Archives de catégorie : Narrative Nonfiction

THE SEASON de Helen Garner

[Garner’s sharp eye, wit and warm humour bring the team and the season to life, as she documents this pivotal moment, both as part of the story and as silent witness. It’s a reflection on masculinity, on the nobility, grace and grit of team spirit and the game’s power to enthrall.

THE SEASON
by Helen Garner
Text Publishing, August 2024

I pull up at the kerb. I love this park they train in. I must have walked the figure-of-eight around its ovals hundreds of times, at dawn, winter and summer, to throw the ball for Dozer, our red heeler, but he’s buried now, in the backyard, under the crepe myrtle near the chook pen.

The boy jumps out with his footy and trots away, bouncing it. Boy? Look at him. He’s five foot eleven. The last of my three grandkids. This year he’s in the Under 16s.

It’s footy [Australian football] season in Melbourne, and Helen Garner is following her grandson’s suburban team. She turns up not only at every game (give or take), but at every training session, shivering on the sidelines in the dark, fascinated by the spectacle.

She’s a passionate Western Bulldogs supporter (with a rather shaky grasp of the rules) and a great admirer of the players and the epic theatre of the game. But this is something more than that. It is a chance to connect with her youngest grandchild, to be close to him in his last moments as a child and in his headlong rush into manhood. To witness his triumphs and defeats, to fear for his safety in battle, to gasp and to cheer for the team as it fights its way towards the finals.

Helen Garner writes novels, stories, screenplays and works of non-fiction. In 2006 she received the inaugural Melbourne Prize for Literature, and in 2016 she won the prestigious Windham–Campbell Prize for non-fiction. In 2019 she was honoured with the Australia Council Award for Lifetime Achievement in Literature. And in 2023 she was awarded the ASA Medal for her outstanding contribution to Australian literature. Her works include Monkey Grip, The Children’s Bach, The First Stone, The Spare Room, This House of Grief and three volumes of her diaries. She lives in Melbourne.

CAVE MOUNTAIN de Benjamin Hale

With the immediacy and extraordinary feeling for people and place of Under the Banner of Heaven and Say Nothing, a compelling true crime story about two young girls who went missing in the same Arkansas woods twenty-three years apart and the strange circumstances connecting them.

CAVE MOUNTAIN
by Benjamin Hale
Harper, March2026
(via DeFiore & Company)

This story begins in 2001 on top of Cave Mountain in the Arkansas Ozarks. A six-year-old girl named Haley—Benjamin Hale’s cousin—got lost on a mountain trail, prompting what was at the time the largest search and rescue mission in the state’s history. Her disappearance—and her account, after she was found, of the “imaginary friend” she met in the woods—would eventually become connected to another story that took place in the same wilderness more than twenty years earlier: a dark and bizarre story of a cult, brainwashing, murder, and the apocalyptic visions of a teenage prophet.

Enriched by Benjamin Hale’s own family history and the lore of the Arkansas Ozarks, CAVE MOUNTAIN is a gripping story about nature and survival, religion and skepticism, and good and evil. At its center are two young girls, years apart, both in danger in the verdant wilds of northern Arkansas.

Benjamin Hale is the author of the novel The Evolution of Bruno Littlemore (Twelve, 2011) and the collection The Fat Artist and Other Stories (Simon & Schuster, 2016). His writing has appeared in Harper’s Magazine, Paris Review, The New York Times, The Washington Post, Conjunctions, and has been anthologized in Best American Science and Nature Writing. He is a senior editor at Conjunctions, teaches at Bard College and Columbia University, and lives in a small town in New York’s Hudson Valley.

THE GRIEF CURE de Cody Delistraty

In this lyrical and moving story of the world of Prolonged Grief, journalist Cody Delistraty reflects on his experience with loss and explores what modern science, history, and literature reveal about the nature of our relationship to grief and our changing attitudes toward its cure.

THE GRIEF CURE
by Cody Delistraty
HarperCollins, June 2024
(via Frances Goldin Literary Agency)

When Cody Delistraty lost his mother to cancer in his early 20s, he found himself unsure how to move forward. Planning for her recovery, he and his family had a purpose. But after she was gone, there seemed to exist only the empty advice on grief: move through the five stages, achieve closure, get back to work, go back to normal. So begins a journey into the new frontiers of grief, where Delistraty seeks out the researchers, technologists, therapists, marketers, and communities around the world looking to cure the pain of loss in novel ways. From the neuroscience of memory deletion to book prescriptions, laughter therapy, psilocybin, and Breakup Bootcamp, what ultimately emerges is not so much a cure as a fresh understanding of what living with grief truly means.

As Delistraty followed the blueprint of his own ad hoc treatment plan, the question of whether the most painful kind of grief can and should be cured had also been taken up by the American Psychiatry Association, as they recently gave extended, intense, disruptive grief an official name: Prolonged Grief Disorder. Stamping this kind of grief with a diagnosis has opened innovative avenues of treatment and an important conversation about a debilitating form of grief, but it also raises the question of whether grief, no matter how severe, is best treated medically at all?

Rigorously researched and beautifully written, The Grief Cure is a moving and eye-opening chronicle of a new diagnosis and a wide-ranging cultural history of grief of all sorts as a human rite. Braiding deep, emotional resonance with sharp research and historical insight, Delistraty places his own experience in dialogue with great writers and thinkers throughout history who have puzzled over this eternal question: how might we best face loss?

Cody Delistraty is the culture editor at The Wall Street Journal Magazine. He has written essays and criticism for The New York Times, The New Yorker, The Atlantic and, while living in Paris for several years, he was the European arts columnist for The Paris Review. He has degrees in politics from New York University and history from the University of Oxford, where he graduated with a double distinction (first class). He and his work have been featured on WNYC, France 5 and Arté; British Vogue named him a best young writer of the year; and he has given corporate talks about tragedy, art, and creativity to companies like PwC.

TO NAME THE BIGGER LIE de Sarah Viren

Part coming-of-age story, part psychological thriller, part philosophical investigation, this unforgettable memoir traces the ramifications of a series of lies that threaten to derail the author’s life—exploring the line between truth and deception, fact and fiction, and reality and conspiracy.

TO NAME THE BIGGER LIE:
A Memoir in Two Stories
by Sarah Viren
Scribner, June 2023
(via Frances Goldin Literary)

Sarah’s story begins as she’s researching what she believes will be a book about her high school philosophy teacher, a charismatic instructor who taught her and her classmates to question everything—in the end, even the reality of historical atrocities. As she digs into the effects of his teachings, her life takes a turn into the fantastical when her wife, Marta, is notified that she’s been investigated for sexual misconduct at the university where they both teach.
Based in part on a viral New York Times essay, TO NAME THE BIGGER LIE follows the investigation as it upends Sarah’s understanding of truth. She knows the claims made against Marta must be lies, and as she uncovers the identity of the person behind them and then tries, with increasing desperation, to prove their innocence, she’s drawn back into the questions that her teacher inspired all those years ago: about the nature of truth, the value of skepticism, and the stakes we all have in getting the story right.
A compelling, incisive journey into honesty and betrayal, this memoir explores the powerful pull of dangerous conspiracy theories and the pliability of personal narratives in a world dominated by hoaxes and fakes. TO NAME THE BIGGER LIE reads like the best of psychological thrillers—made all the more riveting because it’s true.

« A thrilling, labyrinthine and ultimately illuminating reckoning with what it feels like to be caught up in a vortex of post-truth, conspiracy, and lies, Sarah Viren’s To Name the Bigger Lie is a fascinating and deeply disturbing account of our contemporary age of weaponized falsehoods… This is a memoir, yes, but it’s also a view into a terrifying aspect of modernity, and Viren’s ability to unspool complicated tangles for the reader is unparalleled. » —Alex Marzano-Lesnevich, author of The Fact of a Body

Sarah Viren is a contributing writer for the New York Times Magazine and the author of Mine. Sarah’s creative work has been supported by an NEA Fellowship and a Kerouac House Writing Residency, and her writing appears in the New York Times Magazine, Oxford American, Texas Monthly, and elsewhere. An assistant professor of creative nonfiction at ASU, she is a graduate of the Nonfiction Writing MFA at the University of Iowa.

MAKE ME FEEL SOMETHING de Jennifer Schaffer-Goddard

Weaving together cultural criticism, personal narrative, historical diversions, and on-the-ground research, MAKE ME FEEL SOMETHING is a search for pure, loud, vibrant sensory experience and the knowledge that can only come from that source.

MAKE ME FEEL SOMETHING:
In Pursuit of Sensuous Life in the Digital Age
by Jennifer Schaffer-Goddard
Ecco/HarperCollins, Summer 2024
(via Sterling Lord Literistic)

As physical life on earth grows increasingly fraught and imperiled, technology moves to take us out of our bodies and into our screens. Capital is flooding into the development of the metaverse, designed to engulf us even more fully in tech’s trackable, commodifiable sphere.
And as the influence of these newly manufactured modes of experience promises to grow more fixed and invasive, it is not hyperbole to suggest that the years ahead will require us to reckon with questions that, at first glance, may seem surreal: What is the point of physical life? What are our bodies for?
Although we are saturated by an overload of stimuli, we engage with our actual physical senses—touch, taste, sight, scent, and sound—less and less. It’s no surprise we face an epidemic of depression and disassociation; no wonder that, in an era that demands engagement, we often find ourselves numb, forgetful, and detached. We need an urgent and necessary alternative: a return to the vital purpose and pleasure of our embodied senses.
This is precisely the mission of MAKE ME FEEL SOMETHING, a multi-hyphenate work of narrative non-fiction offering a radical reappraisal of the five senses in our break-neck technological world, as well as our sense of time, place, and of self.
With the improbably intermingled properties of Jenny Odell’s How to Do Nothing, Samin Nosrat’s Salt Fat Acid Heat, and John Berger’s Ways of Seeing, MAKE ME FEEL SOMETHING is a personalized, thematically anchored quest narrative that proposes a defiant way forward for sensory life.

Jennifer Schaffer-Goddard was born in Chicago in 1992, the year Apple declared handheld devices would change the world. A 2021 finalist for the Krause Essay Prize, her work has appeared in The Nation, The Baffler, The Paris Review Daily, Vulture, The Times Literary Supplement, The Idler, The White Review, The New Statesman, and elsewhere in print and online. Her research on the societal impacts of artificial intelligence has received recognition and funding from the Royal Society, the Centre for the Future of Intelligence, and the Partnership on Artificial Intelligence in Cambridge and Oxford. A graduate of Stanford and the University of Cambridge, she has, for better or worse, spent several years working in the tech industry.