Reflections During Week 14

With two weeks left in the semester, my students are busy revising creative nonfiction essays for inclusion in their final portfolios.  I admit, this is a very relaxing time for me.  While many of my colleagues are frantically grading papers and writing exams, I’m showing up to school to listen to students give presentations on their favorite authors and to answer questions during office hours.  I’m thinking about getting a hammock for the office, actually.

Of course, portfolios will come in and the days leading up to Christmas will be filled with frantic grading.  But I’m enjoying the peace right now, and am reflecting on all of the good work I have read from my students this semester.

Back in August, the students entered the classroom for the first time unsure of what to expect.  Everyone knows what fiction and poetry is, but the idea of a “creative nonfiction” workshop is foreign to most of them.  Some of these students are in my class because someone recommended me to them.  Others are majors who need the course in order to move on to more advanced classes.  Others just need to get an arts elective out of the way.  Most, though, aren’t taking the class because they already have a deep and abiding love for the essay or literary journalism.

I hope that, over the course of the year, they have grown to love these forms.  Not just because I love these forms myself, but because I have seen this group of students come together and understand each other better as a result of sharing their own personal narratives.  These 18 and 19 year olds began the semester a little nervous, sometimes reluctant to allow themselves to be too exposed in their writing.  But at this point, I think that we have all become friends—or, if not friends, then very supportive colleagues.  We have shared family secrets, discussed our private anxieties, and revealed truths that we usually keep hidden when we’re in the dorms, at the bar, or in a department meeting.  We’ve established a sense of trust with each other, even though—or, perhaps, because?—we didn’t know each other 14 weeks ago.

Some of these students will go on to study English and creative writing.  Some will go on to publish their work.  Most will not.  But I hope that these students will look back on the experience of taking this class fondly, and I hope they feel like they learned useful things during our time together.  Of course, if they find that they’re able to express themselves through writing more effectively, that’s great.  But more importantly, I hope that, through reading and writing creative nonfiction, they’ve come to understand that they’re not alone in the universe.  I hope they realize that their friends, their classmates, and even their professors struggle with private stresses and anxieties.  I hope they have learned that, sometimes, we all feel isolated, or freakish, or terrified.  And I hope that they’re able to take this knowledge with them after they leave my classroom, better equipped to try to understand someone else’s point-of-view.  This, I think, is the most important reason to study creative nonfiction.

Sifting through the Phantasmagoria

When I was younger—a twenty-something graduate student working on a creative dissertation and teaching intro-level creative writing classes—I considered myself something of a creative nonfiction purist.  I knew, of course, that trying to write absolute, Capital-T “Truth” that everyone could recognize was impossible.  Our perceptions are inherently subjective, and language—useful as it is—is sometimes insufficient when it comes to capturing reality’s complexity.  Nevertheless, I thought, we essay.

I took it as something of a personal insult when a best-selling memoirist turned out to have deliberately embellished his experiences with addiction and incarceration, or when another supposed nonfiction writer turned out to have invented her criminal background for the sake of drama.  “Here I am,” I thought, “struggling to find those conflicts and contradictions that shape my life, that inform who I am, that make me me—and I’m trying to write it well, without fabrication, so that others will find this work worth reading.  And then there are these people.  They cheated.” Continue reading “Sifting through the Phantasmagoria”

Getting Real: Teaching Creative Nonfiction

The other night, my wife and I accidentally got sucked into watching a Jersey Shore marathon. If you’re not familiar with the show, it’s basically a high concept science fiction program that involves a group of grotesque orange aliens who derive sustenance from a diet consisting solely of hard liquor and whose highest form of compliment is to call someone a “Guido.” To be honest, the show is a little derivative of other science fiction shows that came before it—these aliens have the aggression of Klingons and the dull-witted brutality of the “toaster”-model Cylons.  My wife and I agreed that the show was stupid and a waste of our time, and we turned off the TV once we realized it was 3:30 in the morning and this marathon wasn’t going to be over anytime soon.

It’s as obvious as it is glib to point out that so-called “reality” television doesn’t resemble the world in which most of us actually live, but I worry that some people—and by some people, I mean some of my students—might mistake this manipulated footage and manufactured drama for something that resembles life on planet earth.  Chuck Klosterman suggested in his essay “What Happens When People Stop Being Polite” that MTV’s The Real World fundamentally changed how young people relate to each other—“People started becoming personality templates,” Klosterman wrote, “devoid of complication and obsessed with melodrama.”  Over the years, dozens of students have told me about auditioning for one reality show or another, and I could always tell which “type” they wanted to be—Sensitive Heterosexual Guy, Wild Party Girl, Intellectual-Yet-Approachable Black Dude.  The problem with reality television, really, is its tendency to reduce actual human beings into characters.  Static, superficial, underdeveloped characters at that. Continue reading “Getting Real: Teaching Creative Nonfiction”