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Inventing the Truth: The Art and Craft of MemoirFrom Mariner Books
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An indispensable book by writers who have experienced firsthand the rewards and challenges of crafting a memoir
Anyone undertaking the project of writing a memoir knows that the events, memories, and emotions of the past often resist the orderly structure of a book. Inventing the Truth offers wisdom from nine notable memoirists about their process (Ian Frazier searched through generations of family papers to understand his parents' lives), the hurdles they faced (Annie Dillard tackles the central dilemma of memoir: what to put in and what to leave out), and the unexpected joys of bringing their pasts to the page. Featured authors include Russell Baker on Growing Up; Jill Ker Conway on The Road from Coorain; Annie Dillard on An American Childhood; Ian Frazier on Family; Henry Louis Gates Jr. on Colored People; Alfred Kazin on A Walker in the City; Frank McCourt on Angela's Ashes; Toni Morrison on Beloved; and Eileen Simpson on Poets in Their Youth.
- Sales Rank: #196922 in Books
- Brand: Mariner Books
- Published on: 1998-05-20
- Released on: 1998-05-20
- Original language: English
- Number of items: 1
- Dimensions: 8.25" h x .64" w x 5.50" l, .54 pounds
- Binding: Paperback
- 240 pages
- Great product!
Amazon.com Review
Every time Inventing the Truth appears in a new edition, editor William Zinsser can't help but add to it. The first edition (1987) evolved from a series of New York Public Library talks, for which the mandate was not to lecture about the genre of the memoir but to explain how a specific memoir came to be written. In the book's 1995 edition, Russell Baker, Annie Dillard, Alfred Kazin, and Toni Morrison were joined by Jill Ker Conway, Eileen Simpson, Henry Louis Gates Jr., and Ian Frazier. This time around, Zinsser has added a rich and charming reminiscence by Frank McCourt (Angela's Ashes).
The authors do stick to their assignment: Russell Baker credits his huge family with helping him "learn a lot about humanity from close-up observation"; Jill Ker Conway talks about her desire to write a female memoir that was not a romantic happily-ever-after; and Henry Louis Gates Jr. discusses "want[ing] to write a book that imitated the specialness of black culture when no white people are around." But there is also plenty of advice for writers here, and some general thoughts about the genre. Conway addresses the difficulty of "going back as a historian" and trying to understand "all the things you took as a given when you were a child." Gates warns us to "be prepared for the revelation of things you don't even dream are going to come up." And Annie Dillard contemplates the strangeness of spending "more time writing about [a scene or an event] than you did living it." --Jane Steinberg
From Publishers Weekly
Russell Baker, in writing his memoirs, left out a principal characterhis motherin the first draft. After much torment, he realized that "although nobody's life makes any sense . . . you might as well make it into a story." The six essays in this symposium explore the craft of memoir, defined here as a portion of a life, narrower in scope than autobiography. Annie Dillard argues that the best memoirs forge their own forms. Toni Morrison describes how slave narratives have influenced her work. New York's streets gave Alfred Kazin "physical images, straight from the belly," which he shaped into his self-portrait, A Walker in the City. Lewis Thomas weaves reflections on human adaptability, memory and evolution. In his introductory essay, Zinsser discusses why a good memoir is also a work of history, capturing a distinctive moment in the life of a society.
Copyright 1987 Reed Business Information, Inc.
From Library Journal
Five writers discuss the art of memoir in talks given at the New York Public Library. Each focuses on a corner of life, but one revealing both the person and the world that shaped him or her. Annie Dillard talks of her Pittsburgh childhood and her moment of waking to the world outside. Russell Baker explains why his first draft of Growing Up was so bad that he had to start over again. Alfred Kazin finds that writing about his Brooklyn childhood connected him with the great tradition of Emerson and Whitman. Toni Morrison tells why her fiction uses not only family history but the slave narratives of her people. Lewis Thomas traces the evolution of his singular self from primeval bacteria to contemporary scientist whose drive to be useful is the most fundamental of all biological necessities. A delightful and instructive book. Milton Meltzer, New York
Copyright 1987 Reed Business Information, Inc.
Most helpful customer reviews
38 of 40 people found the following review helpful.
If you're thinking about writing memoir
By Joan Mazza
In INVENTING THE TRUTH, several memoirists offer their viewpoints on writing about one's life. Each author talks about the process of discovering different ways to tell their own stories and then subjecting their stories to a critical analysis, understanding that it might be told differently. They consider how the author knows too much and must distill this glut of information into a dramatic, readable narrative that will hold a reader. That means using many of the techniques of fiction, but also being true to the events. The examples prompted me to buy several of the memoirs discussed. This book would be very helpful for anyone considering writing a memoir and it's a terrific cross-section of the genre for anyone wanting to read some of the best. ~Joan Mazza, author of DREAM BACK YOUR LIFE, DREAMING YOUR REAL SELF, and 3 books in The Guided Journal Series with Writer's Digest.
0 of 0 people found the following review helpful.
Five Stars
By Amazon Customer
That book is good in condition
15 of 15 people found the following review helpful.
Can't Say It Better Than Zin!
By A. Nocerino
Zinsser is a Zen master when it comes to memoir writing. The introduction to this book is nothing short of a tour de force. It inspires, articulates, and deconstructs the myths and perils of memoir writing. The title, INVENTING THE TRUTH, is well crafted because the book addresses the ardous task of conflating truth and memory. One caveat this book is not an easy read for high school students; in fact it is nearly inaccessible, however, a teacher or memorist could glean invaluable experience on the craft of memoir writing from the collection. In a college memoir class this book would be and should be a must-have. If this book were to be expanded again, I would suggest including exercises or contemplation questions for the writer,teacher, and student.
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