Robin Hemley

A Memoir of Faith, Art, and Madness

Nola

Discusses the various types of immersion writing, including travel, memoir, and journalism, and explains some of the issues that writers encounter in reporting about the factual world and in describing other people and their own inner experiences.

Memoir, Journalism, and Travel

A Field Guide for Immersion Writing

Oblivion

"Reply All, the third collection of award-winning and widely anthologized short stories by Robin Hemley, takes a humorous, edgy, and frank look at the human art of deception and self-deception. A father accepts, without question, the many duplicate saintrelics that appear in front of his cave everyday; a translator tricks Magellan by falsely translating a local chief's words of welcome; an apple salesman a long way from home thinks he's fallen in love; a search committee believes in its own nobility by hiring a minority writer; a cheating couple broadcast their affair to an entire listserv; a talk show host interviews the dead and hopes to learn their secrets. The ways in which humans fool themselves are infinite, and while these stories illustrate thissad fact in sometimes excruciating detail, the aim is not to skewer the misdirected, but to commiserate with them and blush in recognition."--P. [4] of cover.

Stories

Reply All

For centuries writers have used participatory experience as a lens through which to better see the world at large and as a means of exploring the self. Considering various types of participatory writing as different strains of one style—immersion writing—Robin Hemley offers new perspectives and practical advice for writers of this nonfiction genre. Immersion writing can be broken down into the broad categories of travel writing, immersion memoir, and immersion journalism. Using the work of such authors as Barbara Ehrenreich, Hunter S. Thompson, Ted Conover, A. J. Jacobs, Nellie Bly, Julio Cortazar, and James Agee, Hemley examines these three major types of immersion writing and further identifies the subcategories of the quest, the experiment, the investigation, the infiltration, and the reenactment. Included in the book are helpful exercises, models for immersion writing, and a chapter on one of the most fraught subjects for nonfiction writers—the ethics and legalities of writing about other people. A Field Guide for Immersion Writing recalibrates and redefines the way writers approach their relationship to their subjects. Suitable for beginners and advanced writers, the book provides an enlightening, provocative, and often amusing look at the ways in which nonfiction writers engage with the world around them. A Friends Fund Publication.

Hope Edelman

The University of Iowa is a leading light in the writing world. In addition to the Iowa Writers’ Workshop for poets and fiction writers, it houses the prestigious Nonfiction Writing Program (NWP), which was the first full-time masters-granting program in this genre in the United States. Over the past three decades the NWP has produced some of the most influential nonfiction writers in the country. I’ll Tell You Mine is an extraordinary anthology, a book rooted in Iowa’s successful program that goes beyond mere celebration to present some of the best nonfiction writing of the past thirty years. Eighteen pieces produced by Iowa graduates exemplify the development of both the program and the field of nonfiction writing. Each is accompanied by commentary from the author on a challenging issue presented by the story and the writing process, including drafting, workshopping, revising, and listening to (or sometimes ignoring) advice. The essays are put into broader context by a prologue from Robert Atwan, founding editor of the Best American Essays series, who details the rise of nonfiction as a literary genre since the New Journalism of the 1960s. Creative nonfiction is the fastest-growing writing concentration in the country, with more than one hundred and fifty programs in the United States. I’ll Tell You Mine shows why Iowa’s leads the way. Its insider’s view of the Iowa program experience and its wealth of groundbreaking nonfiction writing will entertain readers and inspire writers of all kinds.

Thirty Years of Essays from the Iowa Nonfiction Writing Program

I'll Tell You Mine

Sixteen stories. In A Printer's Tale, a man's attempt to help his girlfriend by printing her poems backfires, Sleeping Over is on friendship and rejection, and in My Father's Bawdy Song, a son tries to get to know his dead father. By the author of All You Can Eat.

The Big Ear

The evidence at hand: an autobiography—complete with their mother’s edits—written by his brilliant and disturbingly religious sister; a story featuring actual childhood events, but published by his mother as fiction; the transcript of a hypnotherapy session from his adolescence; and perjured court documents hidden in a drawer for decades. These are the clues Robin Hemley gathers when he sets out to reconstruct the life of his older sister Nola, who died at the age of twenty-five after several years of treatment for schizophrenia. Armed with these types of clues, Hemley quickly discovers that finding the truth in any life—even one’s own—is a fragmented and complex task. Nola: A Memoir of Faith, Art, and Madness is much more than a remembrance of a young woman who was consumed her entire life by a passion for finding and understanding God; it is also a quest to understand what people choose to reveal and conceal, and an examination of the enormous toll mental illness takes on a family. Finally, it is a revelation of the alchemy that creates a writer: confidence in the unknowable, distrust of the proven, tortuous devotion to the fine print in life, and sacrifice to writing itself as it plays the roles of confessor, scourge, and creator. Upon its first release in 1998, Nola won ForeWord’s Book of the Year Award for biography/memoir, the Washington State Book Award for biography/memoir, and the Independent Press Book Award for autobiography/memoir.

A highly entertaining and indispensable manual on how to write good fiction If you want to write at all, whether from real life or not, you must be willing and able to use your imagination. That means you must be willing to take risks and sometimes look the fool. You must be willing to transform experience, not simply record it. If you were a good liar, daydreamer, or troublemaker as a child, you'll probably make a good fiction writer. Daydreams, lies, and trouble. That's the stuff of fiction. In Turning Life into Fiction, Robin Hemley offers a highly entertaining and in-depth manual—with writing exercises on how to convert real life into good storytelling. He covers a wide range of subjects, including how to record and generate ideas from daily life and how to write effectively using true anecdotes, real places, and real people. A self-proclaimed liar and thief, Hemley also addresses the legal and ethical concerns of "borrowing" experience from the lives of strangers and loved ones. Lively, informative, and inspirational, Turning Life into Fiction is an invaluable text for any fiction writer. First published in 1994, this new edition is updated and expanded to include nearly a dozen short stories that Hemley refers to throughout the book.

Turning Life Into Fiction

Michael Martone

This anthology surveys the most thought-provoking and noteworthy "non-traditional" short stories written by American and international writers over the past 100 years. KEY TOPICS: The works collected here represent a rich, while often overlooked, tradition of stories that seem to break the rules of short fiction. These stories, by well-known writers as well as by refreshingly new voices, demonstrate a wide-range of stylistic and narrative diversity. They expand our perceptions of what constitutes a well-written short story and underscore the unlimited techniques writers use to achieve a desired effect. The Introduction provides an historic and cultural overview of the "non-traditional" short story, and author headnotes provide further insight into the aesthetic and craft choices that the authors featured in this text employ in their stories. MARKET: Anyone interested in short fiction or creative writing.

Fabulists and Formalists

Extreme Fiction

In 1971 Manual Elizalde, a Philippine government minister with a dubious background, discovered a band of twenty-six "Stone Age" rain-forest dwellers living in total isolation. The tribe was soon featured in American newscasts and graced the cover of National Geographic. But after a series of aborted anthropological ventures, the Tasaday Reserve established by Ferdinand Marcos was closed to visitors, and the tribe vanished from public view. Twelve years later, a Swiss reporter hiked into the area and discovered that the Tasaday were actually farmers whom Elizalde had coerced into dressing in leaves and posing with stone tools. The "anthropological find of the century" had become the "ethnographic hoax of the century." Or maybe not. Robin Hemley tells a story that is more complex than either the hoax proponents or the authenticity advocates might care to admit. It is a gripping and ultimately tragic tale of innocence found, lost, and found again. The author provides an afterword for this Bison Books edition.

The Elusive, Disputed History of the Tasaday

Invented Eden

Xu Xi

An all-in-one craft guide and anthology, this is the first creative writing book to find inspiration and guidance in the diverse literary traditions of Asia. Including exemplary stories by leading writers from Japan, China, India, Singapore and beyond as well as those from Asian diasporas in Europe and America, The Art and Craft of Asian Stories offers an exciting take on the traditional how-to writing guide by drawing from a rich new trove of short stories beyond the western canon which readers may never have encountered before. Whilst still taking stock of the traditional elements of story such as character, viewpoint and setting, Xu and Hemley let these compelling stories speak for themselves to offer readers new ideas and approaches which could enrich their own creative work. Structured around the themes encountered in the stories, such as race and identity, history and power, family and aspirations, this text is a vital companion for writers at all levels keen to develop and find new perspectives on key elements of their craft. Written by two internationally successful writers and teachers, each chapter contains complete short stories and writing exercises for practice and inspiration.

A Writer's Guide and Anthology

The Art and Craft of Asian Stories

Robin Hemley's childhood made a wedgie of his memory, leaving him sore and embarrassed for over forty years. He was the most pitiful kindergartner, the least spirited summer camper, and dateless for prom. In fact, there's nary an event from his youth that couldn't use improvement. If only he could do them all over a few decades later, with an adult's wisdom, perspective, and giant-like height . . . In the spirit of cult film classics like Billy Madison and Wet Hot American Summer, in Do-Over! Hemley reencounters papier-mâché, revisits his childhood home, and finally attends the prom -- bringing readers the thrill of recapturing a misspent youth and discovering what's most important: simple pleasures, second chances, and the forgotten joys of recess.

In which a forty-eight-year-old father of three returns to kindergarten, summer camp, the prom, and other embarrassments

Do-Over!

In 1971, a band of 26 "Stone Age" rain-forest dwellers was discovered living in total isolation by a Philippine government minister with a dubious background. Or were they Tasaday farmers who had been coerced? In answering that question, Hemley has written a gripping and ultimately tragic tale of innocence found, lost, and found again.

In Borderline Citizen Robin Hemley wrestles with what it means to be a citizen of the world, taking readers on a singular journey through the hinterlands of national identity. As a polygamist of place, Hemley celebrates Guy Fawkes Day in the contested Falkland Islands; Canada Day and the Fourth of July in the tiny U.S. exclave of Point Roberts, Washington; Russian Federation Day in the Russian exclave of Kaliningrad; Handover Day among protesters in Hong Kong; and India Day along the most complicated border in the world. Forgoing the exotic descriptions of faraway lands common in traditional travel writing, Borderline Citizen upends the genre with darkly humorous and deeply compassionate glimpses into the lives of exiles, nationalists, refugees, and others. Hemley’s superbly rendered narratives detail these individuals, including a Chinese billionaire who could live anywhere but has chosen to situate his ornate mansion in the middle of his impoverished ancestral village, a black nationalist wanted on thirty-two outstanding FBI warrants exiled in Cuba, and an Afghan refugee whose intentionally altered birth date makes him more easy to deport despite his harrowing past. Part travelogue, part memoir, part reportage, Borderline Citizen redefines notions of nationhood through an exploration of the arbitrariness of boundaries and what it means to belong.

Dispatches from the Outskirts of Nationhood

Borderline Citizen

A surprising combination of two extensive bodies of work from the esteemed photographer Mermelstein, women twirling their hair and people on the run through the streets of New York. The juxtaposition creates a fresh observation of oberving and understanding human behaivour and the everyday environment. Mermelstein expertly avoids the played out perspective of the ironic bystander, transcending that role through a narrow and poignant focus, creating real insight and perspective on the human condition.

Robin Hemley

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