Word Carving: The Craft of Literary Journalism
What distinguishes great creative non-fiction? The Edna Staebler Award for Creative Non-Fiction defines it as writing that is characterized by "first-hand research, well-crafted interpretive writing, the writer’s personal discovery or experience, and creative use of language or approach to the subject matter." Absorbing and revealing, the twelve pieces in this collection of fine creative non-fiction whittle away layers, revealing the core of human experience.
Katherine Ashenburg (Doctors’ Daughters: Helen, Sue and Me) explores her favorite nurse novels, touching on the sensual pleasures of reading, and how books mark us in childhood, indelibly shaping our identities.
Douglas Bell (The Accidental Course of My Illness) illuminates the profound impact a devastating childhood accident has had on his life and his relationship with his mother.
Ted Bishop (The Motorcycle and the Archive) finds that his twin obsessions â€" riding motorcycles and cruising literary archives â€" are surprisingly intertwined.
A-A Farman-Farmaian (Hiding Places) tosses out most preconceived ideas about "home" and finds his own place in the wider world.
Alyse Frampton’s portrait (My American Father) shows how misguided ideologies can squander a fortune and fracture a family (and still leave room for love).
Camilla Gibb (Foreigners) unravels her own foreignness through friendship with a "foreigner."
Matthew Hart’s intricate deconstruction (Stealing Vermeer) of a notorious Irish art heist shows how theft brought new meaning to a priceless Vermeer.
Johanna Keller’s memoir (Nocturne: Remembering Pianist Samuel Sanders) of her relationship with Itzhak Perlman’s beloved accompanist becomes a cultural ghost story.
Chris Koentjes (The Pedro Guerrero Principle) takes a wild, youthful road trip into the heart of American culture at its most gloriously tacky and marginal, and comes home with a one of a kind meditation on innocence and experience as his souvenir.
Anita Lahey (Confessions of a Eulogist) examines the lost art of the eulogy and finds the power of words in the face of death.
Philip Marchand (Memoir) recounts his formative years in a 1960s therapeutic community and shows the contradictions between personal growth and self-involvement.
Ellen Vanstone (Post Traumatic Stress: How I learned to stop worrying about Conrad Black’s evil plan to destroy Canada’s universal health-care system and love my job at the National Post) hilariously reveals the strange undercurrent of sexuality at a staid national newspaper, wickedly satirizing its politics in the process.
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