Here are some other terms he uses that I also admire in nonfiction: immediacy, skepticism, grounding in language, self-reflexivity, musical logic, and heresy. And to invoke another critic on the essay—Georg Lukacs—I am struck by his claims that great nonfiction privileges process over product, journey over destination. While narrative can play a role in elucidating the ideas of an essay, I tend to favor nonfiction that takes investigation as its primary mode over traditional narrative craft i. To me, associative logic is a wonderful pleasure in nonfiction writing, where we can see a writer exploring her subject without narrative restraint like Eula Biss or Lia Purpura do in their essays.
I admire essays that grapple with socio-political questions and tensions in our world and writers like James Baldwin, Joan Didion, and Edwidge Danticat who layer narratives of personal conflict alongside political and historical complexities, and who use the essay to unpack what we might take for granted in our everyday lives.
Nonfiction tends to lose me when it operates as narrative first and, thus, the this-is-how-it-happened truth of the story becomes a fundamental, justifying value of the piece. I have no problem with narrative itself; narrative can be a powerful—often inductive—tool for engaging with a subject. I realize that narrative nonfiction inherently requires choices of emphasis, scene-making, etc.
Ploughshares Spring by Seamus Heaney, editor. Jonathan Weinert. Brief Life History as an Unknown Bosch. A good rule of thumb is that series have a conventional name and are intentional creations , on the part of the author or publisher. Shop Indie eBooks. The quality of the magazine's content remains the same, though its appearance has changed to reflect its firm place in today's literary world after launching the blog in , Ploughshares launched its Solos series in ; the first. How I get through the day.
And, of course, it should be said—and quickly—that fiction also engages with intellectual questions and concerns. Many of the most compelling stories I know are fiction. Wayne and Jo concur : In the end, we at Copper Nickel are won over by nonfiction writing that takes risks, that surprises us, that willingly engages difficult questions and complex observations.
Sandra Doller. Denise Duhamel. Meghan L.
Desmond Miller, Tarfia Faizullah. Amanda Field. In the City of Lost Perfection. Rebecca Morgan Frank.
Beatrix Gates. Ross Gay. The Lion and The Gazelle. Carmen Gimenez Smith. Jessica Greenbaum.
Stowaway's Ascent. David Guterson. Gail Hanlon. A Few Questions. Justin Hardecker.
1stclass-ltd.com/wp-content/accessing/802-handy-adressbuch.php Suzanne Heyd. Blessing the Lost. Scott Hightower. Ailish Hopper.
Gated All Awake or Andante Festivo. Fady Joudah. George Kalogeris.
Joshua Kryah. Laurie Lamon. Pain Thinks of Something Without Description. Shara Lessley.
Nina Lindsay. Lying on the floor. How I get through the day. Colleen Lookingbill. Alessandra Lynch.
The Fall issue of Ploughshares, guest-edited by Patricia Hampl. Ploughshares, a journal of new writing, is guest-edited serially by prominent writers who. The Fall issue of Ploughshares, guest-edited by Patricia Hampl. Ploughshares, a journal of new writing, is guest-edited serially by.
Kaisa Ullsvik Miller. Miguel Murphy. Monologue of the Last Fear. Amanda Nadelberg. Aimee Nezhukumatathil.
Linnea Ogden. A Point Going Out to Sea. Dzvinia Orlowsky. Sue Owen.
Shot in the Foot. Sestina with Barn and Bird. Deborah Poe. Radium Ra , or Two Reactions. Kevin Prufer. The New Century. Michael Robins. Personations of Mother Goose. Robyn Sarah.