![]() Ross’ approach, later made famous by the “New Journalists” of the 1960s, used dialogue, scene structure and other techniques associated with fiction writers. “It’s sort of like having sex,” she once wrote. She hated tape recorders (“fast, easy and lazy”), trusted first impressions and believed in the “mystical force” that “makes the work seem delightfully easy and natural and supremely enjoyable.” Her methods were as crystallized and instinctive as her writing. Salinger in 2010, Ross wrote a piece about her friendship with the reclusive novelist and former New Yorker contributor. Hundreds of Ross’ “Talk of the Town” dispatches appeared in The New Yorker, starting in the 1940s when she wrote about Harry Truman’s years as a haberdasher, and continuing well into the 21st century, whether covering a book party at the Friars Club, or sitting with the daughters of Richard Rodgers and Oscar Hammerstein II as they watched a Broadway revival of “South Pacific.” After the death of J.D. ![]() “Lillian would knock my block off for saying so, she’d find it pretentious, but she really was a pioneer, both as a woman writing at The New Yorker and as a truly innovative artist, someone who helped change and shape non-fiction writing in English,” Remnick wrote. ![]()
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