For centuries writers have used participatory experience as a lens through which to better see the world at large and as a means of exploring the self. Considering various types of participatory writing as different strains of one style--immersion writing--Robin Hemley offers new perspectives and practical advice for writers of this nonfiction genre.
Immersion writing can be broken down into the broad categories of travel writing, immersion memoir, and immersion journalism. Using the work of such authors as Barbara Ehrenreich, Hunter S. Thompson, Ted Conover, A. J. Jacobs, Nellie Bly, Julio Cortazar, and James Agee, Hemley examines these three major types of immersion writing and further identifies the subcategories of the quest, the experiment, the investigation, the infiltration, and the reenactment. Included in the book are helpful exercises, models for immersion writing, and a chapter on one of the most fraught subjects for nonfiction writers--the ethics and legalities of writing about other people.
"A Field Guide for Immersion Writing" recalibrates and redefines the way writers approach their relationship to their subjects. Suitable for beginners and advanced writers, the book provides an enlightening, provocative, and often amusing look at the ways in which nonfiction writers engage with the world around them.
A Friends Fund Publication.

In Borderline Citizen Robin Hemley wrestles with what it means to be a citizen of the world, taking readers on a singular journey through the hinterlands of national identity. As a polygamist of place, Hemley celebrates Guy Fawkes Day in the contested Falkland Islands; Canada Day and the Fourth of July in the tiny U.S. exclave of Point Roberts, Washington; Russian Federation Day in the Russian exclave of Kaliningrad; Handover Day among protesters in Hong Kong; and India Day along the most complicated border in the world. Forgoing the exotic descriptions of faraway lands common in traditional travel writing, Borderline Citizen upends the genre with darkly humorous and deeply compassionate glimpses into the lives of exiles, nationalists, refugees, and others. Hemley's superbly rendered narratives detail these individuals, including a Chinese billionaire who could live anywhere but has chosen to situate his ornate mansion in the middle of his impoverished ancestral village, a black nationalist wanted on thirty-two outstanding FBI warrants exiled in Cuba, and an Afghan refugee whose intentionally altered birth date makes him more easy to deport despite his harrowing past. Part travelogue, part memoir, part reportage, Borderline Citizen redefines notions of nationhood through an exploration of the arbitrariness of boundaries and what it means to belong.

An all-in-one craft guide and anthology, this is the first creative writing book to find inspiration and guidance in the diverse literary traditions of Asia. Including exemplary stories by leading writers from Japan, China, India, Singapore and beyond as well as those from Asian diasporas in Europe and America, The Art and Craft of Asian Stories offers an exciting take on the traditional how-to writing guide by drawing from a rich new trove of short stories beyond the western canon which readers may never have encountered before. Whilst still taking stock of the traditional elements of story such as character, viewpoint and setting, Xu and Hemley let these compelling stories speak for themselves to offer readers new ideas and approaches which could enrich their own creative work. Structured around the themes encountered in the stories, such as race and identity, history and power, family and aspirations, this text is a vital companion for writers at all levels keen to develop and find new perspectives on key elements of their craft. Written by two internationally successful writers and teachers, each chapter contains complete short stories and writing exercises for practice and inspiration.

An all-in-one craft guide and anthology, this is the first creative writing book to find inspiration and guidance in the diverse literary traditions of Asia. Including exemplary stories by leading writers from Japan, China, India, Singapore and beyond as well as those from Asian diasporas in Europe and America, The Art and Craft of Asian Stories offers an exciting take on the traditional how-to writing guide by drawing from a rich new trove of short stories beyond the western canon which readers may never have encountered before. Whilst still taking stock of the traditional elements of story such as character, viewpoint and setting, Xu and Hemley let these compelling stories speak for themselves to offer readers new ideas and approaches which could enrich their own creative work. Structured around the themes encountered in the stories, such as race and identity, history and power, family and aspirations, this text is a vital companion for writers at all levels keen to develop and find new perspectives on key elements of their craft. Written by two internationally successful writers and teachers, each chapter contains complete short stories and writing exercises for practice and inspiration.

Robin Hemley's childhood made a wedgie of his memory, leaving him sore and embarrassed for over forty years. He was the most pitiful kindergartner, the least spirited summer camper, and dateless for prom. In fact, there's nary an event from his youth that couldn't use improvement. If only he could do them all over a few decades later, with an adult's wisdom, perspective, and giant-like height...
In the spirit of cult film classics like "Billy Madison "and "Wet Hot American Summer," in DO-OVER! Hemley reencounters paper mache, revisits his childhood home, and finally attends the prom--bringing readers the thrill of recapturing a misspent youth and discovering what's most important: simple pleasures, second chances, and the forgotten joys of recess.

The evidence at hand: an autobiography-complete with their mother's edits-written by his brilliant and disturbingly religious sister; a story featuring actual childhood events, but published by his mother as fiction; the transcript of a hypnotherapy session from his adolescence; and perjured court documents hidden in a drawer for decades. These are the clues Robin Hemley gathers when he sets out to reconstruct the life of his older sister Nola, who died at the age of twenty-five after several years of treatment for schizophrenia. Armed with these types of clues, Hemley quickly discovers that finding the truth in any life-even one's own-is a fragmented and complex task. Nola: A Memoir of Faith, Art and Madness is much more than a remembrance of a young woman who was consumed her entire life by a passion for finding and understanding God; it is also a quest to understand what people choose to reveal and conceal, and an examination of the enormous toll mental illness takes on a family. Finally, it is a revelation of the alchemy that creates a writer: confidence in the unknowable, distrust of the proven, tortuous devotion to the fine print in life, and sacrifice to writing itself as it plays the roles of confessor, scourge, and creator. Upon its first release in 1998, Nola won ForeWord's Book of the Year Award for biography/memoir, the Washington State Book Award for biography/memoir, and the Independent Press Book Award for autobiography/memoir.

In 1963, when Lois Kulwicki's father loses his job at Studebaker along with hundreds of other workers, he acts as if he has just been promoted. He buys a new car (the only non-Studebaker he's ever purchased) and takes his family on vacation. On the way home, Mom dumps Dad at a Stuckey's, and that's the last they see of him.

Thirty years later, Lois has a family of her own, as fractured as her childhood family. Divorced but still living with her ex, she decides to move out with her two daughters and start over but then a stranger named Henry enters their lives. Out of this ersatz family, Lois tries to recover something of what she lost, beginning with a search for her abandoned father. The Last Studebaker is a warmly comic tale of lives changed forever, after the last Studebaker rolled off of the assembly line.

For centuries writers have used participatory experience as a lens through which to better see the world at large and as a means of exploring the self. Considering various types of participatory writing as different strains of one style--immersion writing--Robin Hemley offers new perspectives and practical advice for writers of this nonfiction genre.
Immersion writing can be broken down into the broad categories of travel writing, immersion memoir, and immersion journalism. Using the work of such authors as Barbara Ehrenreich, Hunter S. Thompson, Ted Conover, A. J. Jacobs, Nellie Bly, Julio Cortazar, and James Agee, Hemley examines these three major types of immersion writing and further identifies the subcategories of the quest, the experiment, the investigation, the infiltration, and the reenactment. Included in the book are helpful exercises, models for immersion writing, and a chapter on one of the most fraught subjects for nonfiction writers--the ethics and legalities of writing about other people.
"A Field Guide for Immersion Writing" recalibrates and redefines the way writers approach their relationship to their subjects. Suitable for beginners and advanced writers, the book provides an enlightening, provocative, and often amusing look at the ways in which nonfiction writers engage with the world around them.
A Friends Fund Publication.

Do Midwesterners have a peculiar way of looking at the world? Is there something not quite right about the way they see things? For such a normal place, the heartland has produced some writers who take a most individual approach to storytelling. And the result to the delight of readers everywhere has been stories that reveal the mystery, joy, and enchantment in the most ordinary and incidental moments of life. These 33 exceptional tales showcase the peculiarly wonderful vision of some of the region s best-known or soon-to-be-celebrated writers. Each invites its readers to see the world through different eyes and see it anew."

In 1971 Manual Elizalde, a Philippine government minister with a dubious background, discovered a band of twenty-six "Stone Age" rain-forest dwellers living in total isolation. The tribe was soon featured in American newscasts and graced the cover of National Geographic. But after a series of aborted anthropological ventures, the Tasaday Reserve established by Ferdinand Marcos was closed to visitors, and the tribe vanished from public view. Twelve years later, a Swiss reporter hiked into the area and discovered that the Tasaday were actually farmers whom Elizalde had coerced into dressing in leaves and posing with stone tools. The "anthropological find of the century" had become the "ethnographic hoax of the century." Or maybe not. Robin Hemley tells a story that is more complex than either the hoax proponents or the authenticity advocates might care to admit. It is a gripping and ultimately tragic tale of innocence found, lost, and found again. The author provides an afterword for this Bison Books edition.