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The mad Ophelia and the mock-mad Hamlet expressed the poet’s many-sided rebellion against the world’s ordinariness. For there is a kind of normality that is unacceptable, a base, comfortable normality that submits to reality, forgets easily. It is universal because some inner law of economics doesn’t allow us to experience reality to the full, to the depths, at the level of the most profound feelings and meanings. The same instinct for self-preservation in the sphere of the mind protects us from an excessive sensitivity, from the ultimate why and wherefore. Hamlet is the contradiction of that attitude.

it seems clear that Project-based learning (PBL) groups—I'm thinking literature circles--should be an excellent vehicle for their learning in a large classroom (next year 30+ sizes)

For a while the NEA experimented with “belles-lettres,” a misunderstood term that favors style over substance and did not capture the personal essence and foundation of the literature they were seeking. Eventually one of the NEA members in the meeting that day pointed out that a rebel in his English department was campaigning for the term “creative nonfiction.” That rebel was me.

literary craft in presenting nonfiction—that is, factually accurate prose about real people and events—in a compelling, vivid manner. To p

real demarcation points between fiction, which is or can be mostly imagination; traditional nonfiction (journalism and scholarship), which is mostly information; and creative nonfiction, which presents or treats information using the tools of the fiction writer while maintaining allegiance to fact.