Archive - September 21, 2022

Join Peace Corps at the Kennedy Center on September 24th We invite you to join us at the Global Connections: Stories from the Peace Corps event at the Kennedy Center’s Millennium Stage on Saturday, September 24, 2022 from 6:00 – 7:00 p.m. EST. As part of the Kennedy Center’s 50th anniversary celebrations, this distinctive event will showcase inspirational stories about the transformational connections made in the Peace Corps. Darlene Grant, Senior Advisor to the CEO and RPCV Cambodia, will be the emcee for the event and will also be sharing a story from her service in Cambodia. Scheduled Storytellers Aisha Harris-Parker, Language and Cross Cultural Coordinator, Peace Corps Jamaica Dinesh Karki, Deputy Program Director, Peace Corps Nepal Brianna Maltez, Virtual Service Outreach and Selection Specialist (RPCV/Mozambique) Kelsey McMahon, Virtual Service Participant Support Specialist (RPCV/South Africa) Anisa Rahaman, Office of the Chief Information Officer Herizo Ramanantsialonina, Health Programming and Training Specialist, Peace Corps Madagascar Ella Sokoliuk, Public Health Specialist . . .

 Writing your Peace Corps Story Lee Gutkind who started the first Creative Nonfiction program at the University of Pittsburgh writes simply that “creative nonfiction are “true stories well told.” In some ways, creative nonfiction is like jazz—it’s a rich mix of favors, ideas, and techniques, some of which are newly invented and others as old as writing itself. Creative nonfiction can be an essay, a journal article, a research paper, a memoir, or a poem; it can be personal or not, or it can be all of these. Creative nonfiction is also known as literary nonfiction or narrative nonfiction and is a genre of writing that uses literary styles and techniques to create factually accurate narratives. Creative nonfiction contrasts with other nonfiction, such as academic or technical writing or journalism, which is also rooted in accurate fact, but is not written to entertain based on writing style or florid prose. . . .