David Foster Wallace:
Description of Class
English 183D is a workshop course in creative nonfiction, which term denotes a broad category of prose works such as personal essays and memoirs, profiles, nature and travel writing, narrative essays, observational or descriptive essays, general-interest technical writing, argumentative or idea-based essays, general-interest criticism, literary journalism, and so on. The term’s constituent words suggest a conceptual axis on which these sorts of prose works lie. As nonfiction, the works are connected to actual states of affairs in the world, are “true” to some reliable extent. If, for example, a certain event is alleged to have occurred, it must really have occurred; if a proposition is asserted, the reader expects some proof of (or argument for) its accuracy. At the same time, the adjective creative signifies that some goal(s) other than sheer truthfulness motivates the writer and informs her work. This creative goal, broadly stated, may be to interest readers, or to instruct them, or to entertain them, to move or persuade, to edify, to redeem, to amuse, to get readers to look more closely at or think more deeply about something that’s worth their attention. . . or some combination(s) of these. Creative also suggests that this kind of nonfiction tends to bear traces of its own artificing; the essay’s author usually wants us to see and understand her as the text’s maker. This does not, however, mean that an essayist’s main goal is simply to “share” or “express herself” or whatever feel-good term you might have got taught in high school. In the grown-up world, creative nonfiction is not expressive writing but rather communicative writing. And an axiom of communicative writing is that the reader does not automatically care about you (the writer), nor does she find you fascinating as a person, nor does she feel a deep natural interest in the same things that interest you. The reader, in fact, will feel about you, your subject, and your essay only what your written words themselves induce her to feel. An advantage of the workshop format is that it will allow you to hear what twelve reasonably intelligent adults have been induced to think and feel about each essay you write for the course.
I’m starting to wonder if the real written treasure that D.F.W. left behind is his syllabi.
/via The Howling Fantods