These essays, stories and fragments are about writing. They explore the dilemmas of living as a writer, the subtleties and inspirations of reading as a writer, and the contradictions created when a writer tries to teach others how it is done.
Craft matters. Point of view matters-its controlling effect often overlooked in the study of authors' rhetorical choices. This book showcases creative writing from students in the University of Vermont Honors College course, Crafting Point of View, that evolved through experimentation. These writers tackled stylistic imitations of novelists, memoirists, and poets who chose unconventional points of view in their prosaic and poetic story telling: the dialect and direct-address of Celie's letters to God in Alice Walker's The Color Purple; the masterful and inventive manipulation of multiple points of view, sometimes within the same chapter or paragraph, in Lydia Davis's Collected Stories-predominantly "Break It Down"-and Abigail Thomas's Safekeeping; the surreal seemingness of "How to Tell a True War Story" in Tim O'Brien's metafictional The Things They Carried; the ways for means that poets like Maya Angelou, Donald Hall, and Jane Kenyon shift points of view, sometimes to alter the lens on pain; and the utilization of that "say you are...," "imagine this," all-inclusive assumedness of the second-person in Jay McInernay's Bright Lights, Big City and Mark Richard's House of Prayer No. 2. In the explorations that follow each story, essay, poem, or media message, student reflections on the crafting process will enlighten readers about the power and purpose of this often-undervalued element of style in writing: point of view.
Though creative nonfiction has been around since Montaigne, St. Augustine, and Seneca, we’ve only just begun to ask how this genre works, why it functions the way it does, and where its borders reside. But for each question we ask, another five or ten questions roil to the surface. And each of these questions, it seems, requires a more convoluted series of answers. What’s more, the questions students of creative nonfiction are drawn to during class discussions, the ones they argue the longest and loudest, are the same ideas debated by their professors in the hallways and at the corner bar. In this collection, sixteen essential contemporary creative nonfiction writers reflect on whatever far, dark edge of the genre they find themselves most drawn to. The result is this fascinating anthology that wonders at the historical and contemporary borderlands between fiction and nonfiction; the illusion of time on the page; the mythology of memory; poetry, process, and the use of received forms; the impact of technology on our writerly lives; immersive research and the power of witness; a chronology and collage; and what we write and why we write. Contributors: Nancer Ballard, H. Lee Barnes, Kim Barnes, Mary Clearman Blew, Joy Castro, Robin Hemley, Judith Kitchen, Brenda Miller, Ander Monson, Dinty W. Moore, Sean Prentiss, Lia Purpura, Erik Reece, Jonathan Rovner, Bob Shacochis, and Joe Wilkins.
Advanced Creative Nonfiction: A Writers' Guide and Anthology offers expert instruction on writing creative nonfiction in any form-including memoir, lyric essay, travel writing, and more-while taking an expansive approach to fit a rapidly evolving literary art form. From a history of creative nonfiction, related ethical concerns, and new approaches to revision and publishing, this book offers innovative strategies and ideas beyond what's traditionally covered. Advanced Creative Nonfiction: A Writers' Guide and Anthology also includes: · An anthology of contemporary creative nonfiction by some of today's most inventive and celebrated writers · Advanced explorations into the craft of creative nonfiction across forms · In-depth discussion of truth, ethics, and memory · Practical advice on revision, editing, research, and publishing · Writing prompts and exercises throughout the textbook A companion website is also available for the book at http://www.bloomsburyonlineresources.com/advanced-creative-nonfiction
Long recognized as a master teacher at writing programs like VONA, the Loft, and the Stonecoast MFA, with A Stranger's Journey, David Mura has written a book on creative writing that addresses our increasingly diverse American literature. Mura argues for a more inclusive and expansive definition of craft, particularly in relationship to race, even as he elucidates timeless rules of narrative construction in fiction and memoir. His essays offer technique-focused readings of writers such as James Baldwin, ZZ Packer, Maxine Hong Kingston, Mary Karr, and Garrett Hongo, while making compelling connections to Mura's own life and work as a Japanese American writer. In A Stranger's Journey, Mura poses two central questions. The first involves identity: How is writing an exploration of who one is and one's place in the world? Mura examines how the myriad identities in our changing contemporary canon have led to new challenges regarding both craft and pedagogy. Here, like Toni Morrison's Playing in the Dark or Jeff Chang's Who We Be, A Stranger's Journey breaks new ground in our understanding of the relationship between the issues of race, literature, and culture. The book's second central question involves structure: How does one tell a story? Mura provides clear, insightful narrative tools that any writer may use, taking in techniques from fiction, screenplays, playwriting, and myth. Through this process, Mura candidly explores the newly evolved aesthetic principles of memoir and how questions of identity occupy a central place in contemporary memoir.
This book brings together contemporary authors and well-respected creative writing instructors and theorists to explore ways creativity in composition may be encouraged in student writers. The question in this anthology is not 'Can writing be taught?' but 'How can we inspire students to embrace the creative process no matter what they write?'
Pulitzer Prize–winning author James A. Michener has written about everything from the pristine islands of the South Pacific and the endless wilds of Africa to Spanish bullfighters, American revolutionaries, and pirates of the Caribbean. Now Michener turns to his favorite and most personal subject: the written word. Reproducing pages from his own handwritten rough drafts and working manuscripts, Michener walks the reader through a step-by-step guide to the entire process of writing, editing, revising, and publishing. Addressing challenges specific to both fiction and nonfiction, all the while providing thoughtful and useful solutions, James A. Michener’s Writer’s Handbook is an invaluable resource for book lovers, editors, and, of course, writers—aspiring and accomplished alike. Praise for James A. Michener “A master storyteller . . . Michener, by any standards, is a phenomenon.”—The Wall Street Journal “Sentence for sentence, writing’s fastest attention grabber.”—The New York Times “Michener has become an institution in America, ranking somewhere between Disneyland and the Library of Congress. You learn a lot from him.”—Chicago Tribune “While he fascinates and engrosses, Michener also educates.”—Los Angeles Times
Introduces new, creative techniques for the fiber journaler, scrapbooker, doll maker, beader, and sewer through fairy-inspired projects. This book is the fifth installment on making creative cloth fiber arts from popular art doll designer, fiber artist, and workshop instructor Patti Culea, following Creative Cloth Doll Making, Creative Cloth Doll Faces, Creative Cloth Doll Couture, and Creative Cloth Beaded Dolls. This book builds on the previous four by delving into how to make fun and elaborate-looking projects using the same old materials in a new and unique way. Readers will learn to make flat figures, fabric books, and a fairy-style fan. Culea covers the basics and provides new techniques–such as using Shiva paint sticks and stencils, working with silk rods and waste, and using lace and trims as a frame–while teaching you to how create a flat figure doll, memory journal with embellished cloth pages, and a beautiful fan. Professional tips, ideas for embellishments, cutting-edge techniques, and complete patterns for all the projects are included.
Each of the twenty-two tales in this enchanting collection is a surprise and a delight, melding the poignant and the possible with the outrageous, the magical, and, sometimes, the eerily haunting. Wolf men, dolphin women, defiant old ladies, and middle-aged manufacturers of erotic leatherwear -- in Jigs & Reels the miraculous goes hand in hand with the mundane, the sour with the sweet, and the beautiful, the grotesque, the seductive, and the disturbing are never more than one step away. Whether she's exploring the myth of beauty, the pain of infidelity, or the wonder of late-life romance, Joanne Harris once again proves herself a master of the storyteller's trade.