Link below to read my new flash fiction story today on Flash Fiction Magazine online.
One of my favorite writers passed away on May 24, 2017 at age 67. I was re-reading his work and came across this review/appreciation that I had written a couple of years ago.
Denis Johnson writes with a unique, confident, and oddly compelling voice in a style that does not fit “normal” criteria for structure, characterization, or narrative plot. Yet, it doesn’t seem to matter.
The eleven linked stories in Jesus’ Son are all narrated by an unnamed protagonist, a young man who lives a grim life of addiction and alcoholism, but who is also somehow funny and likable (to the reader, anyway). He is the ultimate flawed character, and his only redeeming quality throughout these stories is that he knows he’s flawed. Sometimes he tries to remedy this; often he just doesn’t. The writing has a hallucinatory quality to it, a steady stream of the subconscious that is so dead-on and piercing in its observations of surroundings and of the people the protagonist bumps up against. Continue reading
Here are some thoughts/notes on writing creative nonfiction, using Lee Gutkind’s excellent book published in 2008, on the subject: Keep It Real. I highly recommend reading it.
Keep It Real, a collection of writings on narrative nonfiction and memoir was compiled by Lee Gutkind, founder and editor of the journal Creative Nonfiction. The subtitle of the book is Everything You Need to Know About Researching and Writing Creative Nonfiction. I was intrigued by this title because I am very interested in the blurry lines between fiction and nonfiction. Maybe this book would help me to see what those lines are in a way that might help me in my own work. Every time I read fiction I find myself wondering how much of the fiction is from the author’s own life and how much is completely from an author’s imagination. Does it matter?
In Poets & Writers, in an interview of fiction writer Mary Gaitskill, interviewer Nina Shengold notes, “She scatters autobiographical crumbs throughout her fiction.” What makes this autobiographical fiction writing different than creative nonfiction then? In Gutkind’s book he tries to address this, “…the anchoring element of the best creative nonfiction requires an aspect of reportage.” And, “…creative nonfiction…presents or treats information using the tools of the fiction writer while maintaining allegiance to fact.” Continue reading
(After reading Flannery: A Life of Flannery O’Connor by Brad Gooch, I wrote this appreciation/review.)
I find that there is something inherently satisfying, as a writer, reading about another writer’s life – even when that writer is stratospherically in another universe of literary skill and reputation. And in Brad Gooch’s thorough and admiring 2009 biography Flannery: A Life of Flannery O’Connor (amazingly, the first comprehensive book-length biography of O’Connor), the reader is given a large picture window through which to view the author’s life.
That picture window gives us a view mostly of O’Connor’s life at Andalusia, the family “farm” in Milledgeville, Georgia, where O’Connor lived most of her sadly shortened adult life, and where the author honed her craft through shrewd observation and painstaking work habits. However, biographer Gooch, praised for his previous biography City Poet: The Life and Times of Frank O’Hara, also gives the reader a comprehensive and fascinating glimpse into O’Connor’s formative childhood, adolescent, and college years. Although it may be that those of us who have never spent any time in the American south are more susceptible to being charmed by southerners and their (to us) quirky lifestyles, family relationships, and un-imitatable ways of speaking. Continue reading