'What is ‘experimental nonfiction’? Like all nonfiction writing it is steeped in facts, in real events, and in real people, with the aim of communicating information, argument, and truth. It differs from traditional nonfiction in that it tries to convey its meaning using unorthodox form, or style, or voice, or point-of-view, or approach, or method. The very best pieces of experimental nonfiction are those in which any unorthodox element adds richly to the meaning and authenticity of the subject matter – to the point that it would be difficult to imagine the piece being successful without the experimenting.
'Dizzy Limits collects the very best examples of the above mentioned experimental nonfiction from our most intellectually ambitious and creatively curious writers. Dizzy Limits includes pieces that explore: the body and its relationship to the world; climate change; the connection of First Nations people to land; trans motherhood; leeches; computers pretending to be humans; and so much more – and all in truly dazzling and unexpected ways.' (Publication summary)
'‘Experimental writing’ can sometimes seem like a wastebasket diagnosis for any text that defies categorisation. Even when used precisely, it begs certain questions. Isn’t all creative writing ‘experimental’ to some degree? Isn’t the trick to conceal the experimentation? And what relationship does it bear to the ‘avant-garde’? If avant-gardism implies a radical philosophy of art, where does ‘experimentalism’ fit today? Is it not part of the valorisation of novelty, of innovation for innovation’s sake, which has gripped the literary establishment in recent decades? (When books like Milkman [2018] and Ducks, Newburyport [2019] fall victim to the cosiest of literary prizes, where have the real radicals gone?)' (Introduction)
'‘Experimental writing’ can sometimes seem like a wastebasket diagnosis for any text that defies categorisation. Even when used precisely, it begs certain questions. Isn’t all creative writing ‘experimental’ to some degree? Isn’t the trick to conceal the experimentation? And what relationship does it bear to the ‘avant-garde’? If avant-gardism implies a radical philosophy of art, where does ‘experimentalism’ fit today? Is it not part of the valorisation of novelty, of innovation for innovation’s sake, which has gripped the literary establishment in recent decades? (When books like Milkman [2018] and Ducks, Newburyport [2019] fall victim to the cosiest of literary prizes, where have the real radicals gone?)' (Introduction)
