Most of What Follows is True: Places Imagined and Real
(eBook)

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Published
The University of Alberta Press, 2019.
Status
Available Online

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Format
eBook
Language
English
ISBN
9781772124637

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Citations

APA Citation, 7th Edition (style guide)

Michael Crummey., & Michael Crummey|AUTHOR. (2019). Most of What Follows is True: Places Imagined and Real . The University of Alberta Press.

Chicago / Turabian - Author Date Citation, 17th Edition (style guide)

Michael Crummey and Michael Crummey|AUTHOR. 2019. Most of What Follows Is True: Places Imagined and Real. The University of Alberta Press.

Chicago / Turabian - Humanities (Notes and Bibliography) Citation, 17th Edition (style guide)

Michael Crummey and Michael Crummey|AUTHOR. Most of What Follows Is True: Places Imagined and Real The University of Alberta Press, 2019.

MLA Citation, 9th Edition (style guide)

Michael Crummey, and Michael Crummey|AUTHOR. Most of What Follows Is True: Places Imagined and Real The University of Alberta Press, 2019.

Note! Citations contain only title, author, edition, publisher, and year published. Citations should be used as a guideline and should be double checked for accuracy. Citation formats are based on standards as of August 2021.

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Grouped Work ID41742579-8ad2-a939-5d2c-e43056384ada-eng
Full titlemost of what follows is true places imagined and real
Authorcrummey michael
Grouping Categorybook
Last Update2024-05-15 02:00:54AM
Last Indexed2024-05-25 03:17:53AM

Book Cover Information

Image Sourcehoopla
First LoadedJan 19, 2024
Last UsedApr 21, 2024

Hoopla Extract Information

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    [synopsis] => The prizewinning author of The Innocents examines the relationships among fact, fiction, fictionalization, and appropriation in this thought-provoking work.

"In all creative writing, the question of what is true and what is real are two very different considerations. Figuring out how to dance between them is a murky business."

In Most of What Follows Is True, Michael Crummey examines the complex relationship between fact and fiction, between the "real world" and the stories we tell to explain it. Drawing on his own experience appropriating historical characters to fictional ends, he brings forward important questions about how writers use history and real-life figures to animate fictional stories. Is there a limit to the liberties a writer can take? Is there a point at which a fictionalized history becomes a false history? What responsibilities do writers have to their readers, and to the historical and cultural materials they exploit as sources? Crummey offers thoughtful, witty views on the deep and timely conversation around appropriation.
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