Like eating a well-conceived meal at an exceptional restaurant, reading this book is a wholly satisfying experience. Less-skilled chefs may have failed to get the book's many disparate elements to cohere, but, in the hands of editors Carolyn Forché and Philip Gerard, those ingredients sing. Brenda Miller compares the shape of a lyric essay with that of a loaf of challah bread; Nicholas S. Hentoff and Harvey A. Silverglate offer a primer on legal land mines. Christopher Merrill ponders the art of war writing, while Dinty W. Moore explores,the use of humor in creative nonfiction. There's an essay about bringing oneself into the story, and another about taking oneself out. Bob Reiss offers hilarious yet salient advice on surviving as a writer overseas. The contributors (Annie Dillard, Phillip Lopate, Barry Lopez, Terry Tempest Williams, et al.) spend the first half of the book discussing creative nonfiction and the second half demonstrating it. Not only does the format work, but pairing the works of creative nonfiction with the accompanying commentary is educational and entertaining.

Among the book's most interesting sections, perhaps because their subject matter is underrepresented in writing-reference literature, are those about biography. Philip Furia discusses the need both to conduct an unbelievable amount of research and to leave a whole bunch of it out. And Honor Moore focuses on the intensity of biography writing: "I had no idea I was getting into twelve long years during which I would put preoccupation with someone else's life ahead of attention to my own." --Jane Steinberg


From Library Journal
Poet Forch (The Country Between Us) and novelist Gerard (Writing a Book That Makes a Difference) have brought together more than 30 writers and teachers affiliated with the Associated Writing Programs to introduce creative nonfiction as a new literary form. In this new form, which differs in style as well as technique from other nonfiction genres such as journalism, the critical essay, and academic biography, the crucial elements of storytelling are just as important as the accuracy of the text. Each of the contributors, who include Annie Dillard, Grace Paley, Lee Gutkind, and Alex Kotlowitz, presents an aspect of the craft by using examples from his or her own work. Most essays conclude with a few exercises designed to jumpstart the creative process. Although the style of each essay differs, and the writing is somewhat uneven from chapter to chapter, this is a wonderful book for the price. Highly recommend for academic libraries with writing programs and public libraries with a literary clientele. [Writer's Digest Book Club main selection.] Denise S. Sticha, Murrysville Community Lib., P.- Denise S. Sticha, Murrysville Community Lib., PA Copyright 2001 Reed Business Information, Inc.


From Booklist
What is "creative nonfiction"? The editors--poet Forche and novelist Gerard--cast a wide net: "memoir, lyric and personal essay, plotted narrative, biography, meditation, nature writing." In their collection's first section, writers who are also teachers discuss theory and methods, and experts offer advice on drafting a book proposal and relevant legal issues. A brief middle section, "Aftershocks," displays the sort of controversy creative nonfiction can generate (including controversy about the legitimacy of the genre itself!). The final section offers samples "to inspire, delight, teach, and simply to enjoy." Many contributors are featured in both the first and the third section; e.g., Judith Ortiz Cofer, Brenda Miller, Alan Cheuse, Phillip Lopate, Philip Furia, Honor Moore, Bob Reiss, and Dinty Moore. Others--among them, Terry Tempest Williams, Barry Lopez, and Annie Dillard-- appear only in the first or third section. Selections in the first section are followed by "thought" questions, so the volume could be used as a textbook for creative nonfiction classes, but most readers will simply appreciate the varied collection of fine writing gathered here. Mary Carroll
Copyright © American Library Association. All rights reserved


Book Description
Writing Creative Nonfiction presents more than thirty essays on today's hottest literary form--creative nonfiction. The stellar line-up of contributors includes Philip Lopate, William Least-Heat Moon, Diane Ackerman, Ted Conover, Dinty Moore and many others. From researching ideas and structuring the story, to reportage and personal reflection, this book covers every key element of the craft. Each essay is followed by three exercises for hands-on learning. * An impressive line up of the best teachers from the finest writing programs throughout the country * Creative nonfiction titles are hot--with new books hitting the bestseller lists everyday! * The AWP's role guarantees strong consumer and academic interest


About the Author
Carolyn Forché is one of the most widely respected poets in the country, with her books The Country Between Us and The Angel of History ranking among the top collections published in recent years. She teaches in the MFA program at George Mason University. Philip Gerard is the author of three novels, a memoir and two books of writing instruction for Story Press: Creative Nonfiction and Writing a Book that Makes a Difference. A past president of AWP, Gerard teaches in the MFA program at the University of North Carolina at Wilmington.

FROM THE PUBLISHER

Writing Creative Nonfiction presents more than thirty essays examining every key element of the craft, from researching ideas and structuring the story, to reportage and personal reflection. You'll learn from some of today's top creative nonfiction writers.

Through insightful prompts and exercises, these contributors help make the challenge of writing creative nonfiction -- whether biography, true-life adventure, memoir, or narrative history -- a welcome, rewarding endeavor.