Creative Nonfiction in Social Science: Towards More Engaging and Engaged Research

The paper aims at identifying, explaining and illustrating the affordances of “creative nonfiction” as a style of writing social science. The first part introduces creative nonfiction as a method of writing which brings together empirical material and fiction. In the second part, based on illustrations from my ethnographic research of European “crisis reporters,” written in the form of a novel about a fictional journalist, but also based on a review of existing social science research that employs a creative method of writing, I identify several main affordances of creative nonfiction in social-scientific research. In particular, I argue that creative nonfiction allows scientists to illustrate their findings, to express them in an allegorical way, to organize data into a narrative, to let their pieces of research act in the social world, and to permeate research accounts with self-reflexive moments. I also discuss some apparent negative affordances: challenges that creative nonfiction poses to readers and to the institutionalized academic discourse. Finally, I suggest that writing about sociological problems in the style of creative nonfiction can help to produce more engaging and engaged texts, and I discuss the ethical implications of the approach

Approach

This short nonfiction piece is about my interaction with a woman on the streets of Kiev

A Roof of One\u27s Own: Widow Walking in the Anthropocene

A nonfiction work that explores widow\u27s walks in a time of climate change on the coasts. This piece walks the lines between speculative fiction and lyrical essay

That Could Happen : Nature Writing, the Nature Fakers, and a Rhetoric of Assent

Much has been made about the relationship between nature writing and science. The foundation of the genre is empirical observation of the more-than-human world. That’s not the whole of it, however. Because of the pairing of empiricism and other human experience, readers come to the genre with certain assumptions: they assume the text will tell them something independently verifiable about the object world--something they could see, hear, or touch if they were in the same location at the same time. They assume they are reading nonfiction, and for most readers, that distinction is important. Readers also come to nature writing with the hope that the writer will use imagination to help them see the world in a new way and possibly offer them a different and better relationship to the more-than-human sphere. If the proceeding is true, nature writing as a genre is unique, and we must ask: how should we read nonfiction nature writing? How does the nonfiction distinction change the relationship between the writer and the reader? The writer and the world? The reader and the world? In this article, Sumner argues that a rhetoric of assent is necessary when reading nature writers because nature writers are imaginatively exploring how we humans can establish a more ethical relationship with the more-than-human world

Beardsley on literature, fiction, and nonfiction

This paper attempts to revive interest in the speech act theory of literature by looking into Monroe C. Beardsley's account in particular. Beardsley's view in this respect has received, surprisingly, less attention than deserved. I first offer a reconstruction of Beardsley's account and then use it to correct some notable misconceptions. Next, I show that the reformulation reveals a hitherto unnoticed discrepancy in Beardsley's position and that this can be explained away by a weak version of intentionalism that Beardsley himself actually tolerates. Finally, I assess the real difficulty of Beardsley's theory and its relevance today

Theological Creative Nonfiction: Christian Literature for Christian Life

Since the Christian worldview is composed of more than theoretical truth, Christian literature should reflect these other aspects, such as how that truth is applied in the lives of the saints. Furthermore, the praxis element of worldview is reflected in literature more naturally in narrative genres than in more expository writings like systematic theology. Narrative genres mirror the complex, temporal way a person lives his life, and because of this are able to show how objective truth is applied in subjective situations. For this reason, Christians need contemporary writing that reflects the process of everyday Christian living to offer a model for growth and encouragement. Several authors have written books that can be classified as theological creative Nonfiction. They share the goal of encouraging the saints in everyday circumstances of faith as well as the methodology of drawing from the author’s own life and experience and are examples of the same model of theological writing that directly reflects and informs praxis

The Literary Significance of Herman Melville’s \u3cem\u3eBenito Cereno\u3c/em\u3e: An Analytical Reflection on \u3cem\u3eBenito Cereno\u3c/em\u3e as a Fictional Narrative

In Herman Melville’s Benito Cereno (1855), Captain Amasa Delano discovers a distressed slave ship in need of aid, only to later find out that his perception of the dire situation was completely incorrect. Melville’s novella is derived from Delano’s nonfiction account of the experience, titled Narrative of Voyages and Travels in the Northern and Southern Hemispheres (1817). This paper focuses on three questions that demonstrate why Melville wrote a novella almost completely derived from a nonfiction account of the events aboard the ship. In order to understand why Melville’s novella is powerful, one must ask, as an overarching question why he wrote it, and, more specifically, what Melville was attempting to communicate to his American readership by writing the novella. Studying what Melville changed from the nonfiction account is important in wholly understanding Melville’s intentions in Benito Cereno. This ultimately goes to show that fictional narratives can be as effective as nonfiction, if not more influential in illuminating complex realities that are likely outside of one’s limited perception

Cold and Calculating

This nonfiction essay investigates the relationship between eye contact and power in different situations. It brings up the idea that animals and humans are less different than often thought to be, and how body language is transcendent. It uses this underlying theme to investigate the author’s changing relationship with her father