John D'Agata

The primary goal of the so-called nonfiction text is to relay the facts of an event - the facts about a person, the facts of history - which is not why I turned to this genre.

Yucca Mountain isn't pretty. And it also isn't large. From far away, the mountain's just a squat bulge in the middle of the desert, essentially just debris from a bigger, stronger mountain that erupted millions of years ago and hurled its broken pieces into piles across the earth.

Can we call the essay its own genre if it's so promiscuously versatile? Can we call any genre a 'genre' if, when we read it from different angles and under different shades of light, the differences between it and something else start becoming indistinguishable?

I'm kind of fascinated by this idea that we can surround ourselves with information: we can just pile up data after data after data and arm ourselves with facts and yet still not be able to answer the questions that we have.

The Paris Review's mandate has been the same for fifty years. First and foremost, this magazine is for writers; the editors' task is to support and celebrate them, especially at the beginning of their careers, but also as they move forward, venturing stories that are creative, risky, new.

By embracing a label such as 'non-fiction,' the creative writing community has signaled to the world that what goes on in this genre is at best utilitarian and at worst an utter mystery. We have segregated the genre from art.

I never really understood the idea that nonfiction ought to be this dispensary of data that we have at the moment.