She conducted a great interview on ABC Radio.  I was in Sydney and she was at her headquarters in Melbourne, but she talked with me as if we were seated side by side.  Mostly we discussed my new creative nonfiction anthology, “Becoming a Doctor.”  Also the new magazine–formerly the journal, Creative Nonfiction.  Heard from a number of people after the interview, including the writer-physician Leah Kaminsky, former writer-in-residence at Bar Ilan University.  She’s the editor of a collection of nonfiction and fiction stories by prominent doctor-writers called “The Pen & the Stethoscope,” which will be published this year by Scribe Publications.  Not many doctor-writer anthologies around–which is odd–because physicians and writers are a great deal alike–both living solitary existences, both dealing with the everyday drama of life and death.

Hi!

I am doing a PhD on the construction of visibility in the first publications of two West-African women writers. Both texts are semi-autobiographical and have strong links with aspects of the writer’s own lives. However, some characters/aspects of the narratives are clearly creative interventions by the writers. Since I am devoting a chapter to narrative techniques, I would really like to know whether it would be fruitful to pursue the idea that the constraints placed on self-presentation by women in traditional societies sometimes impels them to “colour” the truth by presenting their multi-faceted identities through various personas etc. This would be in an effort to avoid censure and to present personal, cultural, religious and political truths, as they interpret them? One of the two writers wrote her novel in 1979, and was rooted in her own socio-cultural milieu, whilst the other currently writes about her country and its people from the diaspora. The current writer’s discourse is much less “veiled”, and I am focusing on a contextualised comparison of the two writings.

Thanks!
Rizwana

***

Sounds like an interesting project. I am not certain, however, that the constraints you are referring to regarding self-presentation in restrictive societies are a lot different than constraints other writers feel forced to rely on when they have something to hide—something that might hurt them or take advantage of innocent victims. I think the difference today has to do with the fact that so many people want to out themselves, their friends and their families for therapeutic reasons. That wasn’t happening very often in 1979. I do, however, think that this might be a very fruitful subject to investigate, especially if you can include a writer’s motivations to pursue certain narrative techniques.

Lee

A lot of people have a lot of questions about creative nonfiction, but I’ve noticed that a majority of those questions are similar. So, in an attempt to broaden the reach of my answers, I’ve decided to post some of your questions with my answers here on my blog.

The hope is that this blog will serve as a viable source of information, as well as a platform for a larger conversation about the genre we all love–or hate. So, please feel free to leave feedback and comments.

If you’ve got a creative nonfiction question for me, email it to askCNF@gmail.com, and who knows, your question may find its way onto this blog.

***

Hello Dr. Gutkind,

I am an MFA student at the University of Texas-Pan American. For my creative nonfiction thesis, I embarked on a journey to learn about my great-great-great-great uncle, Cleng Peerson, who arranged for the first organized group of Norwegian immigrants to come to America and established their settlement in what is now Kendall, New York. My thesis chair suggested that I weave my own family stories into Cleng’s. It has been an emotional journey in many ways.

For my critical introduction, I have the task of defining the creative nonfiction sub-genre where my piece fits. Obviously, it is genealogy with a twist. I have explored and discounted the idea of memoir because my story spans from childhood to the present. I have also considered new journalism, but I am leaning toward personal essay.

I had an idea this evening after re-reading your pieces, "Becoming the Godfather of Creative Nonfiction" and "What is Creative Nonfiction" and listening to the videos on this site. I decided to turn to an expert in the field to request your opinion on where my piece would fit along the CNF spectrum. I realize you have not read my thesis but thought you might have an idea given the information of how the thesis has developed.

I sincerely appreciate your time and your opinion.
Sincerely,

Christine Ardis
McAllen, Texas

p.s. I love the idea of the Yellow Test!!!!

Christine,

Lee

***

Hi godfather! I have a question.

I am enrolled part-time in a graduate writing program here in Birmingham, UK, at the university where I teach. I appear to be the only person interested in non-fiction. The only related class is called ‘Life Writing,’ and every time I describe what I am working on, one of the professors says, “That would make a great short story!”

How can I convince them of the value of creative non-fiction as a genre? I am thinking of giving out lots of your mugs.

Kathleen Dixon Donnelly

Kathleen,

The mugs are a good beginning. And if you are in Birmingham, then fill them with beer–not coffee. But it sounds to me as if these people don’t know what creative nonfiction is. You can’t convince people of the value of something that they don’t know exists. Here’s a deal for you: I will donate a free copy of a back issue of the journal for every mug you buy to present them. They can read creative nonfiction while they are drinking from it!

Lee

***

Hi CNF,

I have a book manuscript, and have been calling it creative nonfiction, but is it?

I’ve been a member of CNF for over a year, and have had a hard time calling myself a member of CNF, because what I’ve written doesn’t seem to fit with what CNF publishes. My manuscript is a spiritual book (not a religious book; it adheres to no one religion); it’s about the mysticism that underlies all religions; it’s experiential, rather than scholarly. It’s been through three drafts and is due for more revision. It is nonfiction, and contains interviews I’ve conducted as well as anecdotes from my own spiritual life. It also contains poetry, mine and others’. It reports visions and significant dreams that my interviewees and I have experienced. It’s somewhat irreverent and humorous.

I’m a former academic, and am not interested in this book being academic, so it isn’t, even though it does cite quite a few sources. It’s about hearing and following the Inner Voice, as many creative people do; it’s tentatively called The Voice for God. I am having a hard time finding a group which deals with this kind of nonfiction.

Is my manuscript creative nonfiction? Is there another writers’ group that I would be better off joining? Thank you for considering these questions.

Nancy Schuster, Ph.D.

Nancy,

Sounds like you have not only joined Creative Nonfiction as a subscriber, but also as a member of the very popular club called: "Am I writing creative nonfiction–and if not, what do I call it?"

I get notes like this all the time, and the fact is, the question can’t literally be answered without a careful read. And even with a careful read, experts will disagree. Reading your e-mail, it does look like most of what you are doing is honest narrative, some of it reportage and some of it memoir. There’s poetry, which certain can also be classified on occasion as creative nonfiction. Just because it is spiritual doesn’t disqualify it from the realm of creative nonfiction. Most of the best literature of any genre is spiritual. I know this probably has not answered your question–but it is a hard question to answer sight unseen.

As far as your group, well, it sounds like you are above and beyond your group. Perhaps you ought to seek an expert teacher or mentor to help you focus. Sometimes one-on-one with a trusted teacher is the best way to gain clarity.

Lee