The Politics and Poetics of Journalistic Narrative by Phyllis Frus
By Phyllis Frus
Early within the 20th century, journalism and fiction suffered a compelled separation due to coinciding traits: a favored tendency to regard literature as an increased, aesthetic class and the emergence of aim narrative in journalism. The impact of those forces used to be to distance the topic of the narrative from its item, an estrangement later challenged by means of the writing of recent newshounds and nonfiction novelists. In her publication Frus recovers and renegotiates the method of writerly construction, and proves that, eventually, the observer is implicated within the technique of statement.
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1; Foley, Telling), so that the reader knows whether the subjects are invented or historical and reads the text appropriately as fiction or as journalism. Evidence of a work's status may be supplied by a subtitle or label on the contents page or jacket copy, in a preface or afterword by the author or editor, by its library classification, or, in the case of a first-person narrative, by the narrator's "identity or non-identity with the author under whose name the narration has been published" (Cohn 13).
Williams, Keywords 183), with its emphasis on seeing and reporting exactly how things looked. This story's focalization provides information about the correspondent's attitude toward his predicament and his realization that this was "the best experience of his life" (73); offers some ironic generalizations about previous actions, such as the fact that some men row for amusement; and reproduces a poem he memorized in his childhood, which now provides an CRANE, JOURNALISM, AND FICTION 25 ironic gloss on his possible imminent death.
The nonexistence of the referents outside the text that brought them into being; what, therefore, of the apparent truthfulness of the recognizably factual statements that the narrative also makes: for example, its use of proper names? The problem of fiction's mixture of invented and historical referents has led to the claim that fictional narratives are not propositional, because judgments of truth or falsity are suspended. In this definition, the world that novels or short stories refer to is acknowledged as a creation, even though these works may be set in a recognizable place and, occasionally, have characters who can be identified with real-world people (sometimes with names changed).