High interest in creative nonfiction swamps small rooms.
Guest Post by Janice Gary
The AWP is always such an exhausting, exhilarating and mind-blowing experience. Home now and coming down from the high, I’m overwhelmed with writing ideas and new ways of thinking about writing and appreciation for my writing colleagues—both those I reconnected with and those I met along the way. We are all each other’s teachers, and nowhere is that more evident for me than at the AWP Conference.
As always, there were too many panels that I couldn’t attend, too many programs and presses and journal booths I missed. FOUR HUGE exhibit halls worth of Bookfair – so many it would three days worth of the conference just visit every booth. This year, I saved my energy and didn’t even try to cover it all. But I did find some great little journals I never knew about, and even bought two: Image: A Journal of Art, Faith and Mystery and So to Speak: a feminist journal of language and art.
Nonfiction was well represented on the panels, although it did seem that many of the topics were redundant. Truth in nonfiction was an especially popular subject. The first (and one of the best) of these panels was Looking for Real Life Humberts: The Unreliable Narrator in Creative Nonfiction. Although I stumbled in late for the 9 am session, I got there in enough time to hear much talk about unreliable narrators in nonfiction. In the end, the general consensus was that if we write in this genre, we need to be as reliably truthful as possible. Surprise!
And here I will make a terrible confession: I cannot find my notes on the panels I attended. I am sitting here in abject horror thinking back to taking the notebook out in the hotel lobby while waiting for my airport shuttle and wondering if I ever put it back in my bag. If it’s gone, I’m left with a personal tragedy comparable to the burning of the library in Alexandria.
But I do have the program, and a quick glance shows the other panels dealing with “truthiness”: Nothing but the Truth: Perspectives on CNF”; Options of “I:” the Post Memoir Memoir (dealing with experimental forms as well as issues of truthfulness); The Truth of Nonfiction: Bringing Students into the Conversation; Why Genre Matters (addressing conflating, configuring, twisting, embellishing).
Why Genre Matters brought together some of the finest minds in creative nonfiction (including Dinah Lenney, Sven Birkerts and Judith Kitchen) for a fascinating discussion on truth and the way it is presented. And there were varying opinions – although all agreed that the heart of the matter is the emotional truth investigated as honestly as possible.
Another confession: I only caught the end of this session. For some reason, I ended up the wrong room and found myself at a session on experimental and short form cnf (which was quite good). But once I realized I wasn’t at the session I wanted to be, I was trapped, huddled in the very back of the room on the floor, knee to hip with other packed nf enthusiasts and not able to move until enough of the floor crowd left to leave a trickle of trail out.
This happened a lot during this conference (not the room confusion, although that happened often enough), but the appalling lack of space for nonfiction panels. Over and over again, nonfiction sessions were placed in rooms way too small for the audience. It seems to me that the AWP planners and proposal judges still can’t wrap their minds around how many writers are engaging in nonfiction.
I think it’s time for the AWP (and the literary community) to move past the truth/not truth obsession (almost every nf panel agreed the heart of the genre is the artful and truthful rendering of the author’s experience) and realize creative nonfiction is on the cutting edge of contemporary literature today. Writers sense the limitless opportunities in nonfiction to write the truth slant by stretching form and structure and tone and voice. This is great part of the appeal of the genre to contemporary writers. It is form well suited to those trying to understand not only from their own lives but of the world around them during a time of great changes.
In the halls, you hear folks asking each other “poetry or prose?” It’s funny, because my question is usually “fiction or nonfiction?” But poetry or prose is good question for those of us in creative nonfiction, because this is exactly where the genre is growing and going, existing in the intersection of possibility, the exciting new worlds of making art from life.
So next year, AWP, bigger rooms for nonfiction. More panels on what we can do with the genre and the process of wrangling the truth on the page and not so much on whether or not we’re telling the truth. Sure, there might be a few bad apples in the barrel, but in general, I think nonfiction writers are acutely aware of what the “non” in nonfiction stands for.
And if anyone finds a black five subject notebook in the downstairs lobby of the Westin, it’s mine.
Janice Gary lives and writes in Annapolis, Maryland, on the shores of the Chesapeake Bay. Her book, Short Leash: A Memoir of Dog Walking and Deliverance, is due out from Michigan State University Press in 2013.