Nonfiction texts strive to be factual but not all nonfiction texts can be. In autobiographies we deal with ones memory, there memory tends have subjectivity in it. Mao’s last dancer written by Li Cunxin demonstrates that nonfiction texts rely on memory, perspective, and purpose. Without these key factorsNonfiction texts strive to be factual but not all nonfiction texts can be. In autobiographies we deal with ones memory, there memory tends have subjectivity in it. Mao’s last dancer written by Li Cunxin demonstrates that nonfiction texts rely on memory, perspective, and purpose. Without theseNonfiction texts strive to be factual but not all nonfiction texts can be. In autobiographies we deal with ones memory, there memory tends have subjectivity in it. Mao’s last dancer written by Li Cunxin demonstrates that nonfiction texts rely on memory, perspective, and purpose. Without these key faNonfiction texts strive to be factual but not all nonfiction texts can be. In autobiographies we deal with ones memory, there memory tends have subjectivity in it. Mao’s last dancer written by Li Cunxin demonstrates that nonfiction texts rely on memory, perspectivNonfiction texts strive to be factual but not all nonfiction texts can be. In autobiographies we deal with ones memory, there memory tends have subjectivity in it. Mao’s last dancer written by Li Cunxin demonstrates that nonfiction texts rely on memory, perspective, and purpose. Without these key factorsNonfiction texts strive to be factual but not all nonfiction texts can be. In autobiographies we deal with ones memory, there memory tends have subjectivity in it. Mao’s last dancer written by Li Cunxin demonstrates that nonfiction texts rely on memory, perspective, and purpose. Without theseNonfiction texts strive to be factual but not all nonfiction texts can be. In autobiographies we deal with ones memory, there memory tends have subjectivity in it. Mao’s last dancer written by Li Cunxin demonstrates that nonfiction texts rely on memory, perspective, and purpose. Without these key faNonfiction texts strive to be factual but not all nonfiction tNonfiction texts strive to be factual but not all nonfiction texts can be. In autobiographies we deal with ones memory, there memory tends have subjectivity in it. Mao’s last dancer written by Li Cunxin demonstrates that nonfiction texts rely on memory, perspective, and purpose. Without these key factorsNonfiction texts strive to be factual but not all nonfiction texts can be. In autobiographies we deal with ones memory, there memory tends have subjectivity in it. Mao’s last dancer written by Li Cunxin demonstrates that nonfiction texts rely on memory, perspective, and purpose. Without theseNonfiction texts strive to be factual but not all nonfiction texts can be. In autobiographies we deal with ones memory, there memory tends have subjectivity in it. Mao’s last dancer written by Li Cunxin demonstrates that nonfiction tNonfiction texts strive to be factual but not all nonfiction texts can be. In autobiographies we deal with ones memory, there memory tends have subjectivity in it. Mao’s last dancer written by Li Cunxin demonstrates that nonfiction texts rely on memory, perspective, and purpose. Without these key factorsNonfiction texts strive to be factual but not all nonfiction texts can be. In autobiographies we deal with ones memory, there memory tends have subjectivity in it. Mao’s last dancer written by Li Cunxin demonstrates that nonfiction texts rely on memory, perspective, and purpose. Without theseNonfiction texts strive to be factual but not all nonfiction texts can be. In autobiographies we deal with ones memory, there memory tends have subjectivity in it. Mao’s last dancer written by Li Cunxin demonstrates that nonfiction texts rely on memory, perspective, and purpose. Without these key faNonfiction texts strive to be factual but not all nonfiction texts can be. In autobiographies we deal with ones memory, there memory tends have subjectivity in it. Mao’s last dancer written by Li Cunxin demonstrates that nonfiction texts rely on memory, perspective, and purpose. Without these key factorsctors key factorsexts rely on memory, perspective, and purpose. Without these key faNonfiction texts strive to be factual but not all nonfiction texts can be. In autobiographies we deal with ones memory, there memory tends have subjectivity in it. Mao’s last dancer written by Li Cunxin demonstrates that nonfiction texts rely on memory, perspective, and purpose. Without these key factorsctors key factorsexts can be. In autobiographies we deal with ones memory, there memory tends have subjectivity in it. Mao’s last dancer written by Li Cunxin demonstrates that nonfiction texts rely on memory, perspective, and purpose. Without these key factorsctors key factorse, and purpose. Without these key factorsctors key factorsNonfiction texts strive to be factual but not all nonfiction texts can be. In autobiographies we deal with ones memory, there memory tends have subjectivity in it. Mao’s last dancer written by Li Cunxin demonstrates that nonfiction texts rely on memory, perspective, and purpose. Without these key factorsNonfiction texts strive to be factual but not all nonfiction texts can be. In autobiographies we deal with ones memory, there memory tends have subjectivity in it. Mao’s last dancer written by Li Cunxin demonstrates that nonfiction texts rely on memory, perspective, and purpose. Without theseNonfiction texts strive to be factual but not all nonfiction texts can be. In autobiographies we deal with ones memory, there memory tends have subjectivity in it. Mao’s last dancer written by Li Cunxin demonstrates that nonfiction texts rely on memory, perspective, and purpose. Without these key faNonfiction texts strive to be factual but not all nonfiction texts can be. In autobiographies we deal with ones memory, there memory tends have subjectivity in it. Mao’s last dancer written by Li Cunxin demonstrates that nonfiction texts rely on memory, perspective, and purpose. Without these key factorsctors key factors