A useful writing guide from an experienced practitioner.
A pithy guide for writers and those who teach them.
In a series of short essays, Johnson (Emeritus, Creative Writing/Univ. of Washington; Taming the Ox: Buddhist Stories and Reflections on Politics, Race, Culture, and Spiritual Practice, 2014, etc.), a MacArthur fellow and winner of the National Book Award, Writers Guild Award, and many other honors, draws on his experience as a writer (of novels, essays, screenplays, and philosophy); editor (of the Seattle Review); fiction judge for the National Book Award (twice), PEN/Faulkner Award, Los Angeles Times Book Award, and Pulitzer Prize; and longtime teacher and mentor to offer practical advice on the writing process and the writing life. Although he refers frequently to his mentor John Gardner—“a bluff, combustible, and brilliant teacher”— Johnson admits that he never took a college writing workshop and, in fact, looked on them with disdain. “To my eye,” he writes, “they were dominated by the instructor’s personality and unsolicited political opinions, and took an approach that was highly subjective,” encouraging immature students to “write about what they know.” When he took on the task of teaching creative writing, he designed his workshops to be demanding, with rigorous exercises meant to free students from solipsism. “A Boot Camp for Creative Writing” offers examples of those exercises; “Opening Sentences: A Hundred Rays of Light” includes examples of admirable first lines from mostly canonical novels, including Moby-Dick, Kafka’s The Trial, and Toni Morrison’s Beloved. Echoing many other writing guides, Johnson focuses on the power of precise words, the importance of developing voice, and the joys and challenges of revision. “Sometimes, he admits, “my ratio of throwaway to keep pages is 20:1.” Revision, he adds, “is a combination of cutting away (like sculpting the sentence from stone) and also a constant layering of the language (like working with the sentence as you would clay).” Throughout, Johnson’s voice is generous and warm, even while he is cautioning writers to be their own ruthless editors.
A useful writing guide from an experienced practitioner.Pub Date: Dec. 6, 2016
ISBN: 978-1-5011-4721-0
Page Count: 256
Publisher: Scribner
Review Posted Online: Sept. 5, 2016
Kirkus Reviews Issue: Sept. 15, 2016
The author's youthfulness helps to assure the inevitable comparison with the Anne Frank diary although over and above the...
Elie Wiesel spent his early years in a small Transylvanian town as one of four children.
He was the only one of the family to survive what Francois Maurois, in his introduction, calls the "human holocaust" of the persecution of the Jews, which began with the restrictions, the singularization of the yellow star, the enclosure within the ghetto, and went on to the mass deportations to the ovens of Auschwitz and Buchenwald. There are unforgettable and horrifying scenes here in this spare and sombre memoir of this experience of the hanging of a child, of his first farewell with his father who leaves him an inheritance of a knife and a spoon, and of his last goodbye at Buchenwald his father's corpse is already cold let alone the long months of survival under unconscionable conditions.
Pub Date: Jan. 16, 2006
ISBN: 0374500010
Page Count: 120
Publisher: Hill & Wang
Review Posted Online: Oct. 7, 2011
Kirkus Reviews Issue: Jan. 15, 2006
A moving meditation on mortality by a gifted writer whose dual perspectives of physician and patient provide a singular...
A neurosurgeon with a passion for literature tragically finds his perfect subject after his diagnosis of terminal lung cancer.
Writing isn’t brain surgery, but it’s rare when someone adept at the latter is also so accomplished at the former. Searching for meaning and purpose in his life, Kalanithi pursued a doctorate in literature and had felt certain that he wouldn’t enter the field of medicine, in which his father and other members of his family excelled. “But I couldn’t let go of the question,” he writes, after realizing that his goals “didn’t quite fit in an English department.” “Where did biology, morality, literature and philosophy intersect?” So he decided to set aside his doctoral dissertation and belatedly prepare for medical school, which “would allow me a chance to find answers that are not in books, to find a different sort of sublime, to forge relationships with the suffering, and to keep following the question of what makes human life meaningful, even in the face of death and decay.” The author’s empathy undoubtedly made him an exceptional doctor, and the precision of his prose—as well as the moral purpose underscoring it—suggests that he could have written a good book on any subject he chose. Part of what makes this book so essential is the fact that it was written under a death sentence following the diagnosis that upended his life, just as he was preparing to end his residency and attract offers at the top of his profession. Kalanithi learned he might have 10 years to live or perhaps five. Should he return to neurosurgery (he could and did), or should he write (he also did)? Should he and his wife have a baby? They did, eight months before he died, which was less than two years after the original diagnosis. “The fact of death is unsettling,” he understates. “Yet there is no other way to live.”
A moving meditation on mortality by a gifted writer whose dual perspectives of physician and patient provide a singular clarity.Pub Date: Jan. 19, 2016
ISBN: 978-0-8129-8840-6
Page Count: 248
Publisher: Random House
Review Posted Online: Sept. 29, 2015
Kirkus Reviews Issue: Oct. 15, 2015
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