Creative non-fiction is the perfect mix of literature types because it blurs the lines between fiction and reality, even though the title itself (“non-fiction”) denotes that this particular work of literature is, in fact, truth not fiction. The lines between truth and fiction are blurred, yet still distinct enough for the reader to distinguish between the two upon inspection. Our duty as authors is to ensure that we do not completely wash away the lines that separate truth from fiction, while yet refraining from building up impenetrable walls between the two. They must be like oil and water, able to temporarily mix while being actively stirred together, but immediately back to two separate substances as soon as the spoon has stopped its movement in the bowl.
“Baudelaire Street” by Chen Li caught my eye as a creative non-fiction piece because of the particular writing style he incorporates into this lyric essay. While traveling down the street, the subject has the viewpoint of someone sitting in a dark theater watching still shots being flipped through on a projector’s wheel. Each shot is a different scene and is shown from the viewpoint of someone looking back into the past, someone from the future seeing photos of a time long over.
“Baudelaire Street” is the incarnation of the old phrase “a walk down memory lane.”
Truth and fiction are clearly distinguishable in Li’s essay, because we are fully aware that he has never literally ridden a bike down a physical street while his memories play back in real time before his eyes. We all know that is far from possible. However, the form that he uses to draw in the reader is to take a literal phrase and structure his essay in a similiar fashion, that plays along the lines of the phrase.
He also incorporates his current experiences and hindsight into his recollection of memories and views these past experiences in the light of his current knowledge and maturity. This is most poignantly expressed when he says’ “I would ride past San’s family electronic toy store. I stop abruptly in front of their doorway, stand on top of the bike and shout loudly, “Long Live the Republic of China!” All the passers-by look at me in astonishment. Only she, who’s in her room, knows that what I really mean is: “I miss you!”‘ (Li).
Since the viewpoint that he uses is still his own factual view of his childhood memories, yet this view is still influenced by his adult experiences and obtained knowledge, he has therefore artfully crafted his piece in accordance with the standards of creative non-fiction. He tells the events how he saw them and then clearly outlines what portions of that retelling were based on knowledge after the time that he actually had the experience. We do not get a “in-the-moment” viewpoint from him but instead get a shaped re-telling of a story, with embellishments he has discovered adding a little spice to the story.
I suppose one could say that the hidden message in Li’s essay is “hindsight is 20/20.” As cliché as that sounds, I think it embodies the meaning of “Baudelaire Street.”
References:
Li, Chen. “Baudelaire Street.” https://www.asymptotejournal.com/nonfiction/chen-li-two-lyric-essays/
Clarity with Clara 