ASSAY: A JOURNAL OF NONFICTION STUDIES
  • 11.2 (Spring 2025)
    • 11.2 Articles >
      • Megan Brown, “Quit Lit” as Neoliberal Narrative: The Nonfiction of Burnout, Self-Actualization, and the Great Resignation" (Assay 11.2)
      • Amy Cook, "Where There’s Smoke, There’s Blue Sky: The Hallmarks of 9/11’s Imagery in Prose" (Assay 11.2)
    • 11.2 Conversations >
      • Thomas Larson, "The Reader's Mental Ear" (Assay 11.2)
      • Patrick Madden, "An Open Letter to My Late Friend Brian Doyle" (Assay 11.2)
      • Rhonda Waterhouse, "Woven Craft: The Artistic Tools of Toni Jensen’s “Carry” (Assay 11.2)
    • 11.2 Pedagogy >
      • Becky Blake and Matthew J. Butler, "Avoiding Empathy Fatigue: What CNF Educators Can Learn from an Oncologist" (Assay 11.2)
      • Kelly Myers and Bruce Ballenger, "Essayism in the Age of AI" (Assay 11.2)
      • Marco Wilkinson, "Exquisite Copse" (Assay 11.2)
  • Archives
    • Journal Index >
      • Author Index
      • Subject Index
    • 1.1 (Fall 2014) >
      • Editor's Note
      • 1.1 Articles >
        • Sarah Heston, "Critical Memoir: A Recovery From Codes" (1.1)
        • Andy Harper, "The Joke's On Me: The Role of Self-Deprecating Humor in Personal Narrative" (1.1)
        • Ned Stuckey-French, "Our Queer Little Hybrid Thing" (1.1)
        • Brian Nerney, "John McCarten’s ‘Irish Sketches’: ​The New Yorker’s ‘Other Ireland’ in the Early Years of the Troubles, 1968-1974" (1.1)
        • Wendy Fontaine, "Where Memory Fails, Writing Prevails: Using Fallacies of Memory to Create Effective Memoir" (1.1)
        • Scott Russell Morris, "The Idle Hours of Charles Doss, or ​The Essay As Freedom and Leisure" (1.1)
      • 1.1 Conversations >
        • Donald Morrill, "An Industrious Enchantment" (1.1)
        • Sonya Huber, "Amazon Constellations" (1.1)
        • Derek Hinckley, "Fun Home: Change and Tradition in Graphic Memoir" (1.1)
        • Interview with Melanie Hoffert
        • Interview with Kelly Daniels
      • 1.1 Pedagogy >
        • Robert Brooke, "Teaching: 'Rhetoric: The Essay'" (1.1)
        • Richard Louth, "In Brief: Autobiography and Life Writing" (1.1)
    • 1.2 (Spring 2015) >
      • 1.2 Articles >
        • Kelly Harwood, "Then and Now: A Study of Time Control in ​Scott Russell Sanders' 'Under the Influence'" (1.2)
        • Diana Wilson, "Laces in the Corset: Structures of Poetry and Prose that Bind the Lyric Essay" (1.2)
        • Randy Fertel, "A Taste For Chaos: Creative Nonfiction as Improvisation" (1.2)
        • Lynn Z. Bloom, "Why the Worst Trips are the Best: The Comic Travails of Geoffrey Wolff & Jonathan Franzen" (1.2)
        • Ingrid Sagor, "What Lies Beside Gold" (1.2)
        • Catherine K. Buni, "Ego, Trip: On Self-Construction—and Destruction—in Creative Nonfiction" (1.2)
      • 1.2 Conversations >
        • Doug Carlson, "Paul Gruchow and Brian Turner: Two Memoirs Go Cubistic" (1.2)
        • Patrick Madden, "Aliased Essayists" (1.2)
        • Beth Slattery, "Hello to All That" (1.2)
        • Interview with Michael Martone (1.2)
      • Spotlight >
        • Richard Louth, "The New Orleans Writing Marathon and the Writing World" (1.2)
        • Kelly Lock-McMillen, "Journey to the Center of a Writer's Block" (1.2)
        • Jeff Grinvalds, "Bringing It Back Home: The NOWM in My Classroom" (1.2)
        • Susan Martens, "Finding My Nonfiction Pedagogy Muse at the NOWM" (1.2)
      • 1.2 Pedagogy >
        • Steven Church, "The Blue Guide Project: Fresno" (1.2)
        • Stephanie Vanderslice, "From Wordstar to the Blogosphere and Beyond: ​A Digital Literacy and Teaching Narrative (Epiphany Included)" (1.2)
        • Jessica McCaughey, "That Snow Simply Didn’t Fall: How (and Why) to Frame the Personal Essay as a Critical Inquiry into Memory in the First-Year Writing Classroom" (1.2)
    • 2.1 (Fall 2015) >
      • Editor's Note2.1
      • 2.1 Articles >
        • Daniel Nester, "Straddling the Working Class Memoir" (2.1)
        • Sarah M. Wells, "The Memoir Inside the Essay Collection: ​Jo Ann Beard's Boys of My Youth" (2.1)
        • Chris Harding Thornton, "Ted Kooser's "Hands": On Amobae, Empathy, and Poetic Prose" (2.1)
        • Steven Harvey & Ana Maria Spagna, "The Essay in Parts" (2.1)
        • Megan Culhane Galbraith, "Animals as Aperture: How Three Essayists Use Animals to Convey Meaning and Emotion" (2.1)
      • 2.1 Conversations >
        • Barrie Jean Borich, "Deep Portrait: On the Atmosphere of Nonfiction Character" (2.1)
        • Tim Bascom, "As I See It: Art and the Personal Essay" (2.1)
        • Adrian Koesters, "Because I Said So: Language Creation in Memoir" (2.1)
        • Interview with Simmons Buntin (2.1)
        • Mike Puican, "Narrative Disruption in Memoir" (2.1)
      • 2.1 Pedagogy >
        • Bernice M. Olivas, "Politics of Identity in the Essay Tradition" (2.1)
        • Ioanna Opidee, "Essaying Tragedy" (2.1)
        • Crystal N. Fodrey, "Teaching CNF Writing to College Students: A Snapshot of CNF Pedagogical Scholarship" (2.1)
        • W. Scott Olsen, "Teaching Adventure, Exploration and Risk" (2.1)
        • Christian Exoo & Sydney Fallon, "Using CNF to Teach the Realities of Sexual Assault to ​First Responders: An Annotated Bibliography" (2.1)
    • Special Conference Issue
    • 2.2 (Spring 2016) >
      • 2.2 Articles >
        • Micah McCrary, "A Legacy of Whiteness: Reading and Teaching Eula Biss’s Notes from No Man’s Land" (2.2)
        • Marco Wilkinson, "Self-Speaking World" (2.2)
        • Miles Harvey, "We Are All Travel Writers, We Are All Blind" (2.2)
        • Ashley Anderson, "Playing with the Essay: Cognitive Pattern Play in Ander Monson and Susan Sontag" (2.2)
        • Lawrence Evan Dotson, "Persona in Progression: ​A Look at Creative Nonfiction Literature in Civil Rights and Rap" (2.2)
      • 2.2 Conversations >
        • Julie Platt, "What Our Work is For: ​The Perils and Possibilities of Arts-Based Research" (2.2)
        • William Bradley, "On the Pleasure of Hazlitt" (2.2)
        • Jie Liu, "​'Thirteen Canada Geese': On the Video Essay" (2.2)
        • Stacy Murison, "​Memoir as Sympathy: Our Desire to be Understood" (2.2)
      • 2.2 Pedagogy >
        • Stephanie Guedet, "​Feeling Human Again: Toward a Pedagogy of Radical Empathy" (2.2)
        • DeMisty Bellinger-Delfield, "Exhibiting Speculation in Nonfiction: Teaching 'What He Took'" (2.2)
        • Gail Folkins, "Straight from the Source: ​Primary Research and the Personality Profile" (2.2)
    • 3.1 (Fall 2016) >
      • 3.1 Articles >
        • Chelsey Clammer, "Discovering the (W)hole Story: On Fragments, Narrative, and Identity in the Embodied Essay" (3.1)
        • Sarah Einstein, "'The Self-ish Genre': Questions of Authorial Selfhood and Ethics in ​First Person Creative Nonfiction" (3.1)
        • Elizabeth Paul, "​Seeing in Embraces" (3.1)
        • Jennifer M. Dean, "Sentiment, Not Sentimentality" (3.1)
      • 3.1 Conversations >
        • Interview with Robert Atwan (3.1)
        • Jody Keisner, "'Did I Miss a Key Point?': ​A Study of Repetition in Joan Didion’s Blue Nights" (3.1)
        • Julija Sukys, "In Praise of Slim Volumes: Big Book, Big Evil" (3.1)
        • Lynn Z. Bloom, "​The Great American Potluck Party" (3.1)
        • Jenny Spinner, "​The Best American Essays Series as (Partial) Essay History" (3.1)
      • 3.1 Pedagogy >
        • Heath Diehl, "​The Photo Essay: The Search for Meaning" (3.1)
        • Sonya Huber, "​James Baldwin: Nonfiction of a Native Son" (3.1)
        • Christian Exoo, "Using CNF to Teach the Realities of ​Intimate Partner Violence to First Responders: An Annotated Bibliography" (3.1)
        • John Proctor, "Teachin’ BAE: A New Reclamation of Research and Critical Thought" (3.1)
        • Richard Gilbert, "Classics Lite: On Teaching the Shorter, Magazine Versions of James Baldwin's 'Notes of a Native Son' and ​Jonathan Lethem's 'The Beards'" (3.1)
        • Dawn Duncan & Micaela Gerhardt, "The Power of Words to Build Bridges of Empathy" (3.1)
    • 3.2 (Spring 2017) >
      • 3.2 Articles >
        • Jennifer Lang, "When Worlds Collide: ​Writers Exploring Their Personal Narrative in Context" (3.2)
        • Creighton Nicholas Brown, "Educational Archipelago: Alternative Knowledges and the Production of Docile Bodies in Jamaica Kincaid’s A Small Place and Marjane Satrapi’s The Complete Persepolis" (3.2)
        • Nicola Waldron, "Containing the Chaos: On Spiral Structure and the Creation of Ironic Distance in Memoir" (3.2)
        • Charles Green, "Remaking Relations: ​Reading Ta-Nehisi Coates Beyond James Baldwin" (3.2)
        • Joey Franklin, "Facts into Truths: Henry David Thoreau and the Role of Hard Facts in ​Creative Nonfiction" (3.2)
      • 3.2 Conversations >
        • Thomas Larson, "What I Am Not Yet, I Am" (3.2)
        • Amanda Ake, "Vulnerability and the Page: Chloe Caldwell’s I’ll Tell You In Person"​ (3.2)
        • "Interview with Gail Griffin" (3.2)
        • Alysia Sawchyn, "On Best American Essays 1989" (3.2)
      • 3.2 Pedagogy >
        • D. Shane Combs, "Go Craft Yourself: Conflict, Meaning, and Immediacies Through ​J. Cole’s “Let Nas Down” (3.2)
        • Michael Ranellone, "Brothers, Keepers, Students: John Edgar Wideman Inside and Outside of Prison" (3.2)
        • Emma Howes & Christian Smith, ""You have to listen very hard”: Contemplative Reading, Lectio Divina, and ​Social Justice in the Classroom" (3.2)
        • Megan Brown, "The Beautiful Struggle: ​Teaching the Productivity of Failure in CNF Courses" (3.2)
    • 4.1 (Fall 2017) >
      • Editor's Note
      • 4.1 Articles >
        • Jennifer Case, "Place Studies: Theory and Practice in Environmental Nonfiction"
        • Bob Cowser, Jr., "Soldiers, Home: Genre & the American Postwar Story from Hemingway to O'Brien & then Wolff"
        • Sam Chiarelli, "Audience as Participant: The Role of Personal Perspective in Contemporary Nature Writing"
        • Kate Dusto, "Reconstructing Blank Spots and Smudges: How Postmodern Moves Imitate Memory in Mary Karr's The Liars' Club"
        • Joanna Eleftheriou, "Is Genre Ever New? Theorizing the Lyric Essay in its Historical Context"
        • Harriet Hustis, ""The Only Survival, The Only Meaning": ​The Structural Integrity of Thornton Wilder's Bridge in John Hersey's Hiroshima"
      • 4.1 Conversations >
        • Taylor Brorby, "​On 'Dawn and Mary'"
        • Steven Harvey, "​From 'Leap'"
        • J. Drew Lanham, "​On 'Joyas Voladoras'"
        • Patrick Madden, "On 'His Last Game'"
        • Ana Maria Spagna, "On 'How We Wrestle is Who We Are'"
      • 4.1 Pedagogy >
        • Jacqueline Doyle, "Shuffling the Cards: ​I Think Back Through Judith Ortiz Cofer"
        • Amy E. Robillard, "Children Die No Matter How Hard We Try: What the Personal Essay Teaches Us About Reading"
    • 4.2 (Spring 2018) >
      • 4.2 Articles >
        • Megan Brown, "Testimonies, Investigations, and Meditations: ​Telling Tales of Violence in Memoir"
        • Corinna Cook, "Documentation and Myth: On Daniel Janke's How People Got Fire"
        • Michael W. Cox, "Privileging the Sentence: David Foster Wallace’s Writing Process for “The View from Mrs. Thompson’s”
        • Sarah Pape, "“Artistically Seeing”: Visual Art & the Gestures of Creative Nonfiction"
        • Annie Penfield, "Moving Towards What is Alive: ​The Power of the Sentence to Transform"
        • Keri Stevenson, "Partnership, Not Dominion: ​Resistance to Decay in the Falconry Memoir"
      • 4.2 Conversations >
        • Interview with Jericho Parms (4.2)
        • "Containing the Hidden Lives of Ordinary Things: A Conversation with Seven Authors"
        • Amy Monticello, "The New Greek Chorus: Collective Characters in Creative Nonfiction"
        • Stacy Murison, "David Foster Wallace's 'Ticket to the Fair'"
        • Emery Ross, "Toward a Craft of Disclosure: Risk, Shame, & Confession in the Harrowing Essay"
      • 4.2 Pedagogy >
        • Sonya Huber, "Field Notes for a Vulnerable & Immersed Narrator" (4.2)
        • W. Scott Olsen, "In Other Words" (4.2)
    • 5.1 (Fall 2018) >
      • 5.1 Articles >
        • Emily W. Blacker, "Ending the Endless: The Art of Ending Personal Essays" (5.1)
        • Marya Hornbacher, ""The World is Not Vague": Nonfiction and the Urgency of Fact" (5.1)
        • Rachel May, "The Pen and the Needle: ​ Intersections of Text and Textile in and as Nonfiction" (5.1)
        • Jen Soriano, "Multiplicity from the Margins: The Expansive Truth of Intersectional Form" (5.1)
      • 5.1 Conversations >
        • Matthew Ferrence, "In Praise of In Praise of Shadows: Toward a Structure of Reverse Momentum" (5.1)
        • John Proctor, "Nothing Out of Something: Diagramming Sentences of Oppression" (5.1)
        • Alysia Sawchyn, "Essaying the World: ​On Tell Me How It Ends: An Essay in Forty Questions" (5.1)
        • Vivian Wagner, "Crafting Digression: Interactivity and Gamification in Creative Nonfiction" (5.1)
        • Nicole Walker, "On Beauty" (5.1)
      • 5.1 Spotlight >
        • Philip Graham, "The Shadow Knows (5.1)
        • Miles Harvey, "The Two Inmates: ​Research in Creative Nonfiction and the Power of “Outer Feeling”" (5.1)
        • Tim Hillegonds, "Making Fresh" (5.1)
        • Michele Morano, "Creating Meaning Through Structure" (5.1)
      • 5.1 Pedagogy >
        • Meghan Buckley, "[Creative] Nonfiction Novella: Teaching Postcolonial Life Writing and the ​Hybrid Genre of Jamaica Kincaid’s A Small Place" (5.1)
        • Edvige Giunta, "Memoir as Cross-Cultural Practice in Italian American Studies" (5.1)
        • Jody Keisner, "Gender Identity in Personal Writing: Contextualizing the Syllabi" (5.1)
        • Terry Ann Thaxton, "Workshop Wild" (5.1)
        • Amanda Wray, "​Contesting Traditions: Oral History in Creative Writing Pedagogy" (5.1)
    • 5.2 (Spring 2019) >
      • 5.2 Articles >
        • Nina Boutsikaris, "On Very Short Books, Miniatures, and Other Becomings" (5.2)
        • Kay Sohini, "The Graphic Memoir as a Transitional Object: ​ Narrativizing the Self in Alison Bechdel’s Are You My Mother?" (5.2)
        • Kelly Weber, ""We are the Poem": Structural Fissures and Levels in ​Lidia Yuknavitch’s The Chronology of Water" (5.2)
      • 5.2 Conversations >
        • Sam Cha, "​Unbearable Splendor: Against "Hybrid" Genre; Against Genre" (5.2)
        • Rachel Cochran, "Infection in “The Hour of Freedom”: Containment and Contamination in Philip Kennicott’s “Smuggler”" (5.2)
        • Katharine Coles, "​If a Body" (5.2)
        • A.M. Larks, "Still Playing the Girl" (5.2)
      • 5.2 Spotlight >
        • Charles Green, "In Praise of Navel Gazing: An Ars Umbilica" (5.2)
        • Sarah Kruse, "​The Essay: Landscape, Failure, and Ordinary’s Other" (5.2)
        • Desirae Matherly, "Something More Than This" (5.2)
        • Susan Olding, "Unruly Pupil" (5.2)
        • Jane Silcott, "Essaying Vanity" (5.2)
      • 5.2 Tribute to Louise DeSalvo >
        • Julija Sukys, "One Mother to Another: Remembering Louise DeSalvo (1942—2018)" (5.2)
        • Nancy Caronia and Edvige Giunta, "The Essential Louise DeSalvo Reading List" (5.2)
        • Nancy Caronia and Edvige Giunta, "From the Personal Edge: Beginning to Remember Louise DeSalvo" (5.2)
        • Richard Hoffman, "DeSalvo Tribute, IAM Books, Boston" (5.2)
        • Peter Covino, "Getting It Right – Homage for Louise DeSalvo" (5.2)
        • Mary Jo Bona, "Pedagogy of the Liberated and Louise DeSalvo’s Gifts" (5.2)
        • Joshua Fausty, "The Shared Richness of Life Itself" (5.2)
      • 5.2 Pedagogy >
        • Ashley Anderson, "Teaching Experimental Structures through Objects and ​John McPhee’s 'The Search for Marvin Gardens'" (5.2)
        • Trisha Brady, "Negotiating Linguistic Borderlands, Valuing Linguistic Diversity, and Incorporating Border Pedagogy in a College Composition Classroom" (5.2)
        • Kim Hensley Owens, "Writing Health and Disability: Two Problem-Based Composition Assignments" (5.2)
        • Reshmi Mukherjee, "Threads: From the Refugee Crisis: Creative Nonfiction and Critical Pedagogy" (5.2)
        • Susan M. Stabile, "Architectures of Revision" (5.2)
    • 6.1 (Fall 2019) >
      • 6.1 Articles >
        • Lynn Z. Bloom, "The Slippery Slope: ​Ideals and Ethical Issues in High Altitude Climbing Narratives" (6.1)
        • Tanya Bomsta, "The Performance of Epistemic Agency of the ​Autobiographical Subject in Terry Tempest Williams’s When Women Were Birds: Fifty-four Variations on Voice" (6.1)
        • Lorna Hummel, "Querying and Queering Caregiving: Reading Bodies Othered by Illness via Porochista Khakpour’s Sick: A Memoir" (6.1)
        • Laura Valeri, "Tell Tale Interviews: Lessons in True-Life Trauma Narratives Gleaned from ​Jennifer Fox’s The Tale" (6.1)
        • Arianne Zwartjes​, "Under the Skin: An Exploration of Autotheory" (6.1)
      • 6.1 Conversations >
        • Tracy Floreani, "​"Sewing and Telling": On Textile as Story" (6.1)
        • Tessa Fontaine, "The Limits of Perception: Trust Techniques in Nonfiction" (6.1)
        • Patrick Madden, "​Once More to 'His Last Game'" (6.1) >
          • Brian Doyle, "Twice More to the Lake" (6.1)
        • Randon Billings Noble, "The Sitting" (6.1)
        • Donna Steiner, "Serving Size: On Hunger and Delight" (6.1)
        • Natalie Villacorta, "Autofiction: Rightly Shaped for Woman’s Use" (6.1)
      • 6.1 Tribute to Ned Stuckey-French >
        • Marcia Aldrich, "The Book Reviewer" (6.1)
        • Bob Cowser, "Meeting Bobby Kennedy" (6.1)
        • Sonya Huber, "Working and Trying" (6.1)
        • Carl H. Klaus, "On Ned Stuckey-French and Essayists on the Essay" (6.1)
        • Robert Root, "On The American Essay in the American Century" (6.1)
      • 6.1 Pedagogy >
        • John Currie, "​The Naïve Narrator in Student-Authored Environmental Writing" (6.1)
        • Steven Harvey, "The Humble Essayist's Paragraph of the Week: A Discipline of the Heart and Mind" (6.1)
        • Reagan Nail Henderson, "Make Me Care!: Creating Digital Narratives in the Composition Classroom" (6.1)
        • Abriana Jetté, "Making Meaning: Authority, Authorship, and the Introduction to Creative Writing Syllabus" (6.1)
        • Jessie Male, "Teaching Lucy Grealy’s “Mirrorings” and the Importance of Disability Studies Pedagogy in Composition Classrooms" (6.1)
        • Wendy Ryden, "Liminally True: Creative Nonfiction as Transformative Thirdspace" (6.1)
    • 6.2 (Spring 2020) >
      • Guest Editor's Note to the Special Issue
      • 6.2 Articles >
        • Maral Aktokmakyan, "Revisioning Gendered Reality in ​Armenian Women’s Life Writing of the Post-Genocidal Era: Zaruhi Kalemkearian’s From the Path of My Life"
        • Manisha Basu, "Regimes of Reality: ​Of Contemporary Indian Nonfiction and its Free Men"
        • Stefanie El Madawi, "Telling Tales: Bearing Witness in Jennifer Fox’s The Tale"
        • Inna Sukhenko and Anastasia Ulanowicz, "Narrative, Nonfiction, and the Nuclear Other: Western Representations of Chernobyl in the Works of Adam Higginbotham, Serhii Plokhy, and Kate Brown"
      • 6.2 Conversations >
        • Leonora Anyango-Kivuva, "Daughter(s) of Rubanga: An Author, a Student, and Other Stories in Between"
        • Victoria Brown, "How We Write When We Write About Life: Caribbean Nonfiction Resisting the Voyeur"
        • David Griffith, "Wrecking the Disimagination Machine"
        • Stacey Waite, "Coming Out With the Truth"
      • Tribute to Michael Steinberg >
        • Jessica Handler, "Notes on Mike Steinberg"
        • Joe Mackall, "Remembering Mike Steinberg: On the Diamond and at the Desk"
        • Laura Julier, "Making Space"
      • 6.2 Pedagogy >
        • Jens Lloyd, "Truthful Inadequacies: Teaching the Rhetorical Spark of Bashō’s Travel Sketches"
        • George H. Jensen, "Situating Scenes: Cheryl Strayed’s “The Love of My Life”
        • Gregory Stephens, "Footnotes from the ‘Margins’: Outcomes-based Literary Nonfiction Pedagogy in Puerto Rico"
    • 7.1 (Fall 2020) >
      • 7.1 Articles >
        • Jo-Anne Berelowitz, "Mourning and Melancholia in Memoir" (Assay 7.1)
        • Carlos Cunha, "On the Chronicle" (Assay 7.1)
        • August Owens Grimm, "Haunted Memoir" (Assay 7.1)
        • Colleen Hennessy, "Irish Motherhood in Irish Nonfiction: Abortion and Agency" (Assay 7.1)
        • James Perrin Warren, "Underland: Reading with Robert Macfarlane" (Assay 7.1)
      • 7.1 Conversations >
        • Alex Brostoff, ""What are we going to do with our proximity, baby!?" ​ A Reply in Multiples of The Hundreds" (Assay 7.1)
        • Steven Harvey, "Lyric Memory: A Guide to the Mnemonics of Nonfiction" (Assay 7.1)
        • Lisa Low, "Proleptic Strategies in Race-Based Essays: Jordan K. Thomas, Rita Banerjee, and Durga Chew-Bose" (Assay 7.1)
        • Nicole Walker, "The Concrete Poetry of Ander Monson’s Essays" (Assay 7.1)
      • 7.1 Pedagogy >
        • Audrey T. Heffers, "Positionality and Experience in the Creative Nonfiction Classroom" (Assay 7.1)
        • James McAdams, "Ars Poetica, Ars Media, Ars COVID-19: Creative Writing in the Medical Classroom" (Assay 7.1)
        • Freesia McKee, "Feedback as Fan Letter" (Assay 7.1)
        • Tonee Mae Moll, "Teaching and Writing True Stories Through ​Feminist, Womanist and Black Feminist Epistemologies" (Assay 7.1)
        • Jill Stukenberg, "“Inspiration in the Drop of Ink”: Scholarship of Teaching and Learning Observations in Introduction to Creative Writing" (Assay 7.1)
    • 7.2 (Spring 2021) >
      • 7.2 Articles >
        • Whitney Brown, "Melting Ice and Disappointing Whale Hunts: A Climate-Focused Review of Contemporary Travel Writing" (Assay 7.2)
        • George Estreich, "Ross Gay’s Logics of Delight" (Assay 7.2)
        • Wes Jamison, "'You Are Absent': The Pronoun of Address in Nonfiction" (Assay 7.2)
        • Zachary Ostraff, "The Lyric Essay as a Form of Counterpoetics" (Assay 7.2)
        • Kara Zivin, "Interrogating Patterns: Meandering, Spiraling, and Exploding through ​The Two Kinds of Decay" (Assay 7.2)
      • 7.2 Conversations >
        • Sarah Minor
        • David Shields
      • 7.2 Pedagogy >
        • Megan Baxter, "On Teaching Brian Doyle’s “Leap” to Students Born After 9/11" (Assay 7.2)
        • Jennifer Case, "'Toward a New, Broader Perspective': Place-Based Pedagogy and the Narrative Interview"
        • Kelly K. Ferguson, "Cribbing Palpatine’s Syllabus: Or, What Professoring for the Evil Empire Taught Me ​About Instructional Design" (Assay 7.2)
        • Jennifer Pullen, "Seeking Joy in the Classroom: Nature Writing in 2020" (Assay 7.2)
    • 8.1 (Fall 2021) >
      • 8.1 Articles >
        • Allison Ellis, "Nonfiction Ghost Hunting" (Assay 8.1)
        • Lisa Levy, "We Are All Modern: Exploring the Vagaries of Consciousness in 20th & 21st Century Biography and Life Writing" (Assay 8.1)
        • Ashley Espinoza, "A las Mujeres: Hybrid Identities in Latina Memoir" (Assay 8.1)
        • Cherie Nelson, "The Slippery Self: Intertextuality in Lauren Slater’s Lying" (Assay 8.1)
        • Amie Souza Reilly, "Reading the Gaps: On Women’s Nonfiction and Page Space" (Assay 8.1)
      • 8.1 Conversations >
        • Amy Bowers, "The Elegiac Chalkboard in Jo Ann Beard’s “The Fourth State of Matter”" (Assay 8.1)
        • Theresa Goenner, "​The Mania of Language: Robert Vivian's Dervish Essay" (Assay 8.1)
        • Kathryn Nuernberger, "Writing Women’s Histories" (Assay 8.1)
        • Louisa McCullough, "The Case for In-Person Conversation" (Assay 8.1)
        • Kat Moore, "Rupture in Time (and Language): Hybridity in Kathy Acker’s Essays" (Assay 8.1)
      • 8.1 Pedagogy >
        • Mike Catron, "There’s No Such Thing as Too Much of Jason Sheehan’s “There’s No Such Thing As Too Much Barbecue”: ​A Pedagogical Discussion" (Assay 8.1)
        • Brooke Covington, "Ars Media: A Toolkit for Narrative Medicine in Writing Classrooms" (Assay 8.1)
        • W. Scott Olsen, "​A Desire for Stories" (Assay 8.1)
        • C.S. Weisenthal, "​Seed Stories: Pitched into the Digital Archive" (Assay 8.1)
    • 8.2 (Spring 2022) >
      • 8.2 Articles >
        • Barrie Jean Borich, "Radical Surprise: The Subversive Art of the Uncertain," (8.2)
        • George Estreich, "Feeling Seen: Blind Man’s Bluff, Memoir, and the Sighted Reader" (8.2)
        • Kristina Gaddy, "When Action is Too Much and Not Enough: A Study of Mode in Narrative Journalism" (8.2)
        • Marya Hornbacher, "Solitude Narratives: Towards a Future of the Form" (8.2)
        • Margot Kotler, "Susan Sontag, Lorraine Hansberry, and the ​Politics of Queer Biography " (8.2)
      • 8.2 Conversations >
        • Michael W. Cox , "On Two Published Versions of Joan Didion’s “Marrying Absurd” (8.2)
        • Hugh Martin, "No Cheap Realizations: On Kathryn Rhett’s “Confinements” (8.2)
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ASSAY: A JOURNAL OF NONFICTION STUDIES
3.1

Picture

Dawn Duncan & Micaela Gerhardt

​
The Power of Words to Build Bridges of Empathy



Words have the power to harm or to heal; they are never neutral.  I am called to use healing words.
​-Dawn Duncan

__________
At a table in Belfast, Ireland, a slightly built 16-year-old boy with ebony skin sits silently beside a chubby 60-year-old woman with skin the color of light sand.  What can these two strangers have to say to one another?  How can they understand anything about the other’s life in the townships of South Africa or on the northern plains of Minnesota?  If each could pick up a book and read a story that encapsulates the other’s life, each might gain entry to the other’s heart, but most of us will never be a character in a book; we are, merely and completely, the central character in our own life story. Narrative 4, a global organization committed to fostering radical empathy across this tension-fraught world by using a non-fiction, lived and shared story-telling process, provides a way that these two strangers can walk across a bridge of words and enter one another’s story, even learn to tell the other’s story as if it were their own.

Narrative 4 began with a shared vision under the co-leadership of award-winning author Colum McCann.  I first met Colum in 2009 when he came to Concordia College in Moorhead, MN, where I teach.  Colum had won the National Book Award for fiction that year for his stunning novel, Let the Great World Spin, and he impressed me with the integrity of his artistic vision as I listened to his public interview on stage and his informal conversation with students and staff.  While he was on campus, my proposal to chair an international symposium on “The Role of the Artist in Society” at Concordia in 2011 was accepted, and I immediately asked Colum if he would come back to deliver the opening night plenary on how writers can and should responsibly engage with the world. He returned and we have remained in touch as both of us continued our individual work to use words for healing and good in our world.  

Colum’s books lend themselves to pedagogical explorations of empathy.  He has a powerful, subtle manner of entering into the experience of someone quite other than himself.  His novel Zoli, inspired by Bronislawa Wais, or Papusza, a Polish Romani poet, demonstrated these qualities so well that I chose it as the summer book read preceding the 2011 “Role of the Artist in Society” symposium and why I continue to use the novel in my course “Compassionate Imagination.” In this course we study the philosophy of compassion as articulated by Emmanuel Levinas and Martha Nussbaum, applying their philosophies to literary works in which the author has imaginatively internalized the voice of one quite other, and dignified and humanized that other in a manner that creates empathy in the reader.  Colum, in the writing of Zoli, spent a good deal of time with the Romani in order to dignify their culture as he attempted to inhabit and re-tell the story of this woman whose poems were her life-blood but also brought her great sorrow as others made use of them in ways not appropriate to her culture.  The book is an exercise in the empathic reach of storytelling.
 

At the same time that I was working to make the philosophy of compassion central to my literature courses, Colum began work with a core group of artists, activists and educators to set up Narrative 4 (N4), which in three short years has become global in reach.  In 2012, Lisa Consiglio, Narrative 4’s co-founder and the former director of the Aspen Writers’ Foundation, convened Colum and other writers who believe that stories can—and do—change the world, that every story must be heard and that our survival as a society depends on this human connection.  Over the course of five days, the group experienced their first story exchange and N4 was born.  The vision of Narrative 4 is “fearless hope through radical empathy” fostered through a specific story exchange process.
 

Lee Keylock, a high school teacher in Newtown, Connecticut, would eventually become the programs director who would guide teachers in how to implement the methodologies of N4.  A few short months after N4 came into being, one of the most horrific shootings in US history took place when schoolchildren and staff members at Sandy Hook Elementary in Newtown were gunned down by a mentally ill young man; Lee used Colum’s book Let the Great World Spin as a way to help his students and town heal and Colum joined him in Newtown, meeting with and talking to survivors and their family members, listening to their stories even as his book helped promote healing.  Paths converged.  
​

While it was clear that the early focus was to bring high school age students together across such divides as class in the Bronx or religion in Belfast, I began to wonder how my college students and I—on the Great Plains of western Minnesota—could become part of the movement. Colum immediately connected me with the other founders, supporting my desire to join their effort. In June 2016, Micaela Gerhardt, a student who had taken classes with me and became a researcher alongside me for the summer of 2016, accompanied me to the N4 summit in Ireland as we prepare to implement N4 on Concordia’s campus this fall.
__________
I am the daughter of two book-lovers, one who drinks coffee and one who drinks tea. My mom is a high school English teacher who read aloud to me nearly every night while I was a child, and my dad is a journalist and T.V. anchorman who began to read me poetry during my high school years. When we went on road trips to visit Yellowstone or the Black Hills or Devil’s Tower, we listened to Frank McCourt’s ‘Tis or  Victor Hugo’s Les Miserables or J.K. Rowling’s Harry Potter series on audiobook in the car. And we liked to talk about the stories we read and told and listened to. Storytelling was an inextricable part of our lives, and that words mattered, and that we considered their many meanings and nuances often. 

This is still true. Last weekend, my mom read the first chapter of Frederick Buechner’s The Sacred Journey aloud and we discussed the concept of time and how it is different when people are young. Buechner refers to a childlike sense of time as “below a time,” and writes, “It is by its content rather than its duration that a child knows time, by its quality rather than its quantity—happy times and sad times, the time the rabbit bit your finger, the time you had your first taste of bananas and cream, the time you were crying yourself to sleep when somebody came and lay down beside you in the dark for comfort” (9).  A few days earlier, my dad read me a poem because he needed some feedback, particularly regarding the last line. And so I suppose it is because my parents understood the significance of words and storytelling that I became a fervent reader and writer and, later, an English major. 

At Concordia College in Moorhead, MN, I study English writing with concentrations in poetry and nonfiction. In the fall of my junior year, I elected to take Dr. Dawn Duncan’s “Irish Drama” course in order to fulfill requirements for my major. Because I had switched majors multiple times during my freshman and sophomore years, it was the first literature class I had taken in college and it was a 400 level course. I was terrified—nervous to speak up, afraid my classmates knew more about literary devices and critical approaches than I ever would. However, Dr. Duncan reassured me repeatedly. It was hard work—I pored over each text we were assigned multiple times, taking notes in the margins, sometimes calling my mom to talk about ideas I had for my papers. It felt good to be really, truly challenged, and so when Dr. Duncan announced that her course, “Compassionate Imagination,” which was usually reserved for students in the academic honor’s program, would be available to all students, I signed up for it without hesitation. Through this class, I learned how to articulate a philosophy that I had always inherently believed, “that we must see the Other as uniquely other rather than always looking for ourselves in someone else if we are to learn how to love those different from ourselves” (Duncan, Compassionate Imagination Syllabus). Feeling excited and empowered, I approached Dr. Duncan about possibilities for summer research and she introduced me to Narrative 4. I was immediately, earnestly hooked and applied for an undergraduate research grant from my college to implement the program both on campus and in my community in an effort to generate understanding between disparate demographics, promoting a community of citizens who take responsibility for each other. 
Dawn and I noted tensions between the local media and the immigrant and refugee population in Fargo-Moorhead. We decided to commence our work amongst those groups, though we will continue to extend N4's services to other demographics as well.

At the heart of Narrative 4 is the story exchange process, the core methodology through which the organization achieves their mission, “fearless hope through radical empathy.” Participants are each randomly assigned a partner, with whom they share a significant story from their life. Each person must listen attentively, noting details and attempting to grasp the heart of the story, because later, the partners return to a small group of 5 to 6 pairings (10-12 individuals), plus a facilitator, and retell their partner’s story in the first person. The listener gains empathy while the storyteller gains resilience, and the group as a whole forms a profound bond of trust that cannot be broken. The organization has facilitated story exchanges throughout the great wide world—in Ireland, Mexico, Israel, Palestine, South Africa, and in ten U.S. states. In June 2016, representatives from these places gathered in Ireland and Northern Ireland for N4’s annual summit, which Dr. Duncan and I were invited to participate in.

In Belfast, during my second story exchange, the American naturalist and author Terry Tempest Williams told me a story about visiting the Arctic to see the great white polar bears that became my operating metaphor for the entire experience. On one of her outings to scout out the bears, she saw an Inupiat woman spinning in circles and falling down over and over again. The woman spoke to Terry, and said, “My name is Marie and my world is spinning.” This is an image that resonated—the spinning woman, the white sky, the frozen snow—I wondered what Terry thought of her, and what she thought of Terry, and why her world was spinning, and whether or not she ever got it straightened out. Terry did not provide the answers to these questions in her story. Perhaps she is still trying to figure it out for herself. I share this story because on the last night of the summit, when I had returned to my room, I dropped something on my floor and bent to pick it up. As I reached down, I fell, and my eyesight momentarily blurred. Earlier that day, my mom had texted me to see how I was doing, and I replied, “I can feel my life changing.” And while there is likely a scientific explanation for the strange dizzy sensation I experienced, maybe hunger, or exhaustion, or both, I prefer to believe that I had internalized Terry’s story, and Marie’s story, and that their stories had become my story. My other theory is that my world was simply spinning too, changing at a speed that could, quite literally, knock me off of my feet. I no longer felt I had the ability to remain stationary in regards to my beliefs—it was time for me to put them into action. Narrative 4 can have that sort of effect.

While attending N4's summit, I heard and shared stories that set the world into that kind of motion. It seemed around every turn a new adventure awaited, a new story unfurled, a new person came to life—Colum McCann, with a thin scarf draped around his neck, reciting poems by Seamus Heaney or Patrick Kavanagh; Colm Mac Con Ionmaire, who played a five-string violin with something that can only be described as magic, his head bowed slightly, his blue eyes watching his hands and his bow; Terry Tempest Williams, with her white hair and silver jewelry, who squeezed my hand as I told her my story, communicating both power and peace.
​

The power of radical empathy was evident in the energy of so many who firmly believed in the power of storytelling and shared dialogue to effect change in the world.  Hearing each unique participant’s story and telling my own, of exploring the concepts of empathy and action together, was beyond my expectations. Perhaps I can best describe it using words by the Persian poet, Rumi, who writes, “Out beyond ideas of right-doing and wrong-doing, there is a field. When the soul lies down in that grass, the world is too full to talk about.” Narrative 4 provided this field for me—a safe space, devoid of judgment, brimming with love, where I could tell my story—and when my soul laid down in its grass, I could hardly find the words to explain its magnificence. I knew the only thing to do would be to plant this field in my community, in an effort to welcome more tired people looking for peaceable ground.
__________
Micaela’s experience, as well as my own, convinced me that Narrative 4 is the right approach for activating the power of words to heal individuals and build community. As we begin to seed the fields we find in our own communities, we meet with local civic and government leaders, presenting the program and seeking their input as to where and how N4 might be useful to help build bridges of understanding.  September 2016 will mark the kickoff of N4 at Concordia College during its annual symposium, this year themed  “America and the Middle East: Local and Global Dimensions.”  The connection between the symposium topic and our intended use of Narrative 4 is one that resonates both locally and globally. The Fargo-Moorhead area is a relocation center for immigrants and refugees, particularly those assisted by Lutheran Social Services, and one of our local television news stations has fed the fear of immigrants persistently over the past year, trying to stir up resistance to welcoming them here. While other local media outlets have defended our immigrants, the best way to change fear to understanding, unfounded hatred to empathy, is through personal encounters, particularly when that encounter includes a sustained narrative, as in the story exchange process.  

During the week of the symposium events, Lee Keylock will lead a series of concurrent sessions titled “What’s Your Story? Using Narrative to Foster Empathy in Our World,” during which we will explain the program and demonstrate the story exchange.  Neuroscientists have reported in the most prestigious science journals that such encounters actually increase the empathetic centers of the brain.  If we can touch hearts and change minds, we can change the communities in which we live, and that can change the world.  During the concurrent sessions, six of our local immigrants from the Middle East and six of our college students will share one another’s stories in first person in the way of N4’s story exchange.  We will then discuss how the process changed them, how it can make change.  Later that week, we will conduct a 4-hour evening certification training session for faculty and students, the first of many.  We will begin to build a corps of Narrative 4 facilitators, ready to go wherever there is a need.

Our long-term approach to N4 at Concordia, from a curricular perspective, is a proposal for a scaffolding approach to implementing N4 on campus.  We propose taking all first-year students through a story exchange around November of their first semester.  This may be facilitated through a Student Affairs session such as their FYT (First-Year Transition) Lab or through one of their required courses in written or oral communication. Best practice indicates that sitting across the circle from your story partner intensifies the re-telling experience as you look into the face of the person whose story you have internalized and share.  Because first-year students increasingly show signs of struggling to feel secure and to exercise resilience, a community building process such as N4 promotes can help them find a sense of belonging, to recognize that others care for them, see them, and hear them.  

​
After their own experience with the story exchange, some may then elect to take courses in our interdisciplinary approach to Narrative 4.  In addition to the English department, History, Religion, Philosophy, Sociology, Psychology, and Neuroscience have all expressed interest in coursework that will support the initiative.  Finally, those students who decide to go through the certification process will then become facilitators, ready to go where they are needed, whether that is locally or globally.  Their work as facilitators will be a part of the experiential learning curriculum requirement (called Peak) of the college’s mission to help students responsibly engage in the world.  With this kind of scaffolding and the ongoing support and collaboration of various departments, the student government, and the administration, Narrative 4 will become a core method for enacting the power of words to make positive changes in lives and community beyond Concordia’s campus.

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Dawn Duncan has taught at Concordia College for 21 years in the English Department and in the First-Year Program. She also teaches in the interdisciplinary Film Studies and Global Studies Programs, specializing in all things Irish. Dawn is the author of numerous essays and three books, most recently Irish Myth, Legend and Lore on Film.  Dawn’s first short feature film, which she wrote, directed and edited, was premiered at the 2016 Fargo Film Festival and will be screened at IASIL in Cork this July.  Titled “A Heart Remembers,” it was inspired by the WB Yeats poem “When You Are Old.”  When not teaching or writing, Dawn can usually be found on stage as an actor, or walking a dog somewhere and learning to say “May I pet your dog?” in the local language. 
​
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Micaela Gerhardt is a senior at Concordia College in Moorhead, MN where she studies Spanish and English writing with a concentration in nonfiction and poetry. She will be Editor-in-Chief of Concordia's literary journal, AfterWork, and Co-President of SALSA (Student Association for Living and Studying Abroad) this upcoming school year. She plans to pursue an MA in Creative Writing after graduation.
Click here to download a printable PDF with Works Cited.

Related Works

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Feeling Human Again: Toward a Pedogogy of Radical Empathy
2.2 Pedagogy
Bernice M. Olivas
Politics of Identity in the Essay Tradition
2.1 Pedagogy
Ioanna Opidee
​Essaying Tragedy
2.1 Pedagogy

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        • Ioanna Opidee, "Essaying Tragedy" (2.1)
        • Crystal N. Fodrey, "Teaching CNF Writing to College Students: A Snapshot of CNF Pedagogical Scholarship" (2.1)
        • W. Scott Olsen, "Teaching Adventure, Exploration and Risk" (2.1)
        • Christian Exoo & Sydney Fallon, "Using CNF to Teach the Realities of Sexual Assault to ​First Responders: An Annotated Bibliography" (2.1)
    • Special Conference Issue
    • 2.2 (Spring 2016) >
      • 2.2 Articles >
        • Micah McCrary, "A Legacy of Whiteness: Reading and Teaching Eula Biss’s Notes from No Man’s Land" (2.2)
        • Marco Wilkinson, "Self-Speaking World" (2.2)
        • Miles Harvey, "We Are All Travel Writers, We Are All Blind" (2.2)
        • Ashley Anderson, "Playing with the Essay: Cognitive Pattern Play in Ander Monson and Susan Sontag" (2.2)
        • Lawrence Evan Dotson, "Persona in Progression: ​A Look at Creative Nonfiction Literature in Civil Rights and Rap" (2.2)
      • 2.2 Conversations >
        • Julie Platt, "What Our Work is For: ​The Perils and Possibilities of Arts-Based Research" (2.2)
        • William Bradley, "On the Pleasure of Hazlitt" (2.2)
        • Jie Liu, "​'Thirteen Canada Geese': On the Video Essay" (2.2)
        • Stacy Murison, "​Memoir as Sympathy: Our Desire to be Understood" (2.2)
      • 2.2 Pedagogy >
        • Stephanie Guedet, "​Feeling Human Again: Toward a Pedagogy of Radical Empathy" (2.2)
        • DeMisty Bellinger-Delfield, "Exhibiting Speculation in Nonfiction: Teaching 'What He Took'" (2.2)
        • Gail Folkins, "Straight from the Source: ​Primary Research and the Personality Profile" (2.2)
    • 3.1 (Fall 2016) >
      • 3.1 Articles >
        • Chelsey Clammer, "Discovering the (W)hole Story: On Fragments, Narrative, and Identity in the Embodied Essay" (3.1)
        • Sarah Einstein, "'The Self-ish Genre': Questions of Authorial Selfhood and Ethics in ​First Person Creative Nonfiction" (3.1)
        • Elizabeth Paul, "​Seeing in Embraces" (3.1)
        • Jennifer M. Dean, "Sentiment, Not Sentimentality" (3.1)
      • 3.1 Conversations >
        • Interview with Robert Atwan (3.1)
        • Jody Keisner, "'Did I Miss a Key Point?': ​A Study of Repetition in Joan Didion’s Blue Nights" (3.1)
        • Julija Sukys, "In Praise of Slim Volumes: Big Book, Big Evil" (3.1)
        • Lynn Z. Bloom, "​The Great American Potluck Party" (3.1)
        • Jenny Spinner, "​The Best American Essays Series as (Partial) Essay History" (3.1)
      • 3.1 Pedagogy >
        • Heath Diehl, "​The Photo Essay: The Search for Meaning" (3.1)
        • Sonya Huber, "​James Baldwin: Nonfiction of a Native Son" (3.1)
        • Christian Exoo, "Using CNF to Teach the Realities of ​Intimate Partner Violence to First Responders: An Annotated Bibliography" (3.1)
        • John Proctor, "Teachin’ BAE: A New Reclamation of Research and Critical Thought" (3.1)
        • Richard Gilbert, "Classics Lite: On Teaching the Shorter, Magazine Versions of James Baldwin's 'Notes of a Native Son' and ​Jonathan Lethem's 'The Beards'" (3.1)
        • Dawn Duncan & Micaela Gerhardt, "The Power of Words to Build Bridges of Empathy" (3.1)
    • 3.2 (Spring 2017) >
      • 3.2 Articles >
        • Jennifer Lang, "When Worlds Collide: ​Writers Exploring Their Personal Narrative in Context" (3.2)
        • Creighton Nicholas Brown, "Educational Archipelago: Alternative Knowledges and the Production of Docile Bodies in Jamaica Kincaid’s A Small Place and Marjane Satrapi’s The Complete Persepolis" (3.2)
        • Nicola Waldron, "Containing the Chaos: On Spiral Structure and the Creation of Ironic Distance in Memoir" (3.2)
        • Charles Green, "Remaking Relations: ​Reading Ta-Nehisi Coates Beyond James Baldwin" (3.2)
        • Joey Franklin, "Facts into Truths: Henry David Thoreau and the Role of Hard Facts in ​Creative Nonfiction" (3.2)
      • 3.2 Conversations >
        • Thomas Larson, "What I Am Not Yet, I Am" (3.2)
        • Amanda Ake, "Vulnerability and the Page: Chloe Caldwell’s I’ll Tell You In Person"​ (3.2)
        • "Interview with Gail Griffin" (3.2)
        • Alysia Sawchyn, "On Best American Essays 1989" (3.2)
      • 3.2 Pedagogy >
        • D. Shane Combs, "Go Craft Yourself: Conflict, Meaning, and Immediacies Through ​J. Cole’s “Let Nas Down” (3.2)
        • Michael Ranellone, "Brothers, Keepers, Students: John Edgar Wideman Inside and Outside of Prison" (3.2)
        • Emma Howes & Christian Smith, ""You have to listen very hard”: Contemplative Reading, Lectio Divina, and ​Social Justice in the Classroom" (3.2)
        • Megan Brown, "The Beautiful Struggle: ​Teaching the Productivity of Failure in CNF Courses" (3.2)
    • 4.1 (Fall 2017) >
      • Editor's Note
      • 4.1 Articles >
        • Jennifer Case, "Place Studies: Theory and Practice in Environmental Nonfiction"
        • Bob Cowser, Jr., "Soldiers, Home: Genre & the American Postwar Story from Hemingway to O'Brien & then Wolff"
        • Sam Chiarelli, "Audience as Participant: The Role of Personal Perspective in Contemporary Nature Writing"
        • Kate Dusto, "Reconstructing Blank Spots and Smudges: How Postmodern Moves Imitate Memory in Mary Karr's The Liars' Club"
        • Joanna Eleftheriou, "Is Genre Ever New? Theorizing the Lyric Essay in its Historical Context"
        • Harriet Hustis, ""The Only Survival, The Only Meaning": ​The Structural Integrity of Thornton Wilder's Bridge in John Hersey's Hiroshima"
      • 4.1 Conversations >
        • Taylor Brorby, "​On 'Dawn and Mary'"
        • Steven Harvey, "​From 'Leap'"
        • J. Drew Lanham, "​On 'Joyas Voladoras'"
        • Patrick Madden, "On 'His Last Game'"
        • Ana Maria Spagna, "On 'How We Wrestle is Who We Are'"
      • 4.1 Pedagogy >
        • Jacqueline Doyle, "Shuffling the Cards: ​I Think Back Through Judith Ortiz Cofer"
        • Amy E. Robillard, "Children Die No Matter How Hard We Try: What the Personal Essay Teaches Us About Reading"
    • 4.2 (Spring 2018) >
      • 4.2 Articles >
        • Megan Brown, "Testimonies, Investigations, and Meditations: ​Telling Tales of Violence in Memoir"
        • Corinna Cook, "Documentation and Myth: On Daniel Janke's How People Got Fire"
        • Michael W. Cox, "Privileging the Sentence: David Foster Wallace’s Writing Process for “The View from Mrs. Thompson’s”
        • Sarah Pape, "“Artistically Seeing”: Visual Art & the Gestures of Creative Nonfiction"
        • Annie Penfield, "Moving Towards What is Alive: ​The Power of the Sentence to Transform"
        • Keri Stevenson, "Partnership, Not Dominion: ​Resistance to Decay in the Falconry Memoir"
      • 4.2 Conversations >
        • Interview with Jericho Parms (4.2)
        • "Containing the Hidden Lives of Ordinary Things: A Conversation with Seven Authors"
        • Amy Monticello, "The New Greek Chorus: Collective Characters in Creative Nonfiction"
        • Stacy Murison, "David Foster Wallace's 'Ticket to the Fair'"
        • Emery Ross, "Toward a Craft of Disclosure: Risk, Shame, & Confession in the Harrowing Essay"
      • 4.2 Pedagogy >
        • Sonya Huber, "Field Notes for a Vulnerable & Immersed Narrator" (4.2)
        • W. Scott Olsen, "In Other Words" (4.2)
    • 5.1 (Fall 2018) >
      • 5.1 Articles >
        • Emily W. Blacker, "Ending the Endless: The Art of Ending Personal Essays" (5.1)
        • Marya Hornbacher, ""The World is Not Vague": Nonfiction and the Urgency of Fact" (5.1)
        • Rachel May, "The Pen and the Needle: ​ Intersections of Text and Textile in and as Nonfiction" (5.1)
        • Jen Soriano, "Multiplicity from the Margins: The Expansive Truth of Intersectional Form" (5.1)
      • 5.1 Conversations >
        • Matthew Ferrence, "In Praise of In Praise of Shadows: Toward a Structure of Reverse Momentum" (5.1)
        • John Proctor, "Nothing Out of Something: Diagramming Sentences of Oppression" (5.1)
        • Alysia Sawchyn, "Essaying the World: ​On Tell Me How It Ends: An Essay in Forty Questions" (5.1)
        • Vivian Wagner, "Crafting Digression: Interactivity and Gamification in Creative Nonfiction" (5.1)
        • Nicole Walker, "On Beauty" (5.1)
      • 5.1 Spotlight >
        • Philip Graham, "The Shadow Knows (5.1)
        • Miles Harvey, "The Two Inmates: ​Research in Creative Nonfiction and the Power of “Outer Feeling”" (5.1)
        • Tim Hillegonds, "Making Fresh" (5.1)
        • Michele Morano, "Creating Meaning Through Structure" (5.1)
      • 5.1 Pedagogy >
        • Meghan Buckley, "[Creative] Nonfiction Novella: Teaching Postcolonial Life Writing and the ​Hybrid Genre of Jamaica Kincaid’s A Small Place" (5.1)
        • Edvige Giunta, "Memoir as Cross-Cultural Practice in Italian American Studies" (5.1)
        • Jody Keisner, "Gender Identity in Personal Writing: Contextualizing the Syllabi" (5.1)
        • Terry Ann Thaxton, "Workshop Wild" (5.1)
        • Amanda Wray, "​Contesting Traditions: Oral History in Creative Writing Pedagogy" (5.1)
    • 5.2 (Spring 2019) >
      • 5.2 Articles >
        • Nina Boutsikaris, "On Very Short Books, Miniatures, and Other Becomings" (5.2)
        • Kay Sohini, "The Graphic Memoir as a Transitional Object: ​ Narrativizing the Self in Alison Bechdel’s Are You My Mother?" (5.2)
        • Kelly Weber, ""We are the Poem": Structural Fissures and Levels in ​Lidia Yuknavitch’s The Chronology of Water" (5.2)
      • 5.2 Conversations >
        • Sam Cha, "​Unbearable Splendor: Against "Hybrid" Genre; Against Genre" (5.2)
        • Rachel Cochran, "Infection in “The Hour of Freedom”: Containment and Contamination in Philip Kennicott’s “Smuggler”" (5.2)
        • Katharine Coles, "​If a Body" (5.2)
        • A.M. Larks, "Still Playing the Girl" (5.2)
      • 5.2 Spotlight >
        • Charles Green, "In Praise of Navel Gazing: An Ars Umbilica" (5.2)
        • Sarah Kruse, "​The Essay: Landscape, Failure, and Ordinary’s Other" (5.2)
        • Desirae Matherly, "Something More Than This" (5.2)
        • Susan Olding, "Unruly Pupil" (5.2)
        • Jane Silcott, "Essaying Vanity" (5.2)
      • 5.2 Tribute to Louise DeSalvo >
        • Julija Sukys, "One Mother to Another: Remembering Louise DeSalvo (1942—2018)" (5.2)
        • Nancy Caronia and Edvige Giunta, "The Essential Louise DeSalvo Reading List" (5.2)
        • Nancy Caronia and Edvige Giunta, "From the Personal Edge: Beginning to Remember Louise DeSalvo" (5.2)
        • Richard Hoffman, "DeSalvo Tribute, IAM Books, Boston" (5.2)
        • Peter Covino, "Getting It Right – Homage for Louise DeSalvo" (5.2)
        • Mary Jo Bona, "Pedagogy of the Liberated and Louise DeSalvo’s Gifts" (5.2)
        • Joshua Fausty, "The Shared Richness of Life Itself" (5.2)
      • 5.2 Pedagogy >
        • Ashley Anderson, "Teaching Experimental Structures through Objects and ​John McPhee’s 'The Search for Marvin Gardens'" (5.2)
        • Trisha Brady, "Negotiating Linguistic Borderlands, Valuing Linguistic Diversity, and Incorporating Border Pedagogy in a College Composition Classroom" (5.2)
        • Kim Hensley Owens, "Writing Health and Disability: Two Problem-Based Composition Assignments" (5.2)
        • Reshmi Mukherjee, "Threads: From the Refugee Crisis: Creative Nonfiction and Critical Pedagogy" (5.2)
        • Susan M. Stabile, "Architectures of Revision" (5.2)
    • 6.1 (Fall 2019) >
      • 6.1 Articles >
        • Lynn Z. Bloom, "The Slippery Slope: ​Ideals and Ethical Issues in High Altitude Climbing Narratives" (6.1)
        • Tanya Bomsta, "The Performance of Epistemic Agency of the ​Autobiographical Subject in Terry Tempest Williams’s When Women Were Birds: Fifty-four Variations on Voice" (6.1)
        • Lorna Hummel, "Querying and Queering Caregiving: Reading Bodies Othered by Illness via Porochista Khakpour’s Sick: A Memoir" (6.1)
        • Laura Valeri, "Tell Tale Interviews: Lessons in True-Life Trauma Narratives Gleaned from ​Jennifer Fox’s The Tale" (6.1)
        • Arianne Zwartjes​, "Under the Skin: An Exploration of Autotheory" (6.1)
      • 6.1 Conversations >
        • Tracy Floreani, "​"Sewing and Telling": On Textile as Story" (6.1)
        • Tessa Fontaine, "The Limits of Perception: Trust Techniques in Nonfiction" (6.1)
        • Patrick Madden, "​Once More to 'His Last Game'" (6.1) >
          • Brian Doyle, "Twice More to the Lake" (6.1)
        • Randon Billings Noble, "The Sitting" (6.1)
        • Donna Steiner, "Serving Size: On Hunger and Delight" (6.1)
        • Natalie Villacorta, "Autofiction: Rightly Shaped for Woman’s Use" (6.1)
      • 6.1 Tribute to Ned Stuckey-French >
        • Marcia Aldrich, "The Book Reviewer" (6.1)
        • Bob Cowser, "Meeting Bobby Kennedy" (6.1)
        • Sonya Huber, "Working and Trying" (6.1)
        • Carl H. Klaus, "On Ned Stuckey-French and Essayists on the Essay" (6.1)
        • Robert Root, "On The American Essay in the American Century" (6.1)
      • 6.1 Pedagogy >
        • John Currie, "​The Naïve Narrator in Student-Authored Environmental Writing" (6.1)
        • Steven Harvey, "The Humble Essayist's Paragraph of the Week: A Discipline of the Heart and Mind" (6.1)
        • Reagan Nail Henderson, "Make Me Care!: Creating Digital Narratives in the Composition Classroom" (6.1)
        • Abriana Jetté, "Making Meaning: Authority, Authorship, and the Introduction to Creative Writing Syllabus" (6.1)
        • Jessie Male, "Teaching Lucy Grealy’s “Mirrorings” and the Importance of Disability Studies Pedagogy in Composition Classrooms" (6.1)
        • Wendy Ryden, "Liminally True: Creative Nonfiction as Transformative Thirdspace" (6.1)
    • 6.2 (Spring 2020) >
      • Guest Editor's Note to the Special Issue
      • 6.2 Articles >
        • Maral Aktokmakyan, "Revisioning Gendered Reality in ​Armenian Women’s Life Writing of the Post-Genocidal Era: Zaruhi Kalemkearian’s From the Path of My Life"
        • Manisha Basu, "Regimes of Reality: ​Of Contemporary Indian Nonfiction and its Free Men"
        • Stefanie El Madawi, "Telling Tales: Bearing Witness in Jennifer Fox’s The Tale"
        • Inna Sukhenko and Anastasia Ulanowicz, "Narrative, Nonfiction, and the Nuclear Other: Western Representations of Chernobyl in the Works of Adam Higginbotham, Serhii Plokhy, and Kate Brown"
      • 6.2 Conversations >
        • Leonora Anyango-Kivuva, "Daughter(s) of Rubanga: An Author, a Student, and Other Stories in Between"
        • Victoria Brown, "How We Write When We Write About Life: Caribbean Nonfiction Resisting the Voyeur"
        • David Griffith, "Wrecking the Disimagination Machine"
        • Stacey Waite, "Coming Out With the Truth"
      • Tribute to Michael Steinberg >
        • Jessica Handler, "Notes on Mike Steinberg"
        • Joe Mackall, "Remembering Mike Steinberg: On the Diamond and at the Desk"
        • Laura Julier, "Making Space"
      • 6.2 Pedagogy >
        • Jens Lloyd, "Truthful Inadequacies: Teaching the Rhetorical Spark of Bashō’s Travel Sketches"
        • George H. Jensen, "Situating Scenes: Cheryl Strayed’s “The Love of My Life”
        • Gregory Stephens, "Footnotes from the ‘Margins’: Outcomes-based Literary Nonfiction Pedagogy in Puerto Rico"
    • 7.1 (Fall 2020) >
      • 7.1 Articles >
        • Jo-Anne Berelowitz, "Mourning and Melancholia in Memoir" (Assay 7.1)
        • Carlos Cunha, "On the Chronicle" (Assay 7.1)
        • August Owens Grimm, "Haunted Memoir" (Assay 7.1)
        • Colleen Hennessy, "Irish Motherhood in Irish Nonfiction: Abortion and Agency" (Assay 7.1)
        • James Perrin Warren, "Underland: Reading with Robert Macfarlane" (Assay 7.1)
      • 7.1 Conversations >
        • Alex Brostoff, ""What are we going to do with our proximity, baby!?" ​ A Reply in Multiples of The Hundreds" (Assay 7.1)
        • Steven Harvey, "Lyric Memory: A Guide to the Mnemonics of Nonfiction" (Assay 7.1)
        • Lisa Low, "Proleptic Strategies in Race-Based Essays: Jordan K. Thomas, Rita Banerjee, and Durga Chew-Bose" (Assay 7.1)
        • Nicole Walker, "The Concrete Poetry of Ander Monson’s Essays" (Assay 7.1)
      • 7.1 Pedagogy >
        • Audrey T. Heffers, "Positionality and Experience in the Creative Nonfiction Classroom" (Assay 7.1)
        • James McAdams, "Ars Poetica, Ars Media, Ars COVID-19: Creative Writing in the Medical Classroom" (Assay 7.1)
        • Freesia McKee, "Feedback as Fan Letter" (Assay 7.1)
        • Tonee Mae Moll, "Teaching and Writing True Stories Through ​Feminist, Womanist and Black Feminist Epistemologies" (Assay 7.1)
        • Jill Stukenberg, "“Inspiration in the Drop of Ink”: Scholarship of Teaching and Learning Observations in Introduction to Creative Writing" (Assay 7.1)
    • 7.2 (Spring 2021) >
      • 7.2 Articles >
        • Whitney Brown, "Melting Ice and Disappointing Whale Hunts: A Climate-Focused Review of Contemporary Travel Writing" (Assay 7.2)
        • George Estreich, "Ross Gay’s Logics of Delight" (Assay 7.2)
        • Wes Jamison, "'You Are Absent': The Pronoun of Address in Nonfiction" (Assay 7.2)
        • Zachary Ostraff, "The Lyric Essay as a Form of Counterpoetics" (Assay 7.2)
        • Kara Zivin, "Interrogating Patterns: Meandering, Spiraling, and Exploding through ​The Two Kinds of Decay" (Assay 7.2)
      • 7.2 Conversations >
        • Sarah Minor
        • David Shields
      • 7.2 Pedagogy >
        • Megan Baxter, "On Teaching Brian Doyle’s “Leap” to Students Born After 9/11" (Assay 7.2)
        • Jennifer Case, "'Toward a New, Broader Perspective': Place-Based Pedagogy and the Narrative Interview"
        • Kelly K. Ferguson, "Cribbing Palpatine’s Syllabus: Or, What Professoring for the Evil Empire Taught Me ​About Instructional Design" (Assay 7.2)
        • Jennifer Pullen, "Seeking Joy in the Classroom: Nature Writing in 2020" (Assay 7.2)
    • 8.1 (Fall 2021) >
      • 8.1 Articles >
        • Allison Ellis, "Nonfiction Ghost Hunting" (Assay 8.1)
        • Lisa Levy, "We Are All Modern: Exploring the Vagaries of Consciousness in 20th & 21st Century Biography and Life Writing" (Assay 8.1)
        • Ashley Espinoza, "A las Mujeres: Hybrid Identities in Latina Memoir" (Assay 8.1)
        • Cherie Nelson, "The Slippery Self: Intertextuality in Lauren Slater’s Lying" (Assay 8.1)
        • Amie Souza Reilly, "Reading the Gaps: On Women’s Nonfiction and Page Space" (Assay 8.1)
      • 8.1 Conversations >
        • Amy Bowers, "The Elegiac Chalkboard in Jo Ann Beard’s “The Fourth State of Matter”" (Assay 8.1)
        • Theresa Goenner, "​The Mania of Language: Robert Vivian's Dervish Essay" (Assay 8.1)
        • Kathryn Nuernberger, "Writing Women’s Histories" (Assay 8.1)
        • Louisa McCullough, "The Case for In-Person Conversation" (Assay 8.1)
        • Kat Moore, "Rupture in Time (and Language): Hybridity in Kathy Acker’s Essays" (Assay 8.1)
      • 8.1 Pedagogy >
        • Mike Catron, "There’s No Such Thing as Too Much of Jason Sheehan’s “There’s No Such Thing As Too Much Barbecue”: ​A Pedagogical Discussion" (Assay 8.1)
        • Brooke Covington, "Ars Media: A Toolkit for Narrative Medicine in Writing Classrooms" (Assay 8.1)
        • W. Scott Olsen, "​A Desire for Stories" (Assay 8.1)
        • C.S. Weisenthal, "​Seed Stories: Pitched into the Digital Archive" (Assay 8.1)
    • 8.2 (Spring 2022) >
      • 8.2 Articles >
        • Barrie Jean Borich, "Radical Surprise: The Subversive Art of the Uncertain," (8.2)
        • George Estreich, "Feeling Seen: Blind Man’s Bluff, Memoir, and the Sighted Reader" (8.2)
        • Kristina Gaddy, "When Action is Too Much and Not Enough: A Study of Mode in Narrative Journalism" (8.2)
        • Marya Hornbacher, "Solitude Narratives: Towards a Future of the Form" (8.2)
        • Margot Kotler, "Susan Sontag, Lorraine Hansberry, and the ​Politics of Queer Biography " (8.2)
      • 8.2 Conversations >
        • Michael W. Cox , "On Two Published Versions of Joan Didion’s “Marrying Absurd” (8.2)
        • Hugh Martin, "No Cheap Realizations: On Kathryn Rhett’s “Confinements” (8.2)
      • 8.2 Pedagogy >
        • Liesel Hamilton, "How I Wish I’d Taught Frederick Douglass: An Examination of the Books and Conversations We Have in Classrooms" (8.2)
        • Audrey T. Heffers, "In the Room Where it Happens: Accessibility, Equity, and the Creative Writing Classroom" (8.2)
        • Daniel Nester, "Joan Didion and Aldous Huxley’s Three Poles" (8.2)
    • 9.1 (Fall 2022) >
      • 9.1 Articles >
        • Mark Houston, "Riding Out of Abstraction: Robin Wall Kimmerer’s Re-materialization of ​Social Justice Rhetoric in “The Sacred and the Superfund”" (9.1)
        • Ryan McIlvain, ""You Get to Decide What to Worship but Not What's Good": Rereading 'This Is Water'" (9.1)
        • Quincy Gray McMichael, "Laboring toward Leisure: The Characterization of Work in ​Maine’s Back-to-the-Land Memoirs" (9.1)
        • Aggie Stewart, "Bringing Dark Events to Light: ​Emotional Pacing in the Trauma Narrative" (9.1)
        • Emma Winsor Wood, "A Lovely Woman Tapers Off into a Fish: Monstrosity in Montaigne’s Essais" (9.1)
      • 9.1 Conversations >
        • Philip Newman Lawton, "Rousseau's Wandering Mind" (9.1)
        • Claire Salinda, "Bodily Dissociation as a Female Coping Mechanism in ​The Shapeless Unease, Ongoingness: The End of a Diary, and Girlhood" (9.1)
        • Hannah White, "“Which sounds bad and maybe was”: A Study of Narrative in Beth Nguyen’s “Apparent”" (9.1)
      • 9.1 Pedagogy >
        • Jessica Handler, "Your Turn" (9.1)
        • Sonya Huber, "Expressing Anger as a Positive Choice" (9.1)
        • Kozbi Simmons, "Literacy as Emancipation" (9.1)
        • Wally Suphap, "Writing and Teaching the Polemic" (9.1)
    • 9.2 (Spring 2023) >
      • 9.2 Articles >
        • Brinson Leigh Kresge, "Repetition Development in the Lyric Essay" (Assay 9.2)
        • Amy Mackin, "A Structural History of American Public Health Narratives: Rereading Priscilla Wald’s Contagious and Nancy Tomes’ Gospel of Germs amidst a 21st-Century Pandemic" (Assay 9.2)
        • Jeannine Ouellette, "That Little Voice: The Outsized Power of a Child Narrator" (Assay 9.2)
        • Jennifer Lee Tsai, "The Figure of the Diseuse in Theresa Hak Kyung Cha's Dictee: Language, Breaking Silences and Irigarayan Mysticism" (Assay 9.2)
      • 9.2 Conversations >
        • Blossom D'Souza, "The Imagery of Nature in Rilke’s Letters to a Young Poet" (Assay 9.2)
        • Kyra Lisse, "Relentlist Women: On the Lists & Catalogs of Natalia Ginzburg & Annie Ernaux" (Assay 9.2)
        • William Kerwin,​ “Life as a Boneyard”: Art, History, and Ecology in One Tim Robinson Essay" (Assay 9.2)
        • Jill Kolongowski & Amy Monticello, "The Mundane as Maximalism of the Mind: Reclaiming the Quotidian" (Assay 9.2)
        • Eamonn Wall, "A Land Without Shortcuts: Tim Robinson and Máiréad Robinson" (Assay 9.2)
      • 9.2 Pedagogy >
        • Khem Aryal, "Beyond Lores: Linking Writers’ Self-Reports to Autoethnography" (Assay 9.2)
        • Jennifer Case, "Carework in the Creative Nonfiction Classroom: ​Toward a Trauma-Informed Pedagogy" (Assay 9.2)
        • Liesel Hamilton, "Creating Nonfiction Within and Against ​Nature and Climate Tropes" (Assay 9.2)
        • W. Scott Olsen, "Late Night Thoughts on What Street Photography ​Can Teach Us About Teaching Writing" (Assay 9.2)
    • 10.1 (Fall 2023) >
      • 10.1 Articles >
        • Ashley Anderson, "Give Them Space: ​Memoir as a Site for Processing Readers’ Grief" (Assay 10.1)
        • Anne Garwig, "Hervey Allen’s Toward the Flame, Illustration, and the ​Legacy of Collective Memory of the First World War" (Assay 10.1)
        • Marya Hornbacher, "All We Do Not Say: The Art of Leaving Out" (Assay 10.1)
        • Kathryn Jones, "Conveying the Grief Experience: Joan Didion’s Use of Lists in The Year of Magical Thinking and Blue Nights" (Assay 10.1)
        • Erin Fogarty Owen, "How to Write Well About Death" (Assay 10.1)
      • 10.1 Conversations >
        • Beth Kephart, "On Reading Fast and Reading Slow" (Assay 10.1)
        • Mimi Schwartz, "The Power of Other Voices in Creative Nonfiction" (Assay 10.1)
      • 10.1 Pedagogy >
        • Angie Chuang, "Dear(ly) Departed: ​Letter-Writing to Engage the Issue of Racialized Police Brutality" (Assay 10.1)
        • Freesia McKee, "Where and How We Might Teach Hybrid: A Pedagogical Review of Kazim Ali’s Silver Road" (Assay 10.1)
    • 10.2 (Spring 2024) >
      • 10.2 Articles >
        • Lynn Z. Bloom, "Vanishing Points: Memoirs of Loss and Renewal "(Assay 10.2)
        • Lindsey Pharr, "Brave Person Drag": ​Identity, Consciousness, and the Power of the Cyclical in Gamebook-Formatted Memoir" (Assay 10.2)
      • 10.2 Conversations >
        • Marcia Aldrich, "On Difficulty" (Assay 10.2)
        • Thomas Larson, "Paraphrase, or Writer with Child" (Assay 10.2)
      • 10.2 Pedagogy >
        • Amy Bonnaffons, "Writing from the Big Brain: ​An Argument for Image and Process in Creative Writing Education" (Assay 10.2)
        • Micah McCrary, "Normalizing Creative Writing Scholarship in the Classroom" (Assay 10.2)
        • Candace Walsh, "The Braided Essay as Change Agent" (Assay 10.2)
    • 11.1 (Fall 2024) >
      • 11.1 Articles >
        • Anna Nguyen, "A Question on Genre: The Binary of the Creative/Theoretical Text in Elif Batuman’s The Possessed" (Assay 11.1)
        • Rachel N. Spear, "Saving Self and Others in Telling: Rhetoric, Stories, and Transformations" (Assay 11.1)
      • 11.1 Conversations >
        • Jehanne Dubrow, "The Essay's Volta" (Assay 11.1)
        • James Allen Hall, "Wholly Fragmented" (Assay 11.1)
      • 11.1 Spotlight >
        • Kim Hensley Owens & Yongzhi Miao, "Six Words is Enough: Memoirs for Assessment" (Assay 11.1)
        • Elizabeth Leahy, "Creating Space for Writing Tutor Vulnerability: Six-Word Memoirs in the Writing Center" (Assay 11.1)
        • Jennifer Stewart, "Six-Word Memoirs as Programmatic and Pedagogical Reflection" (Assay 11.1)
        • Katherine Fredlund, "Six Words Toward Knowing and Feeling" (Assay 11.1)
      • 11.1 Pedagogy >
        • Abby Manzella, "In Search of Delight (à la Ross Gay) at the Art Museum: ​A Writing Exercise with Pen in Hand" (Assay 11.1)
        • Peter Wayne Moe, "Grocery Shopping with Leonardo DiCaprio: On Time, Routines, & Writing" (Assay 11.1)
        • Gwen Niekamp, "The Case for Situating Olaudah Equiano’s Interesting Narrative ​in the CNF Classroom and Canon" (Assay 11.1)
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