Since ninth grade, you have probably read more creative nonfiction than you realize. Remember reading In Cold Blood by Truman Capote in 10th grade? In Unit Six, you read excerpts from Hersey's A Noiseless Flash , Michael Herr's Dispatches , and O'Brien's The Things They Carried . Each reads as if it is fiction, with vivid setting, character details, imagery and figurative language. The authors arrange details to keep their readers' attention, like a gripping plot would do. But the source of all of these works is real life.
JWB: I suppose you could call it a lyrical travelogue, but I don't really think of it that way myself. I think if a poem is good it's good on its own merits and not because of the subject matter. It's dangerous for artists to lean on their material. It's always what you do with it. For example, I've been living in Dharamsala in the Himalayas for a while and trying to write about it. But I think the reader can smell it in my poems if I think it's impressive or neat to be living in the Himalayas, including lots of quaint local words which I just googled and forced into the mix, to borrow some kind of exoticism. Where a poem is set doesn't really matter, and in fact can distract from the real work of the language.
The Pulitzer Prize for History has been awarded since 1917 for a distinguished book upon the history of the United States. Many history books have also been awarded the Pulitzer Prize for General Non-Fiction and Pulitzer Prize for Biography or Autobiography. Two people have won the Pulitzer Prize for History twice; Margaret Leech, for Reveille in Washington, 1860-1865 in 1941 and In the Days of McKinley in 1960, and Bernard Bailyn, for The Ideological Origins of the American Revolution (1968) and Voyagers to the West: A Passage in the Peopling of America on the Eve of the Revolution (1987).