essay-lyric

Joe Bonomo on sex, spirit & implication: ‘Living is complicated.’

June 23, 2013 | 3 Comments

Memoir is made of memories, by definition; some theorists assert memoir must be about memory. Yet it’s notable how much Joe Bonomo explores memory and takes it as his subject. His new collection of essays, This Must Be Where My Obsession with Infinity Began, summons and examines a wide range of memories, expressed in often lyrical sentences. He’s had an ordinary suburban boyhood and adult life, but he makes this material interesting because—as he tells stories, and muses interestingly on their meaning—we find ourselves catching our own cast-off thoughts and doubts, thinking about our own stories.

Here’s this reflective person in the present trying to make sense of his life: what every adult does, one supposes, and it’s satisfying being privy to another’s subjective reality and party to his grappling with memory and meaning. His blog, No Such Thing as Was, its title taken from Faulkner’s remark about the past’s persistence, testifies to his steady inquiry into the memories that live inside him.

Some of his essays are strongly narrative, with personal experience dramatized in scenes; others are models of the classical ruminative approach (as run through a poet’s sensibility) and some are short prose poems. Since he’s got all the chops and deploys them artfully, slapping a label on his creative nonfiction is difficult and would be misleading.

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Christmas letter follies

December 21, 2012 | 6 Comments

Solstice musings: poetry, nonfiction & Mom’s Christmas letter. [This originally ran December 16, 2008.] When I read poems and when I (rarely) write them, I’m apt to think This is an essay! When poets gave up rhyme and meter, they exposed the fact that poetry and creative nonfiction can be one in the same, though poets are free to fictionalize. (Long ago I was taught the only definition of poetry is that the poet controls the length of his line.) The similarity does …

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About John D’Agata

March 7, 2012 | 8 Comments

I believe in immersion in the events of a story. I take it on faith that the truth lies in the events somewhere, and that immersion in those real events will yield glimpses of that truth. I try to hew to a narrow definition of nonfiction partly in that faith and partly out of fear.  I’m afraid that if I started making things up in a story that purported to be about real events and real people, I’d stop believing …

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Undercurrents in narrative essays

February 5, 2012 | 4 Comments

I admit, I told a class last semester, that we read stories for various reasons, including intrinsic interest. “If you score an interview with Barack Obama,” I said, “you can lean pretty heavily on that. But otherwise, stories that grip us involve some tension—a conflict or question.” How to get this across to students—and to myself—keeps me occupied. And it devils me when I receive a student’s personal narrative that lacks any urgency or even movement. Or when I churn out one myself.

Such flat writing flunks the “So What?” test. Bruce Ballenger writes in Crafting Truth: Short Studies in Creative Nonfiction:

The simple question, What is going to happen next? is triggered by the tension between what readers know and what they want to know. This is the most familiar dramatic tension in storytelling.

Of course, Ballenger adds, withholding information can seem manipulative, since readers know that the writer knows the outcome. Narrative alone isn’t enough:

Ultimately the work has to answer a simple question: So what? Or as Philip Gerard suggested, What is at stake here? Why might this story matter to the reader? What is at stake for the writer or the characters? Is there a larger truth that will somehow matter?

Questions or mysteries drive effective writing more than a mere narrative of events. E.M. Forster puts it this way in Aspects of the Novel: “ ‘The king died and then the queen died’ is a story. ‘The king died, and then the queen died of grief’ is a plot.” And a plot with a mystery in it is “a form capable of high development,” Forster adds: “The queen died, no one knew why, until it was discovered that it was through grief at the death of the king.”

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The Beatles were all about this

October 22, 2011 | 9 Comments

I found Art & Fear: Observations On the Perils (and Rewards) of Artmaking by David Bayles and Ted Orland by way of a British blog, The Beatles Songwriting Academy, devoted to learning to write songs by studying the Liverpool lads. It’s not just a worshipful fan site: blogmaster Matt Blick rebukes them for lame songs (his “Hall of Shame” includes “Maxwell’s Silver Hammer”) and for some stinky rhymes that mar great songs. But Blick has a “Be-atltudes” page, too, in which he enumerates virtues, especially the prolificacy of Paul McCartney and John Lennon:

“Between 1962 and 1970 Lennon & McCartney wrote close to 200 songs. Almost all were recorded and released. The majority were top 10 hits as singles or album tracks. Whereas most writers today would throw away a song that wasn’t good enough for their next album or didn’t fit stylistically, the boys always had a reason to finish that song. And because of their insane recording schedule they always had to come up with more songs.”

Mates and rivals, who happened also to be gifted, Lennon and McCartney inspired and goaded each other to craft new work. What’s ranked as one of the greatest songs ever written, and their masterpiece, “A Day in the Life,” which concludes Sgt. Pepper’s Lonely Hearts Club Band, showcases their separate gifts being expressed together under the pressure to come up another tune. They melded utterly separate lyrical fragments each had written.

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Dinty W. Moore on essays, essaying & earning self-knowledge

September 24, 2010 | 13 Comments

Dinty W. Moore’s books include a popular spiritual inquiry, The Accidental Buddhist, and an award-winning, nontraditional “generational memoir,” Between Panic and Desire. His new book—his sixth—is Crafting the Personal Essay: A Guide for Writing and Publishing Creative Nonfiction (Writers Digest Books, 262 pages). “The personal essay is a gentle art,” he writes, “an idiosyncratic combination of the author’s discrete sensibilities and the endless possibilities of meaning and connection. The essay is graceful, wise, and always surprising. The essay invites extreme …

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‘Reality Hunger’ redux

June 9, 2010 | 3 Comments

Lincoln Michael at The Rumpus has written one of the most interesting and compelling responses to Reality Hunger, by David Shields, that I’ve come across. And that includes my three blog posts stimulated by the “manifesto.” Michael writes: [W]hile Shields praises the same qualities I look for in my art, the book is framed by a somewhat incoherent thesis that fiction is dead, narrative is pointless and the premier literary form of the now is the lyric essay (with memoir, …

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