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Mon Jun 3 2013 If You Are Absolutely Certain, I Get Suspicious by Mimi Schwartz If creative nonfictionists build a persona, can persona-building also become a source of conflict Read more...	Fri May 31 2013 The Psychopaths Among Us: A Three-Act Essay by Thomas Larson If creative nonfictionists build a persona, can persona-building also become a source of conflict Read more...	Thu May 30 2013 My Father, Unreliably by Clay Benjamin If creative nonfictionists build a persona, can persona-building also become a source of conflict Read more...
Wed May 29 2013 Did It Really Happen That Way? The Memoirist as Unreliable Narrator by Michael Steinberg If creative nonfictionists build a persona, can persona-building also become a source of conflict Read more...	Tue May 28 2013 Mining the Author-Narrator Gap by Elizabeth Kadetsky If creative nonfictionists build a persona, can persona-building also become a source of conflict Read more...	Mon Apr 15 2013 The Moving Face (for Roger Ebert) by Riva Lehrer The first time I ever really thought about Roger Ebert it was because I knew he was warm, dry, and Read more...
Mon Mar 4 2013 On the Early English Essay: An Experimental Array by Scott Black Eric LeMay div.column hr{ border: 0; background-color: #000000; height: 1px; width: 30px; margin-top: Read more...	Mon Oct 22 2012 The Facts of the Matter by Anonymous Editors' Note: When we received this anonymous nonfiction submission it caused quite a stir. One Read more...	Sun Jun 17 2012 Excerpt from Office Girl by Joe Meno Office Girlby Joe MenoAkashic Books THOUGH IT’S SNOWING AT TEN SECONDS AFTER EIGHT A.M. On that Read more...

Views

If You Are Absolutely Certain, I Get Suspicious

But what if this book were called memoir? Suddenly the puppeteer is gone; the people are real, the plot is preordained, and the “I” narrator is also the author. Can we read on equally engaged, or do we pull back from a narrator too unreliable to tell a true story? In this five part TriQuarterly series, five writers of nonfiction and one writer of fiction brainstorm creative ways for writers to make themselves unreliable narrators—with playful, conflicted, and imaginative results.
The Psychopaths Among Us: A Three-Act Essay

For this kind of nonfiction to work, there has to be an “I” who is not “I,” a narrator who is both author and character, a narrator in whom we see the split or, at least, a tear. The author steadies us while the character grows untrustworthy. In this five part TriQuarterly series, five writers of nonfiction and one writer of fiction brainstorm creative ways for writers to make themselves unreliable narrators—with playful, conflicted, and imaginative results.
My Father, Unreliably

I wanted to approach this subject of an unreliable narrator in creative nonfiction by talking about some very personal memoirs I’ve been writing about my father. My father drives me crazy. Bat-shit crazy. I’ve spent years diagnosing him. In this five part TriQuarterly series, five writers of nonfiction and one writer of fiction brainstorm creative ways for writers to make themselves unreliable narrators—with playful, conflicted, and imaginative results.
Did It Really Happen That Way? The Memoirist as Unreliable Narrator

A good number of memoirists are writing not so much to confess or tell their stories as to discover, hopefully, through the writing, what poets and fiction writers often describe as finding out “what we didn’t know we knew.” In this five part TriQuarterly series, five writers of nonfiction and one writer of fiction brainstorm creative ways for writers to make themselves unreliable narrators—with playful, conflicted, and imaginative results.

Interviews

Douglas Foster: Interview

"We’re quite rightfully concerned by the level of unemployment in the United States and the ways people were devastated by the financial crisis of 2008, but in the circumstances people face in a place like South Africa, 10 percent unemployment would be heaven."
Stephen Elliott: Interview

“We all change; the things you want from writing, at a certain age, become different from the things you want later. I’ve avoided any obligations, and I still live like a child. I don’t have a wife and kids. I’m on my own. It’s a choice.”
B.J. Hollars: Interview

"Blurring the Boundaries was inspired by my own frustration with facts."
Karen Rigby: Interview

My poetry won’t suit everyone. It has been described as dense; I’m aware of that response, so I wouldn’t say “I hope everyone reads it.”

Reviews

Inscriptions for Headstones by Matthew Vollmer

Matthew Vollmer’s newest book, Inscriptions for Headstones, asks: when we die, what will matter most about how we lived? The issue of legacy preoccupies many, especially writers. When they die, they leave their words behind.
The Cost of Living by Rob Roberge

Both gritty and lyrical, The Cost of Living by Rob Roberge is a drug-fueled emotional rollercoaster ride that mainlines the voices of Denis Johnson, Charles Bukowski, and Jim Carroll, leaving you spent and shaky, looking for your next fix.
The Haymarket Conspiracy: Transatlantic Anarchist Networks by Timothy Messer-Kruse

Has hagiography transformed a clumsy group of criminal conspirators into secular saints? Are subscription to an ideology and belief in common modes of action by individuals and small groups enough to constitute a network capable of autonomous action?
Let the Dark Flower Blossom by Norah Labiner

Norah Labiner is not interested in linear storytelling or books with a traditional beginning, middle and end. You should know this before you read her work.

Blog Posts

TriQuarterly Contributor Updates: Summer 2013

Jun 19, 2013
Summer Reading: TriQuarterly Staff Edition

Jun 6, 2013
How Poems Move #12

Apr 25, 2013
How Poems Move #11

Apr 23, 2013