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Writing Resistance is the first close study of the growing body of contemporary Hindi-language Dalit (low caste) literature in India. The Dalit literary movement has had an immense sociopolitical and literary impact on various Indian linguistic regions, yet few scholars have attempted to situate the form within contemporary critical frameworks. Laura R. BrueckÕs approach goes beyond recognizing and celebrating the subaltern speaking, emphasizing the sociopolitical perspectives and literary strategies of a range of contemporary Dalit writers working in Hindi. Brueck explores several essential questions: what makes Dalit literature Dalit? What makes it good? Why is this genre important, and where does it oppose or intersect with other bodies of Indian literature? She follows the debate among Dalit writers as they establish a specifically Dalit literary critical approach, underscoring the significance of the Dalit literary sphere as a ÒcounterpublicÓ generating contemporary Dalit social and political identities. Brueck then performs close readings of contemporary Hindi Dalit literary prose narratives, focusing on the aesthetic and stylistic strategies deployed by writers whose class, gender, and geographic backgrounds shape their distinct voices. By reading Dalit literature as literature, this study unravels the complexities of its sociopolitical and identity-based origins.
Each year writers and editors submit over three thousand grammar and style questions to the Q&A page at The Chicago Manual of Style Online. Some are arcane, some simply hilarious—and one editor, Carol Fisher Saller, reads every single one of them. All too often she notes a classic author-editor standoff, wherein both parties refuse to compromise on the "rights" and "wrongs" of prose styling: "This author is giving me a fit." "I wish that I could just DEMAND the use of the serial comma at all times." "My author wants his preface to come at the end of the book. This just seems ridiculous to me. I mean, it’s not a post-face." In The Subversive Copy Editor, Saller casts aside this adversarial view and suggests new strategies for keeping the peace. Emphasizing habits of carefulness, transparency, and flexibility, she shows copy editors how to build an environment of trust and cooperation. One chapter takes on the difficult author; another speaks to writers themselves. Throughout, the focus is on serving the reader, even if it means breaking "rules" along the way. Saller’s own foibles and misadventures provide ample material: "I mess up all the time," she confesses. "It’s how I know things." Writers, Saller acknowledges, are only half the challenge, as copy editors can also make trouble for themselves. (Does any other book have an index entry that says "terrorists. See copy editors"?) The book includes helpful sections on e-mail etiquette, work-flow management, prioritizing, and organizing computer files. One chapter even addresses the special concerns of freelance editors. Saller’s emphasis on negotiation and flexibility will surprise many copy editors who have absorbed, along with the dos and don’ts of their stylebooks, an attitude that their way is the right way. In encouraging copy editors to banish their ignorance and disorganization, insecurities and compulsions, the Chicago Q&A presents itself as a kind of alter ego to the comparatively staid Manual of Style. In The Subversive Copy Editor, Saller continues her mission with audacity and good humor.
In 1884, the first of 68 prisoners convicted of terrorism and revolutionary activity were transferred to a new maximum security prison at Shlissel´burg Fortress near St Petersburg. The regime of indeterminate sentences in isolation caused severe mental and physical deterioration among the prisoners, over half of whom died. But the survivors fought back to reform the prison and improve the inmates’ living conditions. The memoirs many survivors wrote enshrined their story in revolutionary mythology, and acted as an indictment of the Tsarist autocracy’s loss of moral authority. Writing Resistance features three of these memoirs, all translated into English for the first time. They show the process of transforming the regime as a collaborative endeavour that resulted in flourishing allotments, workshops and intellectual culture – and in the inmates running many of the prison’s everyday functions. Sarah J. Young’s introductory essay analyses the Shlissel´burg memoirs’ construction of a collective narrative of resilience, resistance and renewal. It uses distant reading techniques to explore the communal values they inscribe, their adoption of a powerful group identity, and emphasis on overcoming the physical and psychological barriers of the prison. The first extended study of Shlissel´burg’s revolutionary inmates in English, Writing Resistance uncovers an episode in the history of political imprisonment that bears comparison with the inmates of Robben Island in South Africa’s apartheid regime and the Maze Prison in Belfast during the Troubles. It will be of interest to scholars and students of the Russian revolution, carceral history, penal practice and behaviours, and prison and life writing.
A cultural history of the origins of composition studies that sheds new light on contemporary debates regarding the role of rhetoric in student transformation.
Discover the tricks that your brain uses to keep you from writing—and how to beat them. Do you: Want to write, but find it impossible to get started? Keep your schedules so full that you don’t have any time to write? Wait until the last minute to write, even though you know you could do a better job if you gave yourself more time? Suddenly remember ten other things that you need to do whenever you sit down to write? Sabotage your own best efforts with lost files, missed deadlines, or excessive self-criticism? The good news is that you’re not lazy, undisciplined, or lacking in willpower, talent or ambition. You just need to learn what’s going on inside your brain, and harness the power of brain science to beat resistance and develop a productive writing habit. In Around the Writer’s Block, Rosanne Bane-- a creativity coach and writing teacher for more than 20 years-- uses the most recent breakthroughs in brain science to help us understand, in simple, clear language, where writing resistance comes from: a fight-or-flight response hard-wired into our brain, which can make us desperate to flee the sources of our anxieties by any means possible. Bane’s three-part plan, which has improved the productivity of thousands of writers, helps you develop new reliable writing habits, rewire the brain’s responses to the anxiety of writing, and turn writing from a source of stress and anxiety into one of joy and personal growth.
In 1975, a young high school teacher took the stage at a prayer meeting in a southwestern Korean city to recite a poem called "The Winter Republic." The poem became an anthem against the military dictatorship of Park Chung Hee and his successors; the poet, however, soon found himself in court and then in prison for saddling the authoritarian state with such a memorable moniker. This unique book weaves together literary works, biographical accounts, institutional histories, trial transcripts, and personal interviews to tell the powerful story of how literature became a fierce battleground against authoritarian rule during one of the darkest periods in South Korea's history. Park Chung Hee's military dictatorship was a time of unparalleled political oppression. It was also a time of rapid and unprecedented economic development. Against this backdrop, Youngju Ryu charts the growing activism of Korean writers who interpreted literature's traditional autonomy as a clarion call to action, an imperative to intervene politically in the name of art. Each of the book's four chapters is devoted to a single writer and organized around a trope central to his work. Kim Chi-ha's "bandits," satirizing Park's dictatorship; Yi Mun-gu's "neighbor," evoking old nostalgia and new anxieties; Cho Se-hŭi's dwarf, representing the plight of the urban poor; and Hwang Sok-yong's labor fiction, the supposed herald of the proletarian revolution. Ending nearly two decades of an implicit ban on socially engaged writing, literature of the period became politicized not merely in content and form, but also as an institution. Writers of the Winter Republic emerged as the conscience of their troubled yet formative times. A question of politics lies at the heart of this book, which seeks to understand how and why a time of political oppression and censorship simultaneously expanded the practice and everyday relevance of literature. By animating the lives and works of the men who shaped this period, the book offers readers an illuminating literary, cultural, and political history of the era.
Eighteen women, including Jamaica Kincaid, Rigoberta Menchú, Cherríe Moraga, Marjorie Agosin, Margaret Randall, Gloria Anzaldúa, Michelle Cliff, Edwidge Danticat, and Julia Alvarez, are featured in this powerful anthology on art, feminism, and activism in Latin America and the Caribbean. Women Writing Resistance highlights Latin American and Caribbean women writers who, with increasing urgency, are writing in the service of social justice and against the entrenched patriarchal, racist, and exploitative regimes that have ruled their countries. Many of the women in this collection have been thrust out into the Latino-Caribbean diaspora by violent forces that make differences in language and culture seem less significant than connections based on resistance to inequality and oppression. It is these connections that Women Writing Resistance highlights, presenting "conversations" on the potential of writing to confront injustice. This mixed-genre anthology, a resource for activists and readers of Latin American and Caribbean women's literature, demonstrates and enacts how women can collaborate across class, race and nationality, and illustrates the value of this solidarity in the ongoing struggles for human rights and social justice in the Americas. Jennifer Browdy de Hernandez earned her Ph.D. in comparative literature from New York University, specializing in contemporary Caribbean, Latin American, and ethnic North American autobiographies by women. She teaches literature and gender studies courses at Simon's Rock College of Bard, and is also a faculty member at the University at Albany, SUNY.
Teaching Resistance is a collection of the voices of activist educators from around the world who engage inside and outside the classroom from pre-kindergarten to university and emphasize teaching radical practice from the field. Written in accessible language, this book is for anyone who wants to explore new ways to subvert educational systems and institutions, collectively transform educational spaces, and empower students and other teachers to fight for genuine change. Topics include community self-defense, Black Lives Matter and critical race theory, intersections between punk/DIY subculture and teaching, ESL, anarchist education, Palestinian resistance, trauma, working-class education, prison teaching, the resurgence of (and resistance to) the Far Right, special education, antifascist pedagogies, and more. Edited by social studies teacher, author, and punk musician John Mink, the book features expanded entries from the monthly column in the politically insurgent punk magazine Maximum Rocknroll, plus new works and extensive interviews with subversive educators. Contributing teachers include Michelle Cruz Gonzales, Dwayne Dixon, Martín Sorrondeguy, Alice Bag, Miriam Klein Stahl, Ron Scapp, Kadijah Means, Mimi Nguyen, Murad Tamini, Yvette Felarca, Jessica Mills, and others, all of whom are unified against oppression and readily use their classrooms to fight for human liberation, social justice, systemic change, and true equality. Royalties will be donated to Teachers 4 Social Justice: t4sj.org
They kill without conscience or remorse. They are the most ruthless enemy we have ever faced. And they are one millionth our size...Prepare to be shocked-and mesmerized-by Resistant, the latest novel of thrilling medical suspense from New York Times bestselling author Michael Palmer. When Dr. Lou Welcome fills in last minute for his boss at a national conference in Atlanta he brings along his best friend, Cap Duncan. But an accident turns tragic when Cap injures his leg while running. Surgeons manage to save the leg, but the open wound is the perfect breeding ground for a deadly microbial invader committed to eating Cap alive from the inside out. Meanwhile, hundreds of miles away, a teenaged girl is fighting for her life against the same bacteria. The germ is resistant to any known antibiotic and the government scientist tasked with finding a cure has been kidnapped. Turning to the Centers for Disease Control for help, Lou Welcome uncovers a link to a shadowy group known as One Hundred Neighbors that has infiltrated our society and is using our health institutions as hostages. Like the deadly germs they can unleash, One Hundred Neighbors will stop at nothing to further their agenda. From the hospital corridors where anything you touch can mean your end, to the top corridors of power in this race against time, Lou must stop an epidemic, save his best friend, and face even his own most terrifying demons. From the New York Times bestselling author comes another heart stopping thriller that will make you look at the world around you in a new and frightening way. "When you open the pages of a Michael Palmer novel, you know you are in the hands of a pro." -The Huffington Post
Timely and accessible, this book offers tangible strategies that will help teachers plan and sustain writing workshop experiences that are responsive to the needs of their specific students. Angela Stockman helps teachers understand why some writers may fail to meet their expectations and how to help all writers reach their fullest potential. Organized in three parts, this book reframes common narratives about resistant writers, empowers teachers to design, lead and refine their workshop, and provides a toolkit to do so. The appendices and eResources included provide teachers with instructions for mini-lessons and learning targets that support multimodal composition, perfect for pre-service and in-service teachers.