Through a close analysis of the poetics of literary journalistic narrative, this paper seeks a better understanding of the specific fictional poetics shared by both journalism and literature in Mailer’s text. The Politics and Poetics of Literary Journalism in 2Norman Mailer’s The Armies of the Night 1. Introduction With the publication of13Truman Capote’s In Cold Blood (1965) and Norman Mailer’s Armies of the Night (1968), a new hybrid genre emerged to combine the best practices of both fact and fiction, journalism and literature. Mailer’s 3Armies of the Night has received The Pulitzer Prize for nonfiction in 1968. Since then, it has been the focus of a cornucopia of critical investigation as a major work of American nonfiction.
This method looks at the biblical narrative not as a historical source that something lies behind the text. But, it looks at the narrative as a literary text that may be analysed in literary terms that is plot, characterization, point of view in narrative like other works of literature. Narrative criticism reads biblical narratives as literature or story, taking a fiction approach, which treats the text as art or poetry. They interpret the text in its final form in terms of its own story world. A narrative critic’s close reading assumes literary integrity and reads the text holistically.
Literary journalistic discourse is “perhaps the most intertextual of all texts, referring to other texts” in terms of transforming prior historical stories and restructuring conventional literary and journalistic genres and discourses in an attempt to generate a new one, that is, literary journalism (Mills 65-66). Thus, the journalistic discourse cannot be but dialogic and intertextual because its raw material is a news story that can be manipulated, adapted, and adopted by the literary journalist in order to compete other versions of the story. It “assimilates a variety of discourses” that “always to some extent question and relativize each other’s authority” (Waugh 6). Literary journalists, thus, are actively engaged in interpreting and scrutinizing the discursive practices of intertextuality in order to generate their distinctive but hybrid discourse. This hybrid discourse can be conceptualized using Edward Said’s notion of the “contrapuntal”.
Literature is a mirror of society. It has thousands of threads which can weave the beautiful piece of art. Each thread has its own importance in the creative work. In the same way there are different types of narrative techniques for the narration of literature. Realism, in literature, is an approach that attempts to describe life without idealization or romantic subjectivity.
Historical fiction novels allow the reader to explore outdated philosophies by presenting the information from a different perspective with pressure on having an authentic mindset from the time. Historical fiction authors such as Whitehead use the idea of “entertainment” value, better described as emotional appeal (pathos) to their advantage, manipulating the reader into learning details from a historical time period that they wouldn’t otherwise obtain from a textbook. The genre breaks down extensive topics such as slavery into individual accounts that are representative of the overall ideas in history, without overwhelming the reader with seemingly endless content. While at first glance historical fiction seems to be a rather trivial concept, with further examination it proves to be much more complex, using literary devices to leave the reader with an unforgettable view of
In addition, literary criticism includes narrative criticism where the goal is to understand how each author wrote in order to produce a “desired effect on the reader” (Strauss 68). For instance, Mark was encouraging believers to stay strong under persecution by showing how Jesus endured the cross. Also, Luke includes so many outsiders—non-Jews, interacting with Jesus, which causes the reader to feel included in the Gospel story or to become one who includes those who have yet to meet Jesus. Additionally, literary criticism includes point of view; meaning, “The Gospel narrators always affirm the evaluative point of view of God, who is righteous and just and loving. By contrast, Satan and his demons are deceitful, evil, and destructive” (Strauss 70).
This combination of a deconstruction of form, which is fuelled further by the non-linearity of the novel, and self-reflexivity, is achieved by how the narrative voice is contrived, placing the novel firmly in the post-modern genre. At first glance, it may seem as though this is a realist
Often emphasizes its unconventionality saying it was obvious that not writing a novel, which neglects all what the novelist would not have failed to take advantage. He wants to convince the reader that he captures the truth, not a fictional plot. Destroys the fictional illusion that reinforces the sense of reality because the text because of its discontinuity mimetic closer to the human experience. It is this which gives the illusion of reality, the insistence on authenticity, is also what enhances awareness of the artificiality of the text. This advocacy of realism Lilian R. Furst in her article 'Diderot: Jacques le et son maître fatalist' seen as Diderot's satirical attack on excessive actions in adventure stories of the 18th century.
conventions of writings in different forms such as fairy tale, spy thriller, Science fiction, history and gothic romances. Her writing challenges and breaks the traditional genres. She gains attention not only with the way of telling stories but also with the function of language itself. Atwood challenges the limits of fiction and real life and her genres in many of her novels. Carol Ann Howells speaks about Atwood’s technique as, Obviously revisionist perspectives have narrative consequences not only for narrators but also for readers, turning our attention towards process of deconstruction and reconstruction while emphasizing the provisionality of any narrative structure.