Focusing on the novel as a piece of literature and exploring setting, characters, and plot, Rubin is able to break the stigma that Tom Sawyer is strictly a historical story. While there are some slight overlooks and complications with Rubin’s “Tom Sawyer and the Use of Novels”, the essay is able to critique and evaluate the novel’s real purpose outside of being a snapshot of American history. Rubin ends his essay by writing: “It may not provide us with all the facts we want about American life, but it can… tell us what American life means” (216).
The difference between creative nonfiction and fiction is unassuming: fiction is derived from the fabrications of an author’s imagination, whereas creative nonfiction is contingent on facts. A novelist has the freedom to create scenes which never existed, whereas an author of creative nonfiction must convey a truthful story. However, the line between creative nonfiction and fiction, fact and falsehood, has become ever so thin as “writers of memoir [have been] revealed to be frauds and fiction writers masquerade as memoirists in order to sell books” (Bradley 203). Recent events have revealed authors such as James Frey and Tim Barrus to have combined elements of fiction and nonfiction within their creative nonfiction books (Buck 56), further blurring this line. Overlooked embellishments and whole fabrications were found to exist within their alleged creative nonfiction works – stirring angst within the nonfiction community (Bradley 208).
It models itself on the tradition of the more experimental fiction of the time. In this novel, Mailer does not abandon reality like fabulists but rather he extends the literary range to make reality relevant and meaningful in this multi-faceted and complex world. In this novel, Mailer attacks traditional reporting that rarely gets at the truth of a situation such as the march on the Pentagon. As critic Kathy Smith points out, “Mailer's strategy [...] is to question the authority of the newspaper text and to discover the limits of the reporter's narrative practices” (Smith 179). For Mailer, these limits exist because reporters do not simply list facts, but retell stories and thereby insert, consciously or not, their own bias and subjective view into their reports.
He does this by means of hinting the plot and sharing some elements of mystery, and Gothic elements of the novel. The second role of the preface was however more towards his disadvantage, although I would imagine he never intended this to happen. The preface served as a frame in which Walpole disguises himself as an objective, third party translator, or he is also known as William Marshal. This same frame which served him benefits also proved to be a large indicator that the novel could not have been written two hundred years ago. It had all the key aspect of many eighteenth and nineteenth century novels, authenticity, authority, antiquity and art... ... middle of paper ... ... rather interesting foretelling of the story, whilst still not giving too much of it away.
Often compared to the likes of Edgar Allen Poe, the close examination of time, the attention giving to mental fiction to avoid real life, and the blending of reality and fiction allow Bierce's work of fiction to be marked as timeless. Bierce carefully divides the narrative into three parts, each part carefully intertwining, the close examination of time, the attention giving to mental fiction to avoid real life, and the blending of reality and fiction. "An Occurrence at Owl Creek Bridge" begins powerfully with an unnamed protagonist. By doing this, Bierce creates an atmosphere of mystery. The author only describes the problematic situation of the character, "The man's hands were behind his back, his wrists boun... ... middle of paper ... ...106-112.
In his novel, In Cold Blood, Truman Capote attempts to create a new form of writing, a combination of both fiction and journalism. According to Capote he was attempting to create "something on a large scale that would have the credibility of fact, the immediacy of film, the depth and freedom of prose, and the precision of poetry." Whether or not Capote was successful in this so called "new" form of writing has been debated by numerous critics. Some critics argue that Capote was being pretentious when he suggested that he had invented the form of writing which blends the fact/fiction barrier. In the Columbia University Forum, Charles Alva Hoyt pointed out that what was called a "new literary genre," was simply a plain old reinterpretation of the art of writing history.
A second important technique taken from fiction is scene-by-scene examination. Traditionally, journalists present news by importance of the events in a story. In New Journalism, the author instead describes only a certain number of important events. The different scenes are used in the same way that a writer of fiction builds the plot of the story as a whole. In an essay on "New Journalism", Chris Anderson states that a "New Journalistic" "writer can not only render the full details of a scene or event but also describe the subjective, emotional life of the characters" (Marowski and Matuz 418).
Is it fiction if parts of it are?" (Barry 7), and this question applies particularly well to the collected stories within Will Eisner's Life, in Pictures. These stories move from nearly complete autobiographic representation of the author, to stories that completely veer from the known history of Mr. Eisner, but all work to create an autobiographic reproduction of how the author came to be. In this essay I will look to demonstrate how Eisner's work is completely a representation of autobiography by looking at how the process of memory itself can form identity and history, even if certain elements of the book do not pertain to the objective "truth" of history. From the direct archival representation of reality of "The Dreamer" and "To the Heart of the Storm" to the abstracted characterization and situations of "A Sunset in Sunshine City" and "The Name of the Game", Eisner traverses all ends of what could be considered autobiography.
“Tharoor's quest for novelty continues in Riot”, states a review (Ramlal Agarwal WLT, 141). The narrative techniques that Tharoor employs are methods that an author consciously uses to tell his story because an author “cannot choose whether or not to affect his reader’s evaluation by his choice of narration, he can only choose whether to do it well or poorly.” (Booth, 69). Nevertheless in Riot, the author uses his narrative techniques not to solely tell his story but more so to communicate his concerns to his audience. The context chosen may be fictional but the discursive mode of expression involving opposing viewpoints in specific relation to the historical events offers the historical
Genre: I believe In Cold Blood is a narrative novel due to how the author describes the events that happened through his own perspective. However, he does it in such manner that he does not intervene with the events that happened. Thus, making it as if this was like a series of newspaper stories published through interviews conducted by him. Subject: This narrative novel retold the murders of the Clutter family conducted by Richard “Dick” Hickock and Perry Smith. The author retold these events as a non-fiction novel as new and creative way of expressing journalism.