| |
| |
Alternative Contents: Subgenres of Creative Nonfiction | |
| |
| |
Preface: Beginning the Conversation | |
| |
| |
Introduction: Creative Nonfiction, the Fourth Genre | |
| |
| |
| |
Writing Creative Nonfiction | |
| |
| |
Oh Say Can You See? | |
| |
| |
| |
The Unwanted Child | |
| |
| |
| |
Silent Dancing | |
| |
| |
| |
Running the Table | |
| |
| |
| |
Aerial Reconnaissance | |
| |
| |
| |
Living Like Weasels | |
| |
| |
| |
From a Sheepherder's Notebook: Three Days | |
| |
| |
| |
Parish Streets | |
| |
| |
| |
Can an Ape Tell a Joke? | |
| |
| |
| |
Fraternity | |
| |
| |
| |
Where Worlds Collide | |
| |
| |
| |
On the Bubble | |
| |
| |
| |
Portrait of My Body | |
| |
| |
| |
Carnal Acts | |
| |
| |
| |
From Birnam Wood to Dunsinane | |
| |
| |
| |
From Outside, In | |
| |
| |
| |
Amid Onions and Oranges, a Boy Becomes a Man | |
| |
| |
| |
Celibate Passions | |
| |
| |
| |
Three Pokes of a Thistle | |
| |
| |
| |
Animal Allies | |
| |
| |
| |
Late Victorians | |
| |
| |
| |
Designs for Escape | |
| |
| |
| |
Cloud Crossing | |
| |
| |
| |
Pliny and the Mountain Mouse | |
| |
| |
| |
The Masked Marvel's Last Toehold | |
| |
| |
| |
In the Combat Zone | |
| |
| |
| |
I Stand Here Writing | |
| |
| |
| |
Trading Off: A Memoir | |
| |
| |
| |
Vessel of Last Resort | |
| |
| |
| |
Seven Wonders | |
| |
| |
| |
At the Buffalo Bill Museum, June 1988 | |
| |
| |
| |
Going to the Movies | |
| |
| |
| |
Fireworks to Praise a Homemade Day | |
| |
| |
| |
The Friendship Tarot | |
| |
| |
| |
| |
Talking about Creative Nonfiction | |
| |
| |
Late Night Thoughts on Writing and Teaching Essays | |
| |
| |
| |
The Landscape of Creative Nonfiction | |
| |
| |
| |
The Art of Memoir | |
| |
| |
| |
The Faith | |
| |
| |
| |
To Fashion a Text | |
| |
| |
| |
About Personal Expressive Academic Writing | |
| |
| |
| |
On the Possibilities of the Essay: A Meditation | |
| |
| |
| |
Memory and Imagination | |
| |
| |
| |
Courting the Approval of the Dead | |
| |
| |
| |
Excavations | |
| |
| |
| |
Everything But the Truth? | |
| |
| |
| |
What We Didn't Know We Knew | |
| |
| |
| |
What Happened to the Personal Essay? | |
| |
| |
| |
'Creative Nonfiction': What's in a Name? | |
| |
| |
| |
One Writer's Secrets | |
| |
| |
| |
College, Montage, Mosaic, Vignette, Episode, Segment | |
| |
| |
| |
The Singular First Person | |
| |
| |
| |
The Exact Location of the Soul | |
| |
| |
| |
Me and My Shadow | |
| |
| |
| |
Experimental Critical Writing | |
| |
| |
| |
| |
Composing Creative Nonfiction | |
| |
| |
Warping Time with Montaigne | |
| |
| |
| |
Notes from a Journey toward 'Warping Time' | |
| |
| |
| |
That Shining Place: Crete, 1966 | |
| |
| |
| |
Afterword: Writing 'The Greece Piece' | |
| |
| |
| |
Teacher Training | |
| |
| |
| |
Composing 'Teacher Training' | |
| |
| |
| |
Zion | |
| |
| |
| |
On Writing 'Zion' | |
| |
| |
| |
Alternative Contents: Approaches to Writing and Discussing Creative Nonfiction | |
| |
| |
Index | |