The literary canon is those works considered by scholars, critics, and teachers to be the most important to read and study, which collectively constitute the “masterpieces” of literature. (Meyer 2175) In the past there has been much debate on whether non-fiction should be considered for inclusion in the canon, but non-fiction writers being considered part of the canon is not unheard of, and is already a reality – George Orwell, Henry David Thoreau, Ernest Hemingway- all had a significant body of non-fictional work and are well respected, well established members. Sonja Livingston’s work is part of a genre called creative non-fiction. As stated in his article for The Writer, Lee Gutkind states, “Creative nonfiction-also called "new nonfiction" or "new journalism"-refers to writing about your experiences and lifestyles in a literary way. By "literary," I mean using scenes, dialogue, description, first-person points of view-all the tools available to fiction writers, while consistently attempting to be truthful and factual.” (Gutkind) Non-fiction can be and is ‘literary” and through mastery of that genre, an author is worthy of inclusion in the canon. On the strength of her work; the uniqueness of her voice; Sonja Livingston should be considered for membership in the canon.
Ghostbread, Sonja Livingston’s, most well known work is a memoir. It tells of her childhood, her family, and how those relationships shaped her emotional development, especially her relationship with her mother. Douglas Hesse states in an article for English Journal, “Not every memoir is literary, as sensationalized, ghost-written, celebrity tell-all too often testify. Literary memoirs are marked by the craft of writing, the quality of thought and refl...
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... turn plain reality into art and idea. Writing creative nonfiction means perceiving what details are worth telling, why they might matter, and how they might connect. (1) Ms. Livingston uses style, theme, and structure to create writings that are profound, simple, true and fanciful all at once and on the strength of those attributes, a case may be made for Sonja Livingston’s inclusion in the literary canon.
Works Cited
Dowling,,H.F.,Jr. Imaginative Exposition: Teaching "Creative" Non-Fiction Writing. 36 Vol. , 1985. Web.
Gutkind, Lee. Creative Nonfiction. 117 Vol. , 2004. Web.
Hesse, Douglas. Imagining a Place for Creative Nonfiction. 99 Vol. , 2009. Web.
Livingston, Sonja. Ghostbread. Athens, GA: The University of Georgia Press, 2010. Print.
Meyer, Michael, ed. The Bedford Introduction to Literature. 8th ed. Boston: Bedford/St. Martin's, 2008. Print.
Updike, John. "A & P" Bedford Introduction to Literature. Ed. Michael Meyer. 6th Edition. Boston: Bedford/St. Martin's, 2002.
Updike, John. "A & P." The Bedford Introduction to Literature. 2nd Edition. Ed. Michael Meyer. Boston: St. Martin's Press, 1990. 407-411.
Meyer, Michael, ed. The Bedford Introduction to Literature: Reading, Thinking, Writing. 5th ed. Boston: Bedford/St. Martin's, 1999.
...s among what appears as un-related items are involved opening the minds of readers to think more about what they are reading. This broadens the horizon for newer methods of writing, and at the same time it provides not just a lesson in writing, but also a lesson in reading and thinking. It helps readers to open their minds about the things they read even it is a strange way of going about writing. Although the technique and structure of her work is very peculiar, it is a lesson on reading, writing, and thinking. Without writers like Susan Griffin, new methods of writing such as the one she used would never exist rather relying on the more mundane methods. New avenues would not be explored, because connections not normally analyzed would never be presented such as comparing the past and present, public life and private life, an individuality and collective living.
Meyer, Michael. The Bedford Introduction to Literature. Ed. 8th ed. Boston: Bedford/St. Martin's, 2008. 2189.
Moss, Joyce, and George Wilson. Literature and Its Times. Vol. 2. Detroit: Gale, 1997. Print.
It is common to hear that writers usually have a knack for reading, especially from a young age. Francine Prose is no different from them. This lifelong love of reading has contributed to Francine Prose's need to write (Bolick). Francine Prose has written just about thirty books and other literary works, yet she is by no means done yet (Hodara). The childhood of Francine Prose has greatly contributed to her success as a writer, not just from her love of reading, but by the gift of using her greatest sense; Her hearing. (Bolick; Carrigan).
Carver, Raymond. Cathedral. “The Norton Introduction to Literature.” New York: W.W Norton &, 2014. Print.
Updike, John. "A&P." The Bedford Introduction To Literature. Ed. Editor's Name(s). Boston, MA: Bedford/St. Martin, 2005.
She has been influential in the world of writing also; “He granted that it is an important book, since it brought Brooks national and international fame. It also brought new revenues of financial support for teaching and book reviewing.”(Baker 190). this quote from a fellow editor and reviewer shows how her writing and influence on the literary world for years to come. She pursued jobs and positions in the world that focused on editing and teaching new writers and poets what she has learned from her life. “A writer should get as much education as possible, but going to school is not enough; if it were all owners of doctorates would be inspired writers.”- Gwendolyn Brooks (Brooks 24)
Meyer, M. (2013). Bedford introduction to literature: Reading, thinking, writing. Boston: Bedford Bks St Martin’s.
In a great essence, John Green changed the way authors are respected in the game of writing. He managed to stabilize his popularity, capture the hearts of fans from every background, and deliver influential works of literature that top standardized goals today. Whether it be helping charities with web projects or swaying minds, Green’s inspiration continually effects the 20th century’s today.
Baym, Franklin, Gottesman, Holland, et al., eds. The Norton Anthology of American Literature. 4th ed. New York: Norton, 1994.
In “When We Dead Awaken: Writing as Re-Vision,” Adrienne Rich discusses her view on the role of a woman writer by using examples of her own personal experience. As I look at my life, I can begin to understand how my own personal experiences can reflect the situation of many young women. I am tormented by which role I am supposed to play in today’s society. Am I to become the traditional mother and housewife? Should I flaunt my sexuality and become the female that the media is constantly portraying? Maybe I should be myself and follow my dreams to become an independent career woman, if that is even what I want. Young women in modern society are searching for the right answers to these questions and are basing these answers on their family, friends, and the media.
Born November 8th 1982 to a literary family, Lauren Oliver (Laura Suzanne Schechter) was encouraged to live expressively and imaginatively from a young age by creating her own stories, painting, and performing. With an upbringing in surroundings such as these, coupled with two parents both knowledgeable in literature and a house full of books, it seems as though Oliver had received from a young age the ideal push towards her career as a writer. Oliver, with a passion for reading went on to study Literature and Philosophy at the University of Chicago, subsequently returning to her home city of New York to attend a creative writing course at NYU. Her Father, aside from being a professor, is himself a published writer of true crime and has written essays on popular culture. Although this may have been a helpful and influential factor towards her career, it is by no means indicative of a lack of personal identity as a writer.