New Journalism

The nonfiction book is considered one of the earliest pieces of New Journalism and an arresting case against nuclear warfare. Describing the pain, wounds and trauma of six ordinary citizens, “Hiroshima” played a powerful role in American perception of the war by focusing on its human toll.

The profile broke with convention by focusing on the story of pursuing the story rather than one that celebrated the subject. Vanity Fair called it "the greatest literary-nonfiction story of the 20th century." (Some users may experience a paywall.)

After numerous rejections from Sinatra, Esquire, and writer Gay Talese continued to pursue the profile, gathering information from observing Sinatra and interviewing friends and fans of his. Readers (and future writers) admired the way Talese captured the many layers of Sinatra’s personality from his generosity to his short temper.

The writer revisits his 1966 profile on Frank Sinatra, one of the most popular magazine stories ever written. The story uncovered aspects of Sinatra’s life previously unknown to most people, such as having a personal staff of 75 people, including one person to take care of his hairpieces.

In this retrospective, Talese reflects on the making of the legendary article that pioneered a new literary style. He offers his critiques of the modern state of profiles, arguing the industry no longer produces compelling work.

“I don't think it was new, and I don’t think it was journalism,” he said. He instead viewed what he and other writers were doing as defining reality using a storytelling technique. In other words, storytelling that wasn’t fiction.

Since Talese began working at the New York Times in the 1950s, he has woven eccentric details into his stories about the people he covers. His immersive journalistic methods, such as living in a nudist colony, sparked controversy, but also helped him uncover aspects of people's lives.

The profile, written in the aftermath of his popular “Frank Sinatra Has a Cold,” similarly offered a close look at an American icon after their prime. In DiMaggio’s story, however, the Yankees player seeks to vanish into obscurity and live a quiet life, golfing and mourning his ex-wife Marilyn Monroe.

Wolfe explains the style came from journalists attempting to make fact-based reporting read like a novel, arguing that traditional reporting left readers “bored to tears.” Instead of emphasizing an objective point of view, Wolfe favored detailed descriptions that established complex characters, painted interesting scenes, and shared dialogue.

Michael J. Arlen wrote a critique of the then-fashionable and popular form for The Atlantic in 1972, warning about the risk of emphasizing a writer’s perspective over facts. While Arlen applauded the innovation of the style, he believed focusing on voice and perspective could be irresponsible.