Anton Chekhov is revered as a boldly innovative playwright and short story writer—but he wrote more than just plays and stories. In Alive in the Writing—an intriguing hybrid of writing guide, biography, and literary analysis—anthropologist and novelist Kirin Narayan introduces readers to some other sides of Chekhov: his pithy, witty observations on the writing process, hisAnton Chekhov is revered as a boldly innovative playwright and short story writer—but he wrote more than just plays and stories. In Alive in the Writing—an intriguing hybrid of writing guide, biography, and literary analysis—anthropologist and novelist Kirin Narayan introduces readers to some other sides of Chekhov: his pithy, witty observations on the writing process, his life as a writer through accounts by his friends, family, and lovers, and his venture into nonfiction through his book Sakhalin Island. By closely attending to the people who lived under the appalling conditions of the Russian penal colony on Sakhalin, Chekhov showed how empirical details combined with a literary flair can bring readers face to face with distant, different lives, enlarging a sense of human responsibility. Highlighting this balance of the empirical and the literary, Narayan calls on Chekhov to bring new energy to the writing of ethnography and creative nonfiction alike. Weaving together selections from writing by and about him with examples from other talented ethnographers and memoirists, she offers practical exercises and advice on topics such as story, theory, place, person, voice, and self. A new and lively exploration of ethnography, Alive in the Writing shows how the genre’s attentive, sustained connection with the lives of others can become a powerful tool for any writer....
|Title||:||Alive in the Writing: Crafting Ethnography in the Company of Chekhov|
|Number of Pages||:||168 Pages|
|Status||:||Available For Download|
|Last checked||:||21 Minutes ago!|
Alive in the Writing: Crafting Ethnography in the Company of Chekhov Reviews
This book was a breath of fresh air and a perfect mix of the theory and practice of writing autoethnography and evocative ethnography. The writing style was accessible, and the activities are ones that I can see myself doing on a day when I feel stuck. I also think it would be a helpful read for those interested in writing creative nonfiction, whether or not it has an autoethnographic focus. I loved this book, and reading it made me feel like I was having coffee with a writing buddy to discuss our research and our art. Also, I loved the references to other literary ethnographers and found the examples helpful for scene building and sensory detail development, the writing skills that I most need to further develop.
I'm mesmerized by this book. Combining theory and a practical guide for aspiring ethnographers, creative nonfiction writers, or even any writers.The book is very neat and well-written, it uses many exquisite words that you often find in literature - making this a literary gem in nonfiction world. Although it looks like a guide, Narayan says it's more like "how-about" rather than "how-to". But the most favorite thing about this book is the whole point of the practical guide/prompts written is to make sure that your work is not just about you, scrutinizing your assumptions, and giving justice to the people/things/elements that you write about.
I'm going to write a personal thank-you note to Ms. Narayan. I barreled through this book and got a lot of writing done--probably an amount of pages half the size of her book!--that I know will somehow end up in my memoir project. I'm not writing ethnography, but I am working from memory and journals and her prompts really helped me wade through that material to get to the core of what I want to say.
This is a well-written, creative and extremely helpful book—particularly but not exclusively for those interested in ethnographic writing as well as writing social history. It is especially helpful to share with others exploring forms of writing that go beyond conventional disciplinary boundaries. I especially appreciated the grounded and compassionate advice to writers.
This is a great resource for any writer who needs some exercises and inspiration to enrich their nonfiction or "faction" as Narayan calls it. I really enjoy a lot of her insights into the imaginative process that tries to tell people's stories ethnographically and creatively.
305.8 N2186 2012