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Have You Ever Had Broken Heart? is a collection of essays that interrogate memory, loss, and grief through the intersection of personal narrative, films, the actress Frances Farmer, and woman saints and mystics from the twelfth through seventeenth centuries who were punished for daring to speak to G-d. The essays engage with autotheory and include a myriad of forms, such as segmented, one sentence, and hybrid works. The films discussed range from the philosophical, such as Ingmar Bergman's Winter Light (1963), to Graeme Clifford's biopic, Frances (1982), to catechize the grief of the persona losing her mother and sister to a hit and run car wreck in June 2022. The persona traverses the realm of the mystics and saints, including Marguerite Porete, Sor Juana Inez De La Cruz, and Joan of Arc, examining their respective quests to experience the unseen and often silent divine, while questioning her longing for G-d, and simultaneously believing G-d cannot exist. Yet, within this confusion, she finds herself immersed in memories which carry the presence of her mother's love.

Home: A Memoir, a creative non-fiction thesis, is a memoir in the form of personal essays, each exploring some aspect of the meaning of home, how my sense of self has been formed by my relationship to home, and the inevitability of leaving home. Chapter I explores the nature of memory and of memoir, their relationship to each other and to truth, and how a writer's voice shapes memoir. Chapter II, “Paternity,” is an attempt to remember my father, resulting in renewed interest in his past and renewed awareness of his legacy. Chapter III, “Home,” is on the surface about my grandparents' house, but is really about my grandmother. Chapter IV, “Dixie,” is about my contradictory feelings for the South, and my eventual acceptance of the South's complexities.

John Graves's creative non-fiction has earned him respect in Texas letters as a seminal writer but scarce critical commentary of his work outside the region. Ecological criticism examines how language, culture and the land interact, providing a context in which to discuss Graves in relation to the southwestern literary tradition of J. Frank Dobie, Walter P. Webb, and Roy Bedichek, to southern pastoral in the Virgilian mode, and to American nature writing. Graves's rhetorical strategies, including his appropriation of form, his non-polemical voice, his experimentation with narrative persona, and his utilization of traditional tropes of metaphor, metonymy, and irony, establish him as a conservative and Romantic writer of place concerned with the friction between traditional agrarian values and the demands of late-twentieth-century urban/technological existence. Sequentially, Graves's three main booksGoodbye to a River (1960), Hard Scrabble (1974), and From a Limestone Ledge (1980)represent a movement from the pastoral mode of the outward journey and return to the more domestic world of georgic, from the mode of leisure and contemplation to the demands and rewards of hard work and ownership. As such they represent not only progression or maturation in the arc of the narrator's life but a desire to reconcile ideological poles first examined so long ago in Virgil: leisure and work, freedom and responsibility, rural and urban values.

This thesis consists of a preface and three original short stories. The preface explores the idea that narrative designthe shape or structureof a story may become a literary motif in its own right. The three stories included are creative nonfiction and each employs a distinct modular design. The themes of the stories revolve around personal identity and values; families and marriage; and creative empowerment.

In 1867, the budding naturalist and future father of our national parks, John Muir, embarked on his thousand-mile walk to the Gulf from Jeffersonville, Indiana, to Cedar Key, Florida. Almost 150 years later I undertook the same journey, retracing the wilderness advocate’s footsteps through the South to catalog all that has changed in a century and a half of progress, to try and better understand the inception of his environmental ethics, and to learn to see the world as he did, harmonious, interconnected, rejuvenating and imbued with a pervasive spirituality. The chapters of this thesis retell selected legs of that journey.

Comprised of four essays, this collection of creative nonfiction focuses on facets of daily life and culture in Germany. The author recounts her experiences as she and her family assimilate into a foreign culture and adapt to using its language. The first essay tells of the family’s unexpected but rewarding sojourn in Germany after losing everything to Hurricane Katrina. The subsequent essays display a broader range of experiences and cultural observations upon the family’s return to Germany four years later. These include a narrative of the family’s move to a small town in central Germany, an interview with a local asparagus farmer and an account of the author’s children’s efforts to learn German.

High Summer is a manuscript-length compilation of narrative science essays that trace the relationship the narrator has with her father. These essays focus on the ongoing presence of drugs, their historical basis, and their pharmacological effects on the body. / by Michelle Hasler Martinez. / Thesis (M.F.A.)--Florida Atlantic University, 2012. / Includes bibliography. / Mode of access: World Wide Web. / System requirements: Adobe Reader.

Magister Artium - MA / Molla's Music is a novella about Maureen (Molla), a white Afrikaans woman born in 1935 in Cape Town, who faced poverty and abandonment before apartheid and who, during apartheid, faced the choice between an unwanted pregnancy with a married man, and a carreer in music funded by the father who had betrayed her. Maureen is introduced in three sections with very different voices in each. In the first section she is depicted in the context of being cared for by a single mother with severe post natal depression. The short chapters and long sentences reflect the naïvity of the subject, whose unfiltered observations allow the reader to bear witness to the traumas that dictate her character later in life. She was so ashamed of her poverty, her father's abandonment, and her pregnancy, that she hid all memories of her past from her children and grandchildren and almost managed to die with all her secrets in tact. The second section becomes more sophisticated with longer chapters. The reader is guided through the fifties by a young adult whose adolescent memories inform the events that unfold over a mere two days. Finally, the last section consists of only one chapter, but it reviews an entire life. It is written in the first person, revealing the identity of the narrator. Maureen taught herself piano before school. Her father played the violin and her dedication to music seems to be a mechanism for connecting to him and what his absence from her life represents. It is an absense that eludes consolidation until her death. Molla proved to be such a gifted child that she skipped two years of school and took on music as an extra subject until matric, but financial strain and the shackles of patriarchy limited her options and only after years of working, does she apply to the UCT college of music. She inherits a piano from her landlords, who are evicted during the implementation of the Group Areas Act of 1957. In the years after that, playing piano becomes her private liberation practised in plain sight, on the only heirloom that persists from her past. When she dies, her granddaughter has a heritage that beckons to be resolved and remembered. She does not play the piano she inherited from her grandmother, but starts to investigate its past. In the course of Molla's Music, I explore themes of Afrikaner identity, and question modes of being for white Afrikaans women in South Africa today. By offering an intimate depiction of an individual's search for meaning, while negotiating the forces of Apartheid and patriarchy, especially as a confluence of forces, I hope to gain clarity with regard to my own questions about identity.