Ebook The Lifespan of a Fact
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The Lifespan of a Fact
Ebook The Lifespan of a Fact
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Review
“An enraging, fascinating, singular book.†- Slate“More than anything, The Lifespan of a Fact pushes readers to consider not just the possibilities of art, but also its boundaries. It’s as concerned with what we can get away with as whether we should.†- A.V. Club“A singularly important meditation on fact and fiction, the imagination and life, fidelity and freedom. Provocative, maddening, and compulsively readable, The Lifespan of a Fact pulses through a forest of detail to illuminate high-stakes, age-old questions about art and ethics―questions to which the book (blessedly!) provides no easy answers.†- Maggie Nelson“Thus begins the alternately absorbing and infuriating exercise that is The Lifespan of a Fact, a Talmudically arranged account of the conflict between Jim Fingal, zealous checker, and John D’Agata, nonfiction fabulist.†- Gideon Lewis-Kraus, New York Times Magazine“Genius…In The Lifespan of a Fact, D’Agata and Fingal turn everything around on us until even our most basic assumptions are left unclear…A vivid and reflective meditation on the nature of nonfiction as literary art.†- David L. Ulin, Los Angeles Times“The Lifespan of a Fact might be the most improbably entertaining book ever published.†- NPR“A whip-smart, mordantly funny, thought-provoking rumination on journalistic responsibility and literary license.†- Publishers Weekly, starred review“Less a book than a knock-down, drag-out fight between two tenacious combatants over questions of truth, belief, history, myth, memory and forgetting.†- Jennifer McDonald, New York Times Book Review“The Lifespan of a Fact is remarkable not only as an intellectual adventure, but for its portrayal of the search for these kinds of truths as a conversation. It is a high-stakes exercise not of surety but of anxiety…open to the production of wonder, but equally to that of doubt, frustration, and betrayal.†- The New Republic“A fascinating and dramatic power struggle over the intriguing question of what nonfiction should, or can, be.†- Lydia Davis
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About the Author
John D’Agata is the author of About a Mountain, Halls of Fame, and editor of The Next American Essay and The Lost Origins of the Essay. He teaches creative writing at the University of Iowa in Iowa City, where he lives.Jim Fingal is now a software engineer and writer in Cambridge, Massachusetts.
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Product details
Paperback: 128 pages
Publisher: W. W. Norton & Company; 1 edition (February 27, 2012)
Language: English
ISBN-10: 0393340732
ISBN-13: 978-0393340730
Product Dimensions:
7 x 0.4 x 9.2 inches
Shipping Weight: 7.2 ounces (View shipping rates and policies)
Average Customer Review:
3.9 out of 5 stars
49 customer reviews
Amazon Best Sellers Rank:
#74,102 in Books (See Top 100 in Books)
When this book came out, I read it and loved it, and then went to the author event for it at McNally Jackson Bookstore in NY. The 2 authors read and discussed and then the audience got involved too. I was very much on the side of Jim Fingal, the copy editor, as were many audience members. Near the end, D’Agata was talking about how capturing the culture of Las Vegas was more important to him than whether the fall from the tower was exactly 9 seconds. I raised my hand and said, “If we can’t trust you on the 9 seconds, how can we trust you on the culture of Las Vegas?†He got flustered and was at a loss for words. I felt bad and made a light comment so he could go on. I talked nicely to him afterwards and also to Fingal, and at greater length to the editor, who was also there. I’m going to see the Broadway version next month and plan to wait at the stage door to get autographs from all 3 actors. Hopefully I can find the copy of the book with the authors’ autographs.
LORD Chancellor. Now, sir, what excuse have you to offer for having disobeyed an order of the Court of Chancery?STREPHON. My Lord, I know no Courts of Chancery; I go by Nature’s Acts of Parliament. The bees – the breeze – the seas – the rooks – the brooks – the gales – the vales – the fountains and the mountains cry, “You love this maiden – take her, we command you!†’Tis writ in heaven by the bright barbèd dart that leaps forth into lurid light from each grim thundercloud. The very rain pours forth her sad and sodden sympathy! When chorused Nature bids me take my love, shall I reply, “Nay, but a certain Chancellor forbids it� Sir, you are England's Lord High Chancellor, but are you Chancellor of birds and trees, king of the winds and prince of thunder-clouds?Ld. Chan. No.It's a nice point; I don't know that I ever met it before. But my difficulty is, that at present there's no evidence before the court that chorused Nature has interested herself in the matter.Streph. No evidence? You have my word for it. I tell you that she bade me take my love.Ld. Chan. Ah I but, my good sir, you mustn't tell us what she told you; it's not evidence. Now, an affidavit from a thunder- storm or a few words on oath from a heavy shower would meet with all the attention they deserve.Streph. And have you the heart to apply the prosaic rules of evidence to a case which bubbles over with poetical emotion?Iolanthe, Act IGilbert and Sullivan, 1882I am very frustrated with John D’Agata and Jim Fingal’s The Lifespan of a Fact. The four stars are because there is a lot here for a reader consider. The material is engaging and intelligent. There are words that may keep this from being read by many people and the suicide of a teen age is not likely to be a topic for family night reading.I first heard of John D’Agato and Jim Fingal’s book The Life Span of a Fact was in a review of the New York stage, I understood this to be about the problem of wiring a story in the age of “False News†and the apparent righteousness of body slamming a reporter. The media has a long history of self-critism and this looked to be a chance to read some intelligent arguments about the way the media have been politicized (actually it has been for many decades going back to when newspaper publishers routinely ran for and won office), and what has morphed into weaponized divisive argument that defies what America should be about.The Life Span is about none of that. In fact it is a debate who time has either gone or cannot be vital until more immediate public concerns have been brought down from the precipice of bombing, (here in the US, mass shooting (In France) and the deliberate state sponsored murder of a reporter (Jamal Khashoggi). In Life Span the case is made that by calling your product an essay, the author has infinite freedom to rewrite prosaic history in the name of whatever esoteric poetical emotional truth that fits the writer. At the time my used edition was published in 2012 this may have been an important topic. In 2018 it adds poison to a well where the water already been made bitter.The book itself is a dramatization of an actual series of exchanges between an essayist and a fact checker. The essay in question is about the Las Vegas suicide by jumping by a teenager, Levi Presley. We are not told if the editor intends to publish the essay as a literal recitation of the facts or as a dramatization of the facts.John D’Agato is a well-established essayist. He has definite beliefs about the term. In this book he will argue passionately that the writer must serve art in preference to fact if by doing so the essayist helps the reader to experience a deeper and more aesthetically meaningful appreciation of the events under discussion. In fact the essay is a poorly defined medium of expression and it is legitimately plastic in the matter of content. A case can be made that it occupies literary space between fiction and non-fiction.D’Agato goes further; insisting that the term Non-fiction is new and that facts are rarely absolute. He tosses out several famously named essayists arguing that the history of the essay is the history of exactly his understanding of the rights and duties of the essayist. Earlier he established that in taking this assignment he made it clear to the editor that he is not a reporter and that he will not be bound by the rules of journalism.Perhaps on the strength of this warning, Jim Fingal is tasked with fact checking the proposed article and in writing is ordered to “comb through this marking anything and everything…†In taking the assignment, Jim is at once literal and increasingly meticulous and unforgiving. His questions everything from the number of seconds given for the boy’s fall to the color of bricks and the exact routes between locations.The author comes off as an arrogant, defender of his every invention and demonstrably wrong statement. The Fact Checker become so focused on his mission he will even challenge the facts as given in the report from the Coroner’s office.Ultimately I had little patience with either person.D’Agata will on two occasions make appeals to authority. In logic this argument can count as a fallacy or not. The way D’Agata applies the technique it is fallacious. He states the rules were set out by the ancient Roman orator, Cicero, among other and does not state those laws.Worse the writer states that If his reader feels betrayed when they realize how often an ostensibly nonfiction article is in fact fictional, he turns on the readership, complaining that they are too poorly educated to understand the writer’s rights. D’Agata could have made a reference to the failure of the 1913 audience to appreciate Stravinsky’s The Rite of Spring. There the portion of the audience that was known to reject anything new were when presented with ultra-modern music and lacking appreciation for the non-traditional choreography of Vaslav Nijinsky; they rioted.Instead the 2018 reader has the peculiar juxtaposing of a writer arguing for “Fake News†if the fakery is in service of art, and a time where the press is under increasing demands to clear not only the kinds of niggling fact checking of Fingal, but the creation of elaborate, fictional conspiracies to replace the prosaic, researched and fact checked.The Lifespan of a Fact is good writing. It is not apropos to the moment and does not serve D’Agata. It is a good book, but a prospective reader needs to know that this is not about journalism. It is a high-level discussion of a very particular type of writing, the essay.
A great book for attaining insight into the world of journalism and column writing. In this age of "fake news," this book brings the concepts of truth and fact into question. John's article is featured in the middle of the page, while his conversation with Jim, the fact checker, outlines the boarders. Their discussion focuses on a variety of issues surrounding the truth behind John's claims regarding a suicide in Las Vegas. From the color of the bricks on the Vegas Strip to the number of suicide victims discussed, this book makes you consider the necessity of writers always telling the truth and the fine line they have to walk between outright lying to the public and enticing the public to read their work. Would you care if a news reporter told you that the color of the president's tie was red when in reality it was blue, just because it sounded better within the paragraph? How about if 40 people were killed in a shootout instead of the 100 that a newsman reported? Which truth is more relevant? why? and is a reporter still a liar if he omits certain details? these are the questions addressed. A must have for understanding the balance between effective storytelling and accurate reportage.
A surprisingly engaging book that bares uncomfortable truths about journalism and what can be stated as fact. The exchanges between Fingal the Fact Checker and D'Agata the Tale Spinner are always entertaining and sometimes hilarious. D'Agata deserves a lot of credit for letting this book come to light because throughout it he seems to have little regard for facts, changing them at will. "Never let the facts get in the way of a good story," they used to say in journalism school. D'Agata follows this creed but is caught with his pants down.
I thought it would be about fake news, in the current political context, but not at all. It's a fascinating story comparing two peoples' versions of the truth. Is it more accurate to have every fact correct in an essay, or to present the correct thoughts and feelings via some creative license?
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