FONTENOT4 Name Nsmr Recap of Assigned Readings and Major Ideas Mary Blew's "Sow in the River" sand Patricia Hampl's "Memory and Imagination" explain how nonfiction is truthful despite the fallibility of memory. While Blew describes an instance in which the dream world flooded into the material world and created a false memory, Hample describes the power of desire to alter her memory, allowing her to describe what she wished was true and not actually what was true. While Blew focuses on the power of storytelling to connect the interior world (mind) with the exterior world (landscape), Hampl puts more emphasis on the internal world and the writer task to stalk "the congruence between stored image and hidden emotion." For both Blew and Hampl, making connections--between the interior and exterior or stored image and hidden emotion--is a necessity for us to make meaning of the world and our lives, but in doing so, the writer has the responsibility to question her authority. Thus, writers of creative nonfiction are curious observers who are not merely concerned with what they see but with how they see. The memoirist evaluates what she perceives while taking into account her perspective, something that forces her to recognize her biases, shortcomings, and contradictions. In more experimental styles, Jill Christman and Jo Ann Beard confront the uncertainty of memory. In "Three Takes on a Jump," Christman gives two accounts of the same story, leaving the reader with but one truth--that jumping from the roof into the sand hurts. In "Maybe it Happen," Beard leaves the reader in total uncertainty, as she writes from the third person and qualifies every detail with the phrase "perhaps it happen." What makes this genre complicated once more is the idea that it is not only the memory that changes but the truth that changes. Blew, Hampl, and Christman discuss the power of language to create reality, and, therefore, create the "truth." For Blew, the Judith River was never the same after Lewis and Clark named it. For Hampl, this is a scary political fact-- that whole histories can be rewritten to deny tragedies like Nazi death camps. For Christman, it is "Sharability," when the story is more about the telling and retelling than the memory itself. But this is why the personal narrative is so important--it has the power to overturn the (re)written history. At the end of the article, the author says that he loved everything about the military but now hates it. This statement shows that Sabrina puts his personality in the shoes of Rebecca and takes the objectiveness out of a journalistic process to reflect the military culture in real life. As well, Charlie impersonates himself to a voice that was present during the death of Aiyana. For instance, he reports that the seven-year-old girl was sleeping on her couch while her grandmother was watching the television when an officer shot her. The aspect of narrating a story from an impersonated voice stretches the.

1. FONTENOT4
Name
Nsmr
Recap of Assigned Readings and Major Ideas
Mary Blew's "Sow in the River" sand Patricia Hampl's "Memory
and Imagination" explain how nonfiction is truthful despite the
fallibility of memory. While Blew describes an instance in
which the dream world flooded into the material world and
created a false memory, Hample describes the power of desire
to alter her memory, allowing her to describe what she wished
was true and not actually what was true. While Blew focuses on
the power of storytelling to connect the interior world (mind)
with the exterior world (landscape), Hampl puts more emphasis
on the internal world and the writer task to stalk "the
congruence between stored image and hidden emotion." For
both Blew and Hampl, making connections--between the interior
and exterior or stored image and hidden emotion--is a necessity
for us to make meaning of the world and our lives, but in doing
so, the writer has the responsibility to question her authority.
Thus, writers of creative nonfiction are curious observers who
are not merely concerned with what they see but with how they
see. The memoirist evaluates what she perceives while taking
into account her perspective, something that forces her to
recognize her biases, shortcomings, and contradictions.
In more experimental styles, Jill Christman and Jo Ann Beard
confront the uncertainty of memory. In "Three Takes on a
Jump," Christman gives two accounts of the same story, leaving
the reader with but one truth--that jumping from the roof into
the sand hurts. In "Maybe it Happen," Beard leaves the reader in
total uncertainty, as she writes from the third person and
qualifies every detail with the phrase "perhaps it happen."

2. What makes this genre complicated once more is the idea that it
is not only the memory that changes but the truth that changes.
Blew, Hampl, and Christman discuss the power of language to
create reality, and, therefore, create the "truth." For Blew, the
Judith River was never the same after Lewis and Clark named it.
For Hampl, this is a scary political fact-- that whole histories
can be rewritten to deny tragedies like Nazi death camps. For
Christman, it is "Sharability," when the story is more about the
telling and retelling than the memory itself. But this is why the
personal narrative is so important--it has the power to overturn
the (re)written history. At the end of the article, the author says
that he loved everything about the military but now hates it.
This statement shows that Sabrina puts his personality in the
shoes of Rebecca and takes the objectiveness out of a
journalistic process to reflect the military culture in real life. As
well, Charlie impersonates himself to a voice that was present
during the death of Aiyana. For instance, he reports that the
seven-year-old girl was sleeping on her couch while her
grandmother was watching the television when an officer shot
her. The aspect of narrating a story from an impersonated voice
stretches the idea of fiction facts to that of reality in creative
narratives. Consequently, readers feel that the presence of the
persona voice in the dilemma is an evidence of a real topic.
Both the two authors describe the scenes in the two narratives
rather than using the elements of full dialogue. For instance,
Charlie does not involve the voice of Rebecca and instead
narrates how she felt when she woke up while in jail. Thus, the
authors present the story from their point of view.
In the two articles, the creation of tension and suspense makes
the story to appear as fiction. However, these are elements that
the authors employ to report factual happening. In the story of
the rape of Officer Blumer, it starts in a circumstance where she
is freezing and naked. After this scene, the story develops into
another revelation where the reader realizes that she was raped.
Throughout the storyline, several episodes develop, which
increases the readers’ urge of knowing what will happen

3. afterward. As well, the story creates nervousness. For example,
while she was in jail, she yelled and fought with cops such that
she sustained swollen jaw and bruises. On the other hand,
Charlie steals the readers’ attention in describing the scene
where Aiyana was killed. For example, “the weapon released a
bullet, which struck Aiyana on her head and exited through her
neck.” The author uses such statements to create apprehension
in the readers so that they seek to know the cause of the
shooting, as well as the people behind it. Moreover, the two
articles portray both Blumer and Aiyana as strong characters.
For example, readers sympathize with Blumer for the tragedy
she has undergone, as well as mourn the death of Aiyana.In
conclusion, despite the use of creative techniques associated
with fiction in literary journalism, it is not fiction. The authors
describe the happening of the scenes rather than involving
accurate dialogue that took place, which makes their work
appear unreal. This paper has shown how the two authors use
the creative techniques to report about the rape case of a
military officer and the death of a young girl. Readers feel that
what is happening is like an imaginary thing, and yet it is a real
situation that occurred.
6 PAGES
MLA
SOURCES:
PLEASE USE ALL 4 STORIES TO WRITE THIS ESSAY.
The Four stories for 2nd essay
http://eng256cnf.wikispaces.com/file/view/Memory+and+Imagi
nation_Patricia+Hampl.pdf
https://books.google.com/books?id=NDbD4pYOscoC&pg=PA10

4. &lpg=PA10&dq=Mary+Clearman+Blew+%22Sow+in+the+River
&source=bl&ots=sndBswRKoG&sig=ZSadapWgEJC62PFZ8y-
neHB2Zm0&hl=en&sa=X&ved=0CCUQ6AEwAWoVChMI8-
T3qpHHxwIVBJeACh06YgKR -
v=onepage&q=Mary%20Clearman%20Blew%20%22Sow%20in
%20the%20River&f=false
http://newworldwriting.net/backissues/2006/Vol12No3-
July06/1203-070806-Christman.html
http://www.oprah.com/omagazine/Jo-Ann-Beard-Memoir
essay assignment and example:
The "Forthright" Genre
"The boundaries of creative nonfiction will always be as fluid
as water."-- Mary Clearman Blew
Requirements:
· 6-page essay
· MLA format
· 100 points
Creative nonfiction is an important and dynamic genre that
occasions serious study precisely because it operates among and
across various genres, literary topoi, and critical fields. Most
crucially, the study of creative nonfiction interrogates acute
issues concerning the intention, function, and reception of
texts. Through examination of a number of works, we have
pinpointed some of the characteristics of nonfiction and
addressed the genre's complicated boundaries. While all
nonfiction works at telling true stories, it is the truth that is also
the most complicated, as issues concerning
memory, imagination, desire, and perspective always call the
"truth" into question.
Using the assigned readings as your sources, define the genre of

5. nonfiction and explain whether or not you believe it lives up to
its name as being "not fiction." Be sure to include at least four
of the assigned readings.
Recap of Assigned Readings and Major Ideas
Mary Blew's "Sow in the River" sand Patricia Hample's
"Memory and Imagination" explain how nonfiction is truthful
despite the fallibility of memory. While Blew describes an
instance in which the dream world flooded into the material
world and created a false memory, Hample describes the power
of desire to alter her memory, allowing her to describe what she
wished was true and not actually what was true. While Blew
focuses on the power of story telling to connect the interior
world (mind) with the exterior world (landscape), Hample puts
more emphasis on the interior world and the writer task to stalk
"the congruence between stored image and hidden emotion." For
both Blew and Hample, making connections--between the
interior and exterior or stored image and hidden emotion--is a
necessity for us to make meaning of the world and our lives, but
in doing so, the writer has the responsibility to question her
own authority. Thus, writers of creative nonfiction are curious
observers who are not simply concerned with what they see but
with how they see. The memoirist evaluates what she perceives
while taking into account her perspective, something that forces
her to recognize her own biases, shortcomings, and
contradictions.
In a more experimental style, Jill Christman and Jo Ann Beard
confront the uncertainty of memory. In "Three Takes on a
Jump," Christman gives two accounts of the same story, leaving
the reader with but one truth--that jumping from the roof into
the sand hurts. In "Maybe it Happen," Beard leaves the reader in
total uncertainty, as she writes from the third person and
qualifies every detail with the phrase "maybe it happen."
Yet what makes this genre complicated once more is the idea
that it is not only the memory that changes but the truth that
changes. Blew, Hample, and Christman discuss the power of

6. language to create reality, and therefore create the "truth." For
Blew, the Judith River was never the same after Lewis and
Clark named it. For Hample, this is a scary political fact-- that
whole histories can be rewritten to deny tragedies like Nazi
death camps. For Christman, it is "Sharability," when the story
is more about the telling and retelling than the memory itself.
But this is why the personal narrative is so important--it has
the power to overturn the rewritten history, as we can see in
Sara Polly's documentary The Stories We Tell, as the story that
gets told as the truth finally unravels and a new truth emerges.