Tag Archives: truth

New York Times Book Reviewer Invites Your Shock, Outrage

Charles Bock invites you to be outraged. This past Sunday Bock reviewed John D’Agata’s new nonfiction book, “About a Mountain,” describing the material this way:

The mountain that John D’Agata is ostensibly concerned with … is Yucca Mountain, located approximately 100 miles north of Las Vegas. … [S]ince the mid-1980s, the United States government has been doing back flips to bury the country’s entire reservoir of spent nuclear waste — some 77,000 tons of apocalyptic yumminess — deep inside Yucca. In the summer of 2002, the summer after D’Agata helped his mother move to a Vegas suburb, Congress was proceeding with plans to make the mountain a nuclear dump. Also that summer, 16-year-old Levi Presley jumped to his death from the observation deck of a third-rate Vegas hotel. These subjects, disparate though they are, animate D’Agata’s sprawling narrative.

But Bock doesn’t want to direct your outrage toward government backed destruction of the environment, youth suicide, or even sprawling nonfiction narratives. No. He wants to direct your rage to a few of D’Agata’s footnotes.

Yes, that’s right: the footnotes.

With such weighty material to discuss, it seems ridiculous to zero in on footnotes but perhaps these are some outrageous footnotes, deserving of the full weight of our scorn. D’Agata writes nonfiction, you see, and he acknowledges in one of his naughty footnotes that he conflates the dates of two key events in his story by three days. MY GOD.

Bock uses inflammatory language, calling the material referred to by the footnote a “lie.” He goes on to charge D’Agata with playing “fast and loose with a verifiable historical date.” I suppose this is true if by “verifiable” Bock means that he had to read the footnote where D’Agata presents the discrepancy. But I wonder if adding footnotes to nonfiction really deserves the “fast and loose” qualifier that’s typically employed to discuss immoral women, or deviant sexual behavior (as fun as those things can be!).

To be fair, Bock speaks highly of D’Agata’s work:

Rarely does D’Agata betray his emotions or reactions to an event; rather, he works by establishing a scene, introducing tangentially related elements, building layers of complexity and scope, then jump-cutting or circling back at just the right moment, guiding the reader safely — and unexpectedly — to a destination D’Agata had in sight the whole time.

And Bock understands the bigger picture. He knows what D’Agata is trying to do with creative nonfiction, not just in this book, but in the whole of his career:

As D’Agata himself writes, in his introduction to “The Lost Origins of the Essay”: “Do we read nonfiction in order to receive information, or do we read it to experience art? It’s not very clear sometimes. So this is a book that will try to offer the reader a clear objective: I am here in search of art.”

But ultimately Bock finds D’Agata’s voice lacking, having lost nothing less than his “moral authority” by conflating these dates. Although D’Agata offers no explanation for this conflation, Bock helpfully tenders a reason of his own: “for the sake of a tight narrative hook.” I don’t know. I haven’t read the book. But even knowing that the date of this child’s suicide has been conflated with some important back room vote doesn’t make the hook of this hard-to-grasp story much tighter for me. In Bock’s own words, the hook seems built on “layers of complexity and scope”; it does not easily give itself to a quick one line summary: this boy dies, that deal done. But even if we concede that a tidier hook is the reason for the conflation: Is it worthy of our scorn?

I’d argue that all of creative nonfiction suffers when we—writers and readers of creative nonfiction—allow journalists to manipulate us so easily. We do have to be wary of authors who pass off their fictions as truth. But do we need to be so dogmatic that a footnote raises a larger cry from us than anything found in our texts?

Of course, Bock can evaluate the book and the writer in whatever way he chooses. And calling into question the veracity of nonfiction is (sadly) the norm these days. I do want to know if the nonfiction book I’m reading has been made up. I just get tired of journalists revving up the scorn machine to score a point.

If John D’Agata can lose the moral high ground for footnoting his work, what does that say about us as readers and writers?

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Did You Make It?

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I got a little reminder about why I write nonfiction today at Aaron’s football jamboree. 

This is his first year out for football, so I was interested in getting to know the rest of the parents. I was standing on the sidelines watching the drills. One of the boys on the team hollered to the man standing next to me about what he had brought for the team’s snack. The man hollered back about having picked up a twelve pack of something from the local warehouse store and his boy beamed. I was so amused by this exchange: the importance of the snack, the boy’s earnest query, Dad’s dutiful reply. I stopped taking photographs and grinned at the man.

I pointed out my son, and we struck up a conversation.

When I asked him what grade and school his son attended, he told me the boy had recently switched to a new school and was doing poorly. I told him I had had the same experience myself, switching to a new school.

The man surprised me by asking, “Did you make it?”

By this I understood him to mean, did you make it to graduation, are you a high school graduate, which I am not. I am embarrassed to say that I came this >< close to lying to the man. I felt a huge wave of shame roll over me–me, Mr. Memoir, a guy who has written about being a divorcee, an absentee father, shooting IV drugs, and even being homeless. There is just something intimidating about being asked something like this point blank in a conversation. I really wasn’t sure what to say. I started to bluster, but then I finally just smiled and said, “Nah–not really.”

This man grinned and said, “Me either.”

We had a good chuckle. I didn’t get his name, but I connected with this man in a way I would not have had I tried to save face by going on about my time in college, the military, or even getting my GED.

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How I Got My Story Published in the New York Times: The Truth of the Matter

 

When Dan Jones of the New York Times called about publishing one of my stories for Modern Love, I was delighted. I was also determined not to let him know I had a drug history. Dan had emailed me that he thought my story might work well for Father’s Day and wanted to discuss it more by phone. I immediately thought: Don’t tell him about the drugs. He’ll think you’re a loser. But then when he called, we talked for less than five minutes before my drug history came up.

It went something like this:

“So if your son was in Pennsylvania with your ex-wife, what were you doing in New York City?” Dan asked.

I chuckled demurely. Lying seemed like a bad idea.

“Well,” I said taking a deep breath. “That’s another story.”

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The Truth About David Sedaris

Last month Holly and I got to see David Sedaris at Elliott Bay Book Company here in Seattle. He was promoting his latest book, When You are Engulfed in Flames, which is a collection of previously published essays and some new material. The most enjoyable part of the evening had to be the Q&A session after he read, and this is only because David Sedaris is so witty and fast on his feet. The truth about David Sedaris is that he is arguably one of the best American humorists writing creative non-fiction today, but he has also been criticized for stretching the truth in his work.

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