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Since the profession of war correspondent came into existence in the middle of the nineteenth century, war reporters have attracted the attention of novelists. The literary representation of journalism in war times is a fundamental tool when analyzing the evolution of this profession, since, as Barbara Korte has argued (2007: 432), it provides an opportunity to illustrate the problems when reporting conflicts and the consequences such reporting has on journalists. Graham Greene in  The Quiet American  and Arturo Pérez-Reverte in  El pintor de batallas  ( The Painter of Battles ) dramatize the practice of journalism when reporting wars in different eras of the profession in the last century, namely the Indochina war (in the early fifties) and the Balkans conflict (in the early nineties) respectively. Both authors, after being war correspondents, resort to fiction to reflect on the implications of experiencing and narrating wars. Through the experience of the protagonists of their novels, Fowler in  The Quiet American  and Faulques in  El pintor de batallas , Greene and Reverte question the principles of objectivity in journalism. In their literary work, they critique the practice of this profession based on neutrality and non-involvement, revealing the contradictions inherent in the claims of objectivism in reportage.

Ways of Witnessing: Journalism vs. Fiction in The Quiet American and El pintor de batallas