'novelistic technique. However, he conceded that the best of this work had "considerably expanded the possibilities of journalism". Much negative criticism of New Journalism were directed at individual writers. For example, Cynthia Ozick asserted in The New Republic, that Capote in In Cold Blood was doing little more than trying to devise a form: "One more esthetic manipulation." Sheed offered, in "A Fun-House Mirror", a witty refutation of Wolfe's claim that he takes on the expression and the guise of whomever he is writing about. "The Truman Capotes may hold up a tolerably clear glass to nature," he wrote, "but Wolfe holds up a fun-house mirror, and I for one don't give a hoot whether he calls the reflection fact or fiction." "Parajournalism" and the New Yorker affair Among the hostile critics of the New Journalism were Dwight Macdonald, whose most vocal criticism comprised a chapter in what became known as "the New Yorker affair" of 1965. Wolfe had written a two-part semi-fictional parody in New York of The New Yorker and its editor, William Shawn. Reaction, notably from New Yorker writers, was loud and prolonged, but the most significant reaction came from Macdonald, who counterattacked in two articles in The New York Review of Books. In the first, Macdonald termed Wolfe's approach "parajournalism" and applied it to all similar styles. "Parajournalism", Macdonald wrote, ... seems to be journalism—"the collection and dissemination of current news"—but the appearance is deceptive. It is a bastard form, having it both ways, exploiting the factual authority of journalism and the atmospheric license of fiction. The New Yorker parody, he added, "... revealed the ugly side of Parajournalism when it tries to be serious." In his second article, MacDonald addressed himself to the accuracy of Wolfe's report. He charged that Wolfe "takes a middle course, shifting gears between fact and fantasy, spoof and reportage, until nobody knows which end is, at the moment, up". New Yorker writers Renata Adler and Gerald Jonas joined the fray in the Winter 1966 issue of Columbia Journalism Review. Wolfe himself returned to the affair a full seven years later, devoting the second of his two February New York articles (1972) to his detractors but not to dispute their attack on his factual accuracy. He argued that most of the contentions arose because for traditional literati nonfiction should not succeed—which his nonfiction obviously had. Gail Sheehy and "Redpants" In The