In Fact: The Best of Creative Nonfiction (Paperback)

by Lee Gutkind (Editor), Annie Dillard (Introduction) "Ms. Whitcomb is a 37-year-old SWF who has had over 30 hospitalizations, all for suicide attempts or self-mutilation..." (more)
Key Phrases: creative nonfiction police, famous cancer center, trapping school, Emmett Till, New York, Joey Coyle (more...)

Editorial Reviews

From Booklist
*Starred Review* Mark Bowden, of Black Hawk Down (1999) fame, writes, "I think creative nonfiction is the major literary innovation of the last half century," a claim with which Gutkind, a tireless advocate for the form, wholeheartedly agrees. So committed to the genre is writer, teacher, and editor Gutkind, he founded the literary journal Creative Nonfiction and now celebrates its phenomenal first decade by collecting 25 of its best essays. The result is an electrifying anthology that covers the creative nonfiction universe from the personal essay to nature writing, literary journalism, and science writing. Each superb piece is followed by a writer's statement, and the book itself is introduced by a master of the form, Annie Dillard, whose "Notes for Young Writers" will galvanize all readers no matter their age or writing experience. Graced with memorable essays by such diverse writers as Diane Ackerman, Phillip Lopate, John McPhee, Richard Rodriguez, Floyd Skloot, John Edgar Wideman, and Terry Tempest Williams--writers who contemplate everything from creativity to race, the birth of a child, childhood memories, brain damage, and prairie dogs--this stellar volume will stand as an exciting and defining creative nonfiction primer. Donna Seaman
Copyright © American Library Association. All rights reserved

Product Description
Twenty-five arresting selections from the groundbreaking journal that defined a genre.

Creative nonfiction, also known as narrative nonfiction, liberated journalism by inviting writers to dramatize, interpret, speculate, and even re-create their subjects. Lee Gutkind collects twenty-five essays that flourished on this new ground, all originally published in the journal he founded, Creative Nonfiction, now celebrating its tenth anniversary. Lauren Slater is a therapist in the institution where she was once a patient. John Edgar Wideman reacts passionately to the unjust murder of Emmett Till. Charles Simic tells of wild nights with Uncle Boris. John McPhee creates a rare, personal, album quilt. Terry Tempest Williams speaks on the decline of the prairie dog. Madison Smartt Bell invades Haiti. Many of the writers are crossing genres—from poetry and fiction to nonfiction—symbolic of Creative Nonfiction's scope and popularity.

A cross section of the famous and those bound to become so, this collection is a riveting experience highlighting the expanding importance of this dramatic and exciting new genre.

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Product Details

• Paperback: 256 pages
• Publisher: W.W. Norton & Co. (November 17, 2004)
• Language: English
• ISBN-10: 0393326659
• ISBN-13: 978-0393326659
• Product Dimensions: 8 x 5.4 x 1.3 inches
• Shipping Weight: 1.8 pounds (View shipping rates and policies)
• Average Customer Review: 4.9 out of 5 stars See all reviews (11 customer reviews)
• Amazon.com Sales Rank: #58,138 in Books (See Bestsellers in Books)

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Customer Reviews

Most Helpful Customer Reviews

23 of 23 people found the following review helpful:

5.0 out of 5 stars "Electrifying" is Right!, November 30, 2004

By	divinebunbun (Missouri, USA) - See all my reviews

This anthology of selections from the landmark literary journal Creative Nonfiction delivers real-life drama in many voices. Among the authors are well-known writers Andrei Codrescu, John McPhee, Ntozake Shange, Charles Simic, Ruthann Robson, Terry Tempest Williams, Philip Lopate, Madison Smartt Bell, Richard Rodriguez -- and some the editor calls "brilliant newcomers." (I read that and said, "Yeah, right." He was right.) Each essay differs completely from the others, and each in its own way is exquisite -- both pleasurably and painfully so! No monotonous "victim narratives" here. That era was a necessary phase -- and you can identify its traces in this book -- but it's passed. There's suspense, information, humor, reportage, defiance, reflection. Read (in an essay by a reporter for the Philadelphia Inquirer) about a South Philadelphia meth addict who finds 1.2 million dollars in the street. What's he going to do with it? Or a lawyer undergoing grueling cancer treatments who discovers that her doctors have made a terrible miscalculation. Or a Jewish woman enduring the traditional Hebrew divorce ceremony in front of three rabbis and two "shlubs". Or visit with Joe, everybody's blowhard father-in-law supreme. Highly recommended reading for fans, writers, and would-be writers of creative nonfiction. Could be used as a text for teaching a course in contemporary creative nonfiction, just to show how far the genre can stretch, how it can move you, and in general what the genre can do. (Whether or not you like the editor, or Annie Dillard and her foreword -- is irrelevant.)

9 of 10 people found the following review helpful:

5.0 out of 5 stars An Overlooked Genre On A New & Exciting Spin! , March 17, 2006

By	Heidi (professional bookseller) (San Diego, CA) - See all my reviews

I enjoyed this book SO much, I can't recommend it enough! Creative Nonfiction is a relatively new genre, or overlooked. But the genre has now come to the forefront, and it is DIVINE! Lee Gutkind assimilated some fantastic "creative nonfiction" authors, and the result is that of a creme brulee. (really, if you love books as much as I do, you'll understand what I mean. Some people simply assume that nonfiction books are dry, and boring. NOT. "In Fact: The Best Of Creative Nonfiction" surprised me, and basically kept me glued to the book. I finished it in one night, and for me, that is rare. But the writers that Mr. Gutkind chose for this undertaking are so perfect for this genre, and it was a highly interesting read. I can't recommend it enough! BUY IT NOW!

2 of 2 people found the following review helpful:

4.0 out of 5 stars Anthology befitting the genre of creative nonfiction, June 26, 2008

By	Elizabeth Ross - See all my reviews

In Fact: The Best of Creative Nonfiction is a triumphant statement about Lee Gutkind's original goals in 1993 for Creative Nonfiction, the journal. This collection of essays shows the depth explored in the journal in its first 11 years, and could also be considered a history of the genre's current incarnation.

Beginning with Annie Dillard's introduction, a collection of pearls of wisdom for young writers, In Fact takes readers on a sometimes-jolting ride through the creation and development of both the journal and the emerging genre. These essays explore the issue of exclusion from society, either because of one's personal actions ("Shunned" - Meredith Hall) the color of one's skin ("Looking at Emmett Till" - John Edgar Wideman), and the state of one's mind ("Three Spheres" - Lauren Slater, "Gray Area: Thinking with a Damaged Brain" - Floyd Skoot). The environment takes center stage in essays about endangered species and hunting ("Prayer Dogs" - Terry Tempest Williams, "Killing Wolves" - Sherry Simpson), and scientific matters are explored with a personal twist ("Adventures in Celestial Navigation" - Philip Gerard, "Chimera" - Gerald N. Callahan).

Families are typically considered the cornerstone of society, and their dynamics and histories are explored here as well ("An Album Quilt" - John McPhee, "Dinner at Uncle Boris's" - Charles Simic, "Being Brians" - Brian Doyle, "Leaving Babylon: A Walk Through the Jewish Divorce Ceremony" - Judyth Har-Even, "Joe Stopped By" - Andrei Codrescu, "In the Woods" - Leslie Rubinkowski, "Mixed-Blood Stew" - Jewell Parker Rhodes, "Why I Ride" - Jana Richman, "Delivering Lily" - Phillip Lopate).

Showing Gutkind's contention that creative nonfiction is related to journalism, at least in the goal of reportage, social issues often found in the news, and accounts related to former "front-page" material are represented as well ("The Brown Study" - Richard Rodriguez, "Finders Keepers: The Story of Joey Coyle" - Mark Bowden, "Notes from a Difficult Case" - Ruthann Robson, "Sa'm Pèdi" - Madison Smartt Bell, "Going Native" - Francine Prose). Finally, literature, and the writing process are explored ("Language at Play" - Diane Ackerman).

These terse classifications would suffice for general indices of these works, but they each have their own depth beyond the general subjects they explore. James Wolcott's theory (mentioned in Gutkind's Introduction) about the nature of creative nonfiction being too personal is decidedly false; these works offer much more than overly personal prose. Wolcott's declaration that Gutkind is "the Godfather behind creative nonfiction" is perhaps his only accurate comment made on the subject. In Fact: The Best of Creative Nonfiction is an excellent cross-section of both the journal and the genre. It is a necessary volume for any writer, and for any reader who enjoys real stories.