Most of What Follows is True Places Imagined and Real
Aus der Reihe
CLC Kreisel Lecture Series
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Sprache:Englisch
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Produktdetails
Format
ePUB
Kopierschutz
Nein
Family Sharing
Nein
Text-to-Speech
Ja
Erscheinungsdatum
08.12.2021
Verlag
The University of Alberta PressSeitenzahl
51 (Printausgabe)
Dateigröße
1175 KB
Sprache
Englisch
EAN
9781772124637
The prizewinning author of
The Innocents examines the relationships among fact, fiction, fictionalization, and appropriation in this thought-provoking work.
"In all creative writing, the question of what is true and what is real are two very different considerations. Figuring out how to dance between them is a murky business."
In
Most of What Follows Is True, Michael Crummey examines the complex relationship between fact and fiction, between the "real world" and the stories we tell to explain it. Drawing on his own experience appropriating historical characters to fictional ends, he brings forward important questions about how writers use history and real-life figures to animate fictional stories. Is there a limit to the liberties a writer can take? Is there a point at which a fictionalized history becomes a false history? What responsibilities do writers have to their readers, and to the historical and cultural materials they exploit as sources? Crummey offers thoughtful, witty views on the deep and timely conversation around appropriation.
The Innocents examines the relationships among fact, fiction, fictionalization, and appropriation in this thought-provoking work.
"In all creative writing, the question of what is true and what is real are two very different considerations. Figuring out how to dance between them is a murky business."
In
Most of What Follows Is True, Michael Crummey examines the complex relationship between fact and fiction, between the "real world" and the stories we tell to explain it. Drawing on his own experience appropriating historical characters to fictional ends, he brings forward important questions about how writers use history and real-life figures to animate fictional stories. Is there a limit to the liberties a writer can take? Is there a point at which a fictionalized history becomes a false history? What responsibilities do writers have to their readers, and to the historical and cultural materials they exploit as sources? Crummey offers thoughtful, witty views on the deep and timely conversation around appropriation.
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