A Quote by Matthew Pearl

One important idea I hope is reflected in 'The Poe Shadow' is that fiction can add as much to history as nonfiction does. — © Matthew Pearl
One important idea I hope is reflected in 'The Poe Shadow' is that fiction can add as much to history as nonfiction does.
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.
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.
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.
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.
One thing I incorporated in my novel 'The Poe Shadow' was the little-known fact that documents show Poe inherited a slave and decided to free him.
I remember reading an interview with a writer who said that in nonfiction if you have one lie it sort of messes it up. But in fiction the real details give you so much more credibility, because people do so much research just to write fiction. In fiction you're trying to recreate something lifelike.
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 think it's important to humanize history; fiction can help us remember. A lot of books I've read in the past have been so much more important than textbooks - there is an emotional connection with one particular person. I'm very much of a research-is-important type of fiction writer, even for contemporary fiction. I wrote about blogs in America and I've never blogged. But I read many, many blogs - usually about feminist things, or about race, or about hair.
Science fiction is the most important literature in the history of the world, because it's the history of ideas, the history of our civilization birthing itself. ...Science fiction is central to everything we've ever done, and people who make fun of science fiction writers don't know what they're talking about.
So much history, if you or I were to write it, could seem a fiction. These separations, these lines that tell us this is fiction or non-fiction, that this is history or this is a novel, are often useless.
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".
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.
I've found that in fiction - and this is just the kind of writer I am - I can't really work from an outline. I have a vague idea of the characters at the beginning of the book, and then I have a vague idea of whatever the end of the book will be, but I can't approach creative nonfiction like that.
As a writer who writes poetry, nonfiction, and fiction, I think it's important to always maintain a firm grasp on genre and ethics.
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