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A Stranger's Journey: Race, Identity, and Narrative Craft in Writing
Long recognized as a master teacher at writing programs like VONA, the Loft, and the Stonecoast MFA, with A Stranger's Journey, David Mura has written a book on creative writing that addresses our increasingly diverse American literature. Mura argues for a more inclusive and expansive definition of craft, particularly in relationship to race, even as he elucidates timeless rules of narrative construction in fiction and memoir. His essays offer technique-focused readings of writers such as James Baldwin, ZZ Packer, Maxine Hong Kingston, Mary Karr, and Garrett Hongo, while making compelling connections to Mura's own life and work as a Japanese American writer.
In A Stranger's Journey, Mura poses two central questions. The first involves identity: How is writing an exploration of who one is and one's place in the world? Mura examines how the myriad identities in our changing contemporary canon have led to new challenges regarding both craft and pedagogy. Here, like Toni Morrison's Playing in the Dark or Jeff Chang's Who We Be, A Stranger's Journey breaks new ground in our understanding of the relationship between the issues of race, literature, and culture.
The book's second central question involves structure: How does one tell a story? Mura provides clear, insightful narrative tools that any writer may use, taking in techniques from fiction, screenplays, playwriting, and myth. Through this process, Mura candidly explores the newly evolved aesthetic principles of memoir and how questions of identity occupy a central place in contemporary memoir.
In A Stranger's Journey, Mura poses two central questions. The first involves identity: How is writing an exploration of who one is and one's place in the world? Mura examines how the myriad identities in our changing contemporary canon have led to new challenges regarding both craft and pedagogy. Here, like Toni Morrison's Playing in the Dark or Jeff Chang's Who We Be, A Stranger's Journey breaks new ground in our understanding of the relationship between the issues of race, literature, and culture.
The book's second central question involves structure: How does one tell a story? Mura provides clear, insightful narrative tools that any writer may use, taking in techniques from fiction, screenplays, playwriting, and myth. Through this process, Mura candidly explores the newly evolved aesthetic principles of memoir and how questions of identity occupy a central place in contemporary memoir.
273 pages, Kindle Edition
First published August 1, 2018
35 people are currently reading
415 people want to read
About the author
David Mura
28 books50 followersDavid Mura (born 1952) is a Japanese American author, poet, novelist, playwright, critic and performance artist. He has published two memoirs, Turning Japanese: Memoirs of a Sansei, which won the Josephine Miles Book Award from the Oakland PEN and was listed in the New York Times Notable Books of the Year, and Where the Body Meets Memory: An Odyssey of Race, Sexuality and Identity (1995). His most recent book of poetry is The Last Incantation (2014); his other poetry books include After We Lost Our Way, which won the National Poetry Contest, The Colors of Desire (winner of the Carl Sandburg Literary Award), and Angels for the Burning. His novel is Famous Suicides of the Japanese Empire (Coffee House Press, 2008). His writings explore the themes of race, identity and history. His blog is blog.davidmura.com.
David Mura was born in 1952 and grew up in Chicago, the oldest of four children. He is a third generation Japanese American son of parents interned during World War II. Mura earned his B.A. from Grinnell College and his M.F.A. in creative writing from Vermont College of Fine Arts. He has taught at the University of Minnesota, St. Olaf College, The Loft Literary Center, and the University of Oregon. He currently resides in Saint Paul, Minnesota, with his wife Susan Sencer and their three children; Samantha, Nikko and Tomo.
(from Wikipedia)
David Mura was born in 1952 and grew up in Chicago, the oldest of four children. He is a third generation Japanese American son of parents interned during World War II. Mura earned his B.A. from Grinnell College and his M.F.A. in creative writing from Vermont College of Fine Arts. He has taught at the University of Minnesota, St. Olaf College, The Loft Literary Center, and the University of Oregon. He currently resides in Saint Paul, Minnesota, with his wife Susan Sencer and their three children; Samantha, Nikko and Tomo.
(from Wikipedia)
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Displaying 1 - 27 of 27 reviews
February 5, 2019
I’ve read a lot of books about craft, mainly to procrastinate & keep from writing, but none have the intersectional lens and important depth & breadth of experience that David Mura brings to this subject. His critique of the default assumption publishing has long made that the sole universal narrator experience has to be white is especially refreshing. It is also a gift to have a master of memoir and nonfiction who has taught for decades explain how old adages about writing different for writers of color. Sometimes, for example, we have to tell readers about our experience because of assumptions they may bring to our work that impact how they read it. Certainly we can code switch and do a bit of both easily but not telling is not really always an option. A valuable reference for all, especially for writers of color.
July 4, 2019
Essential for its insight into race in the writing classroom. It was a bumpy start for me with the stilted academic phrasing, but the subject matter is so important and the writing settles nicely into more readable essays that compared and contrasted different writers. Finishes with a series of 7 multipart writing exercises, so great for generating or refining material. Several of his examples of writing race come from Sherman Alexie and Junot Diaz, both implicated in #metoo scandals, and I wished for more non-Male representation, while appreciating the inclusion of Mary Karr and ZZ Packer.
December 12, 2022
I will come back to this review and explain...
But for now, all I will say is that this is a book that provides you with so much insight.
But for now, all I will say is that this is a book that provides you with so much insight.
October 10, 2018
Mura covers a lot of ground here -- so much crucial explanation of how important it is to address race in literature, but also a writer's how-to for structuring fiction and nonfiction. The notes on structure were hugely helpful for my book, and though I was basically the choir he preached to on race, I highly recommend white readers and writers pick this up to gain some insight into the nuances of creating characters of all races.
July 7, 2019
Superb craft book for all writers.
January 8, 2020
A must read for every writer.
October 16, 2019
This book is quite technical and academic it's really meant for writers. If you are a writer of colour, you will feel seen by the essays in this book. If you are a white writer, you need to read this.
This is the first book that I can think of that looks at the intersection of race and writing.
And if you're a critic or anyone who works with books, you should read this book.
The essays about craft are also quite good, and I am now thinking about some books that I need to read. This is a very refreshing book, and takes a big blow at the white male canon.
Sadly, two of the examples- Diaz and Alexie have been involved in #metoo sex scandals, but I still got a lot of this book. I haven't read anything else like it. (The author doesn't talk a lot about LGBTQ issues or other forms of intersectionality, preferring to focus mainly on race)
This is the first book that I can think of that looks at the intersection of race and writing.
And if you're a critic or anyone who works with books, you should read this book.
The essays about craft are also quite good, and I am now thinking about some books that I need to read. This is a very refreshing book, and takes a big blow at the white male canon.
Sadly, two of the examples- Diaz and Alexie have been involved in #metoo sex scandals, but I still got a lot of this book. I haven't read anything else like it. (The author doesn't talk a lot about LGBTQ issues or other forms of intersectionality, preferring to focus mainly on race)
January 2, 2019
Mura's text is one of the most helpful books discussing the craft of writing for a writer of color I have ever read.
December 13, 2023
The first half of Mura’s “A Stranger’s Journey” is a poignant exploration of how, in traditional writing institutions, there is an automatic assumption that the primary perspective of any work of writing is white, and how detrimental this is to authors of color.
One can see this concretely through the forced assumption that a character is white, unless otherwise specified or described. White characters defining physical attributes are rarely clarified, whereas often, the first descriptor that is used about a character of color has some relation to their skin color, their hair texture, or something of the like. Although this can go far deeper than just the initial description, it is a crystal clear way of illustrating this underlying assumption of whiteness, and how this interwoven it is in traditional writing institutions. Mura delves into how this centering of whiteness is inescapably tied to the racial “otherness” of characters of color, and how this “otherness” can so often be the focal point of their character for the rest of the book. This then does not allow room for the same depth of character that white characters have access to, and can contribute to the appearance of more intelligence, introspective abilities, emotional bandwidth, and many other aspects of what contributes to the construction of their person.
Mura writes how this assumption of whiteness, mischaracterization of characters of color, and at times clear prioritization of white authors that utilize these aspects in their writing can be especially detrimental in educational spaces and writing workshops. He writes how incredibly hostile these dominantly white spaces can be, and how they are entirely unsympathetic. Even when students of color voice their oppression, they are quickly silenced by the immediate opposition they face. They are consistently brushed off by their white peers, their white teachers, and the fact that in order to write with the same assumption of identity that white writers have, they must contradict the very institutions that define what good writing is, and undertake the redefinition of the assumption of the white narrator.
I, like so many others, have witnessed this in my college courses. I took a class this past year that was called “Women’s Writers.” I was excited for this class, to be able to delve into the world of great authors, to spend a chunk of time solely focusing on how a woman’s perspective is portrayed in literature. The teacher, an older white woman, opened up the class by saying that she hopes this will give a comprehensive, broad, overview of the works and perspectives of “The greatest female authors to date.” She then proceeded to assign a syllabus consisting almost entirely of now deceased, white female authors. There was one, singular book at the end of the syllabus that was written by an African woman, and was also much more recently published. It also was going to be discussed in class for less than half the time that this professor gave every other book. I was taken aback. It was obvious that she had been criticized for her choices in books, and added it at the last minute, to fulfill the requirement, but did not even give it enough consideration to give it the same attention as the white authors . The class should have been called “White Women Writers that are now dead.”
This is but one example that bolsters Mura’s description of how deeply this assumption of whiteness runs, and how it continues to be taught. It is truly disgraceful.
In the second half of his book, Mura focuses on structure, and how to incorporate aspects of one’s identity into a memoir. He discussed the incorporation of realistic protagonists, and the depth that including their memories can give to the story. To be honest, I did not find the second half of this book to be as influential or applicable to my current journey as a writer, and I have little to comment on. Perhaps this is because I have not yet undertaken a larger writing project, and I have not lived enough life to consider writing a memoir. It is also rather odd to me that discussions of race drastically diminish, where it could have easily continued being constructive in his conversations. It feels like two different books, in some ways. I will also say that this book, although not an insanely difficult read, is fairly academic, and the complexity was a bit difficult to digest.
Overall, this book was a worthwhile read, and my perspective on the entire culture of writing has been shifted by it.
One can see this concretely through the forced assumption that a character is white, unless otherwise specified or described. White characters defining physical attributes are rarely clarified, whereas often, the first descriptor that is used about a character of color has some relation to their skin color, their hair texture, or something of the like. Although this can go far deeper than just the initial description, it is a crystal clear way of illustrating this underlying assumption of whiteness, and how this interwoven it is in traditional writing institutions. Mura delves into how this centering of whiteness is inescapably tied to the racial “otherness” of characters of color, and how this “otherness” can so often be the focal point of their character for the rest of the book. This then does not allow room for the same depth of character that white characters have access to, and can contribute to the appearance of more intelligence, introspective abilities, emotional bandwidth, and many other aspects of what contributes to the construction of their person.
Mura writes how this assumption of whiteness, mischaracterization of characters of color, and at times clear prioritization of white authors that utilize these aspects in their writing can be especially detrimental in educational spaces and writing workshops. He writes how incredibly hostile these dominantly white spaces can be, and how they are entirely unsympathetic. Even when students of color voice their oppression, they are quickly silenced by the immediate opposition they face. They are consistently brushed off by their white peers, their white teachers, and the fact that in order to write with the same assumption of identity that white writers have, they must contradict the very institutions that define what good writing is, and undertake the redefinition of the assumption of the white narrator.
I, like so many others, have witnessed this in my college courses. I took a class this past year that was called “Women’s Writers.” I was excited for this class, to be able to delve into the world of great authors, to spend a chunk of time solely focusing on how a woman’s perspective is portrayed in literature. The teacher, an older white woman, opened up the class by saying that she hopes this will give a comprehensive, broad, overview of the works and perspectives of “The greatest female authors to date.” She then proceeded to assign a syllabus consisting almost entirely of now deceased, white female authors. There was one, singular book at the end of the syllabus that was written by an African woman, and was also much more recently published. It also was going to be discussed in class for less than half the time that this professor gave every other book. I was taken aback. It was obvious that she had been criticized for her choices in books, and added it at the last minute, to fulfill the requirement, but did not even give it enough consideration to give it the same attention as the white authors . The class should have been called “White Women Writers that are now dead.”
This is but one example that bolsters Mura’s description of how deeply this assumption of whiteness runs, and how it continues to be taught. It is truly disgraceful.
In the second half of his book, Mura focuses on structure, and how to incorporate aspects of one’s identity into a memoir. He discussed the incorporation of realistic protagonists, and the depth that including their memories can give to the story. To be honest, I did not find the second half of this book to be as influential or applicable to my current journey as a writer, and I have little to comment on. Perhaps this is because I have not yet undertaken a larger writing project, and I have not lived enough life to consider writing a memoir. It is also rather odd to me that discussions of race drastically diminish, where it could have easily continued being constructive in his conversations. It feels like two different books, in some ways. I will also say that this book, although not an insanely difficult read, is fairly academic, and the complexity was a bit difficult to digest.
Overall, this book was a worthwhile read, and my perspective on the entire culture of writing has been shifted by it.
Read
December 11, 2023A Stranger’s Journey examines how race and identity intersect with creative writing. Mura asks the reader, and ultimately writers as well, to examine how their identity and place within the world manifests itself in writing. As Mura explains, these identities have shaped the “literary canon”.
An example Mura gives is the assumption that characters are White, if not otherwise specified. This is primarily an issue when written by a White author, however, it has become a cultural phenomenon through time. Unless otherwise noted, most characters are automatically thought to be White, which can be problematic because it presents the idea that being non-White is “abnormal”. Additionally, when specified, the descriptions of many POC characters are harmful, exoticizing, and even fetishizing. The assumption that all characters are White was something that I honestly hadn’t even considered, but I definitely fell victim to. As both a reader and a writer, I tend to default to a White character in my imagination, which is a product and reflection of the “normal” in the larger society that I am a part of. Having opened my eyes to this phenomenon, I have found myself more conscious of the ways in which I read and write characters, both White and non-White.
To work towards more equality and representation in the writing world, Mura suggests giving more of a space to POC writers. From confronting your own biases to intentionally reading more work by POC authors to finding moments to listen or share the voices of POC writers, Mura argues that these are the small steps that pave the way for greater equality in the writing world. Mura also encourages POC writers to find community, equating this struggle to a marathon, rather than a sprint.
Mura also examines the struggles that many underrepresented authors, such as POC authors, may face in both the writing and academic world. Though focusing on a MFA Creative Writing program, Mura describes this experience as hostile and discouraging. Mura lists various struggles that these students face, such as experiencing harmful stereotypes in the writings of their peers to being labeled as a “trouble” student when they attempt to voice their concerns or rectify these portrayals. I found this segment really interesting, especially considering a creative writing class that I’ve taken in the past. I was one of the only students of color in that class and, although I didn’t realize it at the time, I did find this a barrier to my speaking up – I was afraid of standing out any more than I already did.
In the latter half of A Stranger’s Journey, Mura puts some of these ideas into practice and especially focuses on memoir. Mura poses questions about the protagonist and begs the reader to reconsider any protagonists they might be writing. One thing that Mura emphasizes is the necessity of conflicting desires within a relatable and realistic protagonist.
In his exploration of writing, Mura also describes some features unique to memoir. For example, Mura states that a memoirist must be able to reflect on the event and the importance or significance that this moment holds. Mura also asks the writer to consider why this is a story worth telling. Finally, he provides examples of the various organizations memoirs might have, from temporal to categorical.
As a whole, I found A Stranger’s Journey to be an interesting consideration into the field of writing and especially a foray into the world of memoirs. Mura begs the reader to consider their identity and its relationship to how they consume literature as well as write, which is a must for anyone.
An example Mura gives is the assumption that characters are White, if not otherwise specified. This is primarily an issue when written by a White author, however, it has become a cultural phenomenon through time. Unless otherwise noted, most characters are automatically thought to be White, which can be problematic because it presents the idea that being non-White is “abnormal”. Additionally, when specified, the descriptions of many POC characters are harmful, exoticizing, and even fetishizing. The assumption that all characters are White was something that I honestly hadn’t even considered, but I definitely fell victim to. As both a reader and a writer, I tend to default to a White character in my imagination, which is a product and reflection of the “normal” in the larger society that I am a part of. Having opened my eyes to this phenomenon, I have found myself more conscious of the ways in which I read and write characters, both White and non-White.
To work towards more equality and representation in the writing world, Mura suggests giving more of a space to POC writers. From confronting your own biases to intentionally reading more work by POC authors to finding moments to listen or share the voices of POC writers, Mura argues that these are the small steps that pave the way for greater equality in the writing world. Mura also encourages POC writers to find community, equating this struggle to a marathon, rather than a sprint.
Mura also examines the struggles that many underrepresented authors, such as POC authors, may face in both the writing and academic world. Though focusing on a MFA Creative Writing program, Mura describes this experience as hostile and discouraging. Mura lists various struggles that these students face, such as experiencing harmful stereotypes in the writings of their peers to being labeled as a “trouble” student when they attempt to voice their concerns or rectify these portrayals. I found this segment really interesting, especially considering a creative writing class that I’ve taken in the past. I was one of the only students of color in that class and, although I didn’t realize it at the time, I did find this a barrier to my speaking up – I was afraid of standing out any more than I already did.
In the latter half of A Stranger’s Journey, Mura puts some of these ideas into practice and especially focuses on memoir. Mura poses questions about the protagonist and begs the reader to reconsider any protagonists they might be writing. One thing that Mura emphasizes is the necessity of conflicting desires within a relatable and realistic protagonist.
In his exploration of writing, Mura also describes some features unique to memoir. For example, Mura states that a memoirist must be able to reflect on the event and the importance or significance that this moment holds. Mura also asks the writer to consider why this is a story worth telling. Finally, he provides examples of the various organizations memoirs might have, from temporal to categorical.
As a whole, I found A Stranger’s Journey to be an interesting consideration into the field of writing and especially a foray into the world of memoirs. Mura begs the reader to consider their identity and its relationship to how they consume literature as well as write, which is a must for anyone.
Read
December 4, 2023This book was very easy for me to digest because this type of writing is something I am more comfortable using since I’ve had to use it for school papers. Besides that, up to this point, I have mostly done writing for myself. I will journal when given the time and mental head space. My life at the moment is extremely packed for me to make any time for writing so it is the farthest activity from my mind. Because of that, I get my creative writing out through assignments. And lately, I’ve been more interested in writing for others. A Stranger’s Journey gave me a few helpful tips from this resource. This book also encouraged me to want to make my writing more known. Writing fiction is never something I never thought I would enjoy because I never thought I had good world-building skills. I often think of Toni Morrison’s 1981 speech, when she said: “If there’s a book that you want to read, but it hasn’t been written yet, then you must write it” and I’ve been thinking about this famous line more consistently since finishing Mura’s book.
I would not have picked up this book on my own, had it not been assigned to me. Overall, I didn’t have a terrible reading experience. I did try looking for the audiobook version and I could not find it anywhere. I think I would’ve retained more information had I been able to listen along as well. I found out afterward that I love reading essays, short stories, and novels written by BIPOC authors. I’ve been doing my best to be mindful when it comes to picking books to read. Over the last couple of years, I realized that I tend to enjoy a book more if its written by a BIPOC author. It makes me happy to know that these writers are getting the recognition they deserve. We saw how Mura was able to use his mentor’s work within this book. I would have preferred to have full essays to be included. Nevertheless, I still thought this book was strong for non-fiction/academic writing.
Since the beginning of the pandemic, North America has been focusing on Black-American or Asian-American communities, especially when COVID-19 was at its peak in 2020. Another community I would love to hear and learn more about would be countries in South America. Whether that means these books are set in South America or written by Hispanic authors. It would be nice to see an increase in translated fiction from that region. I think that this is a community that needs to gain some more attention. If not, would that be left to me to create a stakeholder in the community? I don’t trust my storywriting skills, so I would have to do a lot of practice work and more research prior and maybe one day, I could make this dream a reality.
One of my favorite things is to be able to venture into other cultures with the help of reading. After this read-through, I will go back to reading more fiction. But I will continue to practice my self-awareness. I started by picking up two memory-type books: Crying in H Mart by Michelle Zauner and Time is a Mother by Ocean Vuong. I started reading Zauner’s memory and I think I’m more than ready to listen to the book she's written. I also hope to pick up more of Mura’s books in the future. For now, I will continue to practice mindfulness when it comes to my work.
I would not have picked up this book on my own, had it not been assigned to me. Overall, I didn’t have a terrible reading experience. I did try looking for the audiobook version and I could not find it anywhere. I think I would’ve retained more information had I been able to listen along as well. I found out afterward that I love reading essays, short stories, and novels written by BIPOC authors. I’ve been doing my best to be mindful when it comes to picking books to read. Over the last couple of years, I realized that I tend to enjoy a book more if its written by a BIPOC author. It makes me happy to know that these writers are getting the recognition they deserve. We saw how Mura was able to use his mentor’s work within this book. I would have preferred to have full essays to be included. Nevertheless, I still thought this book was strong for non-fiction/academic writing.
Since the beginning of the pandemic, North America has been focusing on Black-American or Asian-American communities, especially when COVID-19 was at its peak in 2020. Another community I would love to hear and learn more about would be countries in South America. Whether that means these books are set in South America or written by Hispanic authors. It would be nice to see an increase in translated fiction from that region. I think that this is a community that needs to gain some more attention. If not, would that be left to me to create a stakeholder in the community? I don’t trust my storywriting skills, so I would have to do a lot of practice work and more research prior and maybe one day, I could make this dream a reality.
One of my favorite things is to be able to venture into other cultures with the help of reading. After this read-through, I will go back to reading more fiction. But I will continue to practice my self-awareness. I started by picking up two memory-type books: Crying in H Mart by Michelle Zauner and Time is a Mother by Ocean Vuong. I started reading Zauner’s memory and I think I’m more than ready to listen to the book she's written. I also hope to pick up more of Mura’s books in the future. For now, I will continue to practice mindfulness when it comes to my work.
Read
December 13, 2023Review for Class: “A Stanger’s Journey: Race, Identity, and Narrative Craft in Writing” By David Mura
This book begins with David Mura asking two questions exploring identity and the way we tell stories, specifically regarding race and its interactions with creative writing. Though it is unwritten, arguably the most important theme is about the life and dynamics of being a writer of color in the still predominantly white, and white supremacist ecosystem of writing. Mura does this through a series of essays, splitting the book into four parts: I. The World is What it is II. Story in Fiction III. Narrative and Identity in Memoir IV. The Writer’s Story.
I found the first section of the book to be the most compelling, with its discussion of interesting social issues that had not crossed my mind before. The first part of the book focuses on two central issues. The first issue is best emphasized through the quote given by Toni Morrison “until very recently, and regardless of the race of the author, the readers of virtually all American fiction have been positioned as white.” (3). This, in combination with the fact that characters are assumed to be white unless otherwise stated, leads to a feeling that non-whiteness is something abnormal or irregular in literature. Thus, a literary canon is created that is white and leads to extra scrutiny against non-white writers. The effects that this can have are innumerable and devastating, especially to aspiring BIPOC writers. The second issue is highly related to the literary canon, and that is the whiteness of the writing ecosystem. One example he gives of this is in POC vs MFA, which talks about the struggles of being BIPOC in master of fine arts programs, which are predominantly white. As a result, racism is very often present, and being the few POC in a program like this you can either speak out and risk ostracization, or stay quiet and endure. Mura goes on to talk about the virtues of understanding a battle like this to be a marathon, and not a sprint, building up community, going slow, and not burning yourself out early.
The following two sections deal with identity in fiction, and identity and the development of a narrative in memoir. The latter section connects to a theme present since the introduction of the book; writing is a transformative process “We start to write a book in order to become the person who finishes the book” (7). Memoirs in a similar manner are crafted to force the reconciliation of certain narrative lines in your life, however, it must be considered that there is a gap between the writer and the self that is living out the experiences. As that self is a different character you must craft a narrative and a goal as if they were a fictional character.
I found this book to be quite good, however, it lost some steam as it entered its later chapters. Mura’s clear and thoughtful discussions on craft have offered me a lot of new information that I believe has improved my own writing capabilities, and for that, I appreciate this book.
This book begins with David Mura asking two questions exploring identity and the way we tell stories, specifically regarding race and its interactions with creative writing. Though it is unwritten, arguably the most important theme is about the life and dynamics of being a writer of color in the still predominantly white, and white supremacist ecosystem of writing. Mura does this through a series of essays, splitting the book into four parts: I. The World is What it is II. Story in Fiction III. Narrative and Identity in Memoir IV. The Writer’s Story.
I found the first section of the book to be the most compelling, with its discussion of interesting social issues that had not crossed my mind before. The first part of the book focuses on two central issues. The first issue is best emphasized through the quote given by Toni Morrison “until very recently, and regardless of the race of the author, the readers of virtually all American fiction have been positioned as white.” (3). This, in combination with the fact that characters are assumed to be white unless otherwise stated, leads to a feeling that non-whiteness is something abnormal or irregular in literature. Thus, a literary canon is created that is white and leads to extra scrutiny against non-white writers. The effects that this can have are innumerable and devastating, especially to aspiring BIPOC writers. The second issue is highly related to the literary canon, and that is the whiteness of the writing ecosystem. One example he gives of this is in POC vs MFA, which talks about the struggles of being BIPOC in master of fine arts programs, which are predominantly white. As a result, racism is very often present, and being the few POC in a program like this you can either speak out and risk ostracization, or stay quiet and endure. Mura goes on to talk about the virtues of understanding a battle like this to be a marathon, and not a sprint, building up community, going slow, and not burning yourself out early.
The following two sections deal with identity in fiction, and identity and the development of a narrative in memoir. The latter section connects to a theme present since the introduction of the book; writing is a transformative process “We start to write a book in order to become the person who finishes the book” (7). Memoirs in a similar manner are crafted to force the reconciliation of certain narrative lines in your life, however, it must be considered that there is a gap between the writer and the self that is living out the experiences. As that self is a different character you must craft a narrative and a goal as if they were a fictional character.
I found this book to be quite good, however, it lost some steam as it entered its later chapters. Mura’s clear and thoughtful discussions on craft have offered me a lot of new information that I believe has improved my own writing capabilities, and for that, I appreciate this book.
Read
December 11, 2023David Mura’s “A Stranger’s Journey” reflects upon the process of writing and what we choose to write about and how. The narrative structures that imbue our writing, the identities we choose to represent (or not), and how to write memoir in a way that feels right (even if it is not entirely truthful). Mura’s book can feel heavy at times because it contains a great deal of instruction, advice, and examples. I wondered to myself after finishing this book, “where do I even start?” and “how can I truly apply the knowledge I've gained to my everyday writing process?” If you turn the page, you are welcomed with an appendix of writing assignments, which I found were helpful in processing what I had previously learned from Mura.
The book is divided into parts. Parts 1 & 2 are centrally concerned with writing about race and identity. Interspersed with Mura’s instruction are bits of stories from authors of color such as Junot Diaz’s “Ysrael” and Sherman Alexie’s “The Toughest Indian in the World.” I believe he in part showcases these stories to share with his audience a piece of work he admires, but also to stress on this point he makes in the beginning of the book: “While white writers have not traditionally had to imagine a writer of color, writers of color have always been cognizant that their work would be judged and interpreted by white reader.” In short, writers of color are constantly made aware of their identity. The literary canon, an esteemed group of writers deemed at the top of the literature hierarchy, includes only a few authors of color. This does not mean that writers of color should avoid talking about their identity to fit into this clique, but that they should embrace and explore who they are.
Parts 3 & 4 are an application of these ideas. Mura presents the tools a writer needs to craft a narrative, centering on memoir. It is also a reflection on his own writing process with his past memoir “Turning Japanese: Memoirs of a Sansei.” I am not at a point in my life where I would even consider writing a memoir, but I still found his structural advice worth considering. Particularly, his comparison of being a writer to the Hero’s Journey. How we accept our call to action with optimism, blissfully unaware of the impending struggles every writer must face. When we reach that point of doubt, the “crisis of faith,” we either persevere, or abandon the journey. The most dedicated writers, no matter how cynical they may seem, eventually push through. The writer’s journey is a tough one, but Mura emphasizes that when we have finished writing that book, we are a different person than when we began.
This book is encouraging for writers who feel stuck, or at a place where they are beginning to reckon with their identity. Mura writes from the heart and lived experience which makes him a trustworthy guide to narrative craft and writing about identity.
The book is divided into parts. Parts 1 & 2 are centrally concerned with writing about race and identity. Interspersed with Mura’s instruction are bits of stories from authors of color such as Junot Diaz’s “Ysrael” and Sherman Alexie’s “The Toughest Indian in the World.” I believe he in part showcases these stories to share with his audience a piece of work he admires, but also to stress on this point he makes in the beginning of the book: “While white writers have not traditionally had to imagine a writer of color, writers of color have always been cognizant that their work would be judged and interpreted by white reader.” In short, writers of color are constantly made aware of their identity. The literary canon, an esteemed group of writers deemed at the top of the literature hierarchy, includes only a few authors of color. This does not mean that writers of color should avoid talking about their identity to fit into this clique, but that they should embrace and explore who they are.
Parts 3 & 4 are an application of these ideas. Mura presents the tools a writer needs to craft a narrative, centering on memoir. It is also a reflection on his own writing process with his past memoir “Turning Japanese: Memoirs of a Sansei.” I am not at a point in my life where I would even consider writing a memoir, but I still found his structural advice worth considering. Particularly, his comparison of being a writer to the Hero’s Journey. How we accept our call to action with optimism, blissfully unaware of the impending struggles every writer must face. When we reach that point of doubt, the “crisis of faith,” we either persevere, or abandon the journey. The most dedicated writers, no matter how cynical they may seem, eventually push through. The writer’s journey is a tough one, but Mura emphasizes that when we have finished writing that book, we are a different person than when we began.
This book is encouraging for writers who feel stuck, or at a place where they are beginning to reckon with their identity. Mura writes from the heart and lived experience which makes him a trustworthy guide to narrative craft and writing about identity.
December 12, 2023
David Mura's "A Stranger's Journey" is a profound exploration of identity, race, and the intricate navigation of belonging in a world marked by cultural complexities. Mura, a skilled essayist and poet, invites readers on a deeply personal and introspective journey that traverses the intersectionality of his own identity as a Japanese-American while delving into broader themes of race, cultural heritage, and the ever-evolving concept of home.
At the heart of the book is Mura's poignant examination of the "stranger" within—his own sense of otherness and the complex interplay between his Japanese and American identities. Through a series of poignant essays, Mura skillfully weaves together the threads of personal experience, historical reflection, and societal critique. His writing is both evocative and contemplative, offering readers a nuanced understanding of the multifaceted layers that make up the human experience.
One of the standout features of "A Stranger's Journey" is Mura's ability to intertwine the personal and the universal. The essays are a delicate dance between the author's introspective reflections on his family's history, his encounters with racism, and the broader narrative of race relations in America. Mura's prose is both lyrical and incisive, capturing the emotional nuances of his journey while providing readers with a lens through which to examine their own relationships with identity and belonging.
Mura's exploration of racial dynamics and the complexities of interracial relationships is particularly compelling. He candidly addresses the challenges and joys of navigating the spaces between cultures, emphasizing the importance of embracing one's heritage while forging connections with others. The author's reflections on the nuances of racial identity challenge preconceived notions and foster a deeper understanding of the intricacies of racial and cultural intersectionality.
While the collection is cohesive, some readers may find certain essays more resonant than others. The varied themes, while interconnected, occasionally result in a slightly uneven reading experience. However, this diversity also ensures that each reader may find a unique entry point into Mura's narrative, depending on their own experiences and perspectives.
In conclusion, "A Stranger's Journey" is a thought-provoking and emotionally resonant exploration of identity that invites readers to confront their own sense of self and connection to the world. David Mura's eloquent prose and insightful reflections make this collection a compelling read for anyone grappling with questions of identity, race, and the ongoing pursuit of belonging. As society grapples with issues of diversity and inclusion, Mura's work stands as a poignant testament to the power of personal narrative in fostering empathy and understanding across the vast spectrum of human experience.
At the heart of the book is Mura's poignant examination of the "stranger" within—his own sense of otherness and the complex interplay between his Japanese and American identities. Through a series of poignant essays, Mura skillfully weaves together the threads of personal experience, historical reflection, and societal critique. His writing is both evocative and contemplative, offering readers a nuanced understanding of the multifaceted layers that make up the human experience.
One of the standout features of "A Stranger's Journey" is Mura's ability to intertwine the personal and the universal. The essays are a delicate dance between the author's introspective reflections on his family's history, his encounters with racism, and the broader narrative of race relations in America. Mura's prose is both lyrical and incisive, capturing the emotional nuances of his journey while providing readers with a lens through which to examine their own relationships with identity and belonging.
Mura's exploration of racial dynamics and the complexities of interracial relationships is particularly compelling. He candidly addresses the challenges and joys of navigating the spaces between cultures, emphasizing the importance of embracing one's heritage while forging connections with others. The author's reflections on the nuances of racial identity challenge preconceived notions and foster a deeper understanding of the intricacies of racial and cultural intersectionality.
While the collection is cohesive, some readers may find certain essays more resonant than others. The varied themes, while interconnected, occasionally result in a slightly uneven reading experience. However, this diversity also ensures that each reader may find a unique entry point into Mura's narrative, depending on their own experiences and perspectives.
In conclusion, "A Stranger's Journey" is a thought-provoking and emotionally resonant exploration of identity that invites readers to confront their own sense of self and connection to the world. David Mura's eloquent prose and insightful reflections make this collection a compelling read for anyone grappling with questions of identity, race, and the ongoing pursuit of belonging. As society grapples with issues of diversity and inclusion, Mura's work stands as a poignant testament to the power of personal narrative in fostering empathy and understanding across the vast spectrum of human experience.
December 12, 2023
A Stranger's Journey by David Mura is a remarkable exploration that brings together the personal and the universal, inviting readers into a world where cultural impact becomes a powerful vehicle for conveying profound messages about race and identity. Mura's ability to intertwine his own experiences as a Japanese American writer with broader cultural reflections creates a tapestry that is not only enlightening but also deeply resonant. Whenever an author is able to bring in particularly personal details it makes the reader feel more open to learning about what the author has to say.
One of the most compelling aspects of Mura's work is the way he influences cultural impact to drive home his messages. His narrative is not just a collection of insights and advice for writers; it's proof to the intense impact that cultural identity can have on the creative process. Mura skillfully navigates the nuances of race, presenting it not as a unique thing but as an important part of the writer's journey, shaping perspectives and inspiring storytelling in profound ways.
Mura's personal anecdotes serve as emotional examples of the complexities surrounding racial identity. By sharing his own struggles, triumphs, and moments of self-discovery, he creates a bridge that allows readers to connect with the universal aspects of the human experience. Through his storytelling, Mura invites readers to consider their own cultural backgrounds, fostering a sense of empathy and understanding that goes beyond the pages of the book. This personally opened me to understand that when I write about my cultural background how I tend to do this or that, but still be creative in my own work.
The book's strength lies in its ability to confront challenging issues such as cultural appropriation and stereotypes while offering constructive guidance for writers. Mura does not hide from the difficulties in addressing race; instead, he tackles them head-on, providing valuable insights into the responsibilities writers bear when delving into these themes. By emphasizing the importance of authenticity and sensitivity, Mura empowers writers to engage with cultural impact in a way that is respectful, genuine, and ultimately enriching to the literary landscape.
Mura's writing is not just educational; it's a call to action. His encouragement to embrace one's own identity and infuse it into storytelling is a celebration of diversity and a testament to the transformative power of literature. In a world where representation matters more than ever, "A Stranger's Journey" stands out as a book, guiding writers towards a more inclusive and understanding approach to race and identity in their creative endeavors. Through that perspective, Mura delivers a compelling narrative that outdoes what we know and speaks to the entire human experience.
One of the most compelling aspects of Mura's work is the way he influences cultural impact to drive home his messages. His narrative is not just a collection of insights and advice for writers; it's proof to the intense impact that cultural identity can have on the creative process. Mura skillfully navigates the nuances of race, presenting it not as a unique thing but as an important part of the writer's journey, shaping perspectives and inspiring storytelling in profound ways.
Mura's personal anecdotes serve as emotional examples of the complexities surrounding racial identity. By sharing his own struggles, triumphs, and moments of self-discovery, he creates a bridge that allows readers to connect with the universal aspects of the human experience. Through his storytelling, Mura invites readers to consider their own cultural backgrounds, fostering a sense of empathy and understanding that goes beyond the pages of the book. This personally opened me to understand that when I write about my cultural background how I tend to do this or that, but still be creative in my own work.
The book's strength lies in its ability to confront challenging issues such as cultural appropriation and stereotypes while offering constructive guidance for writers. Mura does not hide from the difficulties in addressing race; instead, he tackles them head-on, providing valuable insights into the responsibilities writers bear when delving into these themes. By emphasizing the importance of authenticity and sensitivity, Mura empowers writers to engage with cultural impact in a way that is respectful, genuine, and ultimately enriching to the literary landscape.
Mura's writing is not just educational; it's a call to action. His encouragement to embrace one's own identity and infuse it into storytelling is a celebration of diversity and a testament to the transformative power of literature. In a world where representation matters more than ever, "A Stranger's Journey" stands out as a book, guiding writers towards a more inclusive and understanding approach to race and identity in their creative endeavors. Through that perspective, Mura delivers a compelling narrative that outdoes what we know and speaks to the entire human experience.
December 13, 2023
This is the last book that we read through in my, “Writing about ourselves and others” class. I will admit that it did feel like we rushed through this book compared to some other books we were reading in class, yet it still left quite an impression on me. There are two specific points that were shared in the book that I would like to highlight. My intention with highlighting these specific parts of the book is to give you a taste of what this book discusses so as to convince you to read this book in the near future. I would like to briefly discuss the the notion of a how a character gets introduced based on their race and the experience of non-white authors in MFA programs. I will do my best to avoid spoilers and simply share how I connected with these sections, but if I will do my best to share enough to get you excited to read this novel without sharing too much.
The first section I would briefly like to highlight is the section where it introduces the idea of how characters are introduced in a story based on their race. One of the examples provided in the book was that of another book titled, “Freedom” by Jonathan Franzen. Upon introducing the main characters of this story, Walter and Patty Berglund, the reader unconsciously assumes that they are white. Another character in the story, Lalitha, is set apart by the fact that when she is introduced, it must be blatantly obvious that she is an Asian American. This specific section stood out to me because of how clearly it highlights something we so easy ignore because we have become conditioned to accept it and continue to follow this unconscious aspect of craft in our own writing. This idea is further built upon in the last section I would like to highlight.
The last section I would like to spotlight is the where it discusses the experience of nonwhite students in MFA programs. Personally, given that I am currently in the academic circle, this section felt relatable given my current season of life. The one thing I would personally like to leave with you guys, so as to avoid any chance of spoiling this chapter in particular, is to consider the question: how is diversity approached in academic circles and does it align with what you assumed?
On that note, keep this question in mind as you do your best to get a hold of this book as soon as possible.
The first section I would briefly like to highlight is the section where it introduces the idea of how characters are introduced in a story based on their race. One of the examples provided in the book was that of another book titled, “Freedom” by Jonathan Franzen. Upon introducing the main characters of this story, Walter and Patty Berglund, the reader unconsciously assumes that they are white. Another character in the story, Lalitha, is set apart by the fact that when she is introduced, it must be blatantly obvious that she is an Asian American. This specific section stood out to me because of how clearly it highlights something we so easy ignore because we have become conditioned to accept it and continue to follow this unconscious aspect of craft in our own writing. This idea is further built upon in the last section I would like to highlight.
The last section I would like to spotlight is the where it discusses the experience of nonwhite students in MFA programs. Personally, given that I am currently in the academic circle, this section felt relatable given my current season of life. The one thing I would personally like to leave with you guys, so as to avoid any chance of spoiling this chapter in particular, is to consider the question: how is diversity approached in academic circles and does it align with what you assumed?
On that note, keep this question in mind as you do your best to get a hold of this book as soon as possible.
December 13, 2023
David Mura really exemplifies the quote "we stand on the back of giants" in this book, using and expanding upon the writings of others he uses them to tell the different ways in which how our real world realities effect our writing. A lot of people, mostly those of privilege, believe or would rather believe that media especially fantastical and escapist media, shouldn't talk about real world topics or that authors weren't referencing real world things. That there is no deeper meaning to these stories. Mura is doing the exact opposite, pointing out how inextricably linked our real world identities are to the stories we tell and how important that is. Teaching how to read and write with these identities in mind and expand our tools of media literacy, Mura actually dedicates this book in an amount to one of the authors I respect most James Baldwin. Baldwin is revolutionary in black, queer, and black queer spaces for his literature and his voice, he has some of the most brilliant interviews I have ever seen. Mura knows the genius of the people he is referencing, and so he is not trying to discuss their works, he is using their works to exemplify his points. Mura is using this book to teach, not to prove, he is guiding not arguing. This is far more telling in the last few pages and paragraphs where Mura gives a very motivating talk about how we can make mistakes and we can get depressed, all great writers and artists and craftsmen do, but we can still get up, we can still ask for help, we can still be better. I think this ending is even more powerful given the Introduction where Mura explains the context of when this book is finished, just after the 2016 election during a time of great political and racial tension, and he is saying its not over. This is merely a part of the Hero's Journey, where they face the set back on their journey only to rise against the odds again. I am a politically active optimist, so it hit me pretty hard I will admit. This might be the first creative writing book I ever read and from what I got, this might be one of the better ones out there and it has high praises from me for its choice of style, the way it is designed I think is just brilliant.
December 23, 2023
David Mura’s A Stranger’s Journey addresses identity and race in the process of writing. From the introduction, Mura includes the United States political context that this book was written in. I really like the title of the novel as it can serve as metaphor for the process that a reader goes through when understanding a new narrative that was previously unfamiliar to them, just as a new piece being written by a writer is both completely unfamiliar to the world and to themselves. I really appreciated all references to important writers, including Baldwin’s term “stranger’s journey” (p. 2). A main claim of this book rests on the fac that “While white writers have not traditionally had to imagine a reader of color, writers of color have always been cognizant that their work would be judged and interpreted by white readers” (p. 3). Obviously, this is not true of white writers and it would be unfair to use that argument to discredit all the important issues this book aims to address, but it is true that the American literary world is dominated by white writers, with white readers in mind, both being dominated by the male perspective. “As such, racial issues cannot be considered as lying outside the boundaries of the teaching of creative writing” (p. 5). After this read, I am entirely convinced that this is true. Mura’s narration was very inviting and helped me better tackle considerations for my own writing. The first chapter “The Search for Identity” was validating of the contributions that writers make through their individual perspectives resulting from their life journeys. It was great to hear that Mura tells his own students: “write what you need to write. But you can also tell yourself that you don’t have to publish what you write (p. 20). I believe all writers have a natural desire for creativity but do not have a safe enough space away from external pressures. As a white person I thought critically about how my own racial identity is privileged in the literary world and what that means for my narrative voice. The chapter on “Writing and Reading Race” critically addresses the fact that white writers do not typically identify their race and make their characters’ races white by default. I realized how much the failure to consider a reader of color worsens the quality of a piece of writing. All writers must consider race because it is so deeply ingrained in the biases that we have, will inevitably slip into our writing, even if we are unaware. Overall, A Stranger’s Journey is an essential read for aspiring writers. The literary references are concise, yet very effective, and well balanced with discussion of key points.
June 28, 2020
I read selections out of this previously, and what I read was excellent, but I hadn’t had the chance to tackle what remained until now. The only reason I didn’t give it 5 stars is because some of the essays in here become a little repetitive—Mura often seems so concentrated on making a point that he ends up with several permutations of that very same point, which then crop up throughout the collection.
Overall, though, I would go as far as to say that the pieces in here are Vital to working writers today. The concentration on the lenses of the political and social and self and racial identity, all of these are examined not just through Mura’s own work but through greats like Baldwin and Morrison and, in some illuminating, revolting ways, David Foster Wallace. (No spoilers.)
In this collection, you will find not just advice and insight but practical tools in terms of structure and the creative process, tools to become a better writer, thinker, and, I would argue, human being.
Overall, though, I would go as far as to say that the pieces in here are Vital to working writers today. The concentration on the lenses of the political and social and self and racial identity, all of these are examined not just through Mura’s own work but through greats like Baldwin and Morrison and, in some illuminating, revolting ways, David Foster Wallace. (No spoilers.)
In this collection, you will find not just advice and insight but practical tools in terms of structure and the creative process, tools to become a better writer, thinker, and, I would argue, human being.
December 9, 2023
This is a book that addresses diverse American literature and how we as readers and writers can approach sensitive topics. One of the main points from this book is about our identity. We live in a society where whiteness automatically becomes our primary assumptions and Mura talks about how people of color are challenging this unjust social construction. Mura later emphasizes his point that future writers in the United States should prepare for more diversity and different colors in this country and also prepare to redefine whiteness, since it will not be a common mindset in the future. Mura later claims that the ideas and principles of white supremacy can be tackled and combated if more white writers educate themselves and challenge their own racist beliefs.
July 23, 2019
Refreshing to see intersectionality driving the writing. Quotes from Baldwin, Morrison, and other writers of color illuminating. The exercises in the appendix I found super helpful. His one ongoing riff on the inevitable conceit that the protagonist must lie to themselves in order for the plot to have tension I found limiting and overly simplistic, but otherwise this book is incredibly instructive.
March 9, 2021
I picked up this book intending to read just the first chapter and then read the entire thing in three sittings. For people tired of the same old craft books that seem repetitive, this one's for you. Very fresh, insightful, useful, pertinent book. If you're writing and want to really make sure you're not just being lazy and doing what's always been done according to stale traditions, this book is for you.
March 12, 2023
Vital! Mura offers profound insights into writing and storytelling for the contemporary writer—that is, writers living in a globalized world, navigating the intersections of race, identity, and narrative, and how they are intrinsically connected. This book serves as a practical craft tool and a guide to honouring yourself, your art, and your process. Incredible. I will be keeping A Stranger's Journey close by, always.
May 4, 2021
read as preparation for a writing class. took 14 pages of notes. loved the intersection of writing and racial reconciliation. bought for my mom!
June 17, 2021
A must read for writers, especially white writers who need to reexamine their assumptions about their readers and their characters.
July 8, 2021
Skimmed.
Read
February 19, 2019MN Book Award Nonfiction shortlist book.
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