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Each book starts from a specific inspiration—an historical event, a literary passage, a personal narrative, a technological innovation—and from that starting point explores the object of the title, gleaning a singular lesson or multiple lessons along the way.
Rebecca Tuhus-Dubrow: I did a lot of archival research.
I sifted through old newspapers and magazines from the 1980s, which was endlessly amusing and frequently enlightening.
was a challenging book for me to write because I wanted to include the personal (both my parents died of cancer) as well as some recent cancer research.
This sort of challenge is why I write creative nonfiction, whether an essay or a book.
Everything I said was true, but no one believed me, and, for the rest of the conference, people tried hard to identify my fiction.
Indeed, from the history of animal communication science of the 1960s and 1970s to the Pioneer and Voyager space probes, the science with which I was dealing was the stuff of science fiction. I think Anthropocene subject matter increasingly defies imagination, so nonfiction will have to become more and more creative—or experimental—in order to tell those stories faithfully. I love working in the essay form because of the way it allows for lateral movement of thought—a kind of wandering.Object Lessons, a series of short nonfiction books published by Bloomsbury, released its latest batch of titles today.As the publisher states on its website, Object Lessons, which launched in 2015, “is a series of concise, collectable, beautifully designed books about the hidden lives of ordinary things.Nonfiction is an excuse to play with form as much as the form is a way to express the content.In other words, as a writer and as a reader, I enjoy and appreciate the ensemble quality of much nonfiction.I also extensively interviewed a key surviving figure of the Walkman story: Andreas Pavel, a German man who patented the basic idea before Sony marketed its version.And I wrote in a personal way about my own memories.I had to write a chapter or two of memoir before weaving in new chapters focused more on the mall’s cultural history.As I worked, it became easier to dovetail the personal narrative with the more journalistic approach, and I better understood how one served the other.Weaving together perspectives, techniques, and sometimes disparate information is what creative nonfiction allows—for the writer and also for the reader—in ways nothing else quite does.As a poet, I’ve long been interested in form (the .