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Essay / Research Paper Abstract
A critical review of Gerard's 'Creative Nonfiction', which looks at the genre in general and Gerard's perspective on it in particular. Bibliography lists 2 sources.
Page Count:
6 pages (~225 words per page)
File: JL5_JLcreatnon.rtf
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Unformatted sample text from the term paper:
view of Gerards work with a general explanation of creative non-fiction, and the way in which it differs not only from fiction, but also from other forms of writing which
deal mainly with facts. As Brien (2002) points out, combining fact and fiction can take place in a number of genres: the student could note the many different terms used
to describe such a combination, including docu-drama, reseach fiction and faction which Brien mentions. She also makes the point that the distinction between fact and fiction is in itself blurred,
since all fictional stories have some basis in reality. It is therefore not always easy to distinguish between true facts and those which have been elaborated on.
Gerard makes this point on p5 of Creative Nonfiction, stating that this
blurring of the barriers between fact and fiction, resulting in works such as the factual novels of Mailer and Capote, has caused writers to rethink their definitions of both. However,
writing creative nonfiction does not simply mean disguising facts with description or, as Brien says, spicing up dry factual material. There is instead an interaction of facts with a subjective
interpretation which lets the writer establish an emotional connection with the reader, and which moves away from objectivity without distorting the truth. Subjectivity is, as Brien points out, one of
the basic cornerstones of creative nonfiction. The student could look at the
occasions on which objective and factual writing would be more appropriate, and those when creative nonfiction is required, perhaps to convey mood and atmosphere more effectively. Gerard illustrates this, for
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