A Quote by John D'Agata

We approach nonfiction at a much different level than we approach fiction or poetry or drama: that there's almost no room for metaphor. We expect the "I" in any nonfiction text to be an autobiographical "I" when there is a history in the essay of the "I" being a persona.
Prose gets divided up into fiction and nonfiction and short fiction and long fiction and autobiographical nonfiction and so on. Poetry can do any of those things except with the added definition of intensified formal pressure.
I'm not a poet, but I was in the poetry program. And I'm also not much of a nonfiction writer, at least not in the standard sense of nonfiction, nor especially in the way we were thinking about nonfiction back then, in the late 90s.
For a while I just couldn't imagine that there was a place for me in nonfiction. I looked around at what we were calling nonfiction and I thought, "Maybe you do have to go to poetry in order to do this other weird thing in nonfiction."
I think, about the distinction between fiction and nonfiction. Fiction is not really about anything: it is what it is. But nonfiction - and you see this particularly with something like the BBC Samuel Johnson Prize for Non-Fiction - nonfiction we define in relation to what it's about. So, Stalingrad by Antony Beevor. It's "about" Stalingrad. Or, here's a book by Claire Tomalin: it's "about" Charles Dickens.
I don't read much nonfiction because the nonfiction I do read always seems to be so badly written. What I enjoy about fiction - the great gift of fiction - is that it gives language an opportunity to happen.
Fiction and nonfiction are not so easily divided. Fiction may not be real, but it's true; it goes beyond the garland of facts to get to emotional and psychological truths. As for nonfiction, for history, it may be real, but its truth is slippery, hard to access, with no fixed meaning bolted to it. If history doesn't become story, it dies to everyone except the historian.
Of course it's possible for political essays to be artful. I just want to call into question the dominance of content over form in the history of the essay. I want us to recognize that there's art involved in making this stuff, because we still don't approach the constructed nature of the essay with the same appreciation that we do poetry or fiction.
I write fiction longhand. That's not so much about rejecting technology as being unable to write fiction on a computer for some reason. I don't think I would write it on a typewriter either. I write in a very blind gut instinctive way. It just doesn't feel right. There's a physical connection. And then in nonfiction that's not the case at all. I can't even imagine writing nonfiction by hand.
I read nonfiction. There's very little fiction that I enjoy enough to spend my time reading. I am generally a nonfiction guy.
I started writing nonfiction because nonfiction is well-suited to subjects that, if you wrote them as fiction, people would say, "I don't believe this. This is a little outlandish".
Generally, I read nonfiction. There's very little fiction that I enjoy enough to spend my time reading. I am generally a nonfiction guy.
Generally, I read nonfiction. Theres very little fiction that I enjoy enough to spend my time reading. I am generally a nonfiction guy.
I started off doing fiction in 1993. It didn't occur to me to do nonfiction because it wasn't a thing yet. So I was bumbling around, writing short stories, and then I took a nonfiction workshop, and I realized that this was what I was supposed to do.
One important idea I hope is reflected in 'The Poe Shadow' is that fiction can add as much to history as nonfiction does.
I began as a fiction writer - I had written three novels in my 20s and 30s. But as my work has gravitated towards literary nonfiction, or lyric essay or poetic essay, whatever you want to call it, I'm constantly beating my head against the wall 'cause I'm teaching a genre that's no longer that exciting to me and that I'm no longer practicing.
Back in the day, a lot of our instructors in nonfiction were actually fiction scholars. So they would bring in stories as models for the essay. And in some ways that's a good idea, because we can all learn from other genres. But I think it also made me realize that I literally didn't have an essay model, and that if I wanted one I would have to find it.
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