The Atlantic Monthly


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Facts vs. Opinions vs. Robots


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A hilarious, timely conversation about the differences between facts and opinions, by the creator of the #1 New York Times bestseller Goodnight Goon Do you know the difference between a fact and an opinion? It can be a hard thing to understand. Some things are facts--like the number of robots in this book. Other things are opinions--like which robot would make the best friend, or which robot dances best. And sometimes to tell the difference between a fact and an opinion, you need to wait to get more information--that's because facts can be proven true or false, and opinions are things you feel and believe--but that you can't prove. Mike Rex introduces young readers to the very important distinction between facts and opinions, and he reminds us that it is nice to listen to one another's opinions, and to stand up for the facts!







CTA Journal


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The North American Review


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Vols. 277-230, no. 2 include Stuff and nonsense, v. 5-6, no. 8, Jan. 1929-Aug. 1930.




The Lifespan of a Fact


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NOW A BROADWAY PLAY STARRING DANIEL RADCLIFFE 'Provocative, maddening and compulsively readable' Maggie Nelson In 2003, American essayist John D'Agata wrote a piece for Harper's about Las Vegas's alarmingly high suicide rate, after a sixteen-year-old boy had thrown himself from the top of the Stratosphere Tower. The article he delivered, 'What Happens There', was rejected by the magazine for inaccuracies. But it was soon picked up by another, who assigned it a fact checker: their fresh-faced intern, and recent Harvard graduate, Jim Fingal. What resulted from that assignment, and beyond the essay's eventual publication in the magazine, was seven years of arguments, negotiations, and revisions as D'Agata and Fingal struggled to navigate the boundaries of literary nonfiction. This book includes an early draft of D'Agata's essay, along with D'Agata and Fingal's extensive discussion around the text. The Lifespan of a Fact is a brilliant and eye-opening meditation on the relationship between 'truth' and 'accuracy', and a penetrating conversation about whether it is appropriate for a writer to substitute one for the other. 'A fascinating and dramatic power struggle over the intriguing question of what nonfiction should, or can, be' Lydia Davis