Hostname: page-component-848d4c4894-v5vhk Total loading time: 0 Render date: 2024-06-17T14:18:11.748Z Has data issue: false hasContentIssue false
  • English
  • Français

“Split flee hide vanish disintegrate”: Tom Wolfe and the Arrest of New Journalism

Published online by Cambridge University Press:  30 July 2009

Daniel W. Lehman
Get access

Extract

Reading Tom Wolfe's nonfiction across its grain, for the manner by which its chameleon narrators and its historical author reverberate and intersect, is to enter a sustained fantasy of escape and recapture. For not only are Wolfe's fugitive plots – a psychedelic novelist on the lam in Mexico, a test pilot reeled to earth after eluding the clutches of the Mach One barrier, even his fictional Master of the Universe wriggling in a tangled web of transgression and punishment – the stuff of rights and wrongs, but for nearly a third of a century Tom Wolfe has made a habit of breaking every established rule and then denying he has done so.

Type
Research Article
Information
Prospects , Volume 21 , October 1996 , pp. 397 - 434
Copyright
Copyright © Cambridge University Press 1996

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

WORKS CITED

American Heritage Dictionary. 2nd ed. Boston: Houghton-Mifflin, 1983.Google Scholar
Anderson, Chris. Style as Argument: Contemporary American Nonfiction. Carbondale: Southern Illinois Press, 1987.Google Scholar
Bellamy, Joe David. “Sitting Up with Tom Wolfe”. Writer's Digest 54 (11 1974): 22–29. Cited in Scura, 56–72.Google Scholar
Bellamy, Joe David. “Tom Wolfe”. The New Fiction: Interviews with Innovative American Writers. Urbana: University of Illinois Press. Cited in Scura, 36–72.Google Scholar
Dean, Michael. “Pop Writer of the Period – Tom Wolfe Talks to Michael Dean.” Listener 83 (02 19, 1970): 250–51. Cited in Scura, 24–29.Google Scholar
Dietz, Lawrence. “Tom Wolfe on the Search for the Real Me”New York 08 19, 1968: 42–43. Cited in Scura, 18–23.Google Scholar
Dundy, Elaine. “Tom Wolfe … But Exactly, Yes!” Vogue 14 (04 15, 1966): 152–55. Cited in Scura, 6–17.Google Scholar
Eco, Umberto. Travels in Hyperreality. New York: Harcourt, Brace, Jovanovich, 1986.Google Scholar
Flippo, Chet. Everybody Was Kung-Fu Dancing. New York: St. Martin's, 1991.Google Scholar
Frankfort, Ellen. Life at The Village Voice. New York: William Morrow, 1976.Google Scholar
Hebdige, Dick. Subculture: The Meaning of Style. London: Routledge, 1979.Google Scholar
Hellmann, John. Fables of Fact. Urbana: University of Illinois Press, 1981.Google Scholar
Hentoff, Nat. “Behold the New Journalism – It's Coming After You” The Reporter As Artist. Ed. Weber, Ronald. New York: Hastings House, 1974.Google Scholar
Kendrick, Thomas R. “Introduction”. Writing in Style. Ed. Babb, Laura Langley. Washington: Washington Post Writer's Group, 1975.Google Scholar
Lounsberry, Barbara. The Art of Fact. New York: Greenwood, 1990.Google Scholar
McAuliffe, Ken. The Great American Newspaper. New York: Scribner's, 1978.Google Scholar
McLeod, Mary. “CAInterview”. Contemporary Authors: New Revision Series. Ed. Evory, Ann and Metzger, Linda. Detroit: Gale, 1983. Cited in Scura, 178–85.Google Scholar
Mewborn, Brant. “Tom Wolfe”. Rolling Stone 11 5–12 10, 1987: 214–20. Cited in Scura, 230–40.Google Scholar
Newfield, Jack. “Journalism: Old, New and Corporate”. The Reporter As Artist. Ed. Weber, Ronald. New York: Hastings House, 1974: 65–65.Google Scholar
Pauly, John J. “The Politics of New Journalism”. Literary Journalism in the Twentieth century. Ed. Sims, Norman. New York: Oxford University Press, 1990.Google Scholar
Perry, Paul. On the Bus. New York: Thunder's Mouth, 1990.Google Scholar
Reagan, Ron. “GEO Conversation: Tom Wolfe”. GEO 5 (10 1983): 14–26. Cited in Scura, 186–98.Google Scholar
Scura, Dorothy M., ed. Conversations with Tom Wolfe. Jackson: University Press of Mississippi, 1990.Google Scholar
Sellers, Pat. “Cosmo Talks to Tom Wolfe: Savvy Social Seer” Cosmopolitan 204 (04 1988): 189–90. Cited in Scura, 267–272.Google Scholar
Taylor, A. J. P. Introduction to Ten Days that Shook the World, by John Reed. New York: Penguin, 1977: vii–xix.Google Scholar
Thompson, Toby. “The Evolution of Dandy Tom”. Vanity Fair 50 (10 1987): 160–64. Cited in Scura, 199–220.Google Scholar
Weber, Ronald. The Literature of Fact. Athens: Ohio University Press, 1980.Google Scholar
Weber, Ronald. The Reporter as Artist: A Look at the New Journalism Controversy. New York, Hastings House, 1974.Google Scholar
Wolfe, Tom. The Bonfire of the Vanities. New York: Farrar, Straus and Giroux, 1987.Google Scholar
Wolfe, Tom. The Electric Kool-Aid Acid Test. New York: Farrar, Straus and Giroux, 1970.Google Scholar
Wolfe, Tom. From Bauhaus to Our House. New York: Farrar, Straus and Giroux, 1981.Google Scholar
Wolfe, Tom. The Kandy-Kolored Tangerine-Flake Streamline Baby. New York: Farrar, Straus and Giroux, 1965.Google Scholar
Wolfe, Tom. “Las Vegas (What?)”. The Kandy-Kolored Tangerine-Flake Streamlined Baby. New York: Pocket, 1966: 3–24.Google Scholar
Wolfe, Tom. “The New Journalism”. The New Journalism. Ed. Johnson, E. W. and Wolfe, Tom. New York: Harper and Row, 1973.Google Scholar
Wolfe, Tom. Radical Chic and Mau-Mauing the Flak Catchers. New York: Farrar, Straus and Giroux, 1970.Google Scholar
Wolfe, Tom. The Right Stuff. New York: Farrar, Straus and Giroux, 1979.Google Scholar
Wolfe, Tom. “Stalking the Billion-Footed Beast” The Best American Essays 1990. Ed. Kaplan, Justin and Atwan, Robert. New York: Ticknor and Fields, 1990.Google Scholar
Zavarzadeh, Mas'ud. The Mythopoeic Reality. Urbana: University of Illinois Press, 1976.Google Scholar
Zeleriko, Lori Simmons. “What Are the Social Pressures Affecting the Art World Today?” American Artist 46 (04 1982): 12–13 +. Cited in Scura, 172–77.Google Scholar