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This text is a highly accessible and authoritative approach to the theory and practice of teaching writing to students of English.
Hans Magnus Enzensberger is one of the most widely read and respected writers in post-war Germany. In the present study a considerable number of his most important poems are closely analyzed, including the texts that make up his major poetic cycles, Mausoleum (1975) and Der Untergang der Titanic (1978). Central to any discussion of this highly diverse corpus is the way in which Enzensberger creates strikingly original poems on the basis of borrowed material. Der Untergang der Titanic, for example, is closely based on the famous bestseller A Night to Remember (1955) by the American writer Walter Lord and on the film of the same name by Roy Baker (1958). Enzensberger’s ?Versepos? is simply unimaginable without Lord’s book, and certain episodes represented in the poem can be fully understood only by readers who have seen the film. The appropriation of documentary material also plays an important role in the series of poems devoted to nature or science, many of which present themselves as riddles. An entire chapter is devoted to the analysis of these fascinating riddle poems. The various personages portrayed in Mausoleum comprise not only scientists, inventors, explorers, and thinkers who were responsible for truly world-changing discoveries (Gutenberg, Humboldt, and Darwin for example), but also a whole series of historical figures whose admission to this oddball pantheon is best explained by the bizarreness of their often utopian projects or by their compulsive or megalomaniacal personalities. The playful and provocative Enzensberger clearly chose several of these latter for their shock value (Raimondo di Sangro, V. M. Molotov, Ernesto Guevara de la Serna). Our reading of this collection demonstrates Enzensberger’s willingness to undermine seriousness with irony and humor, hence the presence of Dante and Marilyn Monroe on board the sinking Titanic. The final chapter examines the relation between poetry and politics and examines the notorious essay ?Gemeinplätze, die Neueste Literatur betreffend? (1968) as well as the disturbing interview with the Weimarer Beiträge (1971), in which the poet expresses his thankfully short-lived rejection of literature as art and his desire to break out of the ?Ghetto des Kulturlebens.? This chapter also discusses the influence of Bertolt Brecht. Other chapters focus on the poet’s taste for anachronism, his ?asynchronous? sensibility, and the recurrent theme of disappearance. --
George Orwell set out ‘to make political writing into an art’, and to a wide extent this aim shaped the future of English literature – his descriptions of authoritarian regimes helped to form a new vocabulary that is fundamental to understanding totalitarianism. While 1984 and Animal Farm are amongst the most popular classic novels in the English language, this new series of Orwell’s essays seeks to bring a wider selection of his writing on politics and literature to a new readership. In Why I Write, the first in the Orwell’s Essays series, Orwell describes his journey to becoming a writer, and his movement from writing poems to short stories to the essays, fiction and non-fiction we remember him for. He also discusses what he sees as the ‘four great motives for writing’ – ‘sheer egoism’, ‘aesthetic enthusiasm’, ‘historical impulse’ and ‘political purpose’ – and considers the importance of keeping these in balance. Why I Write is a unique opportunity to look into Orwell’s mind, and it grants the reader an entirely different vantage point from which to consider the rest of the great writer’s oeuvre. 'A writer who can – and must – be rediscovered with every age.' — Irish Times
An indispensable and distinctive book that will help anyone who wants to write, write better, or have a clearer understanding of what it means for them to be writing, from widely admired writer and teacher Verlyn Klinkenborg. Klinkenborg believes that most of our received wisdom about how writing works is not only wrong but an obstacle to our ability to write. In Several Short Sentences About Writing, he sets out to help us unlearn that “wisdom”—about genius, about creativity, about writer’s block, topic sentences, and outline—and understand that writing is just as much about thinking, noticing, and learning what it means to be involved in the act of writing. There is no gospel, no orthodoxy, no dogma in this book. Instead it is a gathering of starting points in a journey toward lively, lucid, satisfying self-expression.
While there can be clean beginnings, true endings are so much more elusive. Redemption isn’t in endings, anyway. It comes from authentic consciousness, from living more fully and honestly inside our story, and making it a story worth having lived. --from the Introduction For everyone who was that girl. Loose Girl is Kerry Cohen's captivating memoir about her descent into promiscuity and how she gradually found her way toward real intimacy. The story of addiction—not just to sex, but to male attention—Loose Girl is also the story of a young woman who came to believe that boys and men could give her life meaning. For everyone who knew that girl. In rich and immediate detail, Loose Girl re-creates what it feels like to be in that desperate moment, when a you try to control someone by handing over your body, when the touch of that person seems to offer proof of something, but ultimately delivers little more than emptiness. Kerry Cohen's journey from that hopeless place to her current confident and fulfilled existence is an unforgettable memoir of one young woman who desperately wanted to matter, and speaks to countless others with its compassion, understanding, and love. For the thousands of people who have found their voice in this book, and the thousands more who will.
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Captivate the hearts and minds of young adult readers! Writing for young adult (YA) and middle grade (MG) audiences isn't just "kid's stuff" anymore--it's kidlit! The YA and MG book markets are healthier and more robust than ever, and that means the competition is fiercer, too. In Writing Irresistible Kidlit, literary agent Mary Kole shares her expertise on writing novels for young adult and middle grade readers and teaches you how to: • Recognize the differences between middle grade and young adult audiences and how it impacts your writing. • Tailor your manuscript's tone, length, and content to your readership. • Avoid common mistakes and cliches that are prevalent in YA and MG fiction, in respect to characters, story ideas, plot structure and more. • Develop themes and ideas in your novel that will strike emotional chords. Mary Kole's candid commentary and insightful observations, as well as a collection of book excerpts and personal insights from bestselling authors and editors who specialize in the children's book market, are invaluable tools for your kidlit career. If you want the skills, techniques, and know-how you need to craft memorable stories for teens and tweens, Writing Irresistible Kidlit can give them to you.
Many writers avoid creating characters of different ethnic backgrounds than their own out of fear that they might get it wrong. To address this fear, Nisi Shawl and Cynthia Ward collaborated to develop a workshop that addresses these problems with the aim of both increasing writers skill and sensitivity in portraying difference in their fiction as well as allaying their anxieties about getting it wrong. Writing the Other: A Practical Approach is the manual that grew out of their workshop. It discusses basic aspects of characterization and offers elementary techniques, practical exercises, and examples for helping writers create richer and more accurate characters with differences.
Briefly describes how word processors work, identifies problems writers may experience adjusting to the new technology, and gives tips on how to take advantage of the system's capabilities
A dystopian thriller follows a boy and girl on the run from a town where all thoughts can be heard – and the passage to manhood embodies a horrible secret. Todd Hewitt is the only boy in a town of men. Ever since the settlers were infected with the Noise germ, Todd can hear everything the men think, and they hear everything he thinks. Todd is just a month away from becoming a man, but in the midst of the cacophony, he knows that the town is hiding something from him -- something so awful Todd is forced to flee with only his dog, whose simple, loyal voice he hears too. With hostile men from the town in pursuit, the two stumble upon a strange and eerily silent creature: a girl. Who is she? Why wasn't she killed by the germ like all the females on New World? Propelled by Todd's gritty narration, readers are in for a white-knuckle journey in which a boy on the cusp of manhood must unlearn everything he knows in order to figure out who he truly is.