦Malcolm Xs legacy both inspired and was responsible for the creation of organisations and movements that positively affected the Civil Rights Movement of the 1950s and 60s in the United States. However, through both his advocacy and promotion of hatred for the white population and violent protest to rally support from Black Americans, Malcolm X reinforced the great racial division between blacks and whites. Influenced by the teachings of the Nation of Islam, Malcolm used inflammatory rhetoric calling whites devils, suggesting that they were inferior to blacks. He developed a negative stereotype of white people exclaiming, the white mans primary interest is not to elevate the thinking of black people, or to waken black people, or white people either. The white man is interested in the black man only to the extent that the black man is of use to him. Such blatant racism validated the discrimination and oppression of African Americans by the white population of America. More importantly his public speech The Ballot or the Bullet is a clear example of how Malcolm was a proponent of aggressive and violent behavior. He began by telling his supporters to arm themselves by outlinin g, Article number two of the Constitutional amendments provides you and me the right to own a rifle or a shotgun. It is constitutionally legal to own aShow MoreRelatedMalcolm X2364 Words   |  10 Pagesï » ¿ Introduction Malcolm X is seen as quite a controversial person. His admirers see him as a courageous human rights activist who campaigned for the rights of African Americans and showed white America how racist it was. His enemies see him as a racist, anti-Semitic and violent person. Malcolm X was orphaned early in life. At the age of six his father was killed and it has been rumoured that white racists were responsible. Seven years later his mother passed away after which he lived in a seriesRead MoreMalcolm Of The Malcolm X Journey2039 Words   |  9 PagesThe Malcolm X Journey Malcolm Little was born in the mid twentieth century, these were difficult times for the black youth. As Little grew older he knew there needed to be change, he was one of the few people that was capable of making that happen for the fellow African-American and African. At a very young age Malcolm grasped the concept that there s something not right, that there needed to be an alteration and thus is where he started his studies. Malcolm needed to be outspoken he wanted toRead MoreEssay on Malcolm X962 Words   |  4 PagesMalcolm X On May 19, 1925 Malcolm Little was born to Louise and Earl Little. He was born in Omaha, Nebraska. Malcolm was the seventh of eleven children. Malcolms father, Earl, was a Baptist minister from Reynolds, Georgia. His mother was raised in Grenada in the British West Indies. His father was also became an organizer for Marcus Garveys Universal Negro Improvement Association. Marcus Garvey and his followers fought for racial separation and more power for blacks. Growing up, MalcolmsRead MoreEssay on Malcolm X1346 Words   |  6 Pagesamong all of these leaders though, Malcolm X. Although fighting for the same thing as his colleagues in the civil rights movements, he was considered by many to represent the more extreme side of the battle for equality in the United States. It is his standout views and beliefs that make Malcolm X one of the most prominent and fascinating African-American leaders in the 1950s and 60s. Malcolm X was born May 19, 1925 in Omaha, Nebraska by the name of Malcolm Little. His childhood was plaguedRead More Malcolm X Essay1409 Words   |  6 PagesMalcolm X Malcolm X, a civil rights leader in the 1960s believed that blacks and whites should be segregated. He also believed that white man was evil and were trying to brainwash all blacks and that Martin Luther Kings non-violent protests werent working and that violence was needed for change. Malcolm Xs life was a life with a lot of conflict and violence in it. Malcolm X was born under the name of Malcolm Little in Omaha, Nebraska in 1925. His father was a baptist minister and anRead MoreThe Education Of Malcolm X Essay984 Words   |  4 Pageswrite to express your feelings and communicate with others. Frederick Douglass and Malcom X both succeeded in learning how to read and write, but in different ways. The education of Malcolm X was learned more formally. Frederick Douglass learned from his surroundings and the people around him. Malcom and Frederick battled in reading and writing, but learned in similar and different ways. During the 1960s, Malcolm X was one of many articulate and powerful leaders of black America. Before he was a streetRead MoreThe Autobiography Of Malcolm X1701 Words   |  7 Pagesautobiography of Malcolm X. Malcolm X was one of the most controversial Men in American history. I’m familar with the name Malcolm X however, I’m not familliar with the works and background of Malcolm X. This is why I choose to read the autobiography of Malcolm X written by himself and Alex Haley. Which gives the read an insight on his background, beliefs, and the American society then. I believe that many people including myself have misunderstood Malcolm X. I believe that Malcolm X is misunderstoodRead MoreThe Autobiography Of Malcolm X791 Words   |  4 Pageslife. Malcolm X told his life story of how he overcame in his autobiography simply called The Autobiography of Malcolm X as told to Alex Haley. His life changed the world historically, socially, and especially politically by taking a stand against racism of all kinds which still exists in today’s â€Å"modern† standards. Using his personal life experience with racism towards African-Americans, Malcolm spreads the word on equality for all with a realistic tone that inspires trust in him. Malcolm X reachesRead MoreWho is Malcolm X?1087 Words   |  5 PagesMalcolm X Malcolm X was born Malcolm Little May 19, 1925 in Omaha, Nebraska. He was the son of Louise Norton and Earl Little. He lived with 7 brothers and sisters. Malcolm’s father was an outspoken Baptist minister and on various occasions received death threats forcing his family to relocate twice before Malcolm’s fourth birthday. Malcolm’s father Earl Little, was a man of the Baptist preaching community who was a supporter of large civil right movements. Earl had many encounters withRead MoreEssay on Malcolm X1699 Words   |  7 Pages The Autobiography of Malcolm X by Alex Haley was published in 1965. It is national best seller about the life and times of Malcolm X. On May 19, 1925 Malcolm Little was born in Omaha, Nebraska. His father was a preacher who spoke out about the unity of black people. This caused several white racists to strike out against Malcolm’s father and his family violently. His family moved to Lansing, Michigan where Malcolm, his parents, brothers, and sisters were shot at, burned out of their home, harassed

New Journalism Free Essays

Is New Journalism a literary genre? Analyse with reference to the literary techniques used in two examples of New Journalism. Word Count – 2231 I suppose the most common sense point at which to start is by defining New Journalism, or Literary Journalism, as Eisenhuth and McDonald (2007, p. 38) say it is called at the â€Å"upper end of the spectrum. We will write a custom essay sample on New Journalism or any similar topic only for you Order Now † The Collins Concise Dictionary (1999, p. 995) defines New Journalism as â€Å"a style of journalism, using techniques borrowed from fiction to portray a situation of event as vividly as possible. † Wikipedia (2010) defines it as â€Å"a style of 1960s and 1970s news writing and journalism that used literary techniques deemed unconventional at the time. † The meaning of New Journalism has evolved over the the past one hundred years or so and has supposedly been coined by many a person, including the so-called founding father of New Journalism, Matthew Arnold (Roggenkamp, 2005, p. xii) The term, with relevance to the above definitions, was codified with its current meaning by Tom Wolfe in his 1973 collection of New Journalism articles,  The New Journalism,  which included works by – most notably – himself, Truman Capote, Hunter S. Thompson, Norman Mailer, and Joan Didion. With reference to the aforementioned New Journalists, Tom Wolfe, in a 1972  New York Magazine  article, said, â€Å"I know they never dreamed that anything they were going to write for newspapers or magazines would wreak such evil havoc in the literary world; causing panic, dethroning the novel as the number one literary genre, starting the first new direction in American literature in half a century. Nevertheless, that is what has happened. † He went on to say that, â€Å"Bellow, Barth, Updike – even the best of the lot, Philip Roth – the novelists are all out there ransacking the literary histories and sweating it out, wondering where they now stand. ‘Damn it all, Saul, the  Huns  have arrived. ‘† So, this uproar is what begs several questions that these writers felt the need to be answered. Is New Journalism a literary genre, simply because it utilises the tools of fiction to give it colour? Is it a journalistic genre? Is it a genre all by itself? Imagine journalism and literature both being a circle side by side; they stand alone. They are pushed together when attempting to work out the place of New Journalism in the world of writing; how far do they overlap? And if, when they meet, there is an even overlap, surely that creates a distinct genre? Some argue that, as well as not being a literary genre, New Journalism is not a stand-alone genre at all. Murphy (1974, p. 15) says that, in his eyes, the main charge levelled against New Journalism is â€Å"criticism against it as a distinct genre. † Truman Capote seems to disagree with this and says, â€Å"It seems to me that most contemporary novelists are too subjective. I wanted to exchange it, creatively speaking, for the everyday objective world we all inhabit. Reporting can be made as interesting as fiction, and done as artistically. † (Plimpton, 1967, p. 14) This suggests that Capote believes that New Journalism falls on neither side of the fence. Instead, New Journalism is all about taking journalism with one hand, taking literature with the other, and pulling them both together. He wanted to make literature more objective, as journalism is, and he wanted to make journalism more creative, as literature is. Conley (1998, p. ) notes that, â€Å"Journalism and fiction are not usually mentioned in the same sentence unless in an unflattering sense, yet they have much in common. † Again, we are directed towards the two forms as separate, but partially overlapped. Weiss (2004, p. 177) says that, â€Å"The tugs and pulls of fact versus fiction and memory versus imagination are evident within the genre of journalism. † She goes on to say that, â€Å"Journalism splintered from early reporting and took on many of the attributes of literature. There are many attributes of literary journalism which overlap with fiction. Again, this theme of convergence is present in her thoughts. Weiss (2004, p. 179) asks a good question: â€Å"Has the blurring of lines from non-fiction to fiction become excessive and confusing? † Roorbach (2001, p. 7) goes some way in answering this and states that â€Å"an over-insistence on verifiable accuracy has about the same deadening effect on art as an over-insistence on conformity in style and subject. † So it follows that the best course of action when considering the place of New Journalism is to nod towards the pieces of work that take responsibility for both fact and fiction. Somerset Maugham (1938, p. 19) agreed that fiction and journalism are intrinsically linked and says, of news, that â€Å"it is raw material straight from the knacker’s yard and we are stupid if we turn our noses up at it because it smells of blood and sweat. † These are the words of a literary great who feels that writers must take journalism into account in their work. Believing there was whole new genre, Capote called his book,  In Cold Blood,  a non-fiction novel, which is a book that employs the conventions of fiction to tell a true story. The work is about the mass murder of a Kansas farming family. Although the book was the peak of Capote’s career as a writer, and was hailed as an international success, it – along with New Journalism as a whole – was heavily criticised, due to facts being changed, scenes being added and dialogue being made-up. This criticism can be seen as a positive thing though, in terms of defining New Journalism. By stating that aspects of his style of writing makes it neither journalism, nor literature, the criticism creates a new genre for Capote’s work to sit, comfortably, in. Interestingly, Capote, along with Mailer and many other authors, never agreed to their style’s comparisons to Wolfe’s school of narration. Much to the contrary, many of these writers would deny that their work was generically relevant to other new Journalists at the time. In a 1966  Atlantic  article, Dan Wakefield said that the non-fiction work of Capote elevated reporting to the level of literature. Although praising the work of Capote, this goes some way in saying that literature is better than journalism. This is evidence for what Capote said his critics felt:  Ã¢â‚¬Å"Combining literature and journalism is little more than a literary solution for fatigued novelists. † (Plimpton, 1967, p. 16) Newfield (1967, p. 0) said that, â€Å"This new genre defines itself by claiming many of the techniques that were once the unchallenged terrain of the novelist: tension, symbol, cadence, irony, prosody, imagination. † Gay Talese’s 1966 article for  Esquire  magazine,  Frank Sinatra Has a Cold,  was a very influential piece of New Journalism that gave a very detailed portrait of Frank Sinatra, wi thout ever having interviewed him. Talese undertook huge amounts of research, as did many of the New journalists, including Capote with  In Cold Blood. Unlike Capote, Talese did not invent facts of characters. His article is, therefore, an example of New Journalism that falls under the category of a journalistic genre, as opposed to a distinct genre. In agreement with the methods of Talese and critical of those of Capote, writer Barry Seigel, who heads up a literature and journalism course at the University of California, says that he teaches of â€Å"nonfiction prose that transcends the limits of daily journalism. † He nonetheless â€Å"rejects absolutely the notion of imagining or otherwise fabricating quotes, inventing characters or blurring different sources into composites. (Eisenhuth and McDonald, 2007, p. 41) If the aim of most New Journalism is to write so  vividly and report in such intense bursts that a scene leaps from the page, Talese goes in the other direction. He slowly drills down through the mundane subterranean reality of human existence to its â€Å"fictional† core. He said he wanted â€Å"to evoke the fictional current that flows between the reality. à ¢â‚¬  Neither of these examples, nor any of the quotes gleaned from research, point towards New Journalism falling under the category of a literary genre. Obviously there will be those that do not wish to have it associated with the word literature; they see it as a bastard child. Hartsock (2000, p. 7) states that New Journalism â€Å"reflects a rough, but not definite split between journalism and literature. † He notes that some commentators, such as Lounsberry, who is affiliated with English studies, prefer to view it as a literary genre. Others, such as Connery, who is affiliated with journalism, prefer to view it as a journalistic genre. He adds that, â€Å"there long has been a bias against journalism by English studies. Eisenhuth and McDonald (2007, p. 49) say that some journalists tend to see the term as ‘bunging it on a bit,’ but the fact is that the notion of New Journalism is gaining acceptance, even in university English departments, which have traditionally disdained the reporting milieu that has nurtured so many novelists – the likes of Ernest Hemingway and Graham Green; and in more recent times , journalists turned non-fiction writers and novelists like Robert Drewe. † Drewe was the focus of Conley’s 1998 article,  Birth of a Novelist, Death of a Journalist. Drewe is Australia’s most prominent author turned journalist. His first book, The Savage Crows, was well received,  although at the time with some surprise, â€Å"like here is a dog that can ride a bicycle and play a trumpet at the same time, which was sort of flattering and slightly offensive† He said his transition to fiction entailed a grudging acceptance because of Australia’s tradition that novelists either came from the School of Hard Knocks – â€Å"the realist, outback, dingo-trapping background† – or from English Departments. (Conley, 1998, p. 0) There is still, to this day, an enormous amount of debate surrounding New Journalism and its place in the world of writing. There is, and always will be, a furore amongst steadfast writers that refuse to accept it into the literary world. Connery acknowledges â€Å"the difficulty of the form’s identity,† and that our understanding of New Journalism as a genre â€Å"is still v ery much emerging. † (Hartsock, 2000, p. 3) The mere fact that Connery seeks to find a justification at all highlights the critical discomfort with the form’s identity. Weber argues that this discomfort comes because â€Å"this category of serious writing is not well defined, and the many different terms used to describe it do not help. † (Hartsock, 2000, p. 6) Here, he is obviously referring to the terms Literary Journalism, New Journalism, and Literary Non-fiction; which vary in use, depending on the commentator. It seems that an answer will never be reached as to whether or not New Journalism is a stand-alone genre. Without taking the sceptics and critics too much to heart, New Journalism seems to be nestled, just fine, in its own world. Lounsberry (1990, p. 5) sums things up in a nutshell, despite her affiliation towards New Journalism as a literary genre. She states that, â€Å"it does not really matter what name we give to this type of discourse; it is possible to study it without actually placing it under any specific category. † References Books Collins Concise Dictionary, 1999. New Journalism. Glasgow: Harper Collins Publisher s. Eisenhuth, S, MacDonald, W. , 2007. The Writer’s Reader – Understanding Journalism and Nonfiction. Cambridge: Cambridge University Press. Hartsock, J. C. , 2000. A history of American Literary Journalism. The Emergence of a Modern Narrative Form. Massachusetts: University of Massachusetts Press. Lounsberry, B. , 1990. The Art of Fact – Contemporary Artists of Nonfiction. Lincoln: Greenwood Press. Maugham, S. , 1938. The Summing Up. London: Heinemann. Roggenkamp, K. , 2005. Narrating the News: New Journalism and Literary Genre in Late Nineteenth Century Newspapers and Fiction. Kent, OH: Kent State University Press. Roorbach, B. ,2001. The Art of Truth: Contemporary Creative Nonfiction. New York: Oxford University Press. Articles Conley, D. , 1998. Birth of a Novelist, Death of a Journalist. Australian Studies in Journalism 7,  46-73, p1. Murphy, J. E. , 1974. The New Journalism: A Critical Perspective. Journalism Monographs,  34, p15. Newfield, J. , 1967. Hooked and Dead. New York Times Book Review,  May 7, p. 20. Wakefield, D. , 1966. The personal Voice and the Impersonal Eye. The Atlantic,  pp. 86-89 Weiss, C. , 2004. Reviving the Elephant; Bringing Literary Journalism Back into the Classroom. Schenley High School,  p173. Websites Plimpton, G. , 1967. Truman Capote: In Which Various Friends, Enemies, Acquaintances, and Detractors Recall His Turbulent Career. Online] Available at: ;http://www. thefreelibrary. com/Truman+Capote%3A+In+Which+Various+Friends,+Enemies,+Acquaintances,+and†¦ -a020210227; [Accessed 27 November 2010) Wikipedia, 2010. New Journalism. [Online] Available at: ;http://en. wikipedia. org/wiki/New_Journalism; [Accessed 27 November 2010]. Wolfe, T. , 1972. Participant Reveals Main Factors Leading to Demise of the Novel, Rise of New Style Covering Events. New York Magazine. [Online] Available at: ;http://nymag. com/news/media/47353/; [Accessed 27 November 2010]. How to cite New Journalism, Papers