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Creative nonfiction (also known as literary nonfiction or narrative nonfiction) is a genre of writing that uses literary styles and techniques to create factually accurate narratives. Creative nonfiction contrasts with other nonfiction, such as academic or technical writing or journalism, which is also rooted in accurate fact, but is not primarily written in service to its craft. As a genre, creative nonfiction is still relatively young, and is only beginning to be scrutinized with the same critical analysis given to fiction and poetry. == Characteristics and definition == For a text to be considered creative nonfiction, it must be factually accurate, and written with attention to literary style and technique. “Ultimately, the primary goal of the creative nonfiction writer is to communicate information, just like a reporter, but to shape it in a way that reads like fiction.”〔 〕 Forms within this genre include biography, autobiography, memoir, diary, travel writing, food writing, literary journalism, chronicle, personal essays and other hybridized essays. According to Vivian Gornick, "A memoir is a tale taken from life—that is, from actual, not imagined, occurrences—related by a first-person narrator who is undeniably the writer. Beyond these bare requirements it has the same responsibility as the novel or the short story: to shape a piece of experience so that it moves from a tale of private interest to one with meaning for the disinterested reader.” Critic Chris Anderson claims that the genre can be understood best by splitting it into two subcategories—the personal essay and the journalistic essay—but the genre is currently defined by its lack of established conventions.〔Anderson, page ix.〕 Literary critic Barbara Lounsberry — in her book ''The Art of Fact'' — suggests four constitutive characteristics of the genre, the first of which is “Documentable subject matter chosen from the real world as opposed to ‘invented’ from the writer’s mind.” By this, she means that the topics and events discussed in the text verifiably exist in the natural world. The second characteristic is “Exhaustive research,”〔Lounsberry, page xiii〕 which she claims allows writers “novel perspectives on their subjects” and “also permits them to establish the credibility of their narratives through verifiable references in their texts.”〔Lounsberry, page xiii-xiv〕 The third characteristic that Lounsberry claims is crucial in defining the genre is “The scene”. She stresses the importance of describing and revivifying the context of events in contrast to the typical journalistic style of objective reportage.〔Lounsberry, page xiv-xv〕 The fourth and final feature she suggests is “Fine writing: a literary prose style”. “Verifiable subject matter and exhaustive research guarantee the nonfiction side of literary nonfiction; the narrative form and structure disclose the writer’s artistry; and finally, its polished language reveals that the goal all along has been literature.”〔Lounsberry, page xv〕 Creative nonfiction may be structured like traditional fiction narratives, as is true of Fenton Johnson's story of love and loss, ''Geography of the Heart'', and Virginia Holman's ''Rescuing Patty Hearst''. When book-length works of creative nonfiction follow a story-like arc, they are sometimes called ''narrative nonfiction''. Creative nonfiction often escapes traditional boundaries of narrative altogether, as happens in the bittersweet banter of Natalia Ginzburg's essay, "He and I", in John McPhee's hypnotic tour of Atlantic City, ''In Search of Marvin Gardens'', and in Ander Monson's playful, experimental essays in ''Neck-Deep and Other Predicaments''. Creative nonfiction writers have embraced new ways of forming their texts—including online technologies—because the genre leads itself to grand experimentation. Dozens of new journals have sprung up—both in print and online—that feature creative nonfiction prominently in their offerings 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Creative nonfiction」の詳細全文を読む スポンサード リンク
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