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锟andling the Truth: On the Writing of Memoir,锟?by Beth Kephart. Gotham Books/Penguin Group, New York, 2013. 254 pages. $16.锟andling the Truth: On the Writing of Memoir锟?by National Book Award finalist Beth Kephart may seem targeted to the writer of memoir. But the subtitle is more encompassing. We are right to expand the scope of the book锟 target market to include all students of memoir. Any fan 锟?writer or reader 锟?is going to appreciate 锟andling the Truth,锟?where many of our questions are addressed.A second bit of business to take care of: Though there are harsh critics of the so-called memoir glut (Neil Genzlinger, writing in the New York Times Book Review, decried this 锟bsurdly bloated genre锟?, the numbers and the passion of memoir readers win out. Good memoirs are personal and therefore embraceable, unforgettable, instructive, enlightening, often beautifully written and, therefore, works of literary art. Bad memoirs, writes Kephart, can commit any number of errors from Me Speak to lack of reflection and understanding to vengeful.Kephart, author of 17 books, five of which are memoirs, asks a couple of great questions: What do you, reader, expect of a memoir? What do you, writer of memoirs, expect of yourself as a writer? From this vantage point Kephart, who also teaches creative nonfiction at the University of Pennsylvania, launches in on her discussion. Grab a highlighter because she cites numerous memoirs you may want to read later.In the book锟 five main parts, Kephart covers definitions and cautions, raw material, writing, clarity and truth, and, finally, a valuable listing of good memoirs arranged by topic.锟andling the Truth锟?gives us many ways to think about memoirs. For example, it锟 not easy to deliver an elevator speech about a good memoir. 锟hat readers want is meaning,锟?writes Kephart. 锟hey want a story so rich, complex, thought through, and learned from that it can锟, in fact, be revealed by a headline or two; it can锟 be satisfactorily summarized.锟?Among the ways Kephart characterizes memoir: it imparts understanding; it锟 a work of art; 锟irst and foremost a meditation and a quest锟? 锟ctive, alert, not lazy.锟ot all memoirists speak to all people. But if the voice is true and authentic, Kephart says, 锟hen it is likely a voice we will trust. A voice contains tone, mood and attitude.锟?But be careful not to mistake attitude for bravado, distance from authenticity or anger. These are more likely tirades lacking in comprehension and little connection to a greater world where humanity and meaning reside.Memoir, she says, bears witness. Memoir is also 锟he work of thieves.锟?There are consequences. 锟emoir writers have no control over how their cast of characters 锟?will feel about what has taken up residency on your page.锟?Memoir is grand larceny. Kephart keeps notebooks, studies conversation, saves dialogue. 锟rain your ear to the habit of speech,锟?she says. Kephart contacts those in her books and confirms the accuracy of her material. She also implores writers to practice empathy with those they use in their writing. It stops you from hurting the people who are essential to your story. To not do so, she warns, is to corrupt, if not doom, the book. Research is another tool for broadening scope and insight. Without it, she says, you could be perceived as a 锟arcissistic bore.锟age 2 of 2 - It is not always possible for a memoirist to be accurate. If their topic is addiction, most likely there锟 a lot they can锟 remember. The same is true for mental illness. Memory is fallible and concessions must be made. Sometimes memoirists warn in advance of the limitations of recall, as Dorothy Allison does in 锟wo or Three Things I Know for Sure.锟?Though 锟ruth is your obsession,锟?memoirists are writers and storytellers. I锟e heard David Sedaris admit he embellishes his stories, sometimes heavily. And Orhan Pamuk, who wrote the acclaimed 锟stanbul,锟?likes to exaggerate.Kephart is a natural born teacher. She writes with a certain style that can, at times, evoke a squirm. She锟 writing creative prose primarily for writers, which sometimes leads her to 锟eacocking锟?锟?displaying her stuff. She does so with tremendous style, nonetheless.My own current memoir, written in the present tense, seems to have to work hard to express meaning. I learned why when reading Kephart. Present tense is emotive and experiential. Past tense sets a sturdier stage for cognition and consideration. It锟 where you 锟ut knowing over feeling.锟?Tense is a hard choice, but many authors move back and forth. Another thing memoirs are free to do is get experimental. The author bell hooks in 锟one Black锟?is a good example.One day on the train Kephart encounters a student who asks her what she does. She tells him, eventually, that she锟 written five memoirs. 锟ive?锟?he asks. 锟sn锟 five a lot? I mean, how much have you lived?锟?It锟 a funny story, but it also points out what we don锟 always understand about memoir. It锟 just one more way, in literature, to get at truth. You don锟 need big bad tragedies to do this, just a story, rich in detail and demonstrating an active search for understandings we can all appreciate.Rae Padilla Francoeur锟 memoir, 锟ree Fall: A Late-in-Life Love Affair,锟?is available online or in some bookstores. Write her at rae.francoeur@verizon.net. Or read her blog at http://www.freefallrae.blogspot.com/ or follow her @RaeAF. 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