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E-raamat: Creative Writing and the Experiences of Others: Strategies for Outsiders

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"In times that are rife with complex manifestations of identity politics, writing classrooms across the world are hosting heated debates about what it means for authors to write about experiences outside our own. This book focuses on writing as the act of witnessing when the writers themselves were not present to witness in person. It seeks to answer the questions that come along with these experiences, like what might it mean to write in order "to watch," "to try and understand," "to never look away," and "to never forget" when the writer is an outsider to an experience-- what might it mean to write about others in ways that do not essentialize or sensationalize, and in ways that are as humble, ethical, and responsible as possible? What might it mean tobear witness through the written word while engaged in a constant (re)negotiation with one's own positioning i.e., to cultivate a condition of critical empathy that doesn't also have the consequence of creative paralysis?"--

In times that are rife with complex manifestations of identity politics, writing classrooms across the world are hosting heated debates about what it means for authors to write about experiences outside our own. This book focuses on writing as the act of witnessing when the writers themselves were not present to witness in person. It seeks to answer the questions that come along with these experiences, like what might it mean to write in order “to watch,” “to try and understand,” “to never look away,” and “to never forget” when the writer is an outsider to an experience-- what might it mean to write about others in ways that do not essentialize or sensationalize, and in ways that are as humble, ethical, and responsible as possible? What might it mean to bear witness through the written word while engaged in a constant (re)negotiation with one’s own positioning i.e., to cultivate a condition of critical empathy that doesn’t also have the consequence of creative paralysis?

In times that are rife with complex manifestations of identity politics, writing classrooms across the world are hosting heated debates about what it means for authors to write about experiences outside our own. This book focuses on writing as the act of witnessing when the writers themselves were not present to witness in person.

Contents

Introduction - Setting The Stage

Section One: Examine

Scene One: The Trials, Int. A Room

Scene Two: Int. A Cafe

Examine: Allegories & Abstractions

Scene Three: To Camera

Scene Four: Int. A Classroom

Examine: Autoethnography

Scene Five: Ext. A Street

Scene Six: Int. A Car

Examine: Lacks of Understanding

Scene Seven: Int. A Room

Scene Eight: Int. A Cafe

Examine: Visual Aesthetics

Scene Nine: Int. A Room

Scene Ten: Ext. The Porch of a Building

Examine: Banalities

Scene Eleven: Int. A Room

Scene Twelve: To Camera

Examine: Choices

Scene Thirteen: The Classroom

Scene Fourteen: To Camera

Scene Fifteen: Int. A Classroom

Scene Sixteen: Int. And Ext. Split Screen

Scene Seventeen: To Camera

Examine: Unresolved Endings

Section Two: Explore

Part One: Explore Allegories & Abstractions

Text One

Text Two

Text Three

Part Two: Explore Autoethnography

Text Four

Text Five

Text Six

Part Three: Explore Lacks of Understanding

Text Seven

Text Eight

Text Nine

Part Four: Explore Visual Aesthetics

Text Ten

Text Eleven

Text Twelve

Part Five: Explore Banalities

Text Thirteen

Text Fourteen

Text Fifteen

Part Six: Explore Choices

Text Sixteen

Text Seventeen

Text Eighteen

Part Seven: Explore Unresolved Endings

Text Nineteen

Text Twenty

Text Twenty-One

Section Three: Experiment

Experiment #1

Experiment #2

Experiment #3

Conclusion - One Last Thing

Index

Nandita Dinesh is Dean of Academic Administration at Mount Tamalpais College and serves incarcerated students inside San Quentin State Prison.