A Quote by James Howard Kunstler

I am far less interested in serving as a change agent than in functioning as a prose artist, whether it's fiction or nonfiction. — © James Howard Kunstler
I am far less interested in serving as a change agent than in functioning as a prose artist, whether it's fiction or nonfiction.
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 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 read nonfiction. There's very little fiction that I enjoy enough to spend my time reading. I am generally a nonfiction guy.
There's no division on my bookshelf between fiction and nonfiction. As far as I'm concerned, fiction is about the truth.
My fiction-writing DNA shows in how I think about prose, how I think about the page, how I think nonfiction stories should work. And every piece of nonfiction I write, I want it to have fictional texture.
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'm Turkish-American; I was a freshman at Harvard in 1995 and 96. I did teach English in Hungary in the summer of 1996. I'm an autobiographical writer in the sense that whether in fiction or nonfiction, the issues and relationships and phenomena and problems I'm most interested in exploring are the ones I've experienced personally.
Inexperienced fiction and creative nonfiction writers are often told to show, not tell - to write scenes, dramatize, cut exposition, cut summary - but it can be misguided advice. Good prose almost always requires both showing and telling, scenes and summary, the two basic components of creative prose
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.
What I'm really interested in, as a reader and as a writer, is the idea of the nonfiction book that is not defined by its content, by its "about"-ness. Where you read it irrespective of whether you're interested in the subject.
Granted, I'm more interested in technology than most people, and less interested in politics than most. But I don't like to think about categories. I really see myself as a general non-fiction writer.
Let's face it: we live at a time when government is less and less powerful, less and less effective, and the agent of social change, at least for the immediate future, is the corporation.
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.
Maybe I have a one-track mind, but the best writers and thinkers are focusing on nonfiction these days; this is the genre where a writer can make a mark and change an aspect of the world - much more so than in fiction.
Whether it's fiction or nonfiction, writing takes me to another world.
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