{"product_id":"bending-genre-9781501386060","title":"Bending Genre","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003eEver since the term creative nonfiction first came into widespread use, memoirists and journalists, essayists and fiction writers have faced off over where the border between fact and fiction lies. An early and influential book on questions of form in creative nonfiction, \u003ci\u003eBending Genre\u003c\/i\u003e asks not where the boundaries between the genres should be drawn, but what happens when you push the line. The expanded second edition doubles the first edition with 23 new essays that broaden the exploration of hybridity, structure, unconventionality, and resistance in creative nonfiction, pushing the conversation forward in diverse and exciting ways.Written for writers and students of creative writing, this collection brings together perspectives from leading writers of creative nonfiction, including Michael Martone, Brenda Miller, Ander Monson, David Shields, Kazim Ali--and in the new edition--Catina Bacote, Ira Sukrungruang, Ingrid Horrocks, Elena Passarello, and Aviya Kushner. Each writer''s \u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003eCome for talk of the essay in all its formal wildness. Stay for a consideration of the form’s power and politics of resistance. Even deeper and more expansive than its first edition, \u003ci\u003eBending Genre\u003c\/i\u003e 2.0 is essential reading for serious students, teachers, and writers of nonfiction. * Julija Šukys, Associate Professor of Creative Writing, University of Missouri, USA, and author of Siberian Exile: Blood, War, and a Granddaughter’s Reckoning (2017) *\u003cbr\u003eAs creative nonfiction continues to break new ground, \u003ci\u003eBending Genre\u003c\/i\u003e gives writers and readers a marvelous map to new literary terrain, as charted by some of the form’s most interesting cartographers and practitioners. By turns earnest, argumentative, lyric, playful, and provocative, the authors of these pieces explore nonfiction forms as refuge, as rebellion, as intellectual practice, as erotics and aesthetics, as mode of making, and as liberating community. Encouraging exploration and seeded with compelling readings of familiar and less familiar texts, \u003ci\u003eBending Genre\u003c\/i\u003e is suggestive rather than scholarly, offering a mode of making and a gloss on the meanings made by this rich, shifting, wonderfully hard to define literary playground that we call creative nonfiction. * E. J. Levy, Associate Professor, Colorado State University, USA *\u003cbr\u003e\u003ci\u003eBending Genre \u003c\/i\u003eis published into a landscape that has changed so much in the past ten years and will change even more in the next decades, and the essays that are the most convincing are those advocating that we cross, bend and break genre open in more disruptive ways – as writers and readers – and use our creative-critical powers to undo systems that have not been serving us.  This book provides a solid anchor for thinking into genre-bending writing, and if readers supplement this text with the reading of many and diverse contemporary hybrid texts, they will experience first-hand how hot genre-bending writing can make their brains, how spacious it can make a heart. * Elizabeth Reeder, Senior Lecturer in Creative Writing, University of Glasgow, UK, and author of microbursts (2021) *\u003cbr\u003e\u003ci\u003eBending Genre\u003c\/i\u003e is an exciting anthology of contemporary nonfiction that shifts the focus from ethical questions about ‘truthtelling’ to aesthetic questions about form. The contributors make up a who’s-who of distinguished and new writers who have been enlivening the conversation about formal range in nonfiction for the past decade. What happens when writers ‘push the line,’ the editors ask, in terms of what defines genre? Oddball and exploratory, reflective and transgressive, musical and mindful, these essays brilliantly lay out the trail. * Alison Hawthorne Deming, Professor and Director of Creative Writing Program, University of Arizona, US [about the 1st edition] *\u003cbr\u003eWhat a wonderful and needed anthology! The essay has always created itself by doing battle with its adjectives: \u003ci\u003eformal, informal, personal, genteel, modern(ist).\u003c\/i\u003e Now, just as we were getting comfortable—too comfortable—with \u003ci\u003elyrical\u003c\/i\u003e, this anthology arrives to unsettle us again with a slew of new adjectives: \u003ci\u003equeer, bent, bending, monstrous, hybrid, impertinent, fluid, transgressive, anarchic, faked, diabolic, mis-shelved, Dionysian, blissful, puzzling, vertiginous, saturated, unboxed\u003c\/i\u003e. And then, when our heads are beginning to explode with the centrifugal force of these adjectives, \u003ci\u003eBending Genre\u003c\/i\u003e pulls us back with an equally wondrous and innovative set of formal possibilities – creative nonfiction as video game, false document, encyclopedia, autogeography, murder mystery, sepia-tone picture, Play-Doh construction, train trip, user of white space, questionnaire, or the genre that dare not speak its name. I will adopt this book for my classes. It’s time to shake things up. * Ned Stuckey-French, Director, Program in Publishing \u0026amp; Editing, Florida State University, USA, and Book Review Editor for Fourth Genre [about the 1st edition] *\u003cbr\u003eOpens up via several essays by some of the best current practitioners and theorists of the essay-writing craft...The essays of Part II, 'Structures', offer numerous examples and ideas of shaping organizational frameworks for the essay...an excellent job discussing the uses of story, elements,montage, white spaces, lack of closure, etymology, and metaphor...I would recommend this collection to all serious writers. * Heidi Czerwiec, Rain Taxi [about the 1st edition] *\u003cbr\u003eA wonderfully queer enterprise. Collectively, it is not entirely criticism; not entirely creative writing. Singer and Walker collate the essays to destabilize the reader's assumptions and expectations of the text--and they do so successfully...Perplexing and intellectually stimulating, \u003ci\u003eBending Genre\u003c\/i\u003e and all the questions it raises continues the discussion outside of the text. What is particularly noteworthy of Singer and Walker is that their project--much in vein of \"queer\" and of the notion that writing, like critical thinking, is interminable--remains alive online. They have harnessed the powers of new media to keep the discussion going, both on Facebook as well as the project's website. * Marcie Bianco, LambdaLiterary.org [about the 1st edition] *\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003eIntroduction to the Second Edition  \u003cb\u003eI. Hybrids\u003c\/b\u003e 1. Why Some Hybrids Work and Others Don’t, \u003ci\u003eLia Purpura\u003c\/i\u003e 2. Queering the Essay, \u003ci\u003eDavid Lazar\u003c\/i\u003e 3. The Everbent Genre, \u003ci\u003ePatrick Madden\u003c\/i\u003e 4. Don’t Let Those Damn Genres Cross You Ever Again!, \u003ci\u003eLawrence Sutin\u003c\/i\u003e 5. Genre-Queer: Notes Against Generic Binaries, \u003ci\u003eKazim Ali\u003c\/i\u003e 6. On the EEO Genre Sheet, \u003ci\u003eJenny Boully\u003c\/i\u003e 7. Reading Samuel R. Delany, \u003ci\u003eT Clutch Fleischmann\u003c\/i\u003e                        8. Beautiful Muddied Waters: On Genre and Veracity, \u003ci\u003eSean Prentiss\u003c\/i\u003e 9. Listening for the Sound, \u003ci\u003eSejal Shah\u003c\/i\u003e 10. Split Tone, \u003ci\u003eLee Martin\u003c\/i\u003e 11. Lyrebirds in the Impasse, \u003ci\u003eDavid Carlin\u003c\/i\u003e 12. Headiness, \u003ci\u003eKaren Brennan\u003c\/i\u003e 13. What's in Your Purse?: Essays Through the Eyes of a Character Actor, \u003ci\u003eElaine Passarello\u003c\/i\u003e 14. Propositions; Provocations: Inventions, \u003ci\u003eMary Capello\u003c\/i\u003e \u003cb\u003eII. Structures\u003c\/b\u003e 15. On Scaffolding, Hermit Crabs, and the Real False Document, \u003ci\u003eMargot Singer\u003c\/i\u003e  16. Text Adventure, \u003ci\u003eAnder Monson\u003c\/i\u003e 17. Adventures in the Reference Section, \u003ci\u003eKevin Haworth\u003c\/i\u003e 18. Meeting the Ancestor on the Road, \u003ci\u003eTina Makereti\u003c\/i\u003e 19. Autogeographies, \u003ci\u003eBarrie Jean Borich\u003c\/i\u003e 20. Dissolving Genre: Writ with Water, \u003ci\u003eIngrid Horrocks\u003c\/i\u003e 21. “Lions and Tigers and Bears, Oh My!”: Courage and Creative Nonfiction, \u003ci\u003eBrenda Miller\u003c\/i\u003e 22. Traumatized Time, \u003ci\u003eDavid McGlynn\u003c\/i\u003e 23. Escapology, \u003ci\u003eJustin Hocking\u003c\/i\u003e 24. Play-Doh Fun Factory Poetics, \u003ci\u003eWayne Koestenbaum\u003c\/i\u003e 25. A Sequence of Thoughts Without Any Kind of Order, \u003ci\u003eIra Sukrungruang\u003c\/i\u003e 26. My Mistake, \u003ci\u003eNicole Walker\u003c\/i\u003e \u003cb\u003eIII. Unconventions\u003c\/b\u003e 27. On Convention, \u003ci\u003eMargot Singer\u003c\/i\u003e 28. Losing Language, \u003ci\u003eCamille Dungy\u003c\/i\u003e 29. What the Bottles Know, \u003ci\u003eLina Ferreira \u003c\/i\u003e\u003ci\u003eCabeza-Vanegas\u003c\/i\u003e 30. 44 Tattoos, \u003ci\u003eDavid Shields\u003c\/i\u003e 31. Creative Exposition—Anther Way that Nonfiction Writing Can Be Good, \u003ci\u003eDave Madden\u003c\/i\u003e 32. This Photograph is Evidence of You, \u003ci\u003eLawrence Lacambra Ypil\u003c\/i\u003e 33. Ostrakons at Amphipolis, Postcards from Chicago: Thucydides and the Invention and Deployment of Lyric History, \u003ci\u003eMichael Martone\u003c\/i\u003e 34. On Fragmentation, \u003ci\u003eSteve Fellner\u003c\/i\u003e 35. Single Mindedness and Whole Heartedness in the Essay Writing Workshop: An Essay in Many Parts, \u003ci\u003eJenn Ashworth\u003c\/i\u003e 36. Positively Negative, \u003ci\u003eDinty W. Moore\u003c\/i\u003e 37. Study Questions for the Essay at Hand: A Speculative Essay, \u003ci\u003eRobin Hemley\u003c\/i\u003e 38. A Brief History of Disquiet, Deficit \u0026amp; Disbelief by FeiMan, \u003ci\u003eXu Xi\u003c\/i\u003e 39. The Inclusivity of Metaphor, \u003ci\u003eNicole Walker\u003c\/i\u003e \u003cb\u003eIV. Resistances \u003c\/b\u003e 40. The Funk of Defiance, the Freedom of Refusal, \u003ci\u003eCatina Bacote\u003c\/i\u003e 41. The Essay as Resistance, \u003ci\u003eAviya Kushner\u003c\/i\u003e 42. Prepositioning Resistance, Queerly \u003ci\u003eFrancesca Rendle-Short\u003c\/i\u003e 43. Exposition as Resistance: Tell Me the Moon Is Shining, \u003ci\u003eMatthew Batt\u003c\/i\u003e 44. The Lyric Essay as a Mode of Resistance, \u003ci\u003eLaTanya McQueen\u003c\/i\u003e 45. It Is What It Is, \u003ci\u003eEula Biss\u003c\/i\u003e 46. How It Is: Writing Towards Wonder, \u003ci\u003eJessica Hendry Nelson\u003c\/i\u003e 47. On Not Being Able to Write It\u003ci\u003e, Wendy Rawlings\u003c\/i\u003e 48. Hermes Goes to College, \u003ci\u003eMichael Martone\u003c\/i\u003e 49. The Convex View, \u003ci\u003eKaren Lloyd\u003c\/i\u003e 50. The Moral Map, \u003ci\u003eStephanie Elizondo Griest\u003c\/i\u003e","brand":"Bloomsbury Publishing Plc","offers":[{"title":"Default Title","offer_id":48739789898071,"sku":"9781501386060","price":29.7,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9781501386060.jpg?v=1720053149","url":"https:\/\/bookcurl.com\/products\/bending-genre-9781501386060","provider":"Book Curl","version":"1.0","type":"link"}