John Nooney

“We read, indeed, that the walls of Jericho fell down before the sound of trumpets,39 but we nowhere hear that those trumpets were hoarse and feeble. Doubtless they were trumpets that gave forth clear ringing tones, and sent a mighty vibration through brick and mortar. But the oratory of the Rev. Amos resembled rather a Belgian railway-horn, which shows praiseworthy intentions inadequately fulfilled.”
― George Eliot, Scenes of Clerical Life

“Thank heaven, then, that a little illusion is left to us, to enable us to be useful and agreeable – that we don’t know exactly what our friends think of us – that the world is not made of looking-glass, to show us just the figure we are making, and just what is going on behind our backs! By the help of dear friendly illusion, we are able to dream that we are charming – and our faces wear a becoming air of self-possession; we are able to dream that other men admire our talents – and our benignity is undisturbed; we are able to dream that we are doing much good – and we do a little.”
― George Eliot, Scenes of Clerical Life

“Hell is other people.”
― Peter Robinson, Careless Love

“Writing is a solitary act—but it's only the first act. What comes next is what really matters. However, personally, I have never been all that comfortable with the second act. I'm a solitary person by nature and not much of a joiner. Yet still I've come to see the nonfiction writer's solitary act as important to the greater cause—really the only cause—of decreasing cruelty and increasing sympathy. In that service, nonfiction writers can perform two fundamental tasks that are unavailable to the writers of fiction. Like Florence Reece, we can bear witness and we can call for change—for an end to injustices. It is precisely on this subject of bearing witness that I find John D'Agata's recent writing about the genre of nonfiction so malicious and inept. D'Agata argues that nonfiction must serve the greater good of art, and therefore reality can be altered in the name of art. But to elevate reality to the level of art is one of the fundamental tasks of the nonfiction writer, and to say it cannot be done honestly, as D'Agata claims, displays an astonishing lack of imagination as well as an equally unflattering amount of arrogance and pedantry. But let's put aside the either-or nature of this line of thinking. The real problem here is that such an attitude robs nonfiction of it greatest strength and virtue—its ability to bear witness and the veracity that comes from that act. To admit that one only has a passing interest in representing reality is to forfeit one's moral authority to call that reality into question. That is to say, I have no right to call mountaintop removal an injustice—one in need of a new reality—if I cannot be trusted to depict the travesty of strip mining as it now exists. To play D'Agata's game is to lose the reader's trust, and without that, it seems to me that the nonfiction writer has very little left. Writers of that persuasion can align themselves with Picasso's famous sentiment that art is the lie that tells the truth, but I have no truck with such pretentiousness. The work of the nonfiction writers I most admire is telling a truth that exposes a lie.”
― Sean Prentiss, The Far Edges of the Fourth Genre: An Anthology of Explorations in Creative Nonfiction