Creative Nonfiction as Cultural Cosmetic Surgery
October 22, 2012 § 4 Comments
Triquarterly has reprinted a peculiar, disturbing, not-what-it-seems-at-first essay that uses the account of a sexual assault to interrogate recent discussions about the importance of fact in nonfiction. We at Brevity imagine there will be some shouting before this one is concluded, and we are fully intrigued.
S. L. Wisenberg’s editor’s note at the very end invites folks to weigh in, and we agree. Weigh in here, weigh in there, weigh in both places. Here’s a taste of the essay for you, and a link to the full work below.
It’s become fashionable lately to question the importance of facts in works of creative nonfiction. “In our hunger for all things true,” David Shields says in Reality Hunger: A Manifesto, “we make facts irrelevant.” Given that any narrative involves a selection of details and thus a distortion of sorts, facts—so the argument goes—aren’t important. As long as an account tells the truth—psychologically, emotionally—facts aren’t required.
The thoughtful, erudite writer Robert Atwan, series editor of the Best American Essays, recently questioned the necessity of facts to creative nonfiction at a conference in Manhattan, where he spoke in praise of “the literary art of fabrication” … Atwan asked his audience, “Is it possible that a piece of personal writing can be grounded in fiction and still be considered an essay? If some determined graduate student conclusively discovered that [E .B.] White never owned a pig, should we consider [White’s essay] ‘Death of a Pig’ a short story?. . . Is all that separates an autobiographical essay from a story fidelity to fact?” …
I wonder if Shields and Atwan would be so cheerfully flexible about the facts if the nonfictions were of another kind, if it were their doctor’s unfactual diagnosis (appendicitis, say) that led to an unnecessary surgery. Would they be as easygoing were it an unfactual accusation that prompted their incarceration for an indefinite period in an undisclosed location by means of extreme rendition? … How about an insurance adjustment that insouciantly undervalued a home destroyed in an all too factual fire?
And if they would not find such nonfictions acceptable, I wonder why they (and we) tolerate the unfactual passed off as fact in our nonfiction art. Is it because we believe that art—that compass of the culture—doesn’t matter as much as medicine or insurance? Or is it because we—like the powerful in the seventeenth and eighteenth centuries who couldn’t bear to read a frank assessment of their failings, prompting social critics to couch critiques in fictive terms—cannot bear to face the facts, to look in the literary mirror and behold ourselves honestly, truthfully, portrayed? Has creative nonfiction become a form of cultural cosmetic surgery, helping us hide our flaws from ourselves, convincing us that the facts don’t count?
Does it matter, in an account such as mine, who was raped, under what circumstances? Does it matter if there was a girl, a couch, if there could have been? Would it change things to know that the girl on that couch got pregnant that night (a fact I would only learn years later from her close friend)? Would it matter if in fact the girl was conscious; if when she woke, he finished and left her there and never spoke of it? Would it matter if I were that girl?
Read the entire Essay: http://triquarterly.org/essay/facts-matter